Airpower played an important supporting role in the Korean War, and as General of the Army Douglas MacArthur pursued victory in the war and President Harry S Truman's objectives altered throughout the first year of the conflict, tension arose between the two men. One issue in these frictions was the restriction of airpower. Not only MacArthur, but also his admiring subordinate Lieutenant General George E. Stratemeyer commanding the Far East Air Forces, and Fifth Air Force commander Major General Earle E. Partridge opposed the restrictions which had been imposed on airmen from the outset of the conflict. Stratemeyer did so partly because of his loyalty to MacArthur, who wanted latitude in coping with the situation in the field and defeating the Communist enemy. Partridge did so because he thought they endangered his personnel and limited the effectiveness of airpower in the war. These commanders had a fundamentally different opinion from Washington regarding the likelihood of overt Soviet intervention in the war, and because they did not think the Korean War would become a world war, they were more willing than Washington to prosecute the war more aggressively. MacArthur's conflict ended with his removal in April 1951, and Stratemeyer (who suffered a heart attack weeks afterward) continued to advocate for forceful American foreign policy in Asia during his retirement. Partridge eventually earned four stars and long after the war likewise continued to disfavor the restrictions which had been put in place. Between oral history interviews in 1974 and 1978, however, Partridge reconsidered the issue of restrictions. He expressed that the Korean War had been a considerable challenge without a wider war, implying that restrictions had perhaps been important.

I contend that young students should be introduced to intercultural contemporary music, as this exposure brings benefits to their artistic development and fosters appreciation of other cultures. Variations sur un thème populaire coréen by Sung-Ki Kim (b. 1954) and Six Pieces for Piano ‘Nori' by Chung-Sock Kim (b. 1940) are effective pedagogical works that fit perfectly into the intercultural mold mentioned above, and both are suitable for late intermediate or early advanced level students. A detailed comparison of these two works can help instructors understand the ways by which these composers incorporate Korean folk materials and blend them with Western contemporary techniques. An analysis of Sung-Ki Kim's Variations sur un theme populaire coréen and Chung-Sock Kim's Six Pieces for Piano ‘Nori' can be divided into three categories: harmony, rhythm, and performance-related aspects. By analyzing these two pieces, these study illustrates in greater depth their intercultural aspects, showing the way by which both composers merged traditional Korean folk idioms through the inclusion of traditional Korean rhythms, and the imitation of sounds of several traditional Korean instruments with Western contemporary technique such as non-traditional sounds and use of sostenuto pedal. Finally, this study provides some practicing suggestions and listing exercise on how to practice musical and technical challenges.

Gideon Gee Bum Kim is an internationally-acclaimed contemporary Korean-Canadian composer. Kim has utilized traditional Korean music with Western composition techniques in some of his works. Kim created his own style by incorporating traditional Korean musical elements such as the scale, rhythmic diversity, syncopation, variation, ornamentation, and the progression of melody into a body of music that is otherwise contemporary and Western. The purpose of this study is to develop a performance guide for Gideon Gee Bum Kim's Kangkangsullae for string trio. Kangkangsullae trio is based on Korean historical, cultural and musical influences. I give a detailed historical and cultural background for this work and demonstrate how Kim integrated Western compositional techniques with traditional Korean music. My emphasis is on defining specific characteristics of traditional Korean music which will provide several points toward understanding Kim's compositional style.

Un-Yung La was one of the first Korean composers of Western style choral music who used Korean folk elements in his composers. According to Un-Yung La's musical theory, which he demonstrated in Easter Cantata. Korean-style melody and rhythm were created based on Korean traditional scales and he also used Western-style harmonization. He attempted a new Korean style of expression through Sikimsae technique in Korean traditional vocal music genres: Pansori and Sijo. The purpose of this paepr is to discuss traditional Korean performance elements related to melody, harmony, and rhythm as employed in La's Easter Cantata. The study will increase the knowledge of western conductors who wish to understand Korean folk music in preparation for performance of choral works such as La's Easter Cantata.

This is one of the first qualitative studies to investigate experiences of Korean-American Christians living in New York City at the time of 9/11. This study sought to gain an understanding of how a group of Second Generation Korean-American Christians living in New York City at the time of the 9/11 attacks experienced that event and the event's impact on their religious beliefs. The study also investigated the communication context at the time of the ten year anniversary of the event, September 11th, 2011. The guiding research questions were: RQ1) What were their life experiences of 9/11? RQ2) Was their religious status affected by the event? RQ3) What is being communicated about 9/11 after 10 years? The research design was a phenomenological study that included eight individual interviews with second generation Korean-Americans who were 14-18 years of age at the time of the 9/11 attacks. Four initial macro level thematic patterns emerged: I: The day of the attack. II: Immediate Post 9/11. III: Religious Impact. IV: 9/11 Ten years later. Some key findings in the study included narratives of various emotional responses to the event, such as panic, disbelief, and fear. Age was significant, as participants recognized how their age during and after the event, impacted their lived experiences and understanding of 9/11. Location impacted participants and their loved ones. Each participant was in high school during 9/11 which affected ways of gathering information, the impact of seeing smoke coming from the World Trade Towers, and having poor cell phone reception. The study also revealed that two participants became more religious and active in the Christian church directly because of 9/11, while the attitudes, beliefs, and practices of the other six participants were found to be unaffected by 9/11. At the ten year anniversary of 9/11 safety in New York City and in U.S. post 9/11, 'feeling vulnerable' to attacks, and 9/11 being `just another day' were among the issues addressed by participants.

