Reviewed by:

• Diasporic Hallyu: The Korean Wave in Korean Canadian Youth Culture by Kyong Yoon
• CedarBough T. Saeji

Dr. Yoon Kyong’s [Yun Gyeong] short book, Diasporic Hallyu, should be required reading for scholars of ethnic studies. Written in clear and approachable language with abundant ethnographic interview data, it will also be reader-friendly for undergraduates and non-academic audiences. Including the introduction and conclusion, the book is five chapters in length, and although some of the points are made and remade in different chapters, this (as well as chapter abstracts) facilitates reading or assigning individual chapters.

In Korean studies it is always a challenge to get people outside of Korean studies to see our scholarly work as more than a case study. I imagine this book will have a similar challenge, as people will see it as a book about Korean media (to be clear it is a book about audience interactions with media). If I could speak to scholars at large who are teaching ethnic studies, I would strongly [End Page 361] recommend them to use this book. The thick descriptions and in-depth picture drawn in Yun’s book on life as a minority youth vis-à-vis the culture of an ethnic homeland are complex and important. Furthermore, because the case is from Canada—Toronto, Vancouver, and Kelowna, instead of the United States––I feel like the experiences being shared here about growing up as “others” in the West are more widely applicable than if they were rooted in the particularity of the US case. As Yun points out, the Korean-American population has existed for longer and is more dominated by monolingual third- and fourth-generation people, while the Koreans he interviewed for this book may more typically represent a recently immigrated and racially “othered” community in almost any country. This text is ripe for consumption not as one about hallyu but about diasporas and ethnic identity. The only small downside to the book is that there are places where it becomes highly obvious how much time has passed between 2015 and today—some of the interviewees will be glad of the pseudonyms because they turned out to be wrong about fandom and the direction hallyu was going. Generally speaking, however, the book masterfully covers a key time of transition, as hallyu shifted from niche to mainstream.

In the introduction Yun outlines diasporic audiences of hallyu and their role in the growth of hallyu’s international spread. To treat international audiences as if all participants from a single country (Brazilian fans), continent (North American fans), or linguistic group (French-speaking fans) are identical flattens the very real differences that can impact their fandom practices and understanding of hallyu products including their racial, class, and ethnic origins. Undoubtedly the group that may encounter hallyu in some of the most complex ways are diasporic fans who come to hallyu with greatly elevated cultural and linguistic awareness and may find within hallyu fandom pride and belongingness. At the same time the rise of hallyu can create dissonance for some diasporic Koreans who may not want to be associated with some aspects of Korean pop culture, may be uncomfortable with a sort of “yellow fever” for Korean men that has emerged, and may have spent much of their life looking down on Korean pop culture as less developed and attractive than that in their country of citizenship. As Yun explains, “Diasporic youth have to translate and relocalize hallyu media from their own socio-cultural positions” (8). Furthermore, they may become part of hallyu performing industries, or facilitate cultural flows through translations and such. Perhaps most importantly, as Yun points out, diasporic audiences relate to music from their homeland in relation to music of their current home.

In chapter 2 we learn more about identity work of young Korean-Canadians. When I was working at the University of British Columbia and teaching classes [End Page 362] full of ethnically Asian students I felt the degree to which hallyu had opened a space for discussing Asianness and Koreanness, not just for Korean...

审阅者：

• 散居韩流：韩裔加拿大青年文化中的韩流作者：Kyong Yoon
• 雪松树 T. Saeji

尹庆博士的短篇小说《散居韩流》应该成为民族研究学者的必读书目。该书以清晰易懂的语言编写，并具有丰富的民族志访谈数据，对本科生和非学术受众也很友好。包括引言和结论在内，本书共有五章，虽然有些观点是在不同的章节中提出和重述的，但这（以及章节摘要）有助于阅读或分配各个章节。

在韩国研究中，让韩国研究之外的人将我们的学术工作不仅仅视为案例研究始终是一个挑战。我想这本书也会面临类似的挑战，因为人们会将其视为一本关于韩国媒体的书（需要明确的是，这是一本关于受众与媒体互动的书）。如果我能和广大教授民族研究的学者交谈，我强烈地[完第361页]推荐他们使用这本书。云的书中对少数民族青年的生活与祖国文化的厚重描述和深入描绘是复杂而重要的。此外，由于案例来自加拿大——多伦多、温哥华和基洛纳，而不是美国——我觉得这里分享的关于在西方作为“他者”成长的经历比扎根于美国更广泛适用鉴于美国案例的特殊性。正如尹指出的那样，韩裔美国人人口存在的时间更长，并且更多地以单语第三代和第四代人为主，而他为本书采访的韩国人可能更典型地代表了新近移民和种族“他者”社区几乎任何国家。这篇文章的消费时机已经成熟，而不是关于韩流而是关于侨民和民族身份。这本书唯一的小缺点是，有些地方可以非常明显地看出 2015 年到今天已经过去了多少时间——一些受访者会对化名感到高兴，因为事实证明他们对粉丝圈和韩流方向的看法是错误的当时正在。然而，总的来说，这本书巧妙地涵盖了韩流从小众转向主流的关键过渡时期。

在引言中，尹概述了韩流的散居观众以及他们在韩流国际传播增长中所扮演的角色。将国际观众视为来自同一国家（巴西粉丝）、大陆（北美粉丝）或语言群体（法语粉丝）的所有参与者都是相同的，这会消除可能影响他们的粉丝实践和对韩流理解的真正差异产品，包括其种族、阶级和民族起源。毫无疑问，可能以最复杂的方式遇到韩流的群体是散居国外的粉丝，他们来到韩流时文化和语言意识大大提高，并且可能会在韩流中找到粉丝的自豪感和归属感。与此同时，韩流的兴起可能会给一些散居海外的韩国人造成不和谐，他们可能不想与韩国流行文化的某些方面联系在一起，可能对韩国男性出现的一种“黄热病”感到不舒服，并且可能他们一生中的大部分时间都看不起韩国流行文化，认为韩国流行文化不如其本国流行文化发达且缺乏吸引力。正如尹解释的那样，“海外青年必须从自己的社会文化立场出发，对韩流媒体进行翻译和重新本地化”(8)。此外，他们可能会成为韩流的一部分表演行业，或通过翻译等促进文化流动。也许最重要的是，正如尹指出的那样，散居国外的观众对来自家乡的音乐与他们现在家乡的音乐有联系。

在第二章中，我们更多地了解了年轻韩裔加拿大人的身份认同工作。当我在不列颠哥伦比亚大学工作并教满是亚裔学生的课程[结束第362页]时，我感觉到韩流为讨论亚洲性和韩国性打开了一个空间，而不仅仅是为韩国人......