European Journal of Korean Studies – Vol 21.2

1 KEITH HOWARD, SOAS, University of London Dance and Ideology in North Korea: Ch’oe Sŭnghŭi and Her Response to Criticism 31 NUR AISYAH KOTARUMALOS, Seoul National University Asia Center Cross-Cultural Adjustment of Indonesian Expatriates in South Korea 59 PHILLIP SHON, Ontario Tech University A Comparative Synthesis of American and Korean Parricidal MassMurders 83 HASAN TINMAZ,…

Cross-Cultural Adjustment of Indonesian Expatriates in South Korea (31–58)

Abstract This study examines the cross-cultural adjustment of Indonesian expatriates working in South Korea. Specifically, it focuses on Indonesian expatriates’ experiences and ways to adjust to the Korean workplace setting. Drawing upon in-depth interviews with nine Indonesian respondents, this study follows the adaptation model by Milton Bennet and moves beyond the antecedents of cross-cultural… Members…

A Case Study on South Korean Mobile Payment Applications: Samsung Pay vs Kakao Pay (83–110)

Abstract This study describes users’ perceptions regarding Samsung Pay (n=25) and Kakao Pay (n=25), the two popular mobile payment applications in South Korea. The survey included fifteen questions; eleven questions were about general uses and perceptions about mobile payments and the final four questions specifically branched between the payment systems. Overall, South Korean users have…

Terms Used for Smallpox and Its Personification in Korean Shamanic Language (163–182)

Abstract The history of the terms and expressions associated with smallpox offers evidence aof semantic change and reflects both the internal and external worldviews of Korean people with regard to smallpox. In Korean shamanic language, smallpox is personified as gods known by various names with their own linguistic registers, personalities, and behaviors. The present paper…

Interrogating Trot, Situating the Boom: New(tro) Nostalgia, Old Songs, and National Identity Performance (183–226)

Abstract Across 2019–2020 a number of South Korean TV competition shows branded their musical identity as “trot.” This term denotes a perceived genre of popular music considered normative to South Korea’s developmentalist decades and thereafter as the music of older generations, yet the surprise success of the TV shows seemingly indicated a younger uptake heralding…