Isang Yun (1917-1995), one of the most important avant-garde German-Korean composers, is perhaps best known for his success at integrating Korean musical elements into traditional Western styles. His Concerto for Oboe, Oboe d'amore, and Orchestra incorporates many traditional Korean elements, and uses techniques such as Hauptton, Hauptklang, and Umspielung to blend these elements into a Western musical style. This study explores the elements of traditional Korean music and instruments present in Yun's score, examines his compositional techniques, and makes practical performance suggestions that allow performers to properly convey his intentions. This dissertation includes six chapters. The first chapter discusses the purpose and importance of the study. The second chapter reviews Isang Yun's biography and works, based on a published interview with Yun and a biography written by his wife of many years. The third chapter introduces the characteristics of traditional Korean woodwind instruments relevant to the work. The fourth chapter examines Yun's compositional techniques of Hauptton, Hauptklang, and Umspielung in the work and their relationship with the main-tone and Sigimsae techniques. The fifth chapter introduces and explores different types of Sigimsae in the work, with suggestions for quarter-tone performance techniques. The sixth and last chapter is a conclusion.

Young Ja Lee (b. 1931) is regarded as one of the most important living female composers in Korea. She leads and contributes to the Korean classical music society as a gifted composer and a dedicated educator. This study focuses on how she has combined Western compositional techniques with elements of Eastern traditional music in some of her compositions, in particular, her Variations pour piano "Umma ya, Nuna ya." An interpretation of her Variations pour piano "Umma ya, Nuna ya" reveals that the composition features many of the particular and sublime aspects of Western compositional techniques in conjunction with traditional Korean music style. This study is an investigation of the interaction and assimilation of these disparate elements. The results of this study may inspire further research into traditional Korean music and bring recognition to important Korean composers, as well as encourage music educators to teach Korean composers' compositions.

The goal of my dissertation is to describe the history of the South Korean1 space program and to use it to offer some insights on reframing space history from a global point of view. South Korea is a new player among the space faring nations. While some of the necessary infrastructure was put in place in the 30 years after the launch of Sputnik, the country only really made a commitment space in the 1990s, developing rapidly to become a significant presence today. The launch of KITsat-1 (Uribyul-1, the first Korean satellite) in 1992 marks its first major achievement, after which it built up its technological capabilities in the space sector in a relatively short period. South Korea now has twelve satellites and operates several space projects, and successfully developed its first space launch vehicle, KSLV-1, also known as Naro, in 2013. Although KSLV-1 is derived from the first stage of the Russian Angara rocket, combined with a solid-fueled second stage built by South Korea, its successful launch was the crucial step for the development of the country’s civilian space program. South Korea aims to develop the first wholly Korean-made launch rocket, KSLV-2 by 2020, which will additionally be used to launch a moon orbiter later that year. Korea’s recent aspiration to space exploration can be seen as part of global narrative in which the conquest of space is not dominated by a few superpowers. Our understanding of the past half-century of space development is, however, still firmly rooted in the framework of the old Cold-War-centered approach to space history. Until recently, only large and powerful nations have been able to mobilize the resources necessary for access to space, so the early years of space exploration produced a simple narrative: a fierce space competition between the Soviet Union and the U. S., with a few countries following behind in a struggle to increase their presence in space. Yet emerging powers’ stories of space development were barely noticed in comparison with the abundant literature on the space history of the super-powers and the increasing literature on middle-range space powers. In order to situate the South Korean space program in this evolving global context, this dissertation attempts to answer the following critical questions: What is the origin of Korean space development? Why is South Korea a late-comer in space, and why is it becoming more active today? How have its motivations and rationales evolved in defining relationships with other countries including the U.S., Russia, France, China, Japan, and even North Korea? Why does it continue to emphasize the need for “Korean” technology in space? In essence, what is Korean about the Korean space program? I seek answers to these questions by examining the relationship between a “space program” and “the construction of national identity” in a political, social, and transnational context. Through historical analysis, I will show that South Korea’s space program has been primarily driven by nationalistic rationales implicit in the argument that space development served “modernization,” “self-defense,”, “economic security”, and “national prestige.” By tracing the multiple links between technological prowess and national imagination, I connect these four rationales using to periodization; 1950s~1960s, 1970~1984, 1985~1997, and 1998~2013. A close examination of the history of the development of space exploration in South Korea offers a fertile ground for exploring the question how the rationales of space development have evolved as the Korean state worked on nation-building in a global context.

In this thesis, I argue that traditional notions of Confucianism and its growing modernity within Korean society have contributed to the continuing issue of child abandonment, inhibiting Korean mothers from gaining bodily, social, and economic independence. There are a variety of governmental and societal pressures, including the emphasis on motherhood and the nuclear family, and expectations for the women, that push these unwed mothers to make undesirable decisions on whether or not to keep their child.

This paper investigates the mechanism for nominative/accusative Case alternations in the siph-ta ‘want-to’ construction in Korean. I argue that the Case alternations in the Korean siph-ta construction are motivated by the peculiar property of siph- that it has dual argument structures and restructuring properties. Specifically, the structural Case on the embedded object is determined by 1) the type of the matrix vP that siph- takes—vP(DO) or vP(BE) - and 2) the presence/absence of the functional category responsible for accusative Case checking, which is selected by the matrix predicate siph-. In so doing, it is demonstrated that the dual argument structure analysis can be extended to account for the same type of Case alternations exhibited by Korean psych-verbs as well as the incompatibility between a nominative object and an embedded psych-verb in the siph-ta construction.