Online Resources by Si Nae Park
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Korean Rare Books & Textual Studies (KRBATS) is an online resource that seeks to serve as:
... more Korean Rare Books & Textual Studies (KRBATS) is an online resource that seeks to serve as:
(1) a one-stop hub that brings together Korean rare books that are currently held by three different units within Harvard University: the Korean Collection at the Harvard-Yenching Library, the Harvard Art Museums, and the Harvard Map Collections; and
(2) an ongoing bibliographic and book-historical research tool for researchers, teachers, educators of, and anyone interested in, Korean antiquarian books and the cultural history of the book in Korea. It charts the whereabouts of Korean antiquarian and rare books held by various libraries and research institutes around the world. It builds an up-to-date bibliography of recent research findings for the understanding of the history of the book in Korea. And it develops a glossary of Korean rare book terminology.
KRBATS was officially launched on December 16, 2023 at the成均館大 BK21: 東Asia 古典學 未來人材 敎育硏究팀, 第3回 國際學術會議: “東Asia 文獻學 硏究의 成果와 展望—目錄學의 標準 및 活用方案과 文獻發掘 成果를 中心으로.
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This timeline is an online resource developed for teachers, researchers, and students of premoder... more This timeline is an online resource developed for teachers, researchers, and students of premodern Korean humanities. It offers an up-to-date bird's-eye-view of which titles of Korean literary and historical texts have been translated into English and when particular translations were published (and reprinted). The timeline thus lends a sense of how the study of premodern Korea has developed and where it is now. The timeline uses an open-source platform TimelineJS (timeline.knightlab.com/).
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Books (Monograph) by Si Nae Park
As the political, economic, and cultural center of Chosŏn Korea, eighteenth-century Seoul epitomi... more As the political, economic, and cultural center of Chosŏn Korea, eighteenth-century Seoul epitomized a society in flux: It was a bustling, worldly metropolis into which things and people from all over the country flowed. In this book, Si Nae Park examines how the culture of Chosŏn Seoul gave rise to a new vernacular narrative form that was evocative of the spoken and written Korean language of the time.
The vernacular story (yadam) flourished in the nineteenth century as anonymously and unofficially circulating tales by and for Chosŏn people. The Korean Vernacular Story focuses on the formative role that the collection Repeatedly Recited Stories of the East (Tongp’ae naksong) played in shaping yadam, analyzing the collection’s language and composition and tracing its reception and circulation. Park situates its compiler, No Myŏnghŭm, in Seoul’s cultural scene, examining how he developed a sense of belonging in the course of transforming from a poor provincial scholar to an urbane literary figure. No wrote his tales to serve as stories of contemporary Chosŏn society and chose to write not in cosmopolitan Literary Sinitic but instead in a new medium in which Literary Sinitic is hybridized with the vernacular realities of Chosŏn society. Park contends that this linguistic innovation to represent tales of contemporary Chosŏn inspired readers not only to circulate No’s works but also to emulate and cannibalize his stylistic experimentation within Chosŏn’s manuscript-heavy culture of texts.
The first book in English on the origins of yadam, The Korean Vernacular Story combines historical insight, textual studies, and the history of the book. By highlighting the role of negotiation with Literary Sinitic and sinographic writing, it challenges the script (han’gŭl)-focused understanding of Korean language and literature.
https://cup.columbia.edu/book/the-korean-vernacular-story/9780231195423
https://www.jstor.org/stable/10.7312/park19542
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Books (Co-edited) by Si Nae Park
Score One for the Dancing Girl presents more than a hundred stories from an early-nineteenth-cent... more Score One for the Dancing Girl presents more than a hundred stories from an early-nineteenth-century collection of yadam stories, the Kimun ch’onghwa (“Compendium of Records of Hearsay”). Prose tales that feature historical people and places but may also include fantastical elements, the yadam stories in this volume feature ghosts and magic, courtesans and sex, and court politics. They constitute both an entertaining literary collection and a rich treasure trove of information about life in seventeenth and eighteenth-century Korea.
