“Diasporic Hallyu: the Korean Wave in Korean Canadian Youth Culture. By Kyong Yoon. Palgrave Macmillan, 2022. Pp. 161.”
Bibliographic record
Abstract
In light of the recent surge in the popularity of the Hallyu wave, commonly known as the Korean Wave, there has been a notable increase in academic interest devoted to studying this cultural phenomenon.The Hallyu wave, which originated in the 1990s, refers to the global popularity and interest in South Korean culture and entertainment, spanning music, TV series, movies, and various other forms of media.In his book, Kyong Yoon meticulously explores the Korean wave as a diasporic cultural phenomenon, emphasizing the interactions between audiences and Korean media.His primary focus centres on the diasporic Korean Canadian youth, encompassing both 1.5 and 2 nd generations 1 , examining how their engagement with the Korean Wave influences their identities and sense of belonging.Yoon's work amalgamates ethnographic research with a nuanced consideration of historical, cultural, and social contexts.This multifaceted approach offers a comprehensive perspective, one that Yoon believes has been under-researched and often overlooked in audience and Korean media studies.Notably, Yoon highlights that existing Hallyu literature tends to emphasize the global audience, neglecting specific groups such as Korean diasporic youth and fans.Yoon initiates his study by establishing a robust foundation through extensive interviews conducted over several years, underscoring the imperative for a diasporic perspective on the Hallyu wave phenomenon.He delves into the concept of transnational Korean media as a hybrid cultural form, a thematic exploration further advanced by Dal Yong Jin in New Korean Wave: Transnational Cultural Power in the Age of Social Media (2016).In the second chapter, Yoon addresses the hyphenated identity of the youth, initiating a critical discourse on the lived experiences of Korean Canadian youth, their heightened awareness of cultural differences and ethnic identification under the gaze of their white peers.The third and fourth chapters deepen the exploration into the impact of the Hallyu wave on the identities of Korean Canadian youth.Yoon scrutinizes
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.005 |
| Science and technology studies | 0.008 | 0.006 |
| Scholarly communication | 0.005 | 0.005 |
| Open science | 0.002 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.010 | 0.002 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".