This paper examine Korean word written in Chinese character about thedifferences of meaning with Chinese vocabulary. To do this work, I used Korean dictionary which is called 《PyoZunKukAweDaeSaZun標準國語大詞典》published by Korean government and Baidu internet cite. The scope of usage and application of Korean word written in Chinese character especially in this 《PyoZunKukAweDaeSaZun標準國語大詞典》is limited than Chinese vocabulary usage. And it is not easy for Korean people to use Korean word written in Chinese character easily. Now, many Korean classic that is written in classical chinese are translated into korea language. It is the time that 《PyoZunKukAweDaeSaZun標準國語大詞典》have to adopt the Korean word written in Chinese character which is in Korean classic as an example of usage. And then this dictionary will be more abundant to use. It also solve many difficulties for korean people to learn how toapply Korean word written in Chinese character in Korean language. After restriction on the use of Korean word in Chinese word after 1945, Korea still have many obstacles to use Korean word written in Chinese character as an government official document. More important thing is that 《PyoZunKukAweDaeSaZun標準國語大詞典》needs more supplement explanation. And the reference of Chinese and classical chinese vocabulary explanation is very helpful to find out its usage and meaning. If 《PyoZunKukAweDaeSaZun標準國語大詞典》adopt new way, it is also possible for Korean to understand Korean classics more easily and correctly.

韩国语的词汇在根据单词的起源来进行分类的时候，汉字词是所占比率最大的语种。即，韩国语的词汇在根据语种分类的时候，基本上可以分为固有语，汉字语，外来语三大类型，在这其中，汉字语所占的比率为66%。因此，在韩国实行汉字教育的必要性就在这儿。 但是，目前的现实是，在韩国，绝大部分的读物都只用韩国的固有文字(한글)，因此读者们接触汉字的机会越来越少。在儿童读物中，尤其如此。韩国小学的教科书全部采用韩国的固有文字（한글）, 以童话为主的儿童读物也基本上全部采用韩国的固有文字（한글），像这样，接触汉字的机会几乎没有的情况下，即便在家庭或者学校中可以进行某种程度上的汉字教育，所能取得的效果也是微乎其微的。对汉字一无所知，我们可以将其称之为‘汉字文盲’的人越来越多的原因也正在于此。在韩国，应该优先对儿童进行汉字教育，而能够做到这一点的前提就是，在儿童读物中普及汉字，本文在这样的构想下，提出了一种切实可行的实践方案。 为此，本文对韩国的教科书『國語阅读6-1』中的『三国遗事』中收录的「延烏郞細烏女」中出现的汉字语的状况进行了分析。

The radical part of a Chinese character is important forsearch it in a dictionary, what made radical teaching a mainly part duringChinese course for both Chinese children and students who have other mother tongue. People have named the radicals for teaching and dictionary, but according our survey, there are different names for a same radical in the primary Chinese course and some books wrote for Chinese teacher. This article brings forward several rules for name radicals and suggestsa radical name table based on <The Table of Indexing Chinese Character Component > and <Specification for Identifying Indexing Components of GB13000.1 Chinese Characters Set>. In our view, the radical name should mainly prompt clues of the conformation rules of the Chinese character, and also do favor of nice character writing, what means the character shape(structure) is more important than the meaning for a radical name.

In 1926, Mr Hu Shi, who had a thorough knowledge of both western and Chinese learning and was awarded 26 PhD titles, said that arranging Chinese characters is the most difficult thing, but on the other hand it has to be done. Firstly, classifying and ordering Chinese characters … … the sequence of Chinese characters is the basis of all kinds of indexes. The difficulties mentioned above arise from the fact that Chinesecharacters are unordered. Neither of precedent nor present methods that trying to order Chinese characters by radical, Pinyin, number or stroke, cannot make the breakthrough. One of the core technology of numerical Wangma ‘first and remaining radical’ coding method, could digitalize the Chinese character graph in one step. It is not only an easy-learning input method, but also an easy-learning ordering method featuring good uniqueness. This technology makes Chinese character input method compatible with dictionary lookup method, and gives Chinese characters a ‘readable numeric sequence’. This is ‘The theory of Chinese character sequence’.

