The Influence of the Korean Wave on the Language of International Fans: Case Study of Algerian Fans (original) (raw)

An Analysis on K-Pop Fandom Slang Word-Formation in the Drama ‘Her Private Life’

International Review of Humanities Studies

Slang is a language that is used daily and continues to grow due to the development of social media among fan communities. Each fan community has used slang specific to their interests, one of them being the K-Pop fandom. Despite the international growth of the K-Pop fandom and the spread of its cultural influence over recent years, there has been a lack of discussion on the linguistic aspect of its community, on the slang generated and used by its fan community in particular. Therefore, this research aims to expound on how K-Pop fandom slang words found in the drama ‘Her Private Life’ are formed. The study based its theoretical framework on the National Institute of Korean Language’s (2014) classification of new words in Korean based on its wordformation process. Out of the 24 slang words analyzed from the drama ‘Her Private Life’, there are 3 slang words in the form of a single word and 21 slang words in the form of a complex word. In the case of single-word form slang words, all ...

Sociolinguistic Analysis of English Registers in K-Pop News Articles

Psychology and Education: A Multidisciplinary Journal, 2024

The K-POP phenomenon created a new variation of language called registers. English registers are found in K-POP news articles including the latest news about K-POP idols and groups. This sociolinguistic study reveals the registers found in K-POP news articles, their word-formation processes, functions, and cultural implications. This research utilized qualitative research employing a descriptive method, specifically, Content Analysis. The source of data is the K-POP news articles purposively taken in September 2021. Results show that Borrowing is the most dominant wordformation process of registers. Registers function as Representational to convey facts and information. The most numbered register is idol. Since K-POP idols and groups are admired by a lot of people worldwide, it cannot be helped but be influenced by the Korean beauty standard. This implies that the visuals of idols played a big part in influencing K-POP fans physically and mentally especially on perceptions of beauty and body image.

You Can't Write “Pak” on Television: Language as Power in Hebrew K-pop Fandom

Telos, 2018

Swedish publishers sell Korean comics. Turkish youth set their cellphone ringtones to Korean pop songs. Egyptian K-drama fans test each other's knowledge on discussion boards. Fourteen thousand K-pop fans gather for a concert in Peru. 1 These are but several examples of the transnational reach of Korean popular culture that has extended beyond the geographical boundaries of East Asia. The global expansion of Korean popular culture and the passion with which its international fans consume, share, and create content has motivated scholars to pursue a better understanding of its transnational flow. 2 Scholars have illuminated the entrepreneurial and institutional aspects of the globalization of Korean popular culture, drawing

Sociolinguistics of the Korean Wave

2023

Samosir and Wee examine how the immensely popular Korean Wave ("K-wave") also known as Hallyu is wielded as soft power through the use of communication for persuasion and attraction on the global stage. The Korean Wave refers to the global spread and popularity of South Korean culture, particularly its pop music ("K-pop"), serialised dramas ("K-dramas"), and films ("K-films"). Given the South Korean government's involvement in providing funding and publicity, the Korean Wave raises interesting sociolinguistic questions about the relationship between artistry and citizenship, the use of social media in facilitating the consumption of cultural products, and, ultimately, the nature of soft power itself. Studies of soft power have tended to come from the field of international relations. This book shows that sociolinguistics actually has a number of tools in its conceptual arsenal-such as indexicality, stancetaking, affect, and stylingthat can shed light on the Korean Wave as a form of soft power. As the first booklength sociolinguistic analysis of the Korean Wave and soft power, this book demonstrates how K-pop, K-dramas, and K-films have been able to encourage in consumers an anthropological stance towards all things Korean. This volume will be of particular interest to students and scholars in sociolinguistics, political science, cultural studies, and Korean studies. Nora Samosir is a professional theatre practitioner, having acted in more than 100 stage productions and also in films. Since 2018, she has been part of the duo Wandering Women with Bharatanatyam dancer Dr Nidya Shanthini Manokara creating stage performances as part of their practice-as-research project based on the lives of Draupadi and Mary Magdalene. Her other research strand, combining her undergraduate training in linguistics with her postgraduate interest in the performance of popular culture, is in Hallyu-Korean pop music, serialised dramas, and films. Currently at LASALLE College of the Arts, Singapore, she teaches Voice in the BA Acting and BA Musical Theatre programmes of the School of Dance and Theatre.

LANGUAGE THROUGH THE PRISM OF POP-CULTURE

The principal idea guiding this article is the fundamental significance of language in culture and vice versa. Not only is language one of the primary proxies through which a culture spreads, grows and popularizes, but also it is an intercultural cohesive factor. Speakers whose language is, at a particular time period, more popular and globalized than those of others, can spread their ideas, ways of thinking and culture precisely through language communication. Undeniably, all cultures change with time; one of the leading agents in instigating these changes is pop-culture. Pop-culture always has, and always will, make its way in shaping society and civilization, although not necessarily in a positive way. Bearing in mind that the pop-culture of one community is most naturally expressed through the language that the community speaks, we will embark upon an investigation of the relationship between pop-culture and language through examples from the Macedonian language and culture. Furthermore, we will look at instances of contact between the Macedonian language and other languages, mainly initiated by common history, media, Internet, and analyze the influence of these cultural overlaps over the Macedonian language. Language and culture, and in that sense popular culture, are terms oftentimes coupled in literature, yet their complex interrelationship is not always clear and thoroughly explained.

