References - 쟈넷의 논문
Seo Taiji 1992-2004: South Korean popular music and masculinity (my master's thesis) © Janet Hilts 2006 - please note: this is not the final version of my thesis.


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Howard, Keith. (1998). Blending the wine and stretching the wineskins: new Korean music for old Korean instruments. In S.-c. Yi (Ed.), Ûmakhak non'go: Yi Hye-gu paksa kusun kinyôm (Essays in musicology: an offering in celebration of Yi Hye-gu on his ninetieth birthday). (pp. 503-535). Seoul: Seoul National University.

———–. (2002). Exploding ballads: the transformation of Korean pop music. In R. King & T. J. Craig (Eds.), Global goes local: popular culture in Asia (pp. 80-95). Vancouver: UBC Press.

———–. (2003). From rap to dance: appropriation and assimilation in Korean pop music. Papers of the British Association of Korean Studies(8), 39-55.

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Jager, Sheila M. (1996). Women, resistance and the divided nation: the romantic rhetoric of Korean reunification. The Journal of Asian Studies, 55(1), 3-21.

———–. (2002). Monumental histories: manliness, the military, and the War Memorial. Public Culture, 14(2), 387-409.

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———–. (1983). Gesture and speech: how they interact. In J. M. Wiemann & R. Harrison (Eds.), Nonverbal interaction (pp. 13-45). Beverly Hills: Sage.

Killick, Andrew P. (1991). Nationalism and internationalism in new music for Korean instruments. Korea Journal, 31(3), 104-116.

Kim, Hyun Mee. (2001). Work, nation and hypermasculinity: the 'woman' question in the economic miracle and crisis in South Korea. Inter-Asia Cultural Studies, 2(1), 53-68.

———–. (2004). Feminization of the 2002 World Cup and women’s fandom (Hong Sung Hee, Trans.). Inter-Asia Cultural Studies, 5(1), 42 - 51.

Kim, Hyun Sup. (1999). Seo Taiji tamlon (Seo Taiji revisited). Seoul: Sehun Munhwasô.

Kim, Kyung Hyun. (2004). The Remasculinization of Korean cinema. Durham, North Carolina: Duke University Press.

Kim, Seung-kyung, & Finch, John. (2002). Living with rhetoric, living against rhetoric: Korean families and the IMF economic crisis. Korean Studies, 26(1), 120-139.

Kim, Sung-jin. (2004, February 3). Music recording industry in deep downturn: piracy, business slowdown frustrate singers. Retrieved January 20, 2005, from

Kim, Taeyon. (2003). Neo-Confucian body techniques: women's bodies in Korea's consumer society. Body and Society, 9(2), 97-113.

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Korean gender roles collapsing. (2004, December 26). Retrieved December 29, 2004, from

Kumar, Shanti, & Curtin, Michael. (2002). Made in India: in between music television and patriarchy. Television and New Media, 3(4), 345-366.

Kwon, Insook. (2000). Militarism in my heart: militarization of women's consiousness and culture in South Korea. Unpublished Ph.D. dissertation, Clark University, Worchester, Ma.

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Lee, Jamie Shinhee. (2004). Linguistic hybridization in KPop: discourse of self assertion and resistance. World Englishes, 23(3), 429-450.

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Lee, Kee-hyeung. (2000). Detraditionalization of society and the rise of cultural studies in South Korea. Inter-Asia Cultural Studies, 1(3), 477-490.

———–. (2002). Toward a cultural history in the Korean present: locating the cultural politics of the everyday. Unpublished PhD dissertation, University of Chicago at Urban-Champaign, Urbana.

Lee, So-hee. (2002). The Concept of female sexuality in Korean popular culture. In L. Kendall (Ed.), Under construction (pp. 141-164). Honolulu: University of Hawai'i Press.

Leonard, Marion. (1997). 'Rebel girl, you are the queen of my world: feminism, 'subculture' and grrrl power. In S. Whiteley (Ed.), Sexing the groove: popular music and gender (pp. 230-255). London: Routledge.

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Lu, Sheldon H. (2000). Soap opera in China: the transnational politics of visuality, sexuality, and masculinity. Cinema Journal, 40(1), 25-47.

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Maliangkay, Roald. (2003). Konjon Kayo: South Korea's propaganda pop. Papers of the British Association for Korean Studies, 8, 25-37.

