Southern Vietnam under the Reign of Minh Mang (1820–1841)

หน้าจั่ว ว่าด้วยประวัติศาสตร์สถาปัตยกรรมและสถาปัตยกรรมไทย, 2013

The aim of this article is to study the story of Khum Luang/ Wieng Khaew, the palace of King of Chiang Mai, from Siam chronicles, which were written after the annexation of Chaing Mai by Siam in the era of King Chulalongkorn. Besides the chronicles, other sources like archival documents, memoirs and oral history should also be studied alongside with the concept of internal colonialism. The main thai-chronicle of lanna-history, the Yonok Historical Annual, written by Phraya Prachakitkorrajak (Cham-Bunnag), aimed to tell the story of building the Siam-state with Bangkok as a center. As one stage of establishing the Thai-state, the Yonok Historical Annual talks about the renovation of Chiang Mai, the center of Lanna, that took place after the short occupation of the Burmeses. The chronicle states that, King Kawila drove back the people to the city and ordered the establishing of the city pillar. In telling these, the chronicle doesn't mention Khum Luang/Wiang Khaew, which refer to a palace of the King of Chiang Mai and thus the governmentcenter of Lanna. Controversially, both royal houses were mentioned in several memoirs of foreigners in Lanna and in oral history as a place as big importance, which decorated in western styles in the time of colonialism. Moreover, the Siam archival documents show that, after the annexation of Lanna, Khum Luang and Wiang Khaew were rebuilt into places with positive meaning-such as, town hall and school-and negative meaning-such as, a prison. Rebuilding the palace into a prison means a degradation of a palace. Furthermore, it also shows the influence of Siamese government in Bangkok over the colonized Lanna, since the Siamese government could do what it saw fit.

2007

This dissertation offers a revelation of the important turning points, disjunctures, and ruptures in the quest to build a civil[ized] society of multiethnic population in West Kalimantan province, Indonesia. By examining these turning points, disjunctures and ruptures, the dissertation focuses on two main themes. The first theme is the attempts by foreign or local rulers-Muslims, the Dutch, postcolonial regimes, and post-1997 crises regimes-to incorporate the highly diversified "pagan" population of West Kalimantan's Dayak into a civilized society. The second theme is the reactions of the ruled groups-subalternized during the process of society building in different epoch-to maintain their relative independence from the incursions of 'foreign' or 'non-native' ruling elements. This dissertation argues that the category of "Dayaks" has been constructed loosely first by the Muslim-Malay coastal rulers and second rather coagulated by the Dutch and finally exploited by the Dayak themselves during the post-colonial regimes. The full-blown manipulation of the category of "indigenous" group is taking place after the fall of the suppressive Suharto regime in 1998. The loose construction of Dayak by the Muslim-Malay coastal princes is finally hardened by the Dutch who fully launch the indirect rules: racialization between the rulers (Dutch, Chinese, Eastern Asians/Indian, Arabs) controlled under civic rules and the ruled (Malays, Dayaks, and other ethnics) adjudicated under each own customary rules. The attempts

2012

Technical Papers are published to communicate the results of The World Bank's work to the development community with the least possible delay. The typescript manuscript of this paper therefore has not been prepared in accordance with the procedures appropriate to formally edited texts. Some sources cited in the paper may be informal documents that are not readily available. The findings, interpretations, and conclusions expressed herein are those of the author(s), and do not necessarily reflect the views of the International Bank for Reconstruction and Development / The World Bank and its affi liated organizations, or those of the Executive Directors of The World Bank or the governments they represent. The World Bank does not guarantee the accuracy of the data included in this work. The boundaries, colors, denominations, and other information shown on any map in this work do not imply any judgement on the part of The World Bank concerning the legal status of any territory or the endorsement or acceptance of such boundaries. Rights and Permissions The material in this publication is copyrighted. Copying and/or transmitting portions or all of this work without permission may be a violation of applicable law. The International Bank for Reconstruction and Development / The World Bank encourages dissemination of its work and will normally grant permission to reproduce portions of the work promptly.

2009

Refer to the history modern art of Thailand's, the national exhibition of art has begun since 1949, with supports of government makes the contest become formal and become the most important contest. Later, many branches of private sectors starting organize their own contest. This came with a result of that the art works which being rewarded in the contest or even been shown in the contest become famous in the term of the original of process to the artist in the later generation. While avant-gardes is growing in the middle of stream offset pair which is look like a new choice that have the way to demonstrate the art work with the different vision of the way of creating art for the contemporary art in Thailand inclusively. For this research, the researcher found that the trend of creating art works is divided into 3 periods. For first period of time, during the year 1985 to 1994, It was the trend of creating new art. Moreover the second period of time during the year 1995 to 2004, Progressive artists tried to pick up materials and technologies or new way of thinking has the features present in their works. Lastly the third period of time during the year 2005 to 2013, as the political climate and social movement the artists chose to make social commentary through contemporary art. From the research, the researcher found that the cause of the trend of the new creation art stream which has been changed according to the concerning society, and also see the development of the art work creation starting from the studying, researching and seek for the new idea with no boundary and the way of creating art works of avant-gardes during of the year 1989 -2013.

