• The Korean Journal of Archival Studies
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• no.3
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• pp.91-113
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• 2001

History always be re-interpreted as the time flows. 'The Sillok', Which was registered in Memory of World of UNESCO in 1997, is comprehensive documents of the Chosun Dynasty, which had been compiled after kings' death, The Sillok encompasses 473 years of the reign in their 848 volumes(1,893 chapters). It was a history itself and has been main source in studying Korean history. Due to the rise of studies on the Sillok, time has come to explore the nature of the Sillok and to criticize the text, which would be called 'The Sillok-Study'. In this context, this paper examined three concepts that categorize the nature of the Sillok as historical materials ;Is it book or record?; The Sillok in register system in pre-modern society; And the Sillok as the National Archives. Korean historians, including myself, haven't yet examined the question whether the Sillok is the Book or Record in terms of archival science. At first, I regarded it as history book, and with this presupposition, wrote several papers on the characteristics of the Sillok. However, I recognized that the Sillok are close to record rather that history book as I examined the definition of glossary of librarian study, OED (Oxford English Dictionary) and Encyclopedia of Britannica, etc. Definitely, the Sillok was neither compiled and published to be read and sold publicly, nor meant to the works of literature or scholarship. one may say that the court-historians wrote comments on the facts and therefore it was just scholarly work. However, because the court-historians produced their comments on their own businesses, the outcome of 'their scholarly works' were also records conceptually, as were daily court-journalists in Rome. Its publication also had a absolutely different meaning from that of modern society. It was a method to preserve the important national records and distributed each edition of them to plural repositories for its safety and security. How can we explain its book-like shape and the procedure of compilation after a kings' death. The answer is as follows ; In pre-modern society, it was a common record-keeping system in the world to register records materials in order to arrange the materials of different sizes and to store them conveniently. And the lack of scientific preservation or conservation skill also encouraged them to register original records. Actually, the court-historians who participated in the compiling process called themselves "registering officers". On the other hand, similar to social hierarchy, there was a hierarchical system of records, and the Sillok was placed at the top of this hierarchy. In conclusion, the Sillok was a kind of registered records in the middle ages and the supreme records in the records-world. In addition to this we can also conceptualize the Sillok as archives. Through the compiling process, the most important and valuable records were selected to be the parts of Sillok. This process corresponds to the modem records appraisal. In the next step, it was preserved in the Four Archives(史庫) which located at remote site as archives and only accessible by the descendents in the future, who might be the people of the next dynasty. And nobody could access or read the documents at that time except the authorized court-historians who were archivists of the Chosun Dynasty. From this perspective, I conclude that Sillok was the supreme confidential archives in the register system. I work for the Government Archives as a historian and archivist. Whenever I entered the exhibition hall of the Government Archives and Records Service(GARS) and saw the replica of the Archives of Taebeak Mountain built during Chosun period, I always asked to myself a question whether the Sillok can be a symbol of the archival tradition of Korea and the GARS. Now, I can say, 'Yes!' definitely.

• 기호학연구
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• no.57
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• pp.121-153
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• 2018

In terms of the story told, we see that Oh! Soojung(Virgin Stripped Bare by Her Bachelors) is a film of the ideololgy of masculinity. However, from the point of view of the manner of presenting story, Oh! Soojung is a film that aims to devalue this ideology. How will it be possible? This is the principle of the irony that the speaker, by saying P, wants to make Q listen that devalues and contradicts P. Our study is tempted to explain the process of interpreting the irony in the film. The ideology of the film occurs when the presupposed contents have become the subject. For example Cendrion who tells a story of a girl married to a prince presupposes that the girl, Cendrion, is obedient. The subject of this story is that the presupposition: /the girls who want to be happy must be obedient/, which represents the ideology of masculinity. Presupposed content thus imposes on the public a collective and conservative value, as its enunciator belongs to the collective voice. Since ironisation occurs when the utterance itself is annulled, one must also deny or cancel the story told of Oh! Soojng: /Jeahun who is rich and Soojung who is obedient and virgin have become lovers/. Since there is no semantic mark within the utterance, irony is a voice that comes from without; this is how we understand irony in a purely pragmatic way. The outer voices are two things: the way to build the story: question of focusing, ocularization and auricularization, and the way to present the story: question the order, the frequency or the plot. Our study is focused on the question of frequency at Oh! Soojung which has a repetition structure in which the memory of Jeahun and that of Soojung are represented one after the other. Since the memories of two characters are not identical, the repetition is accompanied by differences. The differences at first allow the public to build their own story from the di?g?se of the film and then make the audience fall into confusion where we can not be certain of what we see and know in the di?g?se of the film, and finally make their knowledge questionable. About repetition, so that it can have validity in terms of the informativeness of the utterance, it must deny the existence of the previous repetition. This is how repetition cancels itself and consequently the utterance. We see that the irony of Oh! Soojung occurs by repetition with differences that cancels the story of the film.