本文的硏究，则讨论古代汉语教育课程的主要内容之一，即讨论古代書法的审美教育问题。尤其在东亚汉字文化圈之中，希望探索其审美的教育方案。众所周知，东亚的汉字文明，基于悠久历史的黄河文明的胚胎，而创造出多含想象力和创意力的文字。尤其，我们东亚汉字文化圈，从古一直拥有着独特的书法艺术。这样的书法艺术里面，便涵盖着先人的多彩的想象力和创意力。因此，汉字教育不但要超过只认识字的范围，而且也要把东亚文化的一小部分能用审美的角度来理解和欣赏。 现在汉字文化圈的书法历史里面，富有能够用于汉语教育资料的审美的教育因素。我们可以肯定，古代书法艺术的审美教育，一方面能提升学人的品德，并且也提供创意力和想象力而能继承传统文化，以及能成为创造文化的主要推动力。 书法艺术的审美教育是能提升学生的品德，又让他们启发多彩的想象力和创意力。因此，本文主要讨论的内容，则基于现在汉语教育的方向，为了能够把古代书法美学审美地讲授，讨论怎样学习该书法的美学，并且怎样把它审美的讲授。因此，将把它分为其目标及内容，又讨论其方法与评价。这样通过中国古代书法审美的教育，我们能够理解古代的文化，并且能够审美地欣赏，又能够生动地了解汉字的起源与其演变的情况。 不宁唯是，由此能发挥自己的创意性和想象力，又进一步通过熟练书法的精神，我们能追求修养身心、达于高品德的境界。因此，通过对古代书法的审美教育，我们能够培养古代书法资料的审美地欣赏的能力。而且理解古代书法里面的先人的人生智慧，能培养健康的价值观和善良的品德，又能正确的理解传统文化，而做出创造性的继承与其发展。不但如此，学习在汉字文化圈中的对文化的古代书法的基础知识，可以拥有贡献于对汉字文化圈的文化的理解和沟通方面的主导人的品德。

“Myeongsimbogam” is an aspect of the present during Yi Dynasty era. We think about Myeongsimbogam as the following. After a beginner learned the «Cheonjamun», they are following «Dongmongseonseup» and “Myeongsimbogam” for basic process was used widely like a textbook. At the end of the Goryeo era and early Yi Dynasty era, Myeongsimbogam had been used in the home and seodang. Later it was widely used as children’s primary textbook; people read hundreds of years while enjoying our nation's spiritual values, which play an important part in the formation. National culture, including the encyclopedia research book is almost identical. However, little data to support this view is not confirmed. Therefore, I researched the Josun Dynasty’s collections of work and several anthologies of literature by examining the articles associated with Myeongsimbogam. In the 18th century, the old data is part of Myeongsimbogam, which is shown in"(座隅自警语)". There were not enough readers, yet the readers ages were of the elderly. Monks studied Myeongsimbogam and in Ansimsa(安心寺) they published Myeongsimbogam. Buddhism showed a close relationship to Myeongsimbogam. Myeongsimbogam was published a couple of times, but was never very popular or used for children’s text books before the 18th century. After 1850 years reviewing the material, rather than professional scholars, writers and ordinary people read Myeongsimbogam as a guideline for their life, young children read Myeongsimbogamas a textbook. Nevertheless, scholars never really studied Myeongsimbogam. There was no information about scholars studying Myeongsimbogam. Myeongsimbogam may not have been important in our ancestors’ lives. Myeongsimbogam was not much of an important part in the seodang education.

以韓國坊刊本《九雲夢》（1803）為依據，全面調查其中的中土傳承俗字和域外變體俗字。結合朝鮮刊本《樊川文集��註》（1440），揭示漢語俗字在韓國的傳承與變異軌跡，探尋古代漢字圈“通用俗字”歷史面貌，探求“國別俗字”發生發展規律，從通用俗字群反觀漢語俗字的成立和演變，從國別俗字現象󳠀漢字傳播過程中的局部變異與整體變異規律。

