<html><head></head><body><div style="color:#000; background-color:#fff; font-family:HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif;font-size:14px"><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12563"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12565" class="">Dear list members,
I wonder if I may announce the publication of two new books:<o:p id="yui_3_16_0_1_1456779621716_12567" class=""></o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12569"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12571" class=""><o:p id="yui_3_16_0_1_1456779621716_12573" class=""> </o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12575"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12577" class="">Andrew David
Jackson. </span><i id="yui_3_16_0_1_1456779621716_12579" class=""><span lang="EN-GB" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12581" class="">The Musin Rebellion: Politics and Rebellion in Eighteenth-Century Korea.
</span></i><span lang="EN-GB" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12583" class="">Honolulu: University of Hawai`i Press, 2016.<o:p id="yui_3_16_0_1_1456779621716_12585" class=""></o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12587"><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman","serif";mso-fareast-font-family:굴림;mso-font-kerning:0pt" id="yui_3_16_0_1_1456779621716_12589" class="">The Musin Rebellion had its
roots in the factional conflicts surrounding Yŏngjo's troubled succession to
the throne. Jackson analyzes an aspect of the conflict previously neglected by
researchers, namely <i id="yui_3_16_0_1_1456779621716_12591" class="">how</i> the rebels managed to create an armed rebellion.
He argues that the rebellion should be understood in the context of other
attempts on power by factional members that occurred over a hundred-year period
leading up to 1728. By exploring the political and military context of the
event, the book demonstrates that the Musin Rebellion was not driven by
systemic breakdown, regionalism, or ideology, but was a failed attempt by
political players to take control of the court. Central to the eruption of
violence in 1728 was the intervention of key rebel plotters, several of whom
were serving officials with access to state military resources. The book
provides an in-depth view of factional politics in the Chosŏn court, and the
final section deals with the rebel legacy, bringing to the fore issues about
managing, forming, and directing the historical memory of the rebellion.<o:p id="yui_3_16_0_1_1456779621716_12593" class=""></o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12595"><span lang="EN-GB" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12597" class=""><o:p id="yui_3_16_0_1_1456779621716_12599" class=""> </o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12601"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12603" class=""><a href="http://www.uhpress.hawaii.edu/p-9538-9780824852726.aspx" id="yui_3_16_0_1_1456779621716_12605" class="">http://www.uhpress.hawaii.edu/p-9538-9780824852726.aspx</a><o:p id="yui_3_16_0_1_1456779621716_12607" class=""></o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12609"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12611" class=""><o:p id="yui_3_16_0_1_1456779621716_12613" class=""> </o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12615"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12617" class=""><o:p id="yui_3_16_0_1_1456779621716_12619" class=""> </o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12621"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12623" class="">Andrew David
Jackson and Colette Balmain (eds). <i id="yui_3_16_0_1_1456779621716_12625" class="">Korean Screen Cultures: Interrogating
Cinema, TV, Music and Online Games</i>. Oxford: Peter Lang Ltd, 2016.<o:p id="yui_3_16_0_1_1456779621716_12627" class=""></o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12629"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12631" class=""><o:p id="yui_3_16_0_1_1456779621716_12633" class=""> </o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12635"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12637" class=""><o:p id="yui_3_16_0_1_1456779621716_12639" class=""> </o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12641"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif; color: rgb(51, 51, 51); background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" id="yui_3_16_0_1_1456779621716_12643" class="">The «Korean Wave», or Hallyu phenomenon, has
brought South Korean popular culture to the global population. Studies on
Korean visual culture have therefore often focused on this aspect, leaving
North Korea sidelined and often considered in a negative light because of its
political regime.<span class="" id="yui_3_16_0_1_1456779621716_12645"> </span><i id="yui_3_16_0_1_1456779621716_12647" class="">Korean Screen
Cultures<span class="" id="yui_3_16_0_1_1456779621716_12649"> s</span></i>ets out to redress this
imbalance with a broad selection of essays spanning both North and South as
well as different methodological approaches, from ethnographic and audience
studies to cultural materialist readings. The first section of the book, «The South»,
highlights popular media – including online gaming and television drama – and
concentrates on the margins, in which the very nature of «The South» is
contested. «The South and the North» examines North Korea as an ideological
other in South Korean popular culture as well as discussing North Korean cinema
itself. «The Global» offers new approaches to Korean popular culture beyond
national borders and includes work on K-pop and Korean television drama. This
book is a vital addition to existing scholarship on Korean popular culture,
offering a unique view by providing an imaginary unification of the two Koreas
negotiated through local and transnational popular culture flows.</span><o:p id="yui_3_16_0_1_1456779621716_12651" class=""></o:p></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12653"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif; color: rgb(51, 51, 51); background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" id="yui_3_16_0_1_1456779621716_12655" class=""><o:p id="yui_3_16_0_1_1456779621716_12657" class=""> </o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12659"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif; color: rgb(51, 51, 51); background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" id="yui_3_16_0_1_1456779621716_12661" class="">Contents: Jacob Ki Nielsen: It’s a Roughneck
World: Male Solidarity across Generations, Classes and Races in the TV Drama<span class="" id="yui_3_16_0_1_1456779621716_12663"> </span><i id="yui_3_16_0_1_1456779621716_12665" class="">Get Up</i><span class="" id="yui_3_16_0_1_1456779621716_12667"> – Ji-yoon An: Blood is Thicker than Water,
or is It? Depictions of «Alternative Families» in Contemporary Korean Cinema –
Chloé Paberz: The Narrative of the Misfit among South Korean Game Developers –
Chi-Yun Shin: Locating Cosmopolitanism in the Films of E J-Yong – Jake Bevan:
«Arirang»: Addressing the Nation in South and North Korea – Stephen J.
