The globalization of K-pop has spawned an inbound flow of tourists and shoppers to the country. As Korean popular culture functions as a window through which audiences come to know Korea, specific places have emerged as sites through which K-culture can be experienced. Beyond conventional tourist destinations, these sites are related to K-pop idols, such as music video shooting locations, cafés and restaurants that idols frequented, locales used as the background of album cover photos, shops that sell celebrity merchandise, K-pop agency buildings, even ordinary parks and bookstores that K-pop stars visited. Thus, “K-pop pilgrimage” has emerged as a new tourism trend, and Korean local governments and the tourist industry are busy creating, discovering, identifying, and publicizing K-pop-associated places. This chapter presents a detailed ethnography of K-pop tourism by ARMY, BTS’s fandom, and discusses how local municipalities and tourism agencies, which have discovered the market power of ARMY, actively promote BTS-themed destinations via social media. By combining the two analyses, this chapter examines the ways K-pop consumption is extended into urban places, thereby reconfiguring the tourist and urban landscapes in Korea.

This chapter offers an analysis of the first book of the History, paying particular attention to the distinctive structure of Book 1. Thucydides’ plan of narrating the war chronologically, by summers and winters, is announced only at the start of Book 2; the structure of Book 1 is much more complex. The chapter starts by exploring ancient critics’ reactions to Book 1’s unusual form, and then it goes on to analyse each of the disruptions to chronological sequence in the book and the reasons for them. It compares these chronological disruptions to other sorts of disjunction (e.g. in style and mode of historical writing) in Book 1. Finally, it raises the question of whether similar disruptions and disjunctions might be found elsewhere in the work.

Thucydides’ reception in the 19th century is a key moment for modern historical thought. This was a period when history was becoming institutionalized as a university discipline, and this chapter shows how Thucydides was invoked as a predecessor by a number of major figures in the field. The chapter also explores why this was the case, drawing attention to the paradox that this invocation of Thucydides entailed: how did a discipline that was seeking to establish itself as ‘modern’ find legitimacy in this ancient text? And how did this influence the way in which Thucydides’ historical project was read and understood?

As an industry situated between globalization and transnationalism, K-pop has become a “glocal” economic transaction that re-localizes the regional markets across Asia, Europe, and the Americas. Because K-pop’s glocal enterprise was made possible due to the internet via smartphones, social networks, and user-generated media, some scholars in Southeast Asia have noted K-pop’s major players as new forces of cultural imperialism. With Z-Pop Dream as a case study, this chapter explores how K-pop’s lesser known producers respond to such criticisms by experimenting beyond K-pop’s established system of idol production, consumption, and circulation. Part audition reality show and part idol management system, Z-Pop Dream is a multinational venture that recruits trainees in Japan, Taiwan, Vietnam, Thailand, Indonesia, India, and the Philippines. Accordingly, its fan consumer base is also from the seven countries. Piggybacking on K-pop’s transnational success, Z-Pop Dream sells their business model as the next step to making K-pop more accessible to non-Korean fans, cover dancers, and trainees dreaming of becoming idols. Examining how Z-Pop Dream ’s new glocal business model informs, interacts with, or resists an established transnational rhetoric of K-pop, this chapter explores how its rhetoric of “One Asia” underscores the line between national and transnational.

K-pop agencies, or “entertainment companies,” are often described as “idol factories” or “boot camps” in which teenagers are selected to become K-pop idols, trained to acquire a set of skills and manners, evaluated regularly, and forced to conform regarding their looks, behavior, and relationships. The companies must acquire management skills for unexpected situations, such as idols’ dating scandals. In this chapter, the K-pop industry is seen not as a standardized culture built upon a Fordist business model of mass production but as a critical site where diverse social relations are created, negotiated, and contested. The industry sees the idol body as a profitable media text that is manageable, predictable, and available to any general audience. Nonetheless, the idol retains some degree of human agency. In an industry in which an idol body with agency become a volatile product through mediated presentations and representations, how do the companies produce idols at the most complete level? How do the idols cope with their multiple roles and the expectations placed upon them as producers, laborers, and commodities of intimacy? This chapter investigates the methods by which entertainment companies produce idols as incomplete commodities and intimate laborers through surveillance and regulation.

