• The Southeast Asian review
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• v.23 no.1
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• pp.45-87
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• 2013

This paper aims to study Thai democratic deepening and the constitutional engineering with the analytical concepts of 'power sharing' and 'accountability' focusing on the 1997 and 2007 Constitution. With regard to power sharing, the 1997 Constitution had the characteristics of majoritarian principle including a two-party system, strengthening of prime minister and the executive's power etc. It enhanced significantly the aspects of accountability compared with the previous constitutions. The institutions such as Constitutional Court, Commission on Election, Administration Court, Commission on Human Right, Ombudsman, Commission on Anti-corruption, and the Measure for Anti-money Laundering were established by the 1997 Constitution. However, such empowered accountability system were often abused by the political power groups in the political process. The 2007 Constitution has the characteristics of consensual principle including a multiparty system, proportional representation system, weakened prime minister's power, balancing of cabinet and parliament's power, pushing ahead with decentralization. However, the consensual principle of the 2007 Constitution came, in part, from the factional interests. It is similar to the 1997 Constitution in terms of accountability system, which enhanced in law but abused often in practice. One of the critical reasons for the failure of the 1997 and 2007 constitutions to consolidate democratic system was the political game played around the so-called network for the monarchy composed by the military, the civilian bureaucracy, Constitutional Court and the privileged classes. The future of the Thai democratic deepening depends on the constitutional engineering in which the factional interests should be excluded, and the rules of power sharing and accountability which traditionally played around the network for the monarchy should be effectively institutionalized.

• Journal of Korean Society of Archives and Records Management
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• v.3 no.1
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• pp.1-21
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• 2003

In this paper the characteristics of the script centers golden and/or silver letter center in Koryo Dynasty and a set of seven rolls of the script written in silver letter on blue paper prayed by Yearn Seong-Ik were studied with focusing on the referred records and an epilog of the script. This script was discovered from Namgewon's stone stupa, when it was transported from original site of Daekam Dong, Kaiseong city to Kyungbok Palace in 1919. This script prayed by Yeom Seong-Ik which was written in silver paste on blue papers is a set of seven rolls, the size is 31.1 cm (length) ${\times}$ 27.2 cm (width). The cover painting and Beonsangwha(Buddha's preaching picture) were painted out and in the roll cover. This script was written with 14 letters on a line whose characteristic with the style of cover painting and Beonsangwha is similar to the golden and silver scripts prayed by kings of Koryo Dynasty. The person who prayed this script was a powerful vassal of the king Chungyeol period, Yeom Seong-Ik. According to Koryosa(Koryo History) and Koryosa jeolyo(summarized Koryo History), it is described that Yeom Seong-Ik offered his own house which was built by a group of strangers as a 'Writing Place for the complete collection of Buddhist Sutras and the place of the script of the complete collection of Buddhist Sutras. Therefore, it is possible to consider that this script a set of seven rolls of the script of Saddharma Pundarika-Sutra was written to pray for himself as well as his families' fortune at the place of golden script of the complete collection of Buddhist Sutras, and enshrined it in the Namgaewon stone stupa when the stupa was repaired in 9th year of king ChungYeol. Above all the most important point should be centered on that he offered his house as a writing place for golden script of the complete collection of Buddhist Sutras as recorded in Koryosa Jeolyo. The writing place for golden script of the complete collection of Buddhist Sutras should be emphasized on the meaning of its site. It is an important key point to clear that Kumjawon(Golden letter center) would be different from Kumjadejangso(the writing place of golden script for complete collection of Budihist Sutras) with Kumkyungsa(Goldm script place). As considereing the point that this script showed the characteristics of golden and/or silver scripts which prayed by king Chungyeol in Koryo Dynasty as they were, even though this script was manufactured by individual praying, this script follwed in the style of Kumjawon(golden letter center) and/or Unjawon(siIver letter center) as they were, because this script was written in the place of the golden script for the complete collection of Buddhist Sutras. In this paper all of the points described above with focusing on the referred records and an epilog of this script were collectively considered to make clear the characteristics of the script centers, golden and/or silver letter.

