<p>In the Korean artist Hyun-Jin Kwak's ongoing project Girls in Uniform she portrays events and moments that transgress the boundaries between the ordinary and the unknown. In her photographs there are frequently ambiguous and cinematic narratives. The pictures are carefully orchestrated and constructed, but they are not spectacular. Kwak's imagery is relatively unexplored. This thesis implements a comparative image analysis of eight of Hyun-Jin Kwak's works, in order to investigate and interpret her imagery. The analysis is based on three recurrent motifs: the uncanny, secrets - rituals and games as well as togetherness. The intention is to investigate the uncanny, which I identify in Kwak's artwork, and explore the mysterious fellowship and secretiveness that the girls have in their games and rituals. The togetherness that often exists between young girls in Kwak's photographs are put in to the context of the twinmyth.</p>

In the Korean artist Hyun-Jin Kwak's ongoing project Girls in Uniform she portrays events and moments that transgress the boundaries between the ordinary and the unknown. In her photographs there are frequently ambiguous and cinematic narratives. The pictures are carefully orchestrated and constructed, but they are not spectacular. Kwak's imagery is relatively unexplored. This thesis implements a comparative image analysis of eight of Hyun-Jin Kwak's works, in order to investigate and interpret her imagery. The analysis is based on three recurrent motifs: the uncanny, secrets - rituals and games as well as togetherness. The intention is to investigate the uncanny, which I identify in Kwak's artwork, and explore the mysterious fellowship and secretiveness that the girls have in their games and rituals. The togetherness that often exists between young girls in Kwak's photographs are put in to the context of the twinmyth.

Thesis (M.A.)--Emmanuel School of Religion, Johnson City, Tennessee, 1996. / Vita. Includes bibliographical references (leaves 136-141).

Korean calligraphy went through tremendous changes during the twentieth century, and Jung Hyun-bok (1909-1973), a gifted calligrapher, played an important role in bringing about these changes. This thesis focuses on one of Jung's most mature and refined works, "Using the Peak of the Five Elders as a Brush," owned by the Jordan Schnitzer Museum of Art. In addition to translating and explicating the poems on the screen, through a close examination of both the form and content of the work I explore how it reflects Jung's values, intentions, and background. This thesis also addresses the question of why some critics have classified Jung as a professional artist and considers some of the ways in which he actually cultivated and projected an image of himself as a traditional literatus.

abstract: ABSTRACT Korea’s first opera Chunhyang Jeon was composed by Jaemyeong Hyun in 1948. Until that time, most Korean vocal music was sung by a few native traditional artists. Inspired by their work, composer Hyun combined elements from the ancient Pansori (epic poetic forms presented by a solo singer with drum) and Western music techniques to create his opera. Hyun also used the more vernacular Hangeul (Korean alphabet) for his libretto rather than the Chinese usually heard in Korean theatrical presentations. It might be noted that in that same year (1948), the first Western opera: Verdi’s La Traviata was performed in Seoul. This study concerns the bringing together of Korean traditional idioms (in Pansori) and Western musical ideas (harmony, orchestration, etc.) to create what is now known as Chunhyang-jeon Opera. In this regard, the author will present a brief split-analysis of the older style and the more modern musical attributes of the combined style of traditional Korean music and European style opera. It is hoped that this study might provide the basis for a future opera course and guide for both disciplines. This study will also show that the Pansori and its subsequent operatic treatment has historical, social and artistic elements. Some similarities and differences of both forms were noted here with regard to cultural sensitivities. While Chunhyang-ga (older form) and Chunhyang-jeon (Hyun’s modern adaptation) have some musical similarities, the latter was not composed based on the former. Chunhyang-ga consists mainly of compound meter (6/8, 9/8, 12/8, 24/8), which is at the heart of Korean traditional music, while Chunhyang-jeon uses simple meter (2/4, 3/4, 4/4). Identical words are not often used in the two works, but their libretti are of much significance. Chunhyang-ga had been traditionally handed down with Chinese characters, whereas Chunhyang-jeon constituted its libretto with more modern Korean words which were easily understood by the audience. Pansori have been sung with traditional singing techniques, which demonstrate the flow of the melodic line found in the images of the words (as interpreted and improvised by the solo performer), while in opera, vocal music is primarily from a set of melodic and harmonic techniques. / Dissertation/Thesis / Doctoral Dissertation Music 2017