This chapter discusses responses to Thucydides’ History in the thousand-year period between the foundation of Constantinople in 330 CE and the appearance of the first translations of Thucydides in the late 14th century. The chapter describes the processes by which the text was preserved and transmitted and how it was read and understood in this period. It also explores the question of why the Byzantines were interested in Thucydides and the creative ways in which some Byzantine authors adapted or redeployed Thucydides’ work in their own writing.

This chapter explores Thucydides’ depiction of leadership in the Greek city states. For Thucydides, the association between leader and led is an essential determinant of the direction taken by a state; his text often explores the ways in which the thought and rhetoric of an individual are converted into the actions of a citizen group. Thucydides’ portrait of Pericles’ leadership is central to this question; the characteristics and behaviours that he embodies are replicated, with variations, in other political leaders who appear in the work. After analysing Thucydides’ representation of Pericles, therefore, this chapter goes on to discuss how other leaders in the work – Hermocrates, Archidamus and Brasidas – relate to this Periclean template.

Thucydides served as elected general (strategos) for Athens, and it is likely that he had (perhaps extensive) personal experience of warfare. His work is therefore an important guide both to the practicalities of warfare in 5th-century BCE Greece and to the wider function(s) that war played in politics and society. This chapter analyses what the History tells us about the ‘art of war’ in this period, discussing the use of land troops (light-armed soldiers and cavalry as well as hoplites) and naval forces. It discusses military strategy and tactics, the nature of combat and the consequences of warfare, for non-combatants as well as soldiers.

This chapter introduces the most significant aspects of Thucydidean interpretation in the Renaissance and Reformation. It outlines key developments in the accessibility of the text (through knowledge of Greek and through translation into Latin and other European languages). It also analyses a number of key responses to the work. These include the group centred around Philipp Melanchthon, who saw Thucydides as a source of both rhetorical and moral lessons; Calvinist readings, which enlisted Thucydides to rebut Machiavelli’s views on statecraft; Grotius, who appealed to Thucydides in formulating his theory of Just War; and Thomas Hobbes’ influential translation of the text.

K-pop formations are believed to have drawn inspiration from Seo Taiji and Boys, who arrived in the early 1990s and became a cultural phenomenon before disbanding in 1996. They offered a unique blend of melodic tunes, heavy beats, short raps, and synchronized dance sequences that drew on hip hop, rock, and disco. They transformed Korean music and fashion and had a profound effect on young Koreans’ sense of identity and national pride. However, despite the band’s pioneering role, it did not provide a blueprint for the business model of K-pop today. Partly in response to the decline in record sales, today’s reliance on concert tours, marketing media, and talent shows developed later. But the formulas themselves are not entirely new to Korean pop music. This chapter explores talent shows organized in the 1930s and 1940s. Although the conditions of pop music were different then, the early prevalence of the shows demonstrates that public auditions, competition, and audience participation took root early on. Focusing on the symptomatic ethos, signs, and practices of neoliberalism, rather than retrofitting the neoliberal era to the 1930s, the author contends that the music industry recognized by then that neoliberal attributes can be a powerful marketing ploy.

This chapter examines statements in Thucydides’ work that predict or foreshadow the future (prolepses), placing them in the context of a wider study of the narratological structure of the History as a whole. It analyses predictions made by the narrator himself (including 1.22.4’s famous claim about the future utility of the work), as well as the (often unreliable) claims that characters in the History make about the future course of events. The combined effect of these prolepses is a notable instability in the ‘unreal future’ that the text predicts. Thucydides’ work offers us no clear conclusion about the ultimate significance of the war that he has described: the work as a whole is not a teleological narrative.