McCracken, Allison. (1999). "God's gift to us girls": crooning, gender and the re-creation of American popular song, 1928-1933. American Music, 17(4), 365-395.

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———–. (2002). The Production and subversion of hegemonic masculinity: reconfiguring gender hierarchy in contemporary South Korea. In L. Kendall (Ed.), Under construction (pp. 79-113). Honolulu: University of Hawaii Press.

———–. (2005). Trouble with conscription, entertaining soldiers: popular culture and the politics of militarized masculinity in South Korea. Men and Masculinities, 8(1), 64-92.

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———–. (2001). Who is a dancing hero? rap, hip-hop and dance in Korean popular culture. In T. Mitchell (Ed.), Global noise: rap and hip-hop outside the USA. Middletown, Conn: Wesleyan University Press.

Nelson, Laura C. (2000). Measured excess: status, gender, and consumer nationalism in South Korea. New York: Columbia University Press.

Noh, Young-Hae. (2001). Main themes of Korean popular songs in the last 30 years. Umak kwa munhwa/Music and culture, 4, 149-183.

———–. (2002). Main themes of Korean popular songs between 1940 and 1970. Umak kwa munhwa/Music and culture, 7, 113-142.

O'Meara, Caroline. (2003). The Raincoats: breaking down punk rock's masculinities. Popular Music, 22(3), 299-313.

Pak, Un Kyong. (2003). God sut'adom kwa p'aendom (G.o.d.: stardom and fandom). Seoul: Hanul.

Paquet, Darcy. (2000). Happy End. Retrieved April 12, 2005, from

Park, Shin-gil. (2000). Negotiating identities in a performance genre: the case of P'ungmul and Samulnori in contemporary Seoul. Unpublished PhD dissertation, University of Pittsburgh, Pittsburgh.

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Shin, Soon-chul. (1998). Importing, negotiating, and articulating identities: popular music and teen culture in Korea. Unpublished Master's thesis, University of Georgia, Athens.

Skinner, Debra, Valsiner, Jaan, & Holland, Dorothy. (2001, September).Discerning the dialogical self: a theoretical and methodological examination of a Nepali adolescent's narrative. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, 2, Article 3. Retrieved August 18, 2005, from

Song, Jesook. (forthcoming). "Family Breakdown" and invisible homeless women: neo-liberal governance during the Asian Debt Crisis in South Korea 1997-2001. Positions: East Asia cultures critique.

Song, Jesook. (2003). Shifting technologies: Neoliberalization of the welfare state in South Korea, 1997-2001. Unpublished Ph.D., University of Illinois, Urbana-Champaign.

Stanlaw, James. (2000). Open you file, open you mind: women, English, and changing roles and voices in Japanese pop music. In T. J. Craig (Ed.), Japan pop!: inside the world of Japanese popular culture (pp. 75-100). Armonk, N.Y.: M.E. Sharpe.

Vernallis, Carol. (1994). The Aesthetics of music video: the relation of music and image. Unpublished Ph.D. Thesis, University of California, San Diego.

———–. (2004). Experiencing music video: aesthetics and cultural context. New York: Columbia University Press.

Walser, Robert. (1993a). Forging masculinity: heavy-metal sounds and images of gender. In S. Frith, A. Goodwin & L. Grossberg (Eds.), Sound and vision: the music video reader (pp. 153-181). London; New York: Routledge.

———–. (1993b). Running with the Devil: power, gender, and madness in heavy metal music. Hanover, NH: University Press of New England.

———–. (1995). Rhythm, rhyme, and rhetoric in the music of Public Enemy. Ethnomusicology, 39(2), 193-217.

Wetherell, Margaret, & Edley, Nigel. (1999). Negotiating hegemonic masculinity: imaginary positions and psycho-discursive practices. Feminism and Psychology, 9(3), 335-356.

Willoughby, Heather A. (2005). Image is everything: the marketing of femininity in South Korean popular music.Unpublished manuscript, Ehwa Women's University, Seoul.

Yano, Christine. (2003). The Burning of men: masculinities and the nation in Japanese popular song. In E. R. James & N. Suzuki (Eds.), Men and masculinities in contemporary Japan: dislocating the salaryman doxa (pp. 77-90). London: Routledge.