1. 緖論 漢字文化圈에서‘漢字學’을硏究하거나‘漢字·漢文’敎育을硏究하고자할때에무엇보다도먼저解決해야할것은‘漢字·漢文’의範圍를決定하는일이다. 다루어야할對象의範疇가分明치않으면여러가지問題가發生할수있기때문이다. 이에本發表는東아시아의漢字文化圈의再編成에따른‘漢字의範疇’를定義하고자한다. 2. 東아시아의近代, 文語共同體의解體中世東아시아의여러나라는漢字를普遍的文字로使用해왔다. 內部的으로國家의管理와經營에必要한大部分의文書管理를漢字를使用한漢文으로表現하고使用하였다. 이에따라漢文은多樣한漢文의文體를使用하였다. 19~20世紀들어서면서漢字를爲主로한文語의使用에問題가생겼다. 東아시아의 漢字를媒介로한文語體制에分裂이생긴것이다.中國은淸末부터文字改革을通하여文言文을解體하고簡化字의使用을통해서傳統의漢字인繁體字에變化를주었고, 白話文의定着을通해서言文一致를實現하였다. 日本은메이지時代때부터國字文字와言文一致의問題를提出한다. 특히‘國家儀式’의成立과함께國語의槪念을成立시키고, 오늘날의仮名(가나) 政策을確定한다. 韓國은 1894년이후漢文의文體를버리고, 國漢文體를거쳐서國文體를成立하고끊임없는 한글政策을통해서한글專用을政策的으로成功시킨다. 이로써 19世紀末에시작된東아시아의漢字를媒介로한文語共同體는 20世紀들어서解體된다. 그러나이러한文語共同體는解體되었지만, 近代東아시아言語의語彙政策은西歐의學問을漢字語彙로飜譯해냄으로써새로운東아시아의漢字語彙의普遍性이成立되었다. 3. 現代東아시아의漢字의使用과範圍現代東아시아漢字의使用은中世때와달리多樣한現象을보인다. 中世의漢文은楷書를바탕으로쓰였지만, 앞장에서밝혔듯이近代들어서면서各國의文字政策으로因해서새로운漢字들이增加하였다.中國은一部의漢字를簡體字로使用하고있다. 日本은一部의漢字를略字로使用하고있다. 韓國은한글專用政策을쓰고있지만, 基本的으로繁體字를使用하고있다. 臺灣은繁體字를使用하고있다. 20世紀後半東아시아國家가政治的으로分裂되어있을때에는自身들의文字政策만觀心을가지면되었다. 그러나지금 21世紀東아시아交流가매우頻繁하고緊密한때를맞아서漢字는다시個別國家의文字로볼것이아니다. 東아시아의觀點에서 바라보면漢字의範圍는상당히달라진다. 오늘날使用하는基本的인語彙를爲主로使用하는漢字의數가傳統的인漢文의文章에서使用되었던漢字의數나範圍보다는작다고할수있다. 이는個別國家의觀點에서그렇게볼수있다. 그러나同一한漢字를對象으로‘繁體字, 簡化字(簡體字), 略字’等이存在한다면그範圍가減少한것이아니라,오히려늘어난것이된다. 즉, 東아시아인들이相互間文書또는漢字表記가된言語들을視覺的으로接할때에는본디漢字에簡化字, 略字까지包含을하면그수가늘어난다는것이다. 一般的으로쓰이는漢字 2,655자를가지고韓國, 中國,日本의漢字를比較했을때, 中國簡體字는 2,655字中에서 1005字(37.9%)이었으며, 日本의略字는 235字(8.9%)이었다. 따라서個別國家의경우에는關係가없지만, 簡體字나略字는繁體字의또다른異體字가될수밖에없으며, 簡體字나略字 를사용하는사람의처지에서보면그에해당하는繁體字가또다른異體字 가될수밖에없다. 즉, 東아시아적觀點에서보면近代에簡體字나 略字의 制定은 곧 異體字의增加로이어졌다는事實이다. 결국現代東아시아의漢字는各國의漢字에다른나라에서使用하는 繁體字와 簡化字, 略字 등이異體字로存在한다는것이다. 즉, ‘東아시아國家의漢字 = 自國의漢字 + 異體字’라는公式이成立되는것이다. 이러한公式이보여주는바는앞으로東아시아에서漢字에대한새로운政策의試圖는곧漢字의增加로이어진다는事實이다. 4. 結論 繁體字와簡體字, 略字의相互關係를살펴보면一部의漢字를除外하고는大部分은 字形이類似 하거나一部劃數의多少차이를 보여줄 뿐이다. 따라서東아시아交流的인側面에서繁體字, 簡化字略字모두겹치는일부漢字에대해서는相互比較學習할수있도록배려가필요하다.

朝鮮中期文人金昌協(1651~1708)批判了明代文人王世貞(1526~1590), 因为他认为王世貞的散文作品和文章論在字句上有擬古嫌疑, 对碑誌的文體理解不足,篇章構成放漫，題材選擇不適切。可是金昌協文章論的核心體裁和法度相當部分都是王世貞的影響下形成的。那么金昌協为什么批判了王世貞？本稿区分文學批評史內的要因和社會政治狀況以及思想史的背景等文學批評史外的要因来考察了这一点。漢字文化圈在文學史共有很多典範和傳統，其里面包含着各地域各民族的情況和變容創造。虽然现在西歐文化的影響很大，但是漢字文化圈的文化連帶和疏通可能性包含着未來的指向性。我希望在同和異、共和別的情况下继续生産发展的論議。

The earlier scholars who have pointed out that Liushu（六书）are six major methods of word-formation in Chinese areBangu（班固）、Zhengzhong（郑众）and Xushen（许慎）in Donghandynasty. To bring these ideas about Liushu to light is essential to the research of the history of philology. ZhengXuan（郑玄）followed Zhengzhong’sopinion on the Chinese Characters, so he selected the term not Xushen’sOpinion but Zhengzhong’sOpinion about Liushu to summarize the methods of Chinese word-formation. It is important to sum up Zhengxuan’sand Zhengzhong’sidea about theChinese Characters and their contribution to the history of philology through checking all Zhengxuan’sannotations about the Chinese word-formation. Zhenzhongand Zhengxuan’sopinion on Liushu has had an immense Influence upon philology of later ages.

包山二号楚墓遣册简中的五个字,应隶定为“ ”，即《说文·豆部》之“ ”，其器形就是出土实物中的五个磨光黑陶扁圆腹罐，主要用来盛装肉醢、醯之类流体食物，有透气的草饼及纱、绢封闭覆盖，器形较小，制作精致，可用于献享。另外，本文对 “冥”字之来源也有讨论，并将简文“ ”改读为“醯

Ma Xulun thinks that he has presented new explanation on theother five scripts except pictograph. Aiming at framing the shapes ofobjects vividly, he holds a belief that the strokes of a character shouldbe changed, no matter straight or curved, according to the object itrepresents. Ma Xulun how to interpret the pictograph theory in accordance with this conviction? Firstly, pictograph characters are all pure single characters rather than compound ones. Secondly, the so-called “category pictograph” is namely to sketch shapes of objects according to their own categories. Pictograph characters are based on the shapes of practical objects, so fiction is forbidden. Thirdly, the original pictograph should be constructed as the way a picture drawn. Fourthly, pictographs, ideograms and radical-radical compounds are three different ways of creating characters, but the latter pair can also be called pictographs. Examining the pictograph theory of Ma Xulun and the specific illustrations he has cited, it is not hard for us to find that he has made a development in this field on the shoulders of predecessors.

“Mutually explanatory characters is to describe a concept without actualcharacter by the way of borrowing characters with the same pronunciation.” Said in Hsu Shen’ s(許慎) masterpiece “Shuo Wen JieZi.”(說文解字) Duan Yu-tsai(段玉裁)put more emphasis on the linkage of pronunciation of two characters. However, there are examples contradictory to Duan’s theory in his book. Here we can get conclusion through analysis of relative documents.

Fenbiewenand Leizengziare two kinds of complex phenomenon ofChinese character which were coming from WangYun's research on Chongwen,both ofthem were from the point of view of character creation,they are different fromGujinzi,the term of contacting the usage of characters in ancient bibliography.Fenbiewen, LeizengZiand GujinZiare heterogeneous concepts due to theirdifferent academic backgrounds and research purposes.Beacuse of different pointof view，they have intersection of materials,so WangYun occasionally use Fenbiewenor Leizengzito explain those Jinziof Gujinziis in order to explain the causeof Jinzi,but doesn't mean he changed the historical definitions of Gujinzi. XuHaois the origin of the Gujinzidistortion,the different usage of a word in differentages' documents had been paralleled by XuHao with the terms like FenbiewenandLiezengzi,and then he inclined to tell that Gujinzimeans the phenomenon thatcharacters creation with the radicals increasing,so later misled people becomesto believe Gujinzimeans the phenomenon that characters creation with the radicalsincreasing just like Fenbiewenand Leizengzi,then they usually believe this isWangYun'sGujinziconcept but in fact this is not true.

