• (The)Study of the Eastern Classic
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• no.57
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• pp.41-66
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• 2014

The Purpose of this paper is, through the character-figuration aspect of existing Yeoheon Jang Hyungwang(旅軒 張顯光, 1554~1637)-related folk tales, to determine the relation between the people's awareness on Yeoheon and the change in the folk tales. Only 4 pieces of Yeoheon-related folk tales are existed ; ; Forgiving a rude son of the provincial governor generously. ; Predicting 'the frost of May' and Preventing the cold-weather damage, when he served as Euiseong governor, and ; The folk tales of origins of the place name - Chimabawi Rockand Yeoheondae. shows the great scholar's liberal-hearted and generous personality. One day Jang Hyungwang looked shabby and a young person was quite rude to him. But Jang Hyungwang forgive him generously. Also Yeoheon teach him the thrift and modesty. described him as a governor filled with a love for the people. He tried to edify the people with the Confucian ethics and improve the life's work of the people. embodied him as a government official of high integrity. When his wife received the silk slip from the people, as farewell gift, he ordered his wife return that. and show the images of the Predicting the future and an extraordinary moralizer. Generally These folk tales are based on his personality, whereabouts and the real case. So we could find his images in the folk tales are close to his actual feature - thrift, modest, noble-minded, well-versed in Iching and practicing moral statesmanship.

• Korean journal of communication and information
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• v.39
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• pp.250-283
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• 2007

The Shinmoongo (Shinmoon-drum) system is known as the last means of petition, appeal, and, denunciation during the Chosun dynasty. The purpose of this study is first to examine the system's origin and changes of its function and operation. The study further looks at several issues around the striking gong system, an alternative appealing method, and its background and transition. Introduced by King Taejong, the Shinmoongo was a kind of the press (or communication) system which was intended to deliver various cases of personal appeal, social petition, national denunciation, etc. Since the 2nd year of King Sejong, the system had been changed into the legal system which mainly to settle personal mortifying problem. Originally, the system was institutionalized for the common people who were hard to appeal their mortifying affairs to the supervisory administration. This reporting system to a superior was utilized as an institutional device to remedy abuses from 'complaint to the King near his sedan chair' and 'direct complaint out of order' during the early disordered years of Chosun dynasty. The system was often abused for the devices of private interest by illustrious officials. Meanwhile, it carried out a role of checking power abuses of provincial governors and magistrates. There were many obstacles for the common people and lowly people to turn to the means. The drum was located at the palace of capitol, less accessible for most people at the time. The petition had to be processed through several steps in written forms. The punishment on a false drummer was heavy. It inhibited any appeal concerning the superior under the rigorous caste system. The Shinmoongo system is regarded as a legitimate press system. Also, it is taken as informal or semi-official press system such as 'document to send around', 'document for agitation', 'joint petition', 'striking gong to complain', 'complaint to the King near his sedan chair', 'scream to complain', etc. Connecting together, the tools resulted in the increase of regal power and decrease of divine authority.

• The Korean Journal of Archival Studies
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• no.24
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• pp.215-274
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• 2010

Iron-making industries of the country, regardless of age has been the focus. This makes the iron production technology and production techniques that result in increased economic activity and because of the central charge. Therefore, the social development of ancient iron-making technology is based on phase-sensitive. Modern steel making up the monopoly of the country's target under the strict control of production, distribution was. It is essential to produce iron weapons was a threat is because you can keep the throne in the hands of the forces that can cause side effects when I went was to block. This study created a rail Cholbi(iron monument) and the regional distribution pattern of the production, construction background, looked on. Cholbi(iron monument) for the production and recording "the Annals of the Joseon Dynasty" often appear in history books and many academic interests, but was off target. Compared to a stone monument that was not generally as well as the Japanese colonial period and over the course of modernization destroyed, damaged a lot of cases the cause may be found in front. Cholbi(iron monument), except for the gravestones of the Joseon Dynasty monument erected in honor of virtue, as an example of content that dominated a packman business, founding of the school and confirmed that a few were built as a special purpose. Cholbi(iron monument) compared to the production technology or the cost of the monument's difficulty in financing follows. Therefore Cholbi(iron monument) the establishment of the Joseon Dynasty through the background of the economic situation and the local government can look. And iron technology began complaining about the object of history, economic conditions, with the change of season has been a change in people's consciousness tells you. Important data of ancient history as an epigraph that has been as important, the Middle Ages to modern times ranging from newly born to the time Cholbi(iron monument) in the development of the country's documentary subject to change should have been brought. Based on these discussions changes the identity of the hero monument and production inspector, review of production through the Joseon Dynasty period Cholbi (iron monument) contemplated the significance is reflected in production.