Epstein/Christopher K. Green: Now on My Way to Meet Who? South Korean
Television, North Korean Refugees and the Dilemmas of Representation – Immanuel
Kim: Comedy and Ideology in<span class="" id="yui_3_16_0_1_1456779621716_12669"> </span><i id="yui_3_16_0_1_1456779621716_12671" class="">My
Family’s Problem</i><span class="" id="yui_3_16_0_1_1456779621716_12673"> –
Andrew David Jackson: DPRK Film,<span class="" id="yui_3_16_0_1_1456779621716_12675"> </span><i id="yui_3_16_0_1_1456779621716_12677" class="">Order
No. 27<span class="" id="yui_3_16_0_1_1456779621716_12679"> </span></i>and the Acousmatic Voice –
Hana Lee: How Are Historic Events Remembered? North Korean War Films on the
Inchon Landing Operation – Mark Morris: Ch’unhyang at War: Rediscovering
Franco-North Korean Film</span><i id="yui_3_16_0_1_1456779621716_12681" class="">Moranbong<span class="" id="yui_3_16_0_1_1456779621716_12683"> </span></i>(1959)
– Jessica Conte: Framing South Korea and Vietnam’s Past and Present in<span class="" id="yui_3_16_0_1_1456779621716_12685"> </span><i id="yui_3_16_0_1_1456779621716_12687" class="">Muoi</i>:<span class="" id="yui_3_16_0_1_1456779621716_12689"> </span><i id="yui_3_16_0_1_1456779621716_12691" class="">The Legend of a
Portrait</i><span class="" id="yui_3_16_0_1_1456779621716_12693"> –
Juyeon Bae: Searching for Traces of Absence: Korean Diaspora in Contemporary
Korean Cinema – CedarBough T. Saeji: Cosmopolitan Strivings and Racialisation:
The Foreign Dancing Body in Korean Popular Music Videos – Marion Schulze:
Inappropriate Desire and Heterosexuality Negotiated: The Case of Women K-Drama
Watchers.</span><o:p id="yui_3_16_0_1_1456779621716_12695" class=""></o:p></span></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12697"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif; color: rgb(51, 51, 51); background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" id="yui_3_16_0_1_1456779621716_12699" class=""><o:p id="yui_3_16_0_1_1456779621716_12701" class=""> </o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12703"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12705" class=""><a href="http://www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detailseiten&seitentyp=produkt&pk=82721&cid=448&concordeid=431822" id="yui_3_16_0_1_1456779621716_12707" class="">http://www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detailseiten&seitentyp=produkt&pk=82721&cid=448&concordeid=431822</a><o:p id="yui_3_16_0_1_1456779621716_12709" class=""></o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12711"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12713" class=""><o:p id="yui_3_16_0_1_1456779621716_12715" class=""> </o:p></span></div><div class="" align="left" style="word-break: keep-all;" id="yui_3_16_0_1_1456779621716_12717"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12719" class=""><o:p id="yui_3_16_0_1_1456779621716_12721" class=""> </o:p></span></div><div id="yui_3_16_0_1_1456779621716_12526">
</div><div class="" align="left" style="word-break: keep-all;" dir="ltr" id="yui_3_16_0_1_1456779621716_12723"><span lang="EN-US" style="font-size: 12pt; font-family: 'Times New Roman', serif;" id="yui_3_16_0_1_1456779621716_12725" class="">Best, Andrew<o:p id="yui_3_16_0_1_1456779621716_12727" class=""></o:p></span></div></div></body></html>