The first volume in an ongoing series of translations of classic Korean literature by the Canadian missionary James Scarth Gale (1863–1937), Score One for the Dancing Girl includes the original Literary Sinitic (hanmun) text and Gale’s English translation. Both the hanmun and English are extensively annotated. Introductory essays by Ross King and Si Nae Park discuss the yadam genre, Gale’s life and career, and the ways in which his background as a Christian missionary affected the translations.
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Papers by Si Nae Park
Cosmopolitan and Vernacular in the World of Wen 文 Reading Sheldon Pollock from the Sinographic Cosmopolis, edited by Ross King, 2023
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Ecologies of Translation in East and South East Asia, 1600-1900 edited by Li Guo, Patricia Sieber, and Peter Kornicki, 2022
The standard origin story of Chosŏn fiction glossaries of Shuihuzhuan, Xixiangji, Sanguozhiyanyi,... more The standard origin story of Chosŏn fiction glossaries of Shuihuzhuan, Xixiangji, Sanguozhiyanyi, and Xiyouji goes that they emerged primarily because Chosŏn readers lacked linguistic profijiciency in vernacular Chinese. Contextualizing fijiction glossaries within the Chosŏn reception discourse of the four titles of late imperial Chinese fijiction and examining the patterns of explication undergirding fijiction glossaries in comparison with those of a glossary of Zhuzi yulei, I instead assert that fijiction glossaries were Chosŏn readers' cultural response to the eloquence of plain Chinese in novelistic writing. Further, I explain that fijiction glossaries are a textual space within which the creative, performative, and afffective eloquence of Korean is contrasted with the limited articulacy of Literary Sinitic.
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The Routledge Companion to Korean Literature edited by Heekyoung Cho, 2022
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East Asian Society and Publishing, 2021
Early twentieth-century Korean publishing was undergirded by a twofold urgency: the construction ... more Early twentieth-century Korean publishing was undergirded by a twofold urgency: the construction of a new inscriptional culture premised on the telos of text production using the Korean writing system and the imperatives of the production of knowledge about Korea's past against colonial censorship and colonial episteme. This paper traces early twentieth-century reception of yadam texts from Chosŏn Korea (1392-1910). The paper first examines how the 'Syosyŏl' (쇼셜 小說) section of the Korean-language weekly Kyŏnghyang sinmun (Capital and Provinces Weekly, 1960.10.19-1910.12.30) integrated eighteen Chosŏn yadam textes in 1909 and next analyzes the rhetorical framing and orthographic materiality of several collections of tales from precolonial Korea in the 1910s and 1920s. These two reception moments formed a process of transcontextualization that authenticated tales of precolonial Korea as heritage tales, priming Korean co-nationals to romance Korea's precolonial past as an idyllic haven and a wellspring of national pride.
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Harvard Journal of Asiatic Studies, 2019
This article explores instantiations of cosmopolitan-vernacular mediation within the sinographic ... more This article explores instantiations of cosmopolitan-vernacular mediation within the sinographic cosmopolis. Placing the publication of the Chosŏn (1392–1910) Vernacularized Classics, published by the Office of Review and Rectification, within the larger context of evolving reading technologies and state Confucianism, this article highlights how the Chosŏn state mobilized orality (utterance) and aurality (hearing) to supply Chosŏn readers with the voice of an imaginary tutor who specializes in vocalization that they could simulate. This standardized vocalization recipe became the representative sound of learning in Chosŏn as the practice of simulating the tutor's voice became a normalized part of preparing for the civil service examinations. This article shows how the creation of The Vernacularized Classics generated a new erudite linguistic register that shaped the soundscape of Chosŏn society.
