East Asian Review

Konsep Mencintai Diri Sendiri dalam Lirik Lagu Maria dan I’m a Bit

Shafira Madania, Annisa Luthfiarrahman, Eva Latifah — Fri, 28 Mar 2025 00:00:00 +0700

The concept of self-love is discussed in various Korean media, including K-pop. One K-pop singer who tends to raise awareness about this concept in her songs is Hwasa from the girl group Mamamoo. Hwasa has participated in writing some of her songs that shed light on the concept of self-love, such as “Maria” (2020) and “I’m a Bit” (2021). The goal of this research is to explain the concept of self-love in both songs. This research used the theory of self-love by Henschke & Sedlmeier (2021) to determine the categories of self-love. The method being used is content analysis through qualitative descriptive approach. The research is done by gathering data from the lyrics of both songs and analyzing the elements of self-love shown in it. The result of the research showed the concept of all three categories of self-love in both song lyrics, which include self-contact, self-acceptance, and self-care. Both “Maria” and “I’m a Bit” used wordplays and expressions to deliver the song message implicitly. Despite having the same message, both songs differ in language styles. “Maria” has two different parts which are calming and provocative, meanwhile “I’m a Bit” is more frank, explicit, and playful.

Fostering Youth-Led ASEAN Interest Group in South Korean Universities: Preliminary Studies of Two ASEAN Roundtables

Mochamad Alvin Dwiana Qobulsyah, Frederica Christie Darmawan, Anggia Utami Dewi — Fri, 28 Mar 2025 00:00:00 +0700

During the COVID-19 pandemics, most of the youth's extracurricular events and activities in South Korean universities had been halted. These included the student-led interest group that was purposed to promote better understanding and people-to-people connections from South Korea and other regions, including the Southeast Asia region and the ASEAN organization. This paper aims to provide initial insights into how these student-led ASEAN Interest Groups show their eagerness to survive the pandemic semesters and keep their existence as a common and sustainable space for youth in South Korean universities better to understand the Southeast Asia region and its people. As a preliminary case study, this research conducted mini field research observation on-site and virtually in two ASEAN roundtable groups in two South Korean universities for two months (mid-September 2021 to early November 2021). These activities include participating in both groups' regular meetings, monitoring social network service (SNS/social media) accounts, disseminating voluntary primary demographic and aspirations surveys for the groups' members, and in-depth interviews with the groups' in-office and former coordinators. The result from this mini-ethnographic study later deliberated into how these student-led ASEAN interest groups in South Korean universities can play a role in lime lighting a young, dynamic, and prospective region of Southeast Asia amongst young Koreans that still have a limited understanding of the Southeast Asia region and culture, that in the future can play in building a sustainable and future-oriented ASEAN-South Korea partnership.

Jenis, Makna, dan Fungsi Interjeksi 아 (a) pada Drama Korea Twenty-Five Twenty-One (스물다섯 스물하나)

Mega Khasna Dilla, Sri Wahyuningsih — Fri, 28 Mar 2025 00:00:00 +0700

Interjection is a fundamental aspect of everyday communication and can also be observed in literary works, such as drama. This article examined the Korean interjection 아 [a] and its functions as discourse markers in the Korean drama ‘Twenty-Five Twenty-One’. This study employed the theoretical frameworks of interjections as outlined by Nam et al. (2019) and discourse markers as delineated by Jeon (2002). The findings of this study indicated that the interjection ‘아’ [a] could be classified into three distinct categories: (1) emotive interjections, (2) volitive interjections, and (3) speech habit and stuttering interjections. Among these categories, the speech habit and stuttering interjections, which convey meanings to speech habit, were found to be the most prevalent. In its function as a discourse marker, the interjection 아 [a] was found to have three categories: (1) topic and topic cohesion, (2) topic and speaker cohesion, and (3) speaker and listener cohesion. Of these categories, the topic and speaker cohesion type, which functions to express negative attitudes, were found to be the most prevalent.

Penerimaan Masyarakat Indonesia dan Masyarakat Jepang terhadap Iklan Produk Jepang

Muhammad Rifan Shinji, Petra Theda Pryanka, Ghefira Akyla Fayumi — Fri, 28 Mar 2025 00:00:00 +0700

This research aims to compare Japanese product advertisements shown in Japan and Indonesia based on the reception and perspectives of the respective societies, which play a role in the acceptance of these advertisements. The data was obtained from the opinions of Indonesian and Japanese people through previously distributed questionnaires. The analysis uses qualitative methods based on Stuart Hall’s reception theory and Hurlock’s social acceptance theory. The reception theory is used to identify perspectives and meanings acquired by viewers from both Indonesian and Japanese people. The social acceptance theory is employed to analyze the effectiveness of advertisements in their approach to audiences, considering the cultural context within them. The results indicate differences in Japanese product advertisements between Indonesian and Japanese. The differences lie in visualization, storyline, and celebrity endorsers. Furthermore, it was found that respondents from both countries had mutual interest in the advertisements.

Kekerasan Subkultur Underground dalam Novel Hebi Ni Piasu Karya Hitomi Kanehara Perspektif Hegemoni Maskulinitas Connell

Aditya Martin Muhammad — Fri, 28 Mar 2025 00:00:00 +0700

This article will focus on the discovery of violence within the underground subculture in Japan. Masculinity in Japan's mass culture is deeply intertwined with its hegemonic nature, and this is no exception within subcultural currents. Hegemony can form from various aspects, ranging from ideology to sex. Subcultures, which fundamentally strive to separate themselves from mass culture, remain influenced by this hegemony. Environmental factors and the collective memory of each individual also play an unavoidable role in this regard. Hebi Ni Piasu, a novel by Hitomi Kanehara, was selected because it depicts how individuals within the subculture interact in spaces of violence. This article will address two main questions: 1) how the characters interact and respond within violent spaces in the subculture and 2) how the culture of violence in the subculture shapes gender identity in the novel. Using Connell's perspective of hegemonic masculinity and a qualitative descriptive method, the findings reveal that: 1) The violence—whether conscious or unconscious—performed by the characters shapes interactions based on power relations, unconsciously constructing perceptions of subject and object. 2) Hegemonic masculinity clearly dictates how the culture of violence operates within the subculture by exerting power over the characters. The power dynamics in determining which genders and identities become dominant or subordinate within the subculture trap the novel's characters in hegemonic masculinity.