韩国的选举制度与政治体制

本文旨在分析韩国的选举制度如何加大了社会的不平等现象。1997年金融危机之后,韩国社会迅速走上两极化道路。本文分三个层次进行论述。一是简要介绍韩国的选举制度。这将作为支撑本文核心见解的框架。二是考察韩国选举制度导致的＂民心歪曲＂现象。三是探讨政治制度的党派特征。即使同为民主主义,但选择比例代表制还是多数制将决定其政策方向。最后,在结论部分中强调,若要使韩国的选举制度取得更加均衡的政治结果,就一定要取消现行多数制,采用比例代表制度。比例代表制将有助于实现得票和议席之间的均衡,并进一步创造平等的民主主义。     

韩国学全球化的战略方法论——基于韩流经验的研究

本文旨在探讨韩国学研究在社会学领域构建普遍问题框架的方法和战略.为此,首先分析韩流的经验教训为构建韩国学的问题框架带来的启示;然后,着眼于韩国学的未来发展,从社会学的角度探讨普遍的知识体系应该关注的方法论策略.全球化带来了文化的广泛传播,强化了地方和世界之间的相互联系和沟通,所谓的"全球本土化"和"本土全球化"现象日益普遍.韩流作为一种创造性的杂糅文化,在跨文化交流中起到了重要作用.分析并借鉴韩流的经验及吸取其教训,有助于韩国学在国际学术界建立具有独创性的知识体系.为了在社会学领域实现韩国学的全球化,应该摒弃照搬西欧或美国学界框架的做法,开发出符合韩国社会历史现实的概念、理论和方法,根据韩国国情确立问题框架,对事实和价值做出判断,从韩国的角度分析和解释全球问题,实现韩国学的全球化,将韩国的特殊性与区域和世界的普遍性相结合,促进韩国学的发展.     

2011年韩国政治外交述评与展望

2011年韩国的政治外交出现了不少新的变化。＂安哲秀现象＂的出现打破了长期以来保守和进步两派左右韩国政治的格局,韩国社会开始形成超越保守与进步理念的＂第三势力＂。朴槿惠、韩明淑等一批女性政治家活跃于韩国政坛,备受瞩目。韩国在继续强化韩美同盟关系的同时,进一步加强与中国的外交关系。为了克服国际金融危机的影响,韩国大力开展FTA外交,并取得了显著成果。2012年是韩国大选之年,韩国各种政治势力正在积极整合力量,希望在选举中谋求自己的利益最大化。韩国政府将继续调整与大国的关系,开展多边外交,并积极推进与中国和日本的FTA谈判。     

“中国制造”PK“韩国制造”

＂中国制造＂在中国国内市场、韩国市场及世界市场全方位地压缩＂韩国制造＂的空间。韩国面积不足10万平方公里,人口刚超过5000万,从规模上看,韩国只和我国浙江省差不多。2003-2004年,中国经济总量大约仅为韩国的2.4倍,人均GDP我国刚到1000美元,只相当于韩国的1/10。10余年过去了,中国经济总量已经是韩国的...     

缺失与补偿——当代“韩剧热”现象观众接受心理机制分析

“韩剧热”现象指一种发生在当代中国文化转型过程中的文化高温现象，这一文化现象具体表现为以电视剧为主的韩国大众文化在中国的火爆。论文立足于当代传播学“使用与满足”理论视角，从“韩剧热”现象的观众接受心理机制入手，从“‘情感补偿心理’的满足”、“‘娱乐渴求心理’的满足”、“‘求新、求异心理’的满足”三个方面分析这种文化现象的现代意义。     

对中国和日本“韩流”现象的特性分析及利用方案

本文首先对“韩流”这一概念进行了分析，并介绍了韩剧在中国和日本的流行状况，并就上述地区韩剧关注度逐渐下降的现象，提出了激活“韩流”的几项政策方案。作者指出，“韩流”现象并不只是昙花一现，希望本文能对推广韩国文化及韩国文化沟通交流机构的建立有一定的帮助。也希望在持续推广“韩流”的同时，能够促进东南亚各国之间的文化交流。     

韩国剑道探析

1988年汉城第24届奥运会上,韩国的跆拳道被列为表演项目,后被纳入正式比赛项目,使韩国人民宏扬本民族传统文化的热情更加高涨。韩国剑道界因势利导,大力宣传和推广海东剑道,逐渐成为不容忽视的社会文化现象。因此,重视和研究这一文化现象具有一定的现实意义。     

编者的话

本期文章主要围绕“韩国”展开,涉及政治、外交、社会、文化等多个领域。2013年2月25日,朴槿惠正式就职韩国总统,成为韩国历史上首位女总统。本期专题“韩国大选与新政府”共有四篇文章,第一篇探讨了韩国国内政府选举中的新现象,即突破了以往选民以地域作为投票的基础,更强调韩国政治社会化经历对选民投票的影响。其余三篇均探讨了韩国新政府的对外政策尤其是对朝政策。     

韩国剑道探析

1988年汉城第24届奥运会上,韩国的跆拳道被列为表演项目,后被纳入正式比赛项目,使韩国人民宏扬本民族传统文化的热情更加高涨.韩国剑道界因势利导,大力宣传和推广海东剑道,逐渐成为不容忽视的社会文化现象.因此,重视和研究这一文化现象具有一定的现实意义.     