2007

Rangsit Music Journal, 2020

Musical composition “String Orchestra and Flute” composed to celebrate the Korea-Thailand sixtieth anniversary of the diplomatic relations. The composition conveys different cultural aspects of the two countries. Compositional materials are based on Thai rhythmic pattern, Thai melody—Kangkaw Kin Kluay—and Korean musical modes, especially P’yŏngjo, Kyemyŏnjo, and Oeumgae (Five Notes System). The main motive is a collection of E, F, and A or set of (015) derived from 60th anniversary. This neotonal composition comprised motivic development, variation in fragmentation, and quartal/quintal chord.

WMS Journal of Management, 2017

The objectives of this study were to assess the economic value of cultural landscape conservation for Muang Uthai Thani River Edges and to propose factors influencing willingness to pay by using the Contingent Valuation Method, and to investigate the sample’s attitudes towards cultural landscape for Muang Uthai Thani River Edges with the Analysis of Variance (ANOVA), which was used to compare the attitudes, satisfaction, and awareness of cultural landscape conservation for Muang Uthai Thani River Edges. Data were collected from 400 local people. The results showed that for cultural landscape conservation for Muang Uthai Thani River Edges, the 400 samples had willingness to pay at on average 614.41 baht/household/year. Total economic value was 5,503,890.94 baht/year. Factors influencing willingness to pay in positive correlation included education level, monthly income, expense, satisfaction with River Edges, and awareness of cultural landscape conservation but the expense is the fac...

2014

Journal of Sinology (Mae Fah Luang University), 2021

This article aims to study the translation strategies adopted by HRH Princess Maha Chakri Sirindhorn in her translation of contemporary Chinese literature. The scope of the study is limited to sixteen such works in prose form. For this article, food names found in the studied texts are divided into three categories: foods, desserts, and beverages. Using Vinay and Derbelnet’s translation strategies as a framework, this study analyzes how HRH Maha Chakri Sirindhorn translated food names from Chinese into Thai. The study found six strategies adopted by HRH Princess Maha Chakri Sirindhorn for the translation of food names, including, in order of frequency, literal translation, adaptation, équivalence, borrowing, borrowing and literal translation combined, and equivalence and adaptation combined. These strategies constituted 69.07, 15.46, 12.37, 2.06, 1.03 and 1.03 percent of the translations respectively. As for the translation of dessert names, there were altogether four strategies, including, in order of frequency, literal translation, borrowing, adaptation, and borrowing and equivalence combined, which constituted 68, 20, 8 and 4 percent respectively. For beverage names, four strategies were used, including, in order of frequency, literal translation, borrowing, borrowing and literal translation combined, and adaptation, which constituted 63.16, 15.79, 15.79 and 5.26 percent respectively. In conclusion, when translating food names from Chinese into Thai, HRH Princess Maha Chakri Sinrindhorn preferred literal translation over other strategies. However, when that could not be achieved, Her Royal Highness would opt for other strategies including equivalence, adaptation, and borrowing, with the aim of making the translations read smoothly while staying faithful to the original.

2019

This research aims to analyze the composition of roadside restaurant signs in the Yaowarat and Chatuchak districts of Bangkok. Using a semiotic landscape approach, the data was collected from 47 restaurant signs in Yaowarat and 42 from Chatuchak, including 89 signs total. The results showed that (1) Color: the most popular background color was white, followed by red and yellow in both Yaowarat and Chatuchak. The most popular font colors were red and black; (2) Name: Yaowarat quarter had more named signs than Chatuchak, showing the importance of names in this area; (3) List of food and drinks: Yaowarat has signs for food and drinks second most, after the name. Chatuchak, the list of food and drinks always appear on top of the sign; (4) Details and information: Yaowarat contained information about time, place. contact and special features while those in Chatuchak focused on the most special features; (5) Price: Yaowarat display prices on the right while those in Chatuchak display them on the bottom right; (6) Logo: Yaowarat signs used more logos than those in Chatuchak; and (7) Photographs of food and drinks: Chatuchak signs focused more on photographs of food and drinks than those in Yaowarat.