In this dissertation, we try to find out the iconization of Shijing(詩經). In order to have better understanding of Shijing(詩經), different analysis was done in the matter of the confucian classic side. In ancient China, they had very old tradition of reading books in a specific way, which is called ‘Zuo Tu You Shu(左圖右書)’. This means that people would read books with the picture on the left side of the book, and the Chinese characters on the right side of the book. Because of this, iconography of the Shijing(詩經) varied after Late Eastern Han Dynasty period of time. The Illustration of the Shijing(詩經) can be divided into two kinds depending on the characteristics of the picture. The first kind is practical paintings of all things, which depicts flowers, tree, fish, or regular things in the daily life, and the second kind is poetry-based-Paintings, which translate poem into drawing. However, in my dissertation, I argue that the illustration of the Shijing(詩經) can be divided into three kinds, and the last one is character paintings. all three of this pictures contributed to the interpretation and dissemination of the Shijing(詩經). However, specifically character paintings mostly highlighted the confucian classic side of the Shijing(詩經). So far, illustration study of the Shijing(詩經) belittled the character paintings. This was because they had many letters, but few illustration that depicts the feature of the figure. However, if we look at the view of the letter studies, we need to pay more attention to the visual effect of the letter characters. That is because, visual aspects of letter characters can have enormous effect on the readers since they can incorporate more value beyond its own literal meaning of the letter.

문자는 언어를 기록하는 부호로서 문화의 일부분이고 문화의 발전을 촉진하며, 그 자체가 문화의 산물이다. 서예는 이러한 특징을 가진 문자를 떠날 수 없다. 문자학에서 문자를 연구하는 것은 일반적으로 형태[形]ㆍ소리[音]ㆍ의미[義] 세 가지 영역이다. 여기에서 형태는 바로 서예의 연구 영역이다. 서예는 고대에 ‘서도(書道)’ㆍ‘서학(書學)’ㆍ‘서법(書法)’ㆍ‘서사(書事)’ㆍ‘서세(書勢)’ㆍ‘서장(書狀)’이라 일컬었고, 또한 이를 간단히 ‘書’라 일컫기도 하였다. 그러나 어떠한 명칭이든 간에 항상 ‘書’라는 글자가 있었다. 서예는 원래 죽백에 글씨를 쓰고 일을 기록하는 기예를 가리켰다. 이후 서예는 발전 과정에서 서체가 점차 많아지고 기법이 날로 정미해짐에 따라 문자를 서사하는 점과 획, 그리고 기운과 풍신을 나타내며, 작가의 성격ㆍ감정ㆍ취미ㆍ소양ㆍ기질ㆍ사상 등 정신적 요소를 표현할 수 있었다. 따라서 서예는 이전 사람들이 흔히 말하는 ‘소도(小道)’ㆍ‘말류(末流)’가 아니라 반대로 이것으로부터 심오한 이치를 탐구하고, 민족성을 알며, 고금의 변화를 살필 수 있는 동양문화의 정수라 하겠다. 서예는 문자 중에서도 한자와 가장 좋은 궁합을 이루고 있다. 따라서 한자와 서예는 동양문화를 표현하는 데에 가장 중요한 매개체라 하겠다. 그러므로 여기에서는 먼저 한자의 특징에 대하여 살펴본 다음 한자서예의 예술관념 변천을 살펴보도록 하겠다. 그리고 이러한 기초에서 한자서예의 서사를 동작ㆍ지각ㆍ인지로 나누어 살펴봄으로써 서예의 과학적ㆍ이론적 근거를 제공하고자 한다. 이 글의 목적은 한자의 특징을 객관적으로 서술하고, 서예의 예술관념과 서사에서 나타나는 특징을 과학적이고 체계적이며 논리적으로 설명하여 동양의 특수문화 예술을 객관적으로 증명하고자 하는 데에 있다. 이 글을 통하여 전통문화를 선양하고 지금까지의 고정관념에서 벗어나 새로운 발전을 모색하는 데에 밑거름이 될 수 있다면, 분명 현실적 의의가 있다고 하겠다.

An advocate of the exclusive use of Hangul asks to an advocate of mixed use of Chinese characters. We don't have any problems in delivery of meaning by only using of Hangul, and don't get any educational effects by teaching Chinese characters, then why do we have to study Chinese characters mixed that are the remnants of Japanese colonial era, why do we increase studying burden and private education? On the other hand, an advocate of mixed use of Chinese characters ask to an advocate of the exclusive use of Hangul. We can't communicate clearly by only using of Hangul, and ㄴstudying Chinese characters strengthen thinking power, then why do we have to stop the mixed use of Chinese characters that is effective in education of students. There are big differences of opinion each other. How can we harmonize these two conflicting thoughts. In results, We have to stand not on the scene of a dispute but on the field of an education, and we have to watch and judge this problem as we think about my own child. Which is effective in understanding any vocaburary, and in improving Korean language ability? This question is the only one standard of choicing way to go. Learning and communicating capabilities, thinking and creating powers of students are the most important factors in judging way to go. Any other factors have to be excluded.