"韩流"与"华风"

1998年,韩国的“酷龙组合”,以《摆脱城市》这种无论在内容还是演唱风格上,令中国青年耳目一新的韩国流行音乐,成功敲开了北京文化市场的大门。尔后,HOT、神话、天使等组合相继来到北京,伴随着这股韩国流行音乐热,韩国电视剧、韩国的电影也开始抢滩中国。电视剧《天桥风云》、《爱情是什么》等纷纷在中国的电视台播出;2000年在北京电影学院举办的韩国电影及学术会议、2001年10月中国电影资料馆等单位在北京、成都、上海举办的《韩国电影回顾展》……这种大规模的涌入,被中国媒体称之为“韩流”。     

Organizing K-Pop: Emergence and Market Making of Large Korean Entertainment Houses, 1980–2010

This paper studies the connection between the emergence and market making activities of the large Korean entertainment houses and the global level success of “K-pop,” an increasingly popular type of Korean popular music. We review a set of conventional explanations, respectively pointing to cultural factors, government support, and technological development as core factors that led to the global success of K-pop. We find all three explanations unsatisfactory and, alternatively, building on studies of market intermediaries, argue that the roles of three large entertainment houses—SM Entertainment, YG Entertainment, and JYP Entertainment—have been the most crucial in the development and success of K-pop. Through combining data from Korean music charts, newspaper articles, and revenue data, we trace the increasingly systematic musical production strategies of the entertainment houses and the macro-consequences of their organizational activities.     

Changing patterns of social network structure in composer-singer relationships: A case study of the Korean popular music industry, 1927–1997

This study focuses on relationships between two different sets of actors in the Korean popular music industry—songwriters and singers—who were mutually connected in the production of hit songs during the period of 1927–1997. Data for the present study were obtained from a set of publications providing the following information about hit songs in Korea since 1925: title, musical style, year of recording and release, lyricist(s), composer(s), singer(s), and the label company producing the record or album. Data are used to test a series of hypotheses on the nature of relationships between songwriters and singers. Results of the present analysis show that composer-singer pairs are likely to have produced only one hit song together, due to a high degree of market competition in the popular music industry. Because composers tend to have more control over their relationships with singers than singers have in their relationships with composers, composers are more likely to have multiple hit songs with more than one singer than are singers to have multiple hit songs with more than one composer. Genres of popular music in Korea have changed significantly since 1950, and these changes have also affected composer-singer relations. The diversification of genres has reduced the concentration of hit songs by selected elite composer-singer pairs over time. Another important consequence of the changes in genres is that the proportion of hit songs by artists playing dual roles as composer and singer has dramatically increased in recent years.     

“Sun Arise”: The Appropriation of Australia’s First Peoples’ Music, 1956–1974

While the music of Australia’s First Peoples contributes to a growing list of academic books and articles, the appropriation of that music by non-Indigenous pop musicians has received little academic attention. During the 1950s and 1960s, Australian audiences dismissed early attempts at fusing pop with Indigenous instrumentation as embarrassingly kitsch; at the same time, many Australian historians and archaeologists viewed Aboriginality as something primitive, a relic of the “stone-age”. Consequently, there was very little commentary on the cross-pollination between pop and Indigenous music. This article examines this phenomenon. Drawing on contemporary newspaper articles and vinyl record releases, this article argues that pop music appropriated Australia’s Indigenous music soon after art developing its fusions with Indigenous culture. Older popular musicians were more prepared to experiment than young pop performers. The reluctance of young pop musicians to experiment with Indigenous music was primarily an economic decision—American rock’n’rollers had captured the local teenage market. After more recordings of Aboriginal music became commercially available, interest in Indigenous music accelerated, and younger non-Indigenous musicians saw opportunities to incorporate Indigenous themes and instrumentation into their own material.     

