• The Korean Journal of Archival Studies
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• no.75
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• pp.41-89
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• 2023

Since the enactment of the Act on the Management of Presidential Archives in 2007, the cases of electronic records transfer in the 16th President Roh Moo-hyun's administration have played the role of an advance guard in managing public records and served as a test bed for new electronic records management. When transferring the electronic records of the 19th President Moon Jae-in's administration, the electronic records transfer method of President Roh's administration was inherited, while several innovative attempts were made. For instance, the Presidential Archives have for the first time converted the electronic documents from institutions advising the President into a long-term preservation package and transferred them online. In addition, considering the characteristics of the data, the administrative information dataset of the Presidential record creation institutions was transferred to the SIARD standard. Furthermore, the Presidential Archives had websites transferred in the form of OVF as a pilot test and collected social media directly through the API. Thus this study investigated the transition process of the presidential electronic records transfers from the 16th President Roh Moo-hyun's administration to the 19th President Moon Jae-in's. In addition, major achievements and issues were analyzed centering on the transfer method by type of electronic records during President Moon Jae-in's administration, and future improvement plans were presented.

• The Korean Journal of Archival Studies
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• no.6
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• pp.225-262
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• 2002

Chief Consultant Archives Government Archives & Records Service -table of contents- 1. Introduction 2. Relationship of Historical Studies and Archive 3. Relationship of Archives and Archives 4. Conclusion; Historians, Archives, and Archivists, and Their Roles This essay is mainly written for historians who may have "little or limited experience" in dealing with archives and archivists in their course of historical research. It may sound very ridiculous to say that "historians have little or limited experience" in using archives but it is also true that many Korean historians have depended on various compiled editions of historical materials or personally donated and/or collected materials when they do research, rather than they would visit archives and search for the materials by themselves. This is the main reason for that the public archives in Korea have not served historians well and effectively, and vice versa, that historians have not visited archives sometime with no knowledge of archives, and have not requested opening of archives for their research. It is a simple fact that historian's study depends on the records he/she uses. Without records, there should be no history. Use of archives for historical research is a common thing and a must in modern archives. Records are selected to be preserved in archives for their preservation as well as their future use. Who select the records as archives? Archivists do mostly. Then, what are the criteria for the archivists to chose records as permanent preservable archives? Answers to this fundamental question have been provided by many historians and archivists. The closest answer may be that selecting archivists would be better trained and equipped with historical research and knowledgeable of the major trends in historical research. With his/her own experience of historical research and tracing the trends of historical studies and materials used in the historiography, they could chose better and appropriate records for future use using their prudence and discretion. It also means that historians have had influence on archivists in their selecting archives by providing the theme and context of historical studies of the time. Though not necessarily becoming a historian themselves, selecting or appraising archivists should understand the process of creating the records and should know how they become archives. This is a precondition to become a good archivist. But that's not all. They must know how the archives are used and what archives are used for what purposes. Among many other roles of modern archivists, selecting and describing the archives are the foremost tasks of an archivist. Archivists therefore developed modern methods to select future archives based on functional analysis and records series concept rather than a record file or item as a unit of selection. Historians are users or consumers of the archives held in the archives building or repository. The quality of their study depends on the "quality" of the materials they use. With the help of archivists not to mention of reference service, historians owe much to archivists in having an access to the materials they need, intellectually and physically. Too many closed archives and too long closed archives in the archives repository would benefit neither historians nor archivists. However, archivists can mostly react only to archive requests and demands made by historians for more wide accessibility. Using the FOIA, as in the U.S., or the Information Opening Act, as in case of Korea, historians can promote the use of historical materials as well as promoting accountability and transparence for the benefit to society as whole. In this context, it is vary desirable to establish a close professional relationship between historians and archivists even in the age of information society. At present, historians need more understanding of operation and importance of archives while archives administration need to realize the potential archival demands from research community and civil movement for clean government.

• The Korean Journal of Archival Studies
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• no.16
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• pp.303-339
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• 2007