在韩国的汉语诗歌教育课程中，从汉语到韩语的翻译问题历来受到普遍的重视，如何用韩语翻译将汉语诗歌中的美感尽量忠实的表现出来是一个根本性的问题。遵守格律是汉语诗歌最重要的特征，诗人往往通过格律来表现诗歌的内容与情感，不学习汉语诗歌的格律，就没有办法对之进行准确的体会。李达是朝鲜诗人学习唐诗歌的先驱者，他的诗歌创作往往严格遵守近体诗的格律。李达的题画诗经常使用格律的变化来表现诗人的思想，如拗体等格律形式在其诗歌创作中得到广泛的运用。 五言绝句是格律诗最基本的表现形式，也是近体诗的基本形式。其在句式上常用“二四六不同论”，聯的出句和对句上用“粘”，上聯对句和下聯出句用“对”，而且避“孤平”，“孤仄”，“下三连”。如果不遵守这样的形式，不依常率而加以变换，就是所谓“拗体”。需要说明的是，拗体并不指诗歌创作的失误，相反其在促进诗歌声调和谐上的表现往往有着很好的效果。李达的五言拗体绝句主要分为三类。一类是《畵梅》与《畵竹》，这种拗体特征表现为孤平。这两首诗通过孤平来表达李达对悲惨命运的感叹。二类则不遵守“二四六不同的原则”。如《詠畵》，该诗用“子类特殊形式”，给读者留下了足够的思考余地。又如《題畵四首》的第1首用“丑類特殊形式”，描写秋天自然景色。《詠畵>第二首承句“失對”，强调人物的动作。《詠畵》第五首轉句失黏，以强调秋色的美丽。如果平起式五言绝句轉句失黏的话，应该归入“子类特殊形式”。按照格律上的变化叫“拗救”，用特殊的声调调强调诗像。

从生理学角度看，写字是人的生理、心理的投射活动之一。这种投射活动的生理基础是写字指导的客观依据。文章试从六个方面探讨写字生理的有关问题：写字的神经机制、写字的视知觉、写字的手生理、写字的情绪生理、写字生理的应用、写字生理的研究方法。

The research in the field distinguishing of Ancient Seal inscription in pre-Qin period has becoming more and more mature, producing its own effective standards. My paper pays attention to and discusses some mistakes in the Research on field distinguishing of Seal inscription inWarring States, suggesting that if field distinguishing wants to avoid the wrong conclusion, it must be conducted through the consideration combined with the institutions, styles and contents of the inscription, not just on single aspect.

Chinese Placename belong to one member of Chinese Words Family and own itself features such as District, Stableness and Similar Meaning. Chinese Placename occupies quite high proportion in the system of Chinese, and most of them have the particular feature of District. The Chinese of feature owns tight contact with the dialect and characteristic of dialect. Especially the customized word of placename that possess strong cultural connotation is a react of District Culture and District History. Some Chinese Placenames are available to specific districts and have specific pronunciation & meaning. These is either our precious files about researching District Folkways and District Culture, and or valuable information for studying dialect and ancient phonology. In the field of Chinese Words research, Chinese Placename research is relatively unsubstantial all the time. Placename is national cultural heritage, so Chinese Placename is paid more attention.

Epitaph is a contemporary data in the research of linguistics, the epitaphs in Five Dynasties have great value in the research of language and character. In this paper, we analyze the types and causes of the folk characters in Five Dynasties, we hope our research will be helpful to the Chinese character education, the compilation of great dictionary and the research of Chinese character history.

汉字历史积淀深厚，数量庞大，使用汉字的国家、地区多，且所用字形各有不同。中国大陆除简化字外，还有传世古籍所用繁体字等；现时港澳台地区所用繁体字与中国大陆历史上所出现的繁体字在字形上也略有不同；还有日本、韩国、越南等汉字文化圈各国，除自身所造新字之外，所用字形也不同于中国。如此诸多因素，给汉字统一编码带来困难。历代字书是最集中存储汉字形体及汉字属性的载体，对字书进行整理，从中提取汉字字形进行编码，是进行汉字编码的最佳捷径。自二十世纪七十年代起，汉字计算机编码走过了一条艰辛的道路，经历了三个发展阶段，虽然截止目前已经对9万多个汉字编了码（可以方便使用的有6.5万），经过我们对《类篇》字形的整理，发现仍然有大量字形没有编码。对历代字书字形进行全面整理，补充编码字符集，是非常必要的，对更好的进行古籍整理及古籍再版都是有意义的。在现有技术条件下，对字书进行全面整理，提取未编码字形，需要经过如下几个步骤：（1）资源调查搜集书目；（2）选择、获取版本；（3）扫描原始图档；（4）录入电子文本；（5）制作属性数据库；（6）梳理字际关系；（7）切割字头单字图像；（8）提取未编码字单字图像；（9）编制专书未编码字表及属性表。