Annotation. The Book of Changes (Y1 J1ng, Chzou I) is the oldest text which is largely defining constructions of thoughts, system of values and algorithm of human behavior in the culture of Far East and South-Eastern Asia. The aim of the article is to determine the understanding of Mind as a human cognition in this authoritative text taking into account Russian interpretation which was made by Y. K. Shutsky. This issue, which has not always stressed by scientists, accelerates philosophical-worldview significance of Y1 J1ng and helps to recognize some aspects of how world famous representatives of cultural cluster of Far East and South-Eastern Asia understand the Mind. The object of this article is interpretation of mind in the Book of Changes, which is an authoritative philosophical monument of Ancient China. The author proves that this text has a philosophical origin, not only according to its content, but also in its type of interaction with the reader. There are defined some textual elements of the Book of Changes, which allow to reconstruct the interpretation of mind, in many aspects relevant to the modern cultural situation.

漢文 敎科 敎育에서 經書의 經文은 많은 교육 내용을 포함하고 있다. 그러나 지금까지 경서 교육의 중요성에 비해 이에 관련된 연구는 많이 부족하였다. 필자 는 지금까지 교과서에 수록된 사서의 經文과 관련된 연구를 진행하던 중 몇 가지 큰 문제점을 발견하였다. 우선, 한문 교과서 경문 제시의 문제를 살펴보면, 첫째로 현재 중학교 1학년 교과서의 경서 단원 구성은 체계적이지 못했다. 경서 교육의 목표를 효율적으로 달성하기 위해서는 교과서의 단원들이 유기적으로 구성되어야 하고 교육 목표도 더욱 상세하게 진술해 주어야 할 것이다. 둘째, 懸吐․句讀의 제시 방법에 관한 구체적인 기준이 없는 문제를 확인할 수 있다. 이에 따라 한문 독해에서 懸吐․句讀의 제시방법에 대한 객관적 실험연구가 필요한 실정이다. 마지막으로 經文을 제시할 때 전체 경문을 제시하기보다는 대부분 斷章으로 제시하 고 있었다. 經文의 斷章이 잘못되었을 경우 經文의 의미를 제대로 파악할 수 없 는 문제가 발생한다. 즉, 효과적인 斷章에 대한 방안이 모색되어야 할 것이다. 다 음으로 한문 교과서 수록 경문의 난이도 문제이다. 현재 중학교 1학년에 수록된 사서 경문들은 겉으로 보이기는 쉬운 문장처럼 보이나 그 함의는 매우 깊다고 할 수 있다. 또한, 중학교 교과서의 수록 경문이나 고등학교 수록 경문의 차이는 극명 하게 나타나지는 않는다. 이는 사서 경문의 난이도에 대한 위계화가 이루어지지 못한 것이 가장 큰 이유이다. 따라서 객관적으로 경문의 수준을 위계화 하는 방안 이 필요하다. 이러한 문제점을 보다 체계적이고 객관적으로 접근하여 경서교육에 적용한다면 더욱 효과적인 교육이 이루어질 수 있을 것이라 기대한다.

William Blake, regarded as one of the great Romantic poets, was a prolific painter, printer, and engraver as well. Yet, he did not receive due credit for his work during his time. For a long time, his graphic art and literature were treated in isolation from each other; literary critics focused only on his poems and art historians on his engravings or paintings. Recently, attempts to see his work, particularly his illuminated books, as a “composite art” or as a synthesis of word and image have increased. I will also consider his work as a kind of open text in a poststructuralists’ notion, which blurs the boundaries between them and encourages readings as textual performance. In this paper, I will first show how Blake differentiated himself from other painters, engravers, and publishers by devising his own way of creating and printing illuminated books. Next, focusing on his earlier work, Songs of Innocence and of Experience, I will briefly discuss the characteristics of his illustration and the content of his poems. Finally, I demonstrate how Songs makes for unique reading in which the reader is an ongoing participant in its textuality, crossing between words and words, and words and images. The advent of the Industrial Revolution brought with it an increase in mass publication, and the distinction between fine art and designs or craftsmanship was yet to be clarified. Against such distinction, Blake created a unique method of "relief-etching", through which he combined text and engraved illustration on a single copper plate and hand-colored the prints. Each copy thus remains a unique work of art. His illuminated books envision interdisciplinary and multimedia text and question the modern system of classification and hierarchies between poem and painting, painting and engraving, art and literature. In the images of Songs, we see Blake’s profound interest in Gothic art as “divine” work. For example, he persisted in using firm outlines that were characteristic of Gothic art. Like other Romantic poets, Blake believed the imagination and God’s spirit to be manifest in outline rather than color. The letter was regarded to be appealing to the sensuality of the eyes. On the other hand, the poems in Songs reflect the dialectical relationship and synthesis in which “innocence” might be wedded to “experience,” as its subtitle Shewing the Two Contrary States of the Human Souls implies. Songs is, however, not to be read by isolating the poems from the illustrations. In the introduction of Songs of Innocence, Blake proposed the intricate and conflicting relationship between speech, writing, and painting. The title page also suggests that children are not merely passive learners imitating the nurse’s reading but active readers-seers who may better understand Blake’s illuminated books. Further, this paper, after the examination of a few poems, attempts to show that the images do not necessarily illustrate the poems and can rather create a link between different parts of the text. This rejects the traditional critical hierarchy of word over image. Blake’s work indeed opens up an infinite vortex, that is, the textuality, as Roland Barthes or other post-structuralists might call it, and invites us to participate as active readers.