"The damage incurred from forced mobilization under the Japanese Imperialism" means the life, physical, and property damage suffered by those who were forced to lead a life as soldiers, civilians attached to the military, laborers, and comfort women forcibly mobilized by the Japanese Imperialists during the period between the Manchurian Incident and the Pacific War. Up to the present time, every effort to restore the history on such a compulsory mobilization-borne damage has been made by the damaged parties, bereaved families, civil organizations, and academic circles concerned; as a result, on March 5, 2004, Disclosure act of Forced Mobilization under the Japanese Imperialism[part of it was partially revised on May 17, 2007]was officially established and proclaimed. On the basis of this law, the Truth Commission on Forced Mobilization under the Japanese Imperialism Republic of Korea[Compulsory Mobilization Commission hence after] was launched under the jurisdiction of the Prime Minister on November 10, 2004. Since February 1, 2005, this organ has begun its work with the aim of looking into the real aspects of damage incurred from compulsory mobilization under the Japanese Imperialism, by which making the historical truth open to the world. The major business of this organ is to receive the damage report and investigation of the reported damage[examination of the alleged victims and bereaved families, and decision-making], receipt of the application for the fact-finding & fact finding; fact finding and matters impossible to make judgment; correction of a family register subsequent to the damage judgement; collection & analysis of data concerning compulsory mobilization at home and from abroad and writing up of a report; exhumation of the remains, remains saving, their repatriation, and building project for historical records hall and museum & memorial place, etc. The Truth Commission on Compulsory Mobilization has dug out and collected a variety of records to meet the examination of the damage and fact finding business. As is often the case with other history of damage, the records which had already been made open to the public or have been newly dug out usually have their limits to ascertaining of the diverse historical context involved in compulsory mobilization in their quantity or quality. Of course, there may happen a case where the interested parties' story can fill the vacancy of records or has its foundational value more than its related record itself. The Truth Commission on Compulsory mobilization generated a variety of oral history records through oral interviews with the alleged damage-suffered survivors and puts those data to use for examination business, attempting to make use of those data for public use while managing those on a systematic method. The Truth Commission on compulsory mobilization-possessed oral history archives were generated based on a drastic planning from the beginning of their generation, and induced digital medium-based production of those data while bearing the conveniences of their management and usage in mind from the stage of production. In addition, in order to surpass the limits of the oral history archives produced in the process of the investigating process, this organ conducted several special training sessions for the interviewees and let the interviewees leave their real context in time of their oral testimony in an interview journal. The Truth Commission on compulsory mobilization isn't equipped with an extra records management system for the management of the collected archives. The digital archives are generated through the management system of the real aspects of damage and electronic approval system, and they plays a role in registering and searching the produced, collected, and contributed records. The oral history archives are registered at the digital archive and preserved together with real records. The collected oral history archives are technically classified at the same time of their registration and given a proper number for registration, classification, and keeping. The Truth Commission on compulsory mobilization has continued its publication of oral history archives collection for the positive use of them and is also planning on producing an image-based matters. The oral history archives collected by this organ are produced, managed and used in as positive a way as possible surpassing the limits produced in the process of investigation business and budgetary deficits as well as the absence of records management system, etc. as the form of time-limit structure. The accumulated oral history archives, if a historical records hall and museum should be built as regulated in Disclosure act of forced mobilization, would be more systematically managed and used for the public users.

• Korean Journal of Social Welfare
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• v.57 no.3
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• pp.73-103
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• 2005

This study takes of youth panel data(2002-2003), there is the purpose to know to youth employed's labor mobility conditions of employment status conversion and examine on factors affecting conversion of employment status. Main analysis result and policy imply, is as following. First, although youth employed's non-standard employment shows some decrease, employment youth hierarchy was construed that youth of our country is consisting very changefully because appear great turnover that is converted by unemployment or Not economically activity population same period. Specially, non-standard employment phenomenon of woman or low in scholarship person appeared notedly, and because phenomenon that is converted by unemployment or Not economically activity population is expose that is deepened, discriminating policy of government dimension is required for employment stabilization of these class. Second, show result that danger to escape to non-standard job risk trap which seeking employment activity of youth class is arranged case or company which is formed by official path is suitable becomes low, must formulate path of employment about youth class and improve qualitative level of employment through suitable job placement education of youth class or function (technology) level. Third, when was construed, but take into account that the although large enterprise have low risk in non-standard job, recently employment of youth class consists very limited, rather small scale business or smaller enterprise's competitive power preferably need to be plan. Finally, danger to non-standard job youth employed's company form is government connection wonder was expose that high, Such result can do that it is difficult by limited research period, but reflect actuality that youth unemployment policy of our country is enforced laying stress on public labor or unregular job employment such as internship system. Therefore, current youth unemployment policy may have to change by employment policy that can secure stable work record by youth class or act as bridge-building that promote conversion by full-time job.

• The Korean Journal of Archival Studies
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• no.54
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• pp.179-210
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• 2017

By redefining the concept of history, my colleagues and I have reformed our department in terms of curriculum and faculty members. This paper is a report of some of the conclusions that we have obtained from this procedure. Despite a long relationship, two disciplines do not seem to match or complement each other in the Korean education system. We believe that this is due to the fact that the Department of Korean History has focused on "national history (NH)." By conferring a privilege on NH, persons, families, societies, regions, and others were removed from NH. To make matters worse, a biased view that history is just an interpretation has prevailed, and the empiricism of history was weakened, which brought about an indifference in keeping records and archives. In East Asia, "history" means both modern history and archives. The concern about the authenticity of records did not come from H. Jenkinson or L. Duranti, and not even from the electronic environment or the Public Records Act of 1998. Key concepts such as records, documents-archives, manuscripts, authenticity, compilation-appraisal, arrangement, and description are different from their signifiant but are same or similar to their $signifi{\acute{e}}$. In case of "provenance" and "original order," they are used in education and practice in the traditional archives. History includes the recording, archiving, and the story or historiography of an event. In this context, the Department of Korean History should contain a more archives-oriented curriculum and select an archival-trained faculty. On the other hand, the department has accumulated long-term experience with appraisal and description of records; thus, archival science should absorb the criticism of the material. History will be shaken without the help of archives, while archives will lose their root without history. We are at the point in which we need to be reminded why we want to be a historian or an archivist, and for this, the more colleagues, the better.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.