• Cross-Cultural Studies
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• v.47
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• pp.27-51
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• 2017

This paper considers opposition between lawyers to defend human rights which the Pacific Constitution of Japan guarantees and the public power represented by the prosecution's judicial power centered on sentencing in the 'Chatterley Trial' that was a Japanese representative literary trial which occurred after World War II. The lawyers' assertion is against the public power which reminds us of the Press Act before the war defeat. Although censorship is banned in the constitution, and it can be said that it is not a dimension just to protest the check of custom but the struggle not to reenact the past Japan.

• Sijohaknonchong
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• v.19 no.1
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• pp.127-153
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• 2003

In early Josun(朝鮮) era, the scholars, genteels, and high officials in Josun dynasty paid attention to Sijo(時調) who hoped Josun society would share Confucian values. Sijo poems written by them are based upon Confucian ideology, giving an opportunity to its members to make sure their homogeneity and helping Josun dynasty sustain its regime. Gyongichega(景幾體歌) has, however, already failed to be an appropriate genre to do these functions. Nevertheless, in the late Josun dynasty when there were agitation in class hieracy, development of currency economics, maldistribution of wealth, and pursuit of enjoyment, obscene poems turned out. Consequently these songs contributed to encroaching and eventually destroying the Josun dynasty. The question that who are in charge of creating and enjoying Sasulsijo(辭說時調) cannot be answered by approaching it in the social class point of view. The range of the maker or the reader of Sasulsijo in the late Josun dynasty was much more extensive than that in the early times. Not only aristocracy or the middle society but even some of the lower class may have made and enjoyed those songs. In the meantime, it is singer-songwriters whom Park, Hyogwan blamed for their profiteering abuse of obscenity that is supposed to have been mainly reponsible for the creation of those songs. Siga is a double-edged art in its essence--the good and the bad. The lewd songs were, in the early Josun, strictly controlled but in the late Josun dynasty, were thriving due to social changes. In this context, songs based on Confucian ideology as well as the ones focused on sexual love became decayed along with the collapse of the Josun dynasty. Even though, in the light of the history of Siga, those two types of Siga are underestimated in its artistic value, they have very special social historical meaning in doing positive and negative functions for existence and destroy of the Josun dynasty.