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Muncha wa sangsang 문자와 상상 (Script & Imagination), 2018
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Score One for the Dancing Girl and Other Stories from the ‘Kimun ch’onghwa’: A Story Collection from Nineteenth-Century Korea, 2016
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Introduction:
The present paper is an intertextual interrogation of four versions that circula... more Introduction:
The present paper is an intertextual interrogation of four versions that circulated during the Chosŏn dynasty of the life story of an eighteenth-century figure named Yŏm Sit’ak (1638-1739). This intertextual interrogation explores the interconnectedness between a 1716-text entitled Yŏm sŭng chŏn 廉丞傳 (Tale of Steward Yŏm) and three retellings that share the same core plot, or “material”, which valorizes the loyalty of a steward (kyŏm’in 傔人) named Yŏm Sit’ak toward his master Hŏ Chŏk 許積 (style Mukchae 默齋; 1610-1680), and various adventures Yŏm experiences in his life. The original author Kim Kyŏngch’ŏn 金敬天 (style Sonwa 巽窩; 1675-1765) reveals in his postfaces that his text is his re-telling of the protagonist Yŏm Sit’ak’s autobiographical recount. The following four texts are discussed in this paper: (1) the aforementioned original by Kim Kyŏngch’ŏn, (2) the Yŏm Sit’ak chŏn 廉時度傳 (Tale of Yŏm Sit’ak) by Mok Manjung 睦萬中, and (3 and 4) two untitled entries of 310 and 436 from the Kimun ch’onghwa 記聞叢話 (Compendium of Recorded Anecdotes and Hearsays) by anonymous authors.
This intertextual comparison reveals that the figure of Hŏ Chŏk—Yŏm Sit’ak’s master—weighs heavily on the three retellings in question in that the retellings and the original differ most in terms of their portrayal of Hŏ Chŏk. The differences are conspicuous to the point of polarity. This paper treats these positive and negative alterations of Hŏ Chŏk’s image as sites in which the re-tellers’ creative impulse is revealed. Thus, this paper assumes that these changes are not merely innocuous variations, but deliberate and strategic alterations. Furthermore, this paper treats the ways the re-tellers conduct their textual alterations as indications of the ways in which these re-tellers attempt to affect their intended readers. Simply put, this paper asks: how and for what purpose were these textual alterations made in the retelling?
Gérard Genette’s notion of hypertextuality is particularly useful in delineating the typology of the transformational methods deployed by the re-tellers. In his Palimpsests, Genette argues for the notion of hypertextuality in literary production insofar as literary works are not original, unique or unitary wholes; rather, they are “particular articulations (selections and combinations) of an enclosed system.” Thus, he declares that all literary works are potentially hypotexts, from which their hypertext(s), derived from (an)other preexistent text(s), i.e., hypotext(s), are grafted. The usefulness of Genette’s notion is extended through his nearly exhaustive list of the methods a hypertextual author can use in the creation of a text in its own right. In this hypertextual interrogation, I pay particular attention to the following types of textual augmentation: added commentary and preface; textual reduction in the form of summary or excision: and manipulation of honorific titles. My goal is to determine how and why the hypertextual authors, while maintaining Yŏm Sit’ak as the protagonist, attempt what Genette terms a “transfocalization” (shift of focus) of Hŏ Chŏk in their retellings of the Yŏm sŭng chŏn.
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Thesis Chapters by Si Nae Park
MA thesis, Asian Studies, University of British Columbia, 2005
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Literary Translations by Si Nae Park
Premodern Korean Prose: An Anthology, 2018
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Reviews by Si Nae Park
Journal of Asian Studies, 2015
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Drafts by Si Nae Park
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Uploads
Online Resources by Si Nae Park
(1) a one-stop hub that brings together Korean rare books that are currently held by three different units within Harvard University: the Korean Collection at the Harvard-Yenching Library, the Harvard Art Museums, and the Harvard Map Collections; and
(2) an ongoing bibliographic and book-historical research tool for researchers, teachers, educators of, and anyone interested in, Korean antiquarian books and the cultural history of the book in Korea. It charts the whereabouts of Korean antiquarian and rare books held by various libraries and research institutes around the world. It builds an up-to-date bibliography of recent research findings for the understanding of the history of the book in Korea. And it develops a glossary of Korean rare book terminology.
KRBATS was officially launched on December 16, 2023 at the成均館大 BK21: 東Asia 古典學 未來人材 敎育硏究팀, 第3回 國際學術會議: “東Asia 文獻學 硏究의 成果와 展望—目錄學의 標準 및 活用方案과 文獻發掘 成果를 中心으로.
Books (Monograph) by Si Nae Park
The vernacular story (yadam) flourished in the nineteenth century as anonymously and unofficially circulating tales by and for Chosŏn people. The Korean Vernacular Story focuses on the formative role that the collection Repeatedly Recited Stories of the East (Tongp’ae naksong) played in shaping yadam, analyzing the collection’s language and composition and tracing its reception and circulation. Park situates its compiler, No Myŏnghŭm, in Seoul’s cultural scene, examining how he developed a sense of belonging in the course of transforming from a poor provincial scholar to an urbane literary figure. No wrote his tales to serve as stories of contemporary Chosŏn society and chose to write not in cosmopolitan Literary Sinitic but instead in a new medium in which Literary Sinitic is hybridized with the vernacular realities of Chosŏn society. Park contends that this linguistic innovation to represent tales of contemporary Chosŏn inspired readers not only to circulate No’s works but also to emulate and cannibalize his stylistic experimentation within Chosŏn’s manuscript-heavy culture of texts.
The first book in English on the origins of yadam, The Korean Vernacular Story combines historical insight, textual studies, and the history of the book. By highlighting the role of negotiation with Literary Sinitic and sinographic writing, it challenges the script (han’gŭl)-focused understanding of Korean language and literature.
https://cup.columbia.edu/book/the-korean-vernacular-story/9780231195423
https://www.jstor.org/stable/10.7312/park19542
Books (Co-edited) by Si Nae Park
The first volume in an ongoing series of translations of classic Korean literature by the Canadian missionary James Scarth Gale (1863–1937), Score One for the Dancing Girl includes the original Literary Sinitic (hanmun) text and Gale’s English translation. Both the hanmun and English are extensively annotated. Introductory essays by Ross King and Si Nae Park discuss the yadam genre, Gale’s life and career, and the ways in which his background as a Christian missionary affected the translations.
Papers by Si Nae Park
Link to the paper:
http://archive.adanmungo.org/ebook/1545088622.6572/1545089451.456/mobile/index.html#p=94
Link to 문자와 상상:
http://adanmungo.org/view.php?idx=23841
The present paper is an intertextual interrogation of four versions that circulated during the Chosŏn dynasty of the life story of an eighteenth-century figure named Yŏm Sit’ak (1638-1739). This intertextual interrogation explores the interconnectedness between a 1716-text entitled Yŏm sŭng chŏn 廉丞傳 (Tale of Steward Yŏm) and three retellings that share the same core plot, or “material”, which valorizes the loyalty of a steward (kyŏm’in 傔人) named Yŏm Sit’ak toward his master Hŏ Chŏk 許積 (style Mukchae 默齋; 1610-1680), and various adventures Yŏm experiences in his life. The original author Kim Kyŏngch’ŏn 金敬天 (style Sonwa 巽窩; 1675-1765) reveals in his postfaces that his text is his re-telling of the protagonist Yŏm Sit’ak’s autobiographical recount. The following four texts are discussed in this paper: (1) the aforementioned original by Kim Kyŏngch’ŏn, (2) the Yŏm Sit’ak chŏn 廉時度傳 (Tale of Yŏm Sit’ak) by Mok Manjung 睦萬中, and (3 and 4) two untitled entries of 310 and 436 from the Kimun ch’onghwa 記聞叢話 (Compendium of Recorded Anecdotes and Hearsays) by anonymous authors.
