This study analyzes the fifth edition of the enhanced spelling of the Indonesian language (EYD V) by comparing it with the original Indonesian spelling system (EBI) in terms of the use of character and punctuation. Specifically, it presumes that the frequent occurrence of errors in the Indonesian spelling systems is related to both indifference in Indonesian orthography and recurrent orthographic revisions. Based on this premise, it investigates differences between the original EBI, officially announced in 2015, and EYD V, the latest Indonesian spelling system, in terms of the use of character and punctuation. The analytic results found that EYD V includes several new elements, such as the introduction of a monophthong eu and the use of consonants q, x, and y at the end of words. Furthermore, it was found that EYD V provides the revised and supplemented contents compared to the original EBI from multiple perspectives by implementing enhanced consistency and timeliness in descriptions and error correction. The outcomes of this study are expected to serve as essential data for Indonesian writing education and as comparative data for discussions on Malay orthography in relation to Indonesian orthography.

This paper investigates the vestiges of bear worship in ancient Chinese characters. It analyzes the emergence and significance of characters symbolizing bears, such as “能” (néng) and “熊” (xióng), to elucidate their connection with the tradition of bear worship. “能” is identified as a pictogram representing the bear’s body, and it is argued that the character “羽 /能” (yī) used in the bamboo texts of the Chu state is related to bear birth mythology. Additionally, the study reveals that the ancestral surname “嬴” (Yíng) of the Qin dynasty encapsulates meanings related to the bear. The research explores the potential links between the bear worship totem of the Hongshan culture and the ethnic groups of the Qin and Chu states, supporting the polygenetic theory of the formation of the Chinese nation. It particularly emphasizes the significance of the Northeast Asian civilizations beyond the monocentric theory centered around the Yellow River or the dualistic theory of the Yangshao-Liangzhu cultures. The study also contributes to understanding the cultural connections between Gojoseon’s Dangun mythology, the formation of the Korean ethnic group, and further cultural linkages with Japan. This study comprehensively illuminates the impact of bear worship on the formation of Chinese and Northeast Asian cultures and is expected to lay a crucial theoretical foundation for constructing the methodology of “Chinese character archaeology” that integrates studies of ancient characters with ethnology, archaeology, and philology. Through this, it aims to provide deep insights into how various ethnicities and cultures have interacted to shape Chinese civilization.

PURPOSES : LED based Variable Message Signs(VMS) have been widely used to inform safety messages to the drivers in advance. Legibility Distance of VMS is the most important factor to provide the safety messages to drivers in timely and effective way. However, current National Standards on legibility distance design considers letter size only even there is a difficulty to read the signs at adverse weather conditions such as heavy fog. So, this study examined the legibility issue under fog by evaluating the legibility distance with two design factors such as letter size and luminance. METHODS : Two foggy weather conditions, intermediate and heavy fog, were simulated at real-road-scale Proving Ground. Legibility distance at daytime and nighttime was evaluated by test subjects. Subjects were asked to fill the legible distance on the test sheet and statistical significant was analysed at the lab. RESULTS : The legibility distance(LD) under fog was observed only 22 to 41% of LD observed under normal weather condition at daytime, and 26 to 45% at nighttime condition. Study results showed a consistent increase in LD with higher luminance even at same letter size and vice versa conditions, However, statically significant difference between groups was only revealed when both letter size and luminance level increased conditions. In order to apply the test results in terms of engineering benefits, LD results from significantly different groups was evaluated with relative to Stopping Sight Distance(SSD) within conceptual frame suggested in this study. CONCLUSIONS : From the study results, current National Standard on legibility distance design needs to consider letter size and luminance simultaneously to response the legibility issue in adverse weather conditions.

본 연구는 東晉의 王羲之(303-361)가 쓰고 宋人(米芾(1051-1107)로 추정)이 편찬한『草訣 百韻歌』에서 시작한다. 기존 歌訣 해설과 다르게 본 연구는 전통 이론과 실제 붓을 잡고 쓴 경험을 바탕으로, 宋人이 가결을 통해 후학에게 전달하고자 했던 초서의 요체를 새롭게 밝히고 자 한다. 이로써 전통 이론 중, 초서에게 부여된 ‘積其點畫, 乃成其字’, ‘草以點畫為情性, 使轉 為形質’과 같은 간단명료한 원칙의 의미를 더욱 깊이 있게 이해할 수 있을 것이다. 또한, 초서 문자 구조에 잠재된 변화규칙과 초서의 ‘連綿’, ‘游絲’의 추론과 설명 방식을 고찰할 것이다. 이는 초서 문자의 해독과 초서 문헌의 이해할 수 있게 한다는데 의의가 있다. 본 연구의 방법 및 과정은 크게 4가지로 구분된다. (1) 『草訣百韻歌』 중 간략하게 서술된 초서 변화의 요체를 해석하고, 점을 찍는 것에서부터 선을 연결하고 문자를 구성하는 기본 ‘結字 法’을 상세하게 분석한다. ‘圓筆’, ‘潤筆’, ‘渴筆’, ‘轉筆’ 등의 필법이 포함되며, ‘楷’에서 ‘草’로 전개되는 과정에서 문자의 틀과 필획의 구조 변화도 설명한다. (2) 초서에서 가로획과 세로획의 교차 운용 법칙을 상세하게 분석하고, 나아가 ‘撇捺改筆’, ‘戈法變換’ 등 획과 선의 배치, 한자 구조의 변화 등도 아울러 분석하고 논한다. 이는 초서 쓰기, 읽기, 이해에 이론적이고 과학적 해결법을 제공할 것이다. (3) 초서 章法의 기본을 해석하고 초서 필획 중 虛･實의 분배와 운용 및 ‘計白當黑’, ‘意連形連’과 같은 필획 구성의 요체를 고찰한다. (4) ‘連綿’을 재구조화하고, 초서의 점과 획의 변화 규칙을 활용하여 ‘連綿’, ‘游絲’의 필법 원리를 해석한다. