Two stage-corpora of the newspaper LianHe ZaoBao from 2005-2008 (6678,6564 characters) and from 2018-2020 (3308,2690 characters) were collected and were used for Chinese characters statistics by the Huayu Research Center at Jinan University. Chinese character Species used in the two stage-corpora are 7004 and 6166 respectively. Chinese characters beyond the General Standard Chinese Character List in the mainland are 952 and 621 respectively, and the proportions of off-list characters are 13.59% and 10.07% respectively. The proportion of non-universal standardized Chinese characters decreased by 3.52 percentage points, indicating that Chinese characters used in the rear stage of LianHe ZaoBao are more consistent with those in mainland China. The Statistics, recording and sorting of the Chinese characters used in LianHe ZaoBao will help us understand the current Chinese characters ecology in Singapore and understand the commonalities and differences of Chinese characters between China mainland and Singapore. Based on the survey, we can explore the feasibility, methods and scope of the Chinese characters differences between Singapore and the mainland, as well as the strategies of compiling global Chinese dictionaries and further thinking about cross-border Chinese characters coordination.

The meaning of the word Di Chu (抵觸) was first carried by the character Di (牴). Due to the changes in the structural features of the glyphs that represent meaning, Di (牴) changed its semantic symbol to get other glyph Di (觝). Afterwards, due to the continuous generalization of word meaning, Di (抵) is used to express the generalized meaning of Di Chu (抵觸). Through in-depth analysis, it can be seen that because they have the same phonetic symbol Di (氐), the three words Di (牴), Di (觝) and Di (抵) have the same etymological meaning contact. And then, the three words can be used interchangeably with each other. In the process of using the literature, Di (牴), Di (觝) and Di (抵) can be replaced by other different Chinese characters to express the same meaning of Di Chu (抵觸), such as Di (𤚃), Di (𧣎), Di (𢪔), and so on. By combing and analyzing the the relationships between this group of characters in practical use, we can see that this group of characters constitute a complete inter character relationship in practical use by changing semantic symbols, changing phonetic symbols, making errors in semantic symbols, making errors in phonetic symbols, moving the position of phonetic symbols, complicating phonetic symbols, simplifying phonetic symbols, and loaning phonetic. In the process of the evolution of Chinese characters, there will often be some changes in the shape of the characters, which brings some difficulties to our learning and research process to a certain degree. Therefore, the study of the relationships between this group of characters in practical use can provide a variety of help for the in-depth study of Chinese characters. Firstly, it can provide more abundant materials for the study of the history of Chinese characters. Then, it is beneficial to promote the process of Chinese character related research. Furthermore, it has some guiding functions for improving the collection and revision of dictionaries.

Chinese characters originated in China and are self-originating characters used to record and express Chinese. Chinese characters have continuity in the attributes of shape and meaning, show strong vitality, and are unique in the existing world writing system. Chinese characters have experienced a long history of use and development, and the unique phonological structure has contributed to an important transformation in the history of Chinese characters development with an irreplaceable trend. The relationship between the three elements of Chinese character shape, sound and meaning is complex and entangled, and needs to be analyzed in detail for specific issues. The paper bases on the practice idea of interpreting exegesis by sound and makes a new interpretation of the character Yi (医) and Yi (殹) by using academic research results. The meaning of Yi (医) is ‘something used to hide a bow and arrow’. The meaning of Yi (殹) is the same as Yi (医). According to inductive analysis, the characters with Yi (殹) as their radical have the meaning of ‘hidden’. And Yi (殹) further extended the meaning of ‘black’. Then Yi (殹) is often used as a phonetic sign.

Shirakawa Shizuka (白川靜) thinks, “yan (彥)”, “chan (產)”, “yan (顏)” three characters are the characters that show the tattooed character on the forehead. He carried out three aspects of arguments: 1. Glyphs and meanings; 2. Tattoo custom of uncivilized people; 3. Language use cases. In fact, Shirakawa Shizuka’s arguments in three aspects are all wrong: 1. His interpretation of “yan (彥)”, “chan (產)” and “yan (顏)” is wrong. He cited the tattoo custom of the uncivilized people to prove the original meaning of “yan (彥)” and “yan (顏)” is wrong. His understanding of some of the words he quoted was wrong. Moreover, there is something illogical about his argument. Therefore, his arguments are unreasonable. There are mistakes in Shirakawa Shizuka’s interpretation of human forehead tattoo Characters.

This article introduces the Korean “vulgar characters” recorded in the “Jaseo Jibyo” (《字書輯要》) written in the late Joseon Dynasty with the addition of Dong-vulgar corrupt characters (referred to as “Dong-su characters”), and to clarify its academic significance for the purpose. The article contains a total of 117 vulgar Chinese characters, which were probably written in the late 19th or early 20th century. It includes various common and special characters that were seen at that time, so that we can understand the use of common characters in the late Joseon Dynasty. For this reason, this article has made the “Popular Characters”, and compared with the square-printed edition “Shiwencuo” which preserved the alien society at that time, and obtained the universal use of the common characters. The “vulgar words” are divided into four categories: “①omit, ②add, ③replace, and ④symbolize”. Then, taking the characters (國guo), 伩(儒 ru), and (聖sheng) as seen in the “Dong-vulgar characters” as examples, the cultural awareness hidden behind the characters is analyzed in detail, in order to navigate the cultural research of variant characters. Attached is the “Popular Character Catalog” attached to the “Manuscript Addition and Deletion of Yeomlag Pung-a”(《增删濂洛風雅》) collected by the author for comparison and reference.

하(夏)나라와 상(商)나라는 중국 노예제도 사회의 초기 단계 이다. 이 시대는 문헌 자료가 부족하기 때문에 하나라와 상나 라의 역사는 고고학적 성과에 더 많이 의존하고 있다. 갑골문 은 고대 점복(占卜)의 유물로 상나라의 원시종교시대 문화라고 할 수 있다. 당시의 지배 이데올로기 상황에서는 어려운 일이 있으면 반드시 신에게 점을 쳐 길흉을 결정하였다. 아울러 이 시대에서는 굿이 크게 성행하였으며 국가적 대사이었다. 특히 갑골문은 언어를 바탕으로 발전한 것으로 인류가 원시에서 문 명으로 나아가는 징표의 하나인 문자 산생의 주요한 자료이다. 이렇게 본다면 갑골문은 지식을 전파하기 위한 도서로 사용되 는 것이 아니라 오직 상나라의 왕실만을 위한 것일 수도 있다. 갑골문의 하나 하나는 정인(貞人)에 의한 상왕(商王)을 위해 점 친 결과였다. 갑골문은 상왕과 신(神)과 주고받는 교환부호(書 信)이며, 이들은 오늘날 우리에게 유용한 사실을 규명하는 좌표 의 하나이다. 본고는 그 속에서 춤꾼과 무당이 나타나는 문화 와 특징의 일면을 규명하기 위한 것이다.

It has been more than 40 years since Yunmeng Qin bamboo slips were unearthed. As the first batch of Qin bamboo slips unearthed, it is close to the truth of the Qing dynasty. Because the unearthed bamboo slips are clear and easily to recognize, most of them are complete, which provides favorable conditions for the in-depth study of Yunmeng Qin bamboo slips. To start with, the aim of this paper is to explore the special words used in the development period of modal particles, to clarify the development context of the evolution of modal particles, and to sort out the internal differences of the evolution of modal particles in Yunmeng Qin bamboo slips. We give a possibility for Yi (殹) and Ye (也), which seems to alternate between Yunmeng Qin bamboo slips. Secondly, we found the factors to these change: dialect, country, written forms and customs. Also, we set many examples to prove Yi (殹) and Ye (也) in Yunmeng Qin bamboo slips truly alternative. The time of Yunmeng Qin bamboo slips was written at about the end of the Warring States period to the early Qin Dynasty, which was the time when the words were not solidified. In this period, the use of words was chaotic, and modal particles showed different use of words because of their distinctive regional characteristics, that is, the diversification of writing forms. Especially, Yi (殹) and Ye (也) were two modal particles in Yunmeng Qin bamboo slips. As a Qin character, commonly seen in Yunmeng Qin bamboo slips, Yi (殹) is often used as a modal particle in the slips of Qing dynasty, which has been discussed by senior scholars such as Li Xueqin and Chen Zhaorong. Mr. Li talked about Yi (殹) and “habitually seen in Qin Bamboo Slips” in his article “an Investigation of Ancient Philology of Qin Bamboo Slips”; When discussing the evolution of Qin characters, Mr Chen interpreted Yi (殹) as a mood auxiliary word with both regional and contemporary characteristics.

Epitaph is a kind of significant unearthed literature. It provides great values for historical culture and language research. The correct interpretation of epitaphs is the premise and basis of using these literatures to engage in scientific research foundation. In recent years, scholars have made good research achievements by using epitaph materials and solved many difficult problems. However, due to the complexity of the characters system and the need for more classical literature and history knowledge for the interpretation of epitaphs, some interpretation of characters and research of allusions still need to be broken through and improved. Therefore, in order to provide reference for the research of stone inscriptions, the published rubbings and inscriptions are selected to analyze the characters misreading which caused by unknown allusions, and explain several allusion words.

The study of Chinese vulgar characters is one of the important contents in the study of modern Chinese characters, and it is also one of the important contents in the study of the dissemination of Chinese characters. Based on the 81 poems and more than 300 folk characters in the Vietnamese Chinese document “Giới Hiên Collected Poems”, this paper explores the nature of Chinese vulgar characters and related issues. The nature of Chinese vulgar characters can be characterized from the perspective of Chinese character shape, structure and function: Vulgar characters are used by the civil community, with different forms of different forms, different components of the composition of the word, often used to record and correspond to the orthography of the Chinese character. Clarifying the nature of “vulgar characters” is of great significance to its ontology research, modern Chinese research, and Chinese character dissemination research.

As the largest written Chinese dictionary in the Joseon Dynasty, “Gujin Shilin” contains a wealth of Korean vulgar words. This paper takes the Korean Kanji Words in “Gujin Shilin” as an example, analyzes the Korean common characters used in the entry, and summarizes the characteristics of the common characters in the inheritance of “Liushu”, such as associative compounds, pictophonetic characters, and phonetic loan characters, as well as the simplification of the form, the symbolization of the components, and the components of the common characters. The variation law of functionalization and reconstruction of pronunciation and meaning is beneficial to the research on the spread and development of popular characters outside the territory.

There are a lot of problems in the existing databases of ancient characters, such as the digital processing obstacles of Gaiji (characters excluded in character sets), the defects of information technology, and a lack of completeness. The newly released “digital resource library for intelligent Internet search of ancient characters” makes the following breakthrough: it achieves full coverage of all types of ancient characters in all dynasties, and realizes the carrier conversion of character data with strict digital standards, allows the the further processing of materials and the intelligent recognition search technology, and forms the series of thematic databases. There are two major tasks for the future development of the digital resource library of Chinese characters: the development of international standards for ancient character sets, and the further processing and sorting of ancient character materials for the intelligent research of ancient characters.

This paper introduces the current status of artificial intelligence-based recognition of Chinese characters and machine translation of Chinese characters (Classical Chinese texts), which is currently underway in Korea, and suggests future tasks. For the recognition of Chinese characters, this paper discusses the Chinese character segmentation using the Mask R-CNN algorithm and the Chinese character classification method using the Inception- Resnet-V2 algorithm, and explores the significance and limitations of the construction of Chinese character forms database. Regarding machine translation, this paper looks at the development of machine translation technology from Rule-Based Machine Translation (RBMT) to Neural Machine Translation (NMT); then, introduces the principles of neural network machine translation and techniques applied to improve performance. There are two types of machine translation for Classical Chinese texts: the machine translator provided by Baidu and the translator developed by the Institute for the Translation of Korean Classics (ITKC). Although the Baidu machine translator has various errors, the overall translation performance is somewhat higher than that of ITKC's machine translator. The ITKC's translator performs better than the Baidu translator in certain areas, but falls short of the Baidu translator in translating various types of Classical Chinese texts. In order to improve the performance of the machine translation of Classical Chinese texts, it is necessary tobuild a cloud-based translation platform, expand a high-quality parallel corpus, develop an additional system to improve machine translation performance, and develop a highly reliable translation evaluation method.