From Localization to Glocalization: Contriving Korean Pop Culture to Meet Glocal Demands

Kritika Kultura

Hallyu (the Korean Wave) has been around the world since the late 1990s. Over the period of twenty years, Hallyu has evolved from a regional entertainment pop to a global cultural content. The evolution of Hallyu, like any other evolutions, has involved a long process of localization and globalization. Both K-pop and K-dramas, the two major pillars of the Hallyu revolution, are foreign imports. K-pop has mostly been influenced by European and American dance music since the early 1990s, whereas K-dramas have been heavily influenced by Japanese trendy TV dramas in the past, particularly during the 1980s. However, the localization of K-pop and K-dramas by Korean artists, writers, and producers demonstrated their adept rearrangement skills that ushered in a new era of a domestic pop culture boom that had been on the verge of destruction due to Hollywood films, Japanese pop culture contents, and the financial crisis that swept through the nation since 1997. K-pop and K-dramas have successfully gained domestic fame to propagate its commercial influence in Asia, Europe, Latin America, and North America. The collection of papers gathered in this Forum Kritika on Hallyu Studies presents their analyses on the process of localizing and globalizing Hallyu, or what I call glocalization. Briefly, glocalization denotes a successful localization of foreign products so much so that original inventors of the products want to import the local variations instead of their originals. Americans buying a massive number of Japanese cars, for example, is a good case of glocalizaiton. Hallyu's glocalization success indicates that the domestic Korean demand for high quality pop culture has induced new types of competition that required importing global pop content, simultaneously requiring them to contrive to produce better quality pop content than the originals for re-exporting to foreign markets, given the enormous investments that cannot be recouped from a small Korean market.

Increasing Visibility of the Turkish Fans of South Korean Popular Culture through Translation

Hacettepe Çeviribilim ve Uygulamaları Dergisi, 2021

Having made a remarkable contribution to social questions in translation studies, the sociological approach to translation explores the interaction between human agents, translated texts, and their context of production and reception (Chesterman, 2006; Wolf & Fukari, 2007; Wolf, 2011). The research in this study is focused on target text users/pro-consumers. In line with this aim, this study is centered on Turkish fans of South Korean popular culture, most of whom have consumed, produced, and distributed diverse Korean popular culture products largely through translation.

Cultural globalization from the periphery: Translation practices of English-speaking K-pop fans

Journal of Consumer Culture, 2019

The international expansion of Korean popular music (K-pop) reflects the increasing dislocation of cultural globalization from Western centers, spurred by the rise of cultural, economic, and political institutions within different regions. This study adopts a translation theory perspective on how the meanings of such cultural products from the “periphery” become transculturally intelligible. In this endeavor, we analyze the role of online fan-generated paratexts in translating the global consumptionscape of K-pop. We reveal how translation practices enable cultural understanding and reinscribe transcultural identity politics, inverting and unsettling “traditional” center-periphery dynamics. Fan translation practices emerge as a key node in processes of cultural globalization, underscoring the role of consumer-as-translator and situating cultural globalization not only in localized spaces but also in the mediated transcultural space of the paratextual field.

Korean: Some sociolinguistic characteristics

1. Introduction 1.1. Number and location of speakers 1.2. Area and population 2. Writing system and romanization 2.1. History 2.2. Consonants 2.2.1. Basic consonant symbols 2.2.2. Modified consonant symbols 2.3. Vowels 2.3.1. Basic vowel symbols 2.3.2. Modified vowel symbols 2.4. Syllable structure 2.5. Romanization systems 2.5.1. Proper nouns 2.5.2. Place names 3. Geographic variation 3.1. Names for Korea(n) 3.2. Dialects 3.3. North vs. South Korean 4. Language contact 4.1. Chinese and Japanese 4.2. Western languages 5. Cultural aspects of language use: honorification 5.1. Pronouns 5.2. Titles 5.3. Speech styles 5.4. Lexicon

Multilingualism in Social Media: Indonesian K-Pop Fans Language Choices on Twitter

KLAUSA (Kajian Linguistik, Pembelajaran Bahasa, dan Sastra)

This research paper aims to identify multilingualism and language choice by looking at types of code-switching and code-mixing techniques practiced by Indonesian K-Pop fans on Twitter. Also, it examines the rationales and functions of such practice, especially as it is done in Indonesian context. Two data collection methods are used in this research. First, data were taken from several Indonesian K-pop fanbase accounts on Twitter from September 2020 to May 2021. Additionally, we also obtained data through an open-ended questionnaire participated by Indonesian K-pop fans. Our research shows that Indonesian K-Pop fans frequently implement code-switching and code-mixing techniques by combining Indonesian, English, Korean, and Japanese into their tweets. Words, phrases, and clauses from multiple languages are used. The results also show that fans practice code- switching and code-mixing in order to project a more globalized impression, create a friendly conversation, synchronize percept...