This intertextual comparison reveals that the figure of Hŏ Chŏk—Yŏm Sit’ak’s master—weighs heavily on the three retellings in question in that the retellings and the original differ most in terms of their portrayal of Hŏ Chŏk. The differences are conspicuous to the point of polarity. This paper treats these positive and negative alterations of Hŏ Chŏk’s image as sites in which the re-tellers’ creative impulse is revealed. Thus, this paper assumes that these changes are not merely innocuous variations, but deliberate and strategic alterations. Furthermore, this paper treats the ways the re-tellers conduct their textual alterations as indications of the ways in which these re-tellers attempt to affect their intended readers. Simply put, this paper asks: how and for what purpose were these textual alterations made in the retelling?
Gérard Genette’s notion of hypertextuality is particularly useful in delineating the typology of the transformational methods deployed by the re-tellers. In his Palimpsests, Genette argues for the notion of hypertextuality in literary production insofar as literary works are not original, unique or unitary wholes; rather, they are “particular articulations (selections and combinations) of an enclosed system.” Thus, he declares that all literary works are potentially hypotexts, from which their hypertext(s), derived from (an)other preexistent text(s), i.e., hypotext(s), are grafted. The usefulness of Genette’s notion is extended through his nearly exhaustive list of the methods a hypertextual author can use in the creation of a text in its own right. In this hypertextual interrogation, I pay particular attention to the following types of textual augmentation: added commentary and preface; textual reduction in the form of summary or excision: and manipulation of honorific titles. My goal is to determine how and why the hypertextual authors, while maintaining Yŏm Sit’ak as the protagonist, attempt what Genette terms a “transfocalization” (shift of focus) of Hŏ Chŏk in their retellings of the Yŏm sŭng chŏn.
Thesis Chapters by Si Nae Park
Literary Translations by Si Nae Park
Reviews by Si Nae Park
Drafts by Si Nae Park
(1) a one-stop hub that brings together Korean rare books that are currently held by three different units within Harvard University: the Korean Collection at the Harvard-Yenching Library, the Harvard Art Museums, and the Harvard Map Collections; and
(2) an ongoing bibliographic and book-historical research tool for researchers, teachers, educators of, and anyone interested in, Korean antiquarian books and the cultural history of the book in Korea. It charts the whereabouts of Korean antiquarian and rare books held by various libraries and research institutes around the world. It builds an up-to-date bibliography of recent research findings for the understanding of the history of the book in Korea. And it develops a glossary of Korean rare book terminology.
KRBATS was officially launched on December 16, 2023 at the成均館大 BK21: 東Asia 古典學 未來人材 敎育硏究팀, 第3回 國際學術會議: “東Asia 文獻學 硏究의 成果와 展望—目錄學의 標準 및 活用方案과 文獻發掘 成果를 中心으로.
The vernacular story (yadam) flourished in the nineteenth century as anonymously and unofficially circulating tales by and for Chosŏn people. The Korean Vernacular Story focuses on the formative role that the collection Repeatedly Recited Stories of the East (Tongp’ae naksong) played in shaping yadam, analyzing the collection’s language and composition and tracing its reception and circulation. Park situates its compiler, No Myŏnghŭm, in Seoul’s cultural scene, examining how he developed a sense of belonging in the course of transforming from a poor provincial scholar to an urbane literary figure. No wrote his tales to serve as stories of contemporary Chosŏn society and chose to write not in cosmopolitan Literary Sinitic but instead in a new medium in which Literary Sinitic is hybridized with the vernacular realities of Chosŏn society. Park contends that this linguistic innovation to represent tales of contemporary Chosŏn inspired readers not only to circulate No’s works but also to emulate and cannibalize his stylistic experimentation within Chosŏn’s manuscript-heavy culture of texts.
