ABSTRACT

Today, the ubiquitousness of Korean hip-hop is evident in the popularity of the reality show Show Me the Money (henceforth referred to as SMTM), a musical competition featuring aspiring Korean and Korean American hip-hop artists. While the show has always been a platform for linguistic hybridity, as Korean hip-hop has never been truly “monolingual,” the recent evolution of the show to include Korean American artists has focalized the linguistic and cultural hybridity that inheres global hip-hop more generally and Korean hip-hop more specifically. Undoubtedly, these two matrices of difference, linguistic and cultural, are invariably intertwined, particularly in the Korean context, where being “authentically” Korean itself hinges on proficiency in the Korean language. The analysis develops what Gramling (2016. The Invention of Monolingualism. London: Bloomsbury) terms the “invention of monolingualism,” in particular with SMTM in relation to questions of verbal hygiene and the discourse of authenticity and emulation. We argue that SMTM should not be understood as a mere space for the documentation of various acts of transgressing monolingualism through linguistic and cultural hybridity. Instead, it unveils the social and geopolitical conditions by which the very commitment to, along with the presumed precarity of, “monolingualism” is afforded an ideological platform in the first place.

摘要

如今，在真人秀节目“ Show Me the Money”（此后称为SMTM）的流行中，韩国嘻哈音乐无处不在，这是一场由有抱负的韩国和韩裔美国嘻哈歌手组成的音乐比赛。尽管该节目一直是语言融合的平台，但由于韩国嘻哈从来就不是真正的“单语”，但包括韩裔美国艺术家在内的该节目的最新发展已将语言和文化的融合聚焦于全球嘻哈文化。一般和韩国嘻哈更具体。毫无疑问，这两种语言，文化和文化上的差异矩阵总是交织在一起的，尤其是在朝鲜语环境中，“真实地”朝鲜语本身取决于掌握朝鲜语的能力。分析得出了Gramling（2016。单语言主义的发明。伦敦：布卢姆斯伯里（Bloomsbury）称“单语制的发明”，尤其是SMTM，涉及言语卫生以及真实性和模仿话语的问题。我们认为，SMTM不应该被理解为仅仅是通过语言和文化融合来记录各种违反单语主义行为的空间。取而代之的是，它揭示了社会和地缘政治条件，通过这些条件，人们首先将对“单语主义”的崇高承诺以及假定的“单语主义” car之以鼻成为一个意识形态平台。