• (The)Study of the Eastern Classic
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• no.37
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• pp.93-126
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• 2009

This study is about a event, which happened on January of 1603 in Hamheung. It has covered from the beginning through the conclusion of the event. The event was ignited by a naturalized citizen, Guilsang's coming to the capital city without permission from the government. With this study I've wished to find the situations of specific management of naturalized citizens as well as popular attitudes towards them at the time. Concerning with the event of Guilsang, I could find more detailed situations from "Naturalization Registration". The reason why Guilsang came to Seoul was that he wanted to ask for living together with his son-in-law's family in Yang-Ju. Before his coming, Bie-Byun-Sa had sent a official letter to the governor of Hamkyung-Do so that he had had to move somewhere between Anbyun and Yung-heung. But Guilsang had wanted to live with his whole family in Seoul. The place he visited first was Sa-Yuk-Won. He presented his petition through Yeozin language translator there. Sa-Yuk-Won then informed Ye-Jo to have him investigated. After its investigation, Ye-Jo reported to the king. There were arguments about Guilsang family in the government. Guilsang had wanted to live with his whole family, including his relatives and son-in-law. Guilsang's request had more pros than cons in terms of humanism. But letting him live in Seoul was a difficult decision for the government. but his family strenuously insisted on living in Seoul, trying to kill itself. Finally Government selected Yong-In which was a compromise between the naturalized citizens' wish and difficult position of Government. Yong-In Miejo-Hyun was a poor region where naturalized citizens had lived before but now empty after the wars. In the process of the event of Guilsang, Government differentiated naturalized citizens from general citizens and regarded them foreign. A man from Yeozin was naturalized due to economic reason. But, he couldn't accept to live somewhere except Seoul, separating from his family. Government concerned with dangers of naturalized citizen becoming into foreign agents and stabilization of borders. These concerns caused the policy of residential control and decentralization of naturalized citizens failed.

• 지역과문화
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• v.7 no.2
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• pp.133-154
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• 2020

In this study, we reviewed the preparation process and the main Uimul involved in the procession of Gyeongsang Gamsa Doim in the late Joseon Dynasty. We reviewed the Yeongyeong- Ilgi, written by Cho, Jae-ho, and the Miam-Ilgicho, wtitten by Yoo Hee-chun. Those who had been appointed as a Gamsa by the Sammang System went through the Saeun and Sajo procedures to thank and say goodbye to the king before leaving for his assignment. The Gyoseo and Yuseo were usually received from the king at this time, but in some cases, they were received in the Seungjeongwon, or the Seori of Seungjeongwon brought them directly to the place where the Gamsa works. The Milbu with the Eoab was received along with the Yuseol, and the principle was to return the Milbu later. The procession of Gamsa is divided into the pre-and post-Gyoinsik procession and the Sunryeok procession. It was confirmed that the pre-Gyoinsik procession was made more compact than the post-Gyoinsik procession. In the study, we reviewed Ilsan, which is necessary for the officials' procession, and also examined the Gyoseo, Yuseo, Jeol·Wol, and Milbu received from the king. We also looked at the Gwan-in and Byeongb given by the former Gamsa at the the Gyoinsik. The Jeol, which means the command and the Wol, which means killing power, were given to the Gamsa. And unlike previous studies, it was confirmed that the Jeol was a perforated hexagon and and the Wol was a trident. Also, it was found that Ilsan is white, and there are two rows of Yuso on each of the six ribs of the umbrella. It is thought that the results of this study, which looked at the Doim process and Uimul by dividing the Gyeongsang-Gamsa Doim procession in the late Joseon Dynasty pre-and post-Gyoinsik, will be helpful in understanding the process of Gasmsa Doim. In addition, it is expected that it can be used as basic data for reproduction event of traditional culture related to Gwana, such as the reproduction of Gyeongsang-Gamsa Doim-Sunlyeok procession and Gyoinsik.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.