The first book in English on the origins of yadam, The Korean Vernacular Story combines historical insight, textual studies, and the history of the book. By highlighting the role of negotiation with Literary Sinitic and sinographic writing, it challenges the script (han’gŭl)-focused understanding of Korean language and literature.
https://cup.columbia.edu/book/the-korean-vernacular-story/9780231195423
https://www.jstor.org/stable/10.7312/park19542
The first volume in an ongoing series of translations of classic Korean literature by the Canadian missionary James Scarth Gale (1863–1937), Score One for the Dancing Girl includes the original Literary Sinitic (hanmun) text and Gale’s English translation. Both the hanmun and English are extensively annotated. Introductory essays by Ross King and Si Nae Park discuss the yadam genre, Gale’s life and career, and the ways in which his background as a Christian missionary affected the translations.
Link to the paper:
http://archive.adanmungo.org/ebook/1545088622.6572/1545089451.456/mobile/index.html#p=94
Link to 문자와 상상:
http://adanmungo.org/view.php?idx=23841
The present paper is an intertextual interrogation of four versions that circulated during the Chosŏn dynasty of the life story of an eighteenth-century figure named Yŏm Sit’ak (1638-1739). This intertextual interrogation explores the interconnectedness between a 1716-text entitled Yŏm sŭng chŏn 廉丞傳 (Tale of Steward Yŏm) and three retellings that share the same core plot, or “material”, which valorizes the loyalty of a steward (kyŏm’in 傔人) named Yŏm Sit’ak toward his master Hŏ Chŏk 許積 (style Mukchae 默齋; 1610-1680), and various adventures Yŏm experiences in his life. The original author Kim Kyŏngch’ŏn 金敬天 (style Sonwa 巽窩; 1675-1765) reveals in his postfaces that his text is his re-telling of the protagonist Yŏm Sit’ak’s autobiographical recount. The following four texts are discussed in this paper: (1) the aforementioned original by Kim Kyŏngch’ŏn, (2) the Yŏm Sit’ak chŏn 廉時度傳 (Tale of Yŏm Sit’ak) by Mok Manjung 睦萬中, and (3 and 4) two untitled entries of 310 and 436 from the Kimun ch’onghwa 記聞叢話 (Compendium of Recorded Anecdotes and Hearsays) by anonymous authors.
This intertextual comparison reveals that the figure of Hŏ Chŏk—Yŏm Sit’ak’s master—weighs heavily on the three retellings in question in that the retellings and the original differ most in terms of their portrayal of Hŏ Chŏk. The differences are conspicuous to the point of polarity. This paper treats these positive and negative alterations of Hŏ Chŏk’s image as sites in which the re-tellers’ creative impulse is revealed. Thus, this paper assumes that these changes are not merely innocuous variations, but deliberate and strategic alterations. Furthermore, this paper treats the ways the re-tellers conduct their textual alterations as indications of the ways in which these re-tellers attempt to affect their intended readers. Simply put, this paper asks: how and for what purpose were these textual alterations made in the retelling?
Gérard Genette’s notion of hypertextuality is particularly useful in delineating the typology of the transformational methods deployed by the re-tellers. In his Palimpsests, Genette argues for the notion of hypertextuality in literary production insofar as literary works are not original, unique or unitary wholes; rather, they are “particular articulations (selections and combinations) of an enclosed system.” Thus, he declares that all literary works are potentially hypotexts, from which their hypertext(s), derived from (an)other preexistent text(s), i.e., hypotext(s), are grafted. The usefulness of Genette’s notion is extended through his nearly exhaustive list of the methods a hypertextual author can use in the creation of a text in its own right. In this hypertextual interrogation, I pay particular attention to the following types of textual augmentation: added commentary and preface; textual reduction in the form of summary or excision: and manipulation of honorific titles. My goal is to determine how and why the hypertextual authors, while maintaining Yŏm Sit’ak as the protagonist, attempt what Genette terms a “transfocalization” (shift of focus) of Hŏ Chŏk in their retellings of the Yŏm sŭng chŏn.