Disempowering Music: The Amandla! Documentary and Other Conservative Musical Projects

Scholars of black South African popular music have established important connections between music and society. Lara Allen’s studies of pennywhistle-kwela, Christopher Ballantine’s research on marabi and African jazz/mbaqanga,and David Coplan’s social history of black city music, among others, have underwritten the new literature in South African musicology and cultural studies. Previous neglect of black popular culture has made oral testimony crucial to the writing of these musical pasts. Recent investigations in the field, which are preoccupied with the articulation of black struggle to music, and the expression of struggle through music, have adopted a more popular format. Within these, the autobiographies of Miriam Makeba and Hugh Masekela are integral, as is Lee Hirsch’s documentary film, Amandla!. The popularity of these studies and their subjects, and their foregrounded debt to oral testimony and veneration of ‘the Struggle’ has tended to foreclose scrutiny of their representational politics. This article questions whether their homological substitution of music and musicians for anti-apartheid struggles in a postapartheid South Africa enables the radical stories they would tell of that past.     

Military frames and Canada’s Conservative government: from extending to transforming perceptions of Canadian identity

This article looks at framing strategies behind the recent Canadian Conservative government’s rhetoric on the military. Critics argue that Conservative rhetoric has politicised Canadian history and overemphasised the armed forces. Few scholars, however, have looked at the specific forms this rhetoric took and the strategies it suggested. The article presents the results of a systematic analysis of Conservative rhetoric between 2005 and 2015. It argues that three key frame alignment strategies were at the heart of the Conservative Government’s rhetoric: extension, consolidation and transformation, with truly transformative rhetoric transpiring only in the last phase. While agreeing with critics that this emphasis on the military aimed to alter perceptions of Canadian identity, the article shows that Conservative rhetoric was far from and monolithic.     

Popular Culture, Power Relations and Urban Discipline: The Festival of the Holy Spirit in Nineteenth-Century Rio de Janeiro

The Festival of the Holy Spirit was considered the most important religious celebration in nineteenth‐century Rio de Janeiro. I discuss the popular practices of music, dance and theatre during the festival. By merging European waltz and the African batuque, the heterogeneous public re‐created and re‐invented a number of new genres that are at the roots of twentieth‐century Brazilian popular music. The festival of the Holy Spirit allows an examination of elite strategies and municipal policies regarding popular culture. In this respect, it is remarkable how much political use the Brazilian Empire made of the festival of the Holy Spirit and how its revellers fought for their celebration.     

Letting Go of the Cold Facts

“Letting Go of the Cold Facts” argues that Malik Benjelloul’s award-winning Searching for Sugar Man offers a nostalgic reflection on the intersections between politics and music culture in South Africa during Apartheid. The veracity of the film’s account of the career of Six to Rodriguez is less important to its project than its re-animation of a lost moment in the history of popular music, a moment when music consumption appeared to be endowed with cultural and political significance. At the same time, the film’s nostalgic impulses blind it to the complexities of the racialized histories with which it engages.     

Security,Nationalism and Popular Culture: Screening South Korea’s Uneasy Identity in the Early 2000s

By examining the cultural representations of the South Korean notion of the Self/Other in relation to its major traditional enemy — North Korea — this article aims to capture a picture of South Korea’s discursive economy of the North, and to problematise the South Korean identities implicated in that economy in the early 2000s. To achieve these aims, this article focuses on representations of a successful popular South Korean film which was released in 2000, just a few months after the first inter-Korean summit: Joint Security Area JSA. By analytically reading JSA, it is revealed that, in South Korea, the traditional discursive practices based on the Cold War thinking have been eroded. For the South, the North is part of the Self (Korean-ness; love for the North as the same nation) and, at the same time, is an Other (South Korean-ness; contempt for the North as an inferior state). Related to this, South Korea appears to be the uneasy Self without a firm Other in between Korean-ness and South Korean-ness.     

韩国文化认同和国家品牌

韩国政府在制定国家品牌形象战略的过程中,缺乏对国家品牌哲学和韩国文化美学的真诚反省。本文将探讨通过确立文化认同建立韩国国家品牌这一课题。为此,笔者将从三方面进行论述:第一,考察传统文化和国家认同的相互关系;第二,讨论关于对传统文化的再认识和将传统文化的哲学和美学符号化的方案;第三,讨论关于通过传统文化和韩流的融合提升国家品牌的方案。     

Why the World Bank can't lead us to a just world order

Abstract

Gail Omvedt makes some telling points in her critique. Dependency theorists have been too quick to discount the possibility of capitalist development in the Third World. It is good to be reminded of the dangers of allowing wishful thinking to color our assessments of popular struggles, and it is useful to have our attention drawn to how elites often use populist rhetoric to mask their defense of power and privilege. In a number of respects, however, I find Omvedt's analysis flawed and even troubling.