Cinema is a medium which develops narrative by image and sound. In Digital cinema times, it began to use diverse digital language to arrange diverse images in one screen image. The director Peter Greenaway uses digital hieroglyph to express diverse images in one shot. Pillow Book adopts skins to write letters (Hanzi) and develops narrative. By writing on screen space of skin this space transforms into Haptic space. In this movie Nakico’s father writes her name in her face. This writing name considers as creating rite which God creates human beings and gives their name. It becomes a rite in her birthdays. Her father's sister reads Pillow Book which does as a servant in a kingdom. Nakico always a writer who can write on her face and marries her husband who is a son of bookstore. But he does not write her name on her face and tears up her books. She divorces her husband and begins to work as a model in Paris. She happens to meet Jerome who tries to write her name on her face. But she does not satisfy because of her bad caligraphy and Jerome asks her to write letters on his skin. Afterwards, she became a writer and makes 13 pillow books. In this end part Nakico does writing rite on her daughter. The rite of writing of name on her daughter becomes a continuous task of family and a way of developing narrative.

Xin Qi-ji advocated war through all his life, he contacted with those elite society to get the opportunity to win favor and vote his Against of the Jin Dynasty. However, he suffered a lot of attacks and plots of the reconcilable party, since his special identity and their Government's corruption. In his homebound and official career for about sixty years, Jiaxuan leaved much wealth for others. This article analysed the historical background of Jiaxuan, combined with expressions of his life, and put forward to the opinion about his poem style.

在這幾年連續去世了韓國兩位在野漢學家-許棌和李雨燮。他們都繼承儒家傳統學問，終身實踐儒家教訓以外，中間不斷綴文賦詩，又竭誠講學，其門徒早已成爲桃李滿天下。 韩国的汉学，继承了两千多年的传统，这么长久的时间里，汉学及儒学都成为韩国文化的枢纽，不但杰出的汉学家也数不胜数，而且儒家思想一直奠定了韩国统治理念及个人道德价值规范。我们认为这也就是韩国传统文化本源之一。 不过到了现代，西方的文物盖住了全韩国，传统学校一律被淘汰，全国设立西式学校，教西方的文物以代替传统学问，现在的初学到大学里都难以看到我们自己的了.虽然如此，但是还有些人继承传统文化及学术，在巷间里独自研磨，不過并没受到学界的注目, 我们叫他们‘在野学人’。他们两位都在釜山地区作了讲学等学问活动，不幸2006年与2007年两位相继去世，只相隔一年的时间，继承传统学问的两大学者又成了过去的人物。 他们也表现了学问就是以实事求是、经世致用的现实精神。在做人方面就要实践圣人的教训，在文章方面则要能缀文赋诗，这两方面都要俱全，这就是他们终身实践的态度。 他們是在韓國繼承漢學的最後一代，他們終身注重學問的實踐，和我們現代學者大爲不同。現代人主要談理論，不求實際，空理空談多。在此透過兩位傳統漢學家的實踐精神來提供檢討現代學問的端緖，就是本文的主要目的。

至今对三言小说的研究，以爱情为主题特征作品的研究占绝大多数。作者在对其间不太受关注的历史人物为素材的多数作品的研究过程中，关注到以王安石为素材的≪警世通言≫第三卷≪王安石三难苏学士≫和第四卷≪拗相公饮恨半山堂≫这两部作品，注意到两部作品对王安石的刻画有着不同的两种角度。通过对两部作品的比较，仔细地考察了作品中所刻画的王安石对比性的人物形象。 通过对小说与实际历史记录的比较，及明代小说是如何对实际历史人物进行改编，使其小说化的比较分析，提高了对明代短篇小说的创作方式及类型的理解。 以类似本稿的研究为基础，作者有待通过对三言小说中与历史人物有关作品进行的持续研究、整理，对明代短篇小说类的创作类型及改编类型，能够进一步得出更为系统的研究成果。

评点是从历来古代中国文人所常用的文学批评方法。到明清时期，评点以小说和戏曲等民间文学为中心更普遍了。其主要的原因是由于当时出版业的发达和商业经济繁荣，出现了新的读者阶层。清初文学家而从事编辑及出版的张潮当时通过与文人交流的方式而读作品，同时借此互相交换信息和想法。可以说是今天的读书聚会活动。当时很多的文人为他的小品文集≪幽夢影≫做了评语。这本书成为被当时文人所爱读的畅销书。另外他的短篇小说选集≪虞初新志≫里的作品多是崭新而奇异的，每个作品都有他亲自做的评语，吸引了很多读者。因为≪幽夢影≫和≪虞初新志≫的新的评点方式和崭新的内容不但在当时，而且引起后人注目，因而产生了很多二流作品。从那样角度来看，我们可以肯定张潮的评点方式在一定程度上影响了文学批评和编辑及出版文化的发展。

The purpose of this research is to analyze the difference between meaning and function of the two psychological verbs ‘想(xiang)’ and ‘要(yao)’ meaning ‘hope.’ ‘想’ and ‘要’ are the two widely used words meaning ‘hope’ and are the most commonly used vocabularies. These two words can be interchanged when used to mean ‘hope’ but sometimes it is impossible to replace one another. Therefore, if both ‘想’ and ‘要’ have the meaning of ‘hope’ as their meaning and the purpose vary. This research tries to examine the meaning and use of ‘想’ and ‘要.’ The method of analyzing the difference between meaning and the role of the two psychological verbs meaning ‘hope’, ‘想’ and ‘要’ is done in the following ways; Firstly, this research looks into the definition of the words ‘想’ and ‘要’ and analyzes the semantic feature of them. Through this examination it was identified that ‘想’ has meaning of ‘hope’ but ‘要’ has features of ‘hope’ as well as ‘willingness’ and ‘duty/responsibility.’ Secondly, based on the fact that common semantic feature of ‘想’ and ‘要’ is ‘hope’ but ‘要’ has ‘willingness’ and ‘duty/responsibility’ along with ‘hope.’ As a result, this study analyzes their functional difference in terms of restriction of the subject, subject person, and object.

‘的’ is the most frequently used word. This paper is a study of the Tense-Aspect [时体] mark ‘的’. And it can be defined as follows. First, The Tense-Aspect [时体] mark ‘的’ is tenses and Aspect is present both in the transition period like English. Tense-Aspect [时体] mark ‘的’ has both the past tense and the certain aspect. Second, The ‘的’ is positioned between the center verb of the predicate and the object, and role to emphasize, and shows the certain aspect more clearly. Third, I contend that The ‘的’ in the structure ‘是 + VP + 的 + NP’ is also Tense-Aspect [时体] mark ‘的’. In that structure, ‘是’ is the adverb and it is not the center verb of the predicate. ‘的’ is Tense-Aspect [时体] mark.

The Chinese characters is a letter that is with the most primitive features and is even a dull letter since it took 5000 years to the advent of text hand we are using right now. If we think about Hangul: Korean alphabet which is a scientific letter was made in a generation, dullness of the Chinese characters can even more be highlighted. However, it is this dullness and the honest effectiveness that give the Chinese characters power since it accumulates cultural meanings, especially the meaning of literature, history, and philosophy through concrete shapes and historical precipitations of long time. This study tries to attract the aspects of literature, history, and philosophy inherent in the Chinese characters and to devise a new way to learn Chinese characters that can suggest a humanistic vision. This can simply be summarized as follows. First, the author identified the advantages and disadvantages of existing books with regard to the education of Chinese characters. While books focusing on grades are useful in learning Chinese characters in a short period of time, they can easily neglect the cultural values. On the other hand, while books focusing on cultural aspects let people learn the cultural values based on rich expertise, they are not useful in learning the characters and lack perspective to creatively inherit and develop culture through Chinese characters. Second, the author found out that we need humanistic perspective to avoid disadvantages and encourage advantages. In other words, humanities can converge various cultures focusing on human and can be a foundation to create new culture. And the humanistic elements in the Chinese characters (literature, history, and philosophy) can lead to a more intensified learning. Third, the author investigated principles and ways to draw the elements of literature, history, and philosophy in the characters. Radicals that take the major part of the Chinese characters are like the archetype that determined the language and imagination of people since they are the embodiment of objects closely related to human life. Chinese characters are not only the mean to record history, but also the historical event and fruit encapsulating the perception on the past affairs. Chinese characters show us the world view and the thinking system of ancient people in the East in their composition principles or operational principles. Finally, the author suggested an education method using literature, history, and philosophy focusing on the word '人': human. In a historical perspective, it is highly likely that the word is the embodiment of a person who works while bending his waste forward. And in a literary point of view, there are two poems included as an example that show a deep reflection on human existence. In a philosophical view, the author suggested his view concerning the definition on human. And for the convenience to learn Chinese characters, the author emphasized that the Chinese characters are the essential elements to understand the concepts of Korean by specifying important Chinese characters in the description with regard to literature, history, and philosophy. After that, Chinese characters associated with the word '人' were presented. In conclusion, the purpose of this study that explored ways to configure textbooks for Chinese characters using literature, history, and philosophy is to find out cultural values hidden in Chinese characters and to couple them in to the education of humanities required by the era. While this cannot be a methodology with a clear and specific framework, this can be flexibly used depending on the diversity of majors of teachers and the understanding of learners.

本文旨在通过分析段玉裁对假借的观点，阐明段玉裁对本和非本的区分与其意义。段玉裁在≪说文解字注≫中提及了好几次的“假(叚)借”这个语言文字现象，而他的观点与一般的假借概念有所不同，如果用一般的假借概念去了解他说的假借，有的时候很难解释。语言学术语往往限定学习者的思维，因此有时候会引起误解。段玉裁注释里面应该有自己的脉络，如果了解他持有的基本观念，也可以解释出他自己的假借观。笔者认为为了了解段玉裁对假借的观点，需要了解他的“求本”观念。因为他作为对≪说文解字≫这本字书的注释家持有追究“本”的态度，还有区分“本”与“非本”的态度，结果两个字虽然在语义上是派生关系，但被段玉裁认为是假借关系。段玉裁所认为的“假借”就是包括某字不表示它本义的状况的。结果段玉裁说的假借跟一般的假借概念稍微不同，其包括的范围也更广。本文在资料梳理方面还缺少很多，这点有待补充。

面对暴力，诗歌的反应应该是果断且带有自我反省的。但是毛泽东时期的中国诗歌，却背弃了人文主义，以掌权党派的工具自居。文学与政治之间的这种特殊关系，根源在于“政治第一”的原则。而问题在于，由于政治第一原则贯穿于韩国战争直到天安门诗歌，工农兵直接进行创作，知识分子诗歌遭到摒弃，诗歌实际上出场扮演了加剧政治权力主导下的阶段性二元对立的角色。这一时期的中国诗歌之所以在语言形象暴力化过程中表现出一种积极的惯性，也是由于同样的原因。创作诗歌去迎合权力的战略目标，才是为了人民，为了正义，才是在历史面前道德纯洁的表现。政治将现实与记忆的关系糅合在一起，所以这一时期中国诗歌的暴力形象，在内容和形式上都显现出了超越阶段的同一性。更重要的是，它将人性本身设定为与阶级性敌对的反社会，反历史范畴，从而导致在很长一个时期内，甚至讨论这个问题都成为了一种禁忌。更何况暴力的诗歌定型化过程中，所有参与其间的诗人，都对毛泽东，中国共产党，中华人民共和国的绝对价值以及为所欲为的权能相结合的三位一体笃信不移，这种类似宗教的狂热已经深入骨髓。墨家的上下关系，再现为领袖，党组织，人民大众的关系。也正因为这一点，对现实和历史的浪漫因盲从化身为谎言，诗歌中呈现的暴力，反映了现实需要的多种内容和属性，或者说反映了政治局势的要求和应对。这一时期诗人的诗歌选择中看不到自我完善，因为对于现实，这一时期的创作不是自为的，而是自在的。

This study intends to investigate the urban system based on the population present days and to try to present a place where orientation of the urban system for the balanced development of the region and the direction of the urban system in China. The urban population of China, reforming and opening policy since the 1980s, the population began to concentrate mainly in the eastern coastal areas. Accession to the WTO in 2001, the Beijing Olympic Games in 2008, the proportion of the population in urban and rural areas has been reversed. Urban system in China According to Zipf's city-rank size rule based on the population indicates top cites show primate distribution and lower cities show the regional weakened association distribution. That urban systems show increasing economic dependence on foreign and inefficient use of resources. That undermines the balanced development of the country causing an imbalance in the small towns and rural areas. Orientation of urban system is modified in order to develop a balanced national land, that plan is network urban system. The orientation of China's cities will be converted into stable and horizontal network type polynuclear structure of Chinese urban system. The metropolitan areas perform the function of a central and small cities will have to find ways to strengthen the competitiveness of the region through regional specialization.

본 연구는 기업의 해외자회사가 보유한 여유자원이 해외자회사 성과에 어떤 영향을 미칠 것인가에 대한 연구이다. 일반적으로 여유자원과 기업성과 간의 관계에 대한 연구는 조직이론 분야에서 많은 연구가 이루어져왔다. 하지만 주로 본국에 있는 기업을 대상으로 진행되어 왔고 국제경영 분야에서, 특히 해외자회사를 대상으로 한 연구는 매우 미비하다. 일반적으로 기업은 해외진출을 통해서 기업 성장과 수익 극대화를 추구한다. 그러나 해외 진출은 인력의 운영, 시장의 환경 등 국내와는 다른 상황과 문제들이 기업 경영에 적용된다. 현지인 채용, 상이한 언어 및 문화적인 문제, 법, 환경 때문에 기업이 본국과 같은 성과를 현지에서도 올리기가 쉽지 않다. 이러한 본국과는 상이한 환경에서 해외자회사가 보유하고 있는 여유자원이 해외자회사의 성과에 어떠한 영향을 미치는가에 대한 본 연구는 많은 시사점을 제공해 주고 있다.