This thesis is a study on the oldest feng-shui book 『Janggyeong(葬經)』. Specially, it is a focus on the feng-shui orientation method so called Sasepalryongbub(四勢八龍法) in that book. This method is to identify fortune and misfortune with the directions to be measured by a feng-shui compass. Sa(四) of Sase(四勢) is the four pieces of direction of dividing 12 parts for 360 degree circle. To divide for 12 parts is related with 12-Jiji(地支). Sa mean In(寅), Sin(申), Sa(巳), and Hae(亥). Se of Sase means a large stem of mountain. Generally, Sase are the big mountain stems of the four directions as In, Sin, Sa, and Hae. Pal(八) of Palryong(八龍) mean the 8 parts of equal division for 360 degree. It is related with Palgoe(八卦) that divide for 8 parts equally. Palgoe are Jin(震), Li(離), Gam(坎), Tae(兌), Geon(乾), Gon(坤), Gan(艮), and Son(巽). Ryong(龍) of Palryong(八龍) is a stem of mountain that is measured with 8 parts of equal division feng-shui compass. Sasepalryongbub make a connection between Sase and Palryong. When they are connected, it is a good fortune like as In(寅) and Li(離), Sin(申) and Gam(坎) or Gon(坤) or Gan(艮), Sa(巳) and Tae(兌) or Geon(乾), Hae(亥) and Jin(辰) or Son(巽). It is based on two theories. The one is 12-Unseongron(運星論), the other is one of Ohaengron(五行論) as Samhap-Ohaeng(三合五行). 12-Unseongron begins from dividing all human life affairs with 12 steps. Saeng(生), Wang(旺), Myo(墓) are the very important things among 12 steps. Saeng means starting, Wang means flourishing, Myo means keeping. Samhap-Ohaeng is made with Jiji of Saeng, Wang and Myo steps about 12-Unseongron. Saeng is the most important thing among of Saeng, Wang and Myo in Sasepalryongbub which means birth. Saeng of Jiji direction can help Palgoe direction as a counterpart. Like this, the good relation of Sase and Palryong is that Jiji direction can help Palgoe direction. For example, there are In(寅) of Jiji and Li(離) of Palgoe, can be explained as these kinds of the good relations. In view of Samhap-Ohaeng, In of Jiji is regared as Saeng of fire(火). This fire– Saeng- In as Jiji can help fire- Li as Palgoe. It can be said as a good condition that Sase and Palryong be connected like this case. This is the main content of Sasepalryongbub as being treated in this study.

예이츠는 『비전』의 제 3권 ｢심판받는 영혼｣에서 생과 사의 경계선에서의 6가지의 단계를 묘사하고 있다. 그의 진정한 목표는 이미 선험적으로 결정지어진 “존재의 통일에 이르는 길,” 더 나아가서는 “문화의 통일” 또는 “다문화”와 “초국가”의 길에 이르는 연단의 문제였고, 결국 보편적인 영혼의 초문화/초국가적인 시학의 지형도를 그려내는 작업이었다. 이미 먼저 온 “앞선 미래”의 영혼의 눈은 초국가주의 시학을 예견하고 있었고, 예이츠의 ｢심판받는 영혼｣은 바로 이 시학의 중핵을 이루는 중요한 증언이 되고 있다.