인간은 문장이나 담화에서 이동, 운율적 강조 등의 방법으로 진리 조건적인 의미를 바꾸지 않으면서도 청자에게 효과적으로 전달하기 위해 정보를 구조화한다. 교사가 표현하는 한자의 ‘형음의’의 담화 구조도 신・구 정보적 특징을 지닌 분절된 정보가 될 수 있다. 실제로 이 ‘X는 Y이다’라는 판단구는 교수자, 학습자의 낭독 과정 속에서 충분히 발생한다. 이에 본고는 한자의 형음의를 제시하는 구조를 3 가지로 분류했다. 각각 ①식(예 : 靑 청 푸르다), ②식(예 : 靑 푸르다 청), ③식(예 : 靑 푸를 청)으로 개괄하고 이 3가지 구조 방식에 의사소통역량과 파도 모형이론을 적용하여 정보량 차이의 존재 여부를 살피고 각 식의 기능적 측면에서 접근했다. ①식(예 : 靑 청 푸르다)은 뜻에 중점을 둔 구조로 특히 오른쪽에 열린 공간을 통해서 의미를 더 자세히 제시할 수 있는 구조로 한문의 독해에 유용한 구조이고, ②식 (靑 :푸르다 청)은 언어 생활에서의 활용을 강조하되, 문장 독해 학습에도 중점을 둔 구조로 주로 교수자들이 선호한 구조이다. ③식은 수식어‧중심어의 단순한 통사구조를 통해 학생들이 뜻을 쉽게 이해하고, 口誦을 쉽게 할 수 있는 구조로 언어생활에서 사용되는 음이 강조된 구조이 고 한자서의 音義의 설명에 유용한 구조이다. 이를 통해 한자의 형음의를 표현한 순서와 방법의 차이에 따라 전달하는 의미에 차이가 있을 수 있어 이에 해당하는 적당한 방법을 모색하는 것이 필요하고 한문 교육과 관련된 한자의 형음의를 표시하는 데에는 구습을 답습하지 않고 목표와 성격에 따라 합당한 구조의 모색을 강조했다.

본고는《全唐诗补编》와《全唐文补编》속의 “ ”, “ ”, “ ”, “ ”, “ ”, “ ”, “ ”, “ ”, “ ”, “ ”등 10개의 유니코드 미등재 의난자(疑难字)를 관련 문헌, 자형의 변천, 기타 증거 자료의 세 방면에서 고찰하여 개별 글자 간의 관계를 밝혀 시문 속에서의 의난자를 고증하 여 그 해석의 어려움을 해소하고자 하였다.《全唐诗补编》,《全唐文补编》, 未编码疑难字, 考辨

The Tay people are the ethnic minorities with the largest population in Viet Nam, mainly distributed in the Northern Uplands and Midlands, mostly concentrated in the provinces of Cao Bang, Lang Son, Tuyen Quang and Ha Giang. Over the long history of development, along with the development and improvement of their language, the Tay people have gradually created a type of writing system using the graphic, phonetic, and meaning elements of Chinese characters in combination with indigenous phonetic and linguistic elements, to create the system that is called the Nom-Tay scripts or the Nom script of the Tay ethnic group. Traditional Tay literature is mainly recorded in this Nom - Tay script. The article reliesupon the texts that belong to the genre of narrative poetry (in this genre, a story is written as a long poem) written in Nom - Tay- the most significant part of the written classical folk literature of the Tay ethnic group. Materials from the texts, currently stored at the Institute of Sino - Nom Studies (Vietnam Academy of Social Sciences), will be used to conduct an analysis of the usage and the method of writing of the Chinese characters in these texts. Thereby, the article strives to confirm the important role and the ample appearance of the Chinese characters in VietnameseNom- Tay texts.