Yi, Tong-yôn. (1999). Seo Taiji-nûn uri-ege muosiônna: Seo Taiji, taejông ûmak, hawi munhwa (What did Seo Taiji mean to us: Seo Taiji, popular music and culture). Seoul: Munhwa Kwahaksa.

Yi, Uyong. (1996). PD Yi Uyong-ûi uri taejung ûmak ilgki (Readings on popular music by producer Yi Uyong). Seoul: Ch'ang'gongsa.

Young, Greg. (2004). ‘So slide over here’: the aesthetics of masculinity in late twentieth-century Australian pop music. Popular Music, 23(2), 173-193.

Yu, Ch'i-han. (2004, June 9). Seo Taiji-wa sôngjôngch'i (Seo Taiji and sexuality politics). Retrieved May 12, 2005, from

Yun, Hyông-suk. (2001). Ch’ôngsonyôn’gwa daean munhwa ûi mosaek (An investigation of youth and alternative culture). Sahwiyôngu, 2, 53-98.

Films and videos

93 Naeil-ûn nûjûri: hwan'gyôngbojôn syup'ô k'onsôt'û. (1993). [VHS]. Seoul: SKC.

94 Yôrûm saeroun tojôn. (1994). [VHS]. South Korea: KBS.

Chang, Kil-su (Director), & An Chông-hyo (Ahn Jeong-Hyo) (Writer) (1991).Unma nûn oji annûnda (Silver Stallion) [Film]. South Korea: Han Jin.

Im, Kwon-taek (Im Kwôn-t'aek) (Director) (1993). Sopyonje (Sôp'yônje) [Film]. South Korea: Spectrum.

Jung, Ji-woo (Director) (1999). Haep'iendû (Happy End) [Film]. South Korea: CJ Entertainment.

Kang, Che-gyu (Writer/Director) (1999). Shiri (Swiri) [DVD]. South Korea: Bitwin; CJ Entertainment.

Ko, Chae-hyông (Director) (1993). Hayôga [Music video]. Seoul: Bando.

Kwak, Jae-yong (Kwak Chae-yong) (Writer/Director) (2003). K'ûllaesik (The Classic) [DVD]. South Korea: CJ Entertainment.

Pak, Ch'an-uk (Director) (2000). Kongdong Kyôngbi Kuyôk JSA (Joint Security Agreement) [DVD]. South Korea: Myung Film.

Park, Kwang-su (Director) (1988). Ch'il-su wa Man-su (Chilsu and Mansu) [DVD]. South Korea: Marvel Entertainment.

Ryoo, Seung-wan (Yu Sûng-wan) (Director/Writer) (2005). Chumogi Unda (Crying Fist) [Film]. South Korea: Showeast.

Seo Taiji & Boys. (1996). Sô T’aeji-wa aidl - Kuppai myujikpidio (Seo Taiji and Boys - Goodbye music video [VHS]. Seoul: We Chae-tol chak.

Yi, Chang-ho (Director) (1980). Param purô chûn nal (A Fine Windy Day. South Korea: Dong-a.

Yu, Ha (Director) (2004). Malchukkôri chanhoksa (Once Upon a Time in High School: Spirit of Jeet Kune Do). South Korea: CJ Entertainment.

Audio Recordings

Roo’ra (Rulla). (1994). 100 iltchae mannam. On 100 iltchae mannam [CD on Internet player]: Yedang Entertainment.

S#arp (Syap). (1998). Yes. On The s#arp [CD on Internet player]: Ungjin.

Seo, Taiji. (2000). Orenji. On Ult'ûramaeniya [CD]. Seoul: Wawa.

Seo, Taiji. (2000). Taengk’û. On Ult'ûramaeniya [CD]. Seoul: Wawa.

Seo, Taiji. (2004). Victim. On 7th issue Live Wire [CD]. Seoul: Yedang entertainment.

Seo Taiji & Boys. (1992). Nôwa hamkke han shigansok-esô. On Seotaiji & Boys. Seoul: Bando.

Seo Taiji & Boys. (1993). Hayôga. On Seotaiji & Boys II. Seoul: Bando.

Seo Taiji & Boys. (1993). Nôege. On Seotaiji & Boys II. Seoul: Bando.

Seo Taiji & Boys. (1994). Aidûlûi nunûro. Seotaiji & Boys III. Seoul and Los Angeles: Bando.

Space A. (2000). Arûmdaun ibyôl. On Power Secondary [CD on Internet player]: Sony BMG.

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