The purpose of this research was to investigate the transition of the concept and meaning of "bulgogi". "Bulgogi" is a representative Korean food and is also a global menu item. The first dictionary that presented the word "bulgogi" was the Keunsajeon (big dictionary). The results of an analysis of 17 dictionaries published in the last 60 years showed the immutable definition of "neobiani" as seasoned and broiled beef. In contrast, "bulgogi" has been termed differently, from "simply grilled meat of an animal" to the same meaning as that of "neobiani". Furthermore, to define the difference between common grilled meat in modern versus present time, a review of 26 cookery books from Sieuijeanseo, written in late 1800, to The Taste of Korea, written in 1987, were selected and examined. To date, the first appearance of the word "bulgogi" mentioned in a cook book was in Practice in Higher Cuisine, which was written by Shin- young Bang in 1958. The book states that "bulgogi" is the second name or the vulgar designation of "neobiani".

In order to aide in the design of an improved menu book, which could play an important role as a marketing tool, the current version of the menu books and managers (subjects) of 295 restaurants in the Incheon area were examined. These were managers of Korean (36.3%), Western (25.8%), Japanese (14.6%), cafeteria (12.5%) and Chinese (10.8%) style restaurants. The level of service (self-evaluation, 3-point scale) was average 2.25±0.45. The general colorings of the menu books were green (19.0%), brown (18.6%), black (17.6%), yellow (15.9%), red (13.6%) and blue (13.2%). The material of the menu book cover was mainly leather (35.9%), and the internal material was mainly coated paper (59.7%). Physically, the design was two-panel fold (38.3%), two-panel multi-page (35.6%), die style (10.2%), single panel (8.1%) and tent style (7.8%). The type sizes were unchanged in 49.9% of the menu books and in 61.7% photos were not used. 53.9% of menu books did not explain the menus, and 13.2% did not classify the items into groups. Emphasis of profit-making menus was not done in 66.8%. 51.5% of menu books were irreplaceable in parts. The emphasis of profit-making menus was less among the Korean style restaurants (p<0.001). The possibility of partial replacement of menu books was lower in both Korean and Chinese restaurants (p<0.001). The explanation of the items was lower in the Japanese restaurants (p<0.001). The classification of items into groups was lower in cafeteria (p<0.001). In cases in which there were both seasonal and event menus, the possibility of partial replacements of menu books was higher (p<0.001). Restaurants of which service level was less than ordinary were lower in the differentiation of type sizes (p<0.001), the use of photos (p<0.001), the explanation of menus (p<0.001), the classification of menus by groups (p<0.05), the emphasis of profit-making menus (p<0.001) and the possibility of partial replacement of menu books (p<0.001). If these study findings are applied to the designing of menu books, the role of the menu book as an important tool for marketing could be greatly improved.

우리나라 학자들이 서구 어학 이론으로 漢文의 語學的특성을 구명하기 시작한 것은 1908년 元泳義의 初等作文法을 시작으로, 1916년에 辛在英이 漢文義讀自解를, 1917년에는 姜邁가 漢文法提要를, 1921년에는 永昌書館에서 實地應用作文大方등이 발간된 후 약 40 년간 공백기를 두고 1960년대와 1970년대 사이에 발간된 문법서는 1960년 丁南洙의 漢文解釋을 시작으로 1971년 6월 許世旭의 漢文通論, 7월 權重求의 漢文大綱, 1973년 文璇奎의 漢文敎疑書, 1975년 趙鍾業의 漢文通釋, 1976년 洪寅杓의 漢文文法, 1977년 박지홍의 표준 漢文法등이 발간되었다. 본고는 1975년 趙鍾業의 漢文通釋의 문법이론 분석에 이어서 1976년 洪寅杓의 漢文文法에 수록된 品詞理論을 분석하려 한다. 특히 초기에 간행된 한문 문법서의 문법 이론이 40년간의 공백기를 거친 후 다시 발간된 한문 문법서에 어 떻게 수용․변모 되었는가 파악할 수 있을 것이고, 이후 발행된 한문 문법서에는 어떻게 반영되었는가도 거론될 것이다. 漢文文法에서는 단어의 종류를 單詞와 複詞로 나누었는데 크게 5 가지로 나누어 설명하고 있다. ‘詞의 種類’에서는 音節數에 의해 분류되는 ‘衍聲複詞’와 두 개의 품사가 연결되어 단어를 형성하는 合意複詞로 분석될 것이다. ‘品詞의 分類’ 에서는 實辭와 虛辭의 종류와 개념을 설명하고, ‘品詞의 結合’에서는 聯合關係, 組合關係, 結合關係등이 서구 이론의 입장에서 분석될 것이다. 저자는 ‘品詞의 等級’에서 甲級, 乙級, 丙級으로 나누었는데 이는 어떤 품사가 주로 문장의 성분 으로 쓰이는가를 논한 것이다. ‘品詞의 活用’은 品詞의 轉成을 설명한 것으로 제 시된 예문을 통해 統辭的機能에 의해 품사가 변하는 것과 造語的側面에서의 품사가 변하는 것으로 분석될 것이다.