• Cross-Cultural Studies
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• v.50
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• pp.371-394
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• 2018

La estrella de Sevilla, is a representative masterpiece of the Golden Age of Spain, and is a tragic work of Lope de Vega, who was a representative drama writer living in the 17th century. However, regardless of its great literary value, there are insufficient researches on this drama even in Spain, due to several controversies surrounding the truth about Lope's creation. Here, this research concretely investigated the tragic characteristic of this drama, by largely dividing it into the viewpoint of Aristotle and Shakespeare. Thanks to the noble social status of the characters and proper dialogue of the hero Sancho Ortiz in trouble, there seems to be no problem in performing the cathartic function that Aristotle mentioned regarding the work in his review. However, there are a few problems in the aspect of the 'hero's free will to resist the absolute fate,' which is fundamentally the essence of the associated Aristotelian tragedy. Because, there's no Hamartia in this drama, the core mechanism that forms the absolute fate, makes the statement that accordingly, no absolute fate or irresistible force of destiny is established. Rather, the tragic characteristic of this drama can be more properly investigated from the viewpoint of Shakespeare. As noted differently from Aristotle, Shakespeare considered that the tragic characteristic came from the hero's characteristic. According to him, tragedy starts from the hero's value view and personality, instead of the external factors such as an absolute fate. Actually, Busto's death and separation between Sancho Ortiz and Estrella, two tragic affairs of La estrella de Sevilla, were caused by the crooked selfishness of King Sancho IV, who abused his authority, and Sancho Ortiz' excessively blind loyalty to the King, rather than the irresistible event. In conclusion, in light of a lethargic and hopeless situation, with no eventual choice of options before the injustice of absolute power, is must have been a significant tragedy for the audience, witnessing the play's tragic ending.

• Journal of Korean Historical Folklife
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• no.33
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• pp.115-143
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• 2010

The purpose of this study is to analyze contents and process of rites about sacrificial rites related Royal Mausoleums in early Joseon Dynasty, and to conclude, to review the position of Royal Mausoleums in the whole National Rites System. The sacrificial rites related Royal Mausoleums started from building Royal Mausoleums of 8 persons-ancestors since King T'aejo's great-great-grandparents, in 1392, founding Joseon Dynasty. In 1408, King T'aejo had died and his Kŏnwŏnnŭng (健元陵) was builted in Yangju, Gyeonggi-do. Since then, after kings of many generations died, each of Royal Mausoleums was builted solemnlly. In the process of this, sacrificial rituals modified and supplemented, especially during the reign of king Sejong(1418~1450). After all, the sacrificial rites related Royal Mausoleums was settled in KukchoOryeūi(國朝五禮儀, Five State Rites) compiled during the reign of King Sŏngjong. In process of Institutionalization of sacrificial rituals, the argument between king and vassals about four-seasons' ancestral rites was properly or not was occurred. That was because the memorial times of Royal Mausoleums overlaped Chongmyo's and more important Chongmyo's ancestral rites was neglected. But four-seasons' ancestral rites of Royal Mausoleums was continued until 17th century. Sacrificial rites related Royal Mausoleums as royal personal rites had simple processes compared to sacrificial rites of Chongmyo, upper-graded formal ancestral rites, under National Rites system. Justifying to served his parents with devotion, the kings in early Joseon Dynasty went to Royal Mausoleums 2-3 times annually. During coming and going, he show off his presence as king in power to his subjects through magnificent guard of honor. On the one hand, he met his subjects directly and acceded to various petition. Above all things, The kings in early Joseon Dynasty emphasized his military power through military training, namely, hunting, disposition of troops, and so on.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.20-49
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• 2009