South Korea’s security discourse on the nuclear threat posed by North Korea has been dichotomised by its position within the political spectrum between the progressives and conservatives. By drawing upon Securitisation Theory (ST), this study challenges the current security discourse in South Korea, which has divided and misled the public as well as securitising actors. This study examines the security discourses of the Roh Moo-hyun (2003–2008) and Lee Myung-bak (2008–2013) administrations, since they represent the archetypes of the progressives and conservatives respectively. The results of the analysis suggest that the current security discourses that have been prevalent in South Korea do not correspond with reality and, subsequently, the discourses were not able to deal with real challenges that the nuclear threat posed. This research also explains the root cause of the distorted security discourses by applying a ‘discursive chasm’ as a preliminary concept, which indicates a discursive structure that fundamentally impedes the performance of securitising actors’ articulation, and that distorts the discursive formation (securitisation processes). The chasms consist of three elusive discourses: first, a discourse on threats that cannot simply be said to be either imminent or not imminent (nuclear weapons as materiality and discourse); second, a discourse on the other that cannot easily be defined (the difficulty of representation of North Korea); and third, a discourse on measures that cannot easily be realised (intangible extraordinary measures).

South Korea’s security discourse on the nuclear threat posed by North Korea has been dichotomised by its position within the political spectrum between the progressives and conservatives. By drawing upon Securitisation Theory (ST), this study challenges the current security discourse in South Korea, which has divided and misled the public as well as securitising actors. This study examines the security discourses of the Roh Moo-hyun (2003–2008) and Lee Myung-bak (2008–2013) administrations, since they represent the archetypes of the progressives and conservatives respectively. The results of the analysis suggest that the current security discourses that have been prevalent in South Korea do not correspond with reality and, subsequently, the discourses were not able to deal with real challenges that the nuclear threat posed. This research also explains the root cause of the distorted security discourses by applying a ‘discursive chasm’ as a preliminary concept, which indicates a discursive structure that fundamentally impedes the performance of securitising actors’ articulation, and that distorts the discursive formation (securitisation processes). The chasms consist of three elusive discourses: first, a discourse on threats that cannot simply be said to be either imminent or not imminent (nuclear weapons as materiality and discourse); second, a discourse on the other that cannot easily be defined (the difficulty of representation of North Korea); and third, a discourse on measures that cannot easily be realised (intangible extraordinary measures).

The thesis describes Korean Peninsula political development from 1998 to 2008, in the frame of historical context from 1948 when two independent states were oficially founded. Discussed decade was characterized by the policy of engagement or the sunshine policy of the Republic of Korea, respectively. This represented a concept of friendly relationship towards the DPRK, aiming at final unification. Detailed description of the political development year by year and its evaluation is the subject of this thesis.

二次世界大戰時，美國擊敗日本，使朝鮮半島脫離殖民統治，然而隨後的美蘇冷戰，使得朝鮮半島分裂成南北兩韓，而美國與南韓簽訂條約，成立美韓同盟(U.S.–South Korea Alliance)，成為繼日本之後，美國在亞洲的另一個戰略同盟。冷戰與後冷戰期間，美韓關係雖有波折，但不影響美韓同盟的強度。直到2000年美國小布希就任，其強硬的北韓政策與南韓金大中的陽光政策形成對比，成了美韓關係不協調的開端。而後連任的小布希延續其北韓政策，南韓繼任的盧武鉉將陽光政策擴大實施，推出和平繁榮政策，美韓兩國的北韓政策再度不同調，兩國關係持續跌宕起伏至2008年。本研究試圖以攻勢現實主義分析美國此時期的北韓政策；以新自由制度主義檢視南韓的交往政策，透過理論交鋒研究兩國利益的差異，並檢視外部因素如中國、日本、俄羅斯的影響，進而解釋此時期美韓關係不協調的原因。 / In 1945, the U.S. defeated Japan. The Korean peninsula was liberated from Japanese colonization at the end of World War II. However, the confrontation between the U.S. and the Soviet Union left two Koreas separated by the Demilitarized Zone from the Cold War to the present. In addition, based on the Mutual Defense Treaty Between the United States of America and the Republic of Korea, the U.S.–South Korea Alliance was established. During the Cold War and Post Cold War era, the U.S.-South Korea relations faced hard times, but the alliance remained strong. When George W. Bush became the president of the U.S. in the year 2000, his hardline policy toward North Korea collided with South Korea’s Sunshine Policy, which was made by the president Kim Dae-jung. These different policies toward the North caused tensions to the U.S.-South Korea relations. Then the re-elected Bush continued hardline policy against North Korea, but South Korea’s new president—Roh Moo-hyun—decided to inherit the sunshine policy and develop Peace and Prosperity Policy. Washington and Seoul still failed to reach a consensus on how to deal with Pyongyang. The U.S.-South Korea relations continued to fluctuate until 2008. This study tries to analyze the U.S. policy toward North Korea through offensive realism and examine South Korean engagement policy through neoliberal institutionalism from 2000 to 2008. Besides, this thesis also considers exogenous factors such as China, Japan, and Russia, trying to explain the inconstancy of the U.S.-South Korea relations.