詩經鄭風有很多淫風的戀愛詩. 可是〈毛詩序〉以下正統的詩經解釋書 與註解書都在儒家的立場上牽强附會解釋下來了鄭風詩. 可是朱子《詩集 傳》正確地解釋下來了靑春男女間的淫風時(戀愛詩). 〈風〉的單詞裏面內 包性的意味. “風紀紊亂”, “風俗事犯”的〈風〉都內包性的意味. 古代周代 特定日子特定場所靑春男女都聚會行爲戀愛儀式. 把靑春男女間淸純戀愛唱 歌的鄭風作品是爲了解詩經風詩的基本性格很重要的作品.

본고는 說文解字 의 字形解說과 그에 의한 字義를 살펴보고 國語註釋의 適宜性을 따져보고 部首의 경향을 살펴봄으로써, 현금의 漢字註釋이 나아가야 할 방향을 제시하고 部首의 增損을 통해 그 수효의 재조정을 추구한 것이다. 위의 과제를 달성하기 위한 구체적 작업은 說文解字槪要, 字形解說과 字義의 相關關係, 字義의 國語註釋適宜性問題, 部首增損을 다루었다. 설문해자 개요에서는 설문 의 체제ㆍ내용 그리고 六書의 표현양식 등을 제시함으로써 설문 에 대한 기본 인식을 꾀하였다. 字形解說과 字義의 상관관계에서는 자의와 자형해설을 대비함으로써 자의에 자형해설이 적용되는 실례를 들어 살펴보았다. 그리고 자의의 國語對譯語제시를 추구하였다. 자의의 국어 주석 적의성 문제에서는 설문 의 한자 주석이 국어 주석으로 표현될 때의 경향을 살피고, 그 적의성의 밀착과 불밀착을 지적하였다. 部首增損에서는 설문 부수 540부수가 현재의 214부수로 변동되었으나, 그것이 계승된 실상을 살피고 증손할 부수를 제시하였다. 이 작업은 설문 의 한자해설의 경향을 드러냈고, 標題字의 字義와 자형해설의 관계를 밝혔고, 한자의 국어 주석의 정밀성을 꾀하였고, 부수 수효를 증손시키는 논의를 제기한 것이다. 이는 결국 한자의 訓詁및 자형 배열 문제에 일조를 하는 것이다.

This study relates to the architectural planning principle of Gyeonghoeru pavilion, one of the major buildings in Gyeongbokgung palace. The study is concentrated on The Book of Gyeonghoeru Pavilion written by Jeong Haksun in 1865 during the reconstruction of Gyeonghoeru pavilion. The architectural planning principle of Gyeonghoeru pavilion disclosed in The Book of Gyeonghoeru Pavilion appears to be 'the method of expanding with six by six system'. 'The method of expanding with six by six system' means a way of continuously extending the number related to 6 by addition, subtraction, multiplication and division, and reflecting to architecture, having number 6 as the basic number. Number 6 means a large amount of water in East Asian philosophy, Applying 'the method of expanding with six by six system' to the architecture of Gyeonghoeru includes an intention to prevent fire in a way of a type of incantation because Korean traditional wooden buildings are we to fire. Since Gyeonghoeru is surrounded by a pond and was constructed based on the number 6 having a strength of water, it was believed that it could be safe from fire. This study compares the contents disclosed in The Book of Gyeonghoeru Pavilion with the construction of Gyeonghoeru to find out how the number 6 was applied to the overall construction of Gyeonghoeru. From the fact that the total number of km of Gyeonghoeru is 36 ($6{\times}6$), the number of pillars is 42 ($6{\times}7$), and the number of windows and doors is multiples of 6, it has been found out that the number 6 is deeply related to the overall construction of Gyeonghoeru. In addition to the fact that the construction of Gyeonghoeru can be explained by 'the method of expanding with six by six system', The Book of Gyeonghoeru Pavilion also discloses parts where Diagram of Hotu, Later Heaven Arrangement and Arrangement of 64 Hexagrams are applied. Therefrom, it has been found out that Gyeonghoeru pavilion was constructed by applying the principles of East Asian philosophy based on The Book of Changes.