This paper explores the Korean royal tombs steles such as monumental steles and tombstone marks (神道碑, 表石) that are broadly fallen into the following three periods ; the 15~16th centuries, 17th~18th centuries, and 19th century. As a result, the royal tombs steles were built, unlike the private custom, on the heirs to the King's intentions. During the 15~17th centuries the construction and reconstruction of the monumental steles took place. In the late Joseon period, monumental steles had been replaced with a number of tombstone marks were built to appeal to the king's calligraphy carved on stone for the first time. During the Great Empire Han(大韓帝國) when the Joseon state was upgraded the empire, Emperors Gojong and Sunjong devoted to honor ancestors by rebuilding royal tombstone mark. Based on these periodical trends, it would not be exaggerated that the history of establishing the royal tombs steles formed in late Joseon. The type of royal tombs monuments originated from those of the Three Kingdoms era, a shapeless form, the new stele type of the Tang Dynasty (唐碑) has influenced on the building of monuments of the Unified Silla and Buddhist honorable monuments (塔碑) of the Goryeo Dynasty. From the 15th century, successive kings have wished to express the predecessors's achievements, nevertheless, the officials opposed it because the affairs of the King legacy (國史) were all recorded, so there is no need to establish the tombs steles. Although its lack of quantity, each Heonneung and Jereung monumental steles rebuilt in 1695 and 1744 respectively, is valuable to show the royal sculpture of the late Joseon period. Since the 15th century, the construction of the royal tombs monumental steles has been interrupted, the tombstone marks (boulders) with simpler format began to be erected within the tomb precincts. The Yeoneung tombstone mark(寧陵表石), built in 1682, shows the first magnificent scale and delicate sculpture technique. Many tombstone marks were erected since the 1740s on a large scale, largely caused by King Yeongjo's announce to the honorific business for the predecessors. Thanks to King Yeongjo's such appealing effort, over 20 pieces of tombstone marks were established during his reign. The fact that his handwritten calligraphic works first carved on tombstones was a remarkable phenomenon had never been appeared before. Since the 18th century, a double-slab high above the roof(加?石) and rectangular basement of the stele have been accepted as a typical format of the tombstone marks. In front of the stele, generally seal script calligraphic works after a Tang dynasty calligrapher Li Yangbing(李陽氷)'s brushwork were engraved. In 1897 when King Gojong declared the Empire, these tombstone marks were once again produced in large amounts. Because he tried to find the legitimacy of the Empire in the history of the Joseon dynasty and its four founding fathers in creating the monuments both of the front and back sides by carving his in-person-calligraphy as a ruler representing his symbolic authority. The tombstone marks made during this period, show an abstract sculpture features with the awkward techniques, and long and slim strokes. As mentioned above, the construction of monumental steles and tombstone marks is a historical and remarkable phenonenon to reveal the royal funeral custom, sculpture techniques, and successive kings' efforts to honor the royal predecessors.

• KOMUNHWA
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• no.69
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• pp.91-111
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• 2007

This paper deals with the cultural and ideoligical background of the landscape designs on Joseon blue and white porcelains in the late Joseon period, and involves the government painters in the official kiln. Dongjeongchuwol-design (동정추월문), painted the full-moon night scene of Dongjeong lake on Jeseon blue and white porcelains, was in fashion in the late Joseon period. It didn't reflected the entirely realistic subject comparing to the painting circles at that time, but the principle and aesthetic appreciation of Royal family who leaded the official kiln. And Sansuinmul-design (산수인물화). painted the man of great caliber in the ancient history with mountain scenery, was similar to the painting manuals such as Gossihwabo (고씨화보) and Dangsihwabo (당시화보). It was a counterpart of Dongjeonchuwol-design on Joseon blue and white porcelains in the late Joseon period. These designs were painted into ogival-shaped frame (릉화창) on the blue and white porcelains in most cases, and adjusted to shape of porcelain. The landscape designs on Joseon blue and white porcelains became stereotyped, involving subjects of folk painting in the late 18th Century and the early 19th Century. This essay will be just a start to research into the landscape designs on blue and white porcelains in the late Joseon period, even though we seldom find works providing strict chronology among some works to the public.

• Journal of the Economic Geographical Society of Korea
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• v.12 no.2
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• pp.195-214
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• 2009

The Mangi yoram("萬機要覽"), a guidebook of state affairs, was published by royal command in the late Joseon period. Its chapters on financial affairs(財用篇) are particularly remarkable, as they explain on all aspects of the national finance of the late Joseon period in a clear manner. The financial part of the Mangi yoram includes metallic mineral resources, such as the location of gold, silver, copper, lead deposits and the prosperity and decline of the mines, and the various uses of each of the minerals. These are still regarded as valuable resources. Its contents on agricultural geography comprise not only the total yearly output of grains, paddyfields and dryfields, their taxation and standards of taxation, but also ginseng which was famous in the outside world in the pre-modern era. The book also clearly explains distribution of agricultural dikes for irrigation and their functions. The book also contains information on forestry geography, e.g. the varieties of pine trees and their distribution and mountain containment policies. Contents related to commercial geography consist of material on different types of markets such as the yukuijeon(六矣廛), sijeon(市廛), peongsisuh(平市署), nanjeon(亂廛), and the distribution, size and prosperity and decline of the border markets of the northern frontier such as the hoeryungkaesi(會寧開市) and geongwonkaesi(慶源開市). Contents related to transport geography are the distribution and functions of government granaries etc. Obviously, this book contains detailed information on various aspects of Korean geography. If we try to understand the contents of this book from the framework of modern geographical classification schemes, the geographic information contained in the book assumes even greater significance. In sum one may conclude that this book, which the king kept by his side, contained useful geography related knowledge and necessary information, and was directly relevant to the administration of the country. It exerted immense influence on the contemporary intellectual world of Joseon Korea, and was regarded as an invaluable resource.

• Journal of the Korean Society for Library and Information Science
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• v.54 no.2
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• pp.435-455
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• 2020

The purpose of this study is to examine the publication, composition, method of composition, and acceptance patterns of JujaDaejeon anthologies edited by Joseon scholars in the Joseon dynasty. When a large amount of JujaDaejeon was published in the 16^th century, anthologies of JujajaDaejeon was compiled, published and learned as a way to understand it. A total of 13 kinds of JujajaDaejeon anthologies were published, including six kinds in the early Joseon period and seven kinds in the late Joseon period. And the composition of main anthologies showed a trend that was supplemented by Jeong Gyeong-se's Jumunjakhae from Lee Hwang's Jujaseojeolyo, and aggregated into Song Si-yeol's Jeoljaktongpyeon(boyu). JujaDaejeon consists of total 3,645 works except for poems. Among them, 1,734 works were selected by 13 anthologies. The theme of a work with a high cumulative number of selections is the virtue and attitude of the king, policy proposals, the appointment of talent, the duty of subjects, criteria for evaluating historical figures, opposition to harmony with Jin and territorial restoration, and academic discussions. This study is expected to be meaningful in the field of the research on the acceptance of the foreign books and acceptance of the Zhu Xi's works in the Joseon dynasty.

• Korean Security Journal
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• no.28
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• pp.131-152
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• 2011

Jangyongyoung was a royal guard in the King Jeongjo Period. The guard was established after the inauguration of King Jeongjo to protect the king and strengthen the royal authority. In terms of security study, it has high value in that it gives insights to the development of security system and its achievements and new role of supporting king's cultural events. Jangyongyoung was a formal guard established to achieve king's political reform. After the King Injo restoration, there sprouted many security guards, including Howicheong, Eoyounggun, and Gemgun. Those were all makeshift systems. But Jangyongyoung grew as a standing and futurist system as it went through some different names, Sukwiso, Jangyongwi, and finally Jangyongyoung. It served to protect the legitimacy of King's succession, to strengthen royal authority, and to bring stability to people's lives. Jangyongyoung had an efficient organization and operation. It also had the characteristics of modern security, integration, professionalism and size. In Jangyongyoung, military training and security were not separate. They protected king from dangers and guarded king's bed, and they trained themselves to deal with unforeseen occurrences. By doing so, they could support king's many activities, including visit to royal tombs, touring of Hwaseong Fortress, and watching military training. Jangyongyoung not only served as a military guard but also it had a cultural function. They made it possible that king and people met in the king's procession. Jangyongyoung supported Jeongjo's political reform, and as a royal guard it enhanced the authority of royal family and exemplified a new security guard by supporting king's cultural events where king, servants and people could become one.

• Cross-Cultural Studies
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• v.41
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• pp.85-112
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• 2015

This article studies The Complete Story of JinTai(金臺全傳), a Korean and Chinese xylographic book, and wishes to makes a case for the value of this work. The Complete Story of JinTai, is an anonymous Xia-Yi (俠義) novel from the late Qing Dynasty. The oldest edition is at Nanjing Rare Book Library. This work was published in 1881 when Emperor Guangxu (光緖) ruled China. Currently, a copy of this book is at the Kookmin University Rare Book Library, however, it is somewhat different in form from that in the Nanjing Library. But it is almost the same story. The Complete Story of JinTai narratives the life story of the hero, Jintai (金臺). Jintai's appearance, alliance, ordeal, contribution, and return proceed sequentially, thus, the story gradually explicates Jintai's heroic aspects. Jintai is a young hero. Exceptionally, he married an official dancing girl. He values honor, hangs out with friends, slays a wicked villain, to the defense of the country, and eventually becomes a king. The hero of more than 500 is categorized as conductor, strategist, activist, intuitive type. They are from Geumsan Mountain, took a pledge of brotherhood, and try to resolve a national crisis. The remarkable Jintai fights wicked enemies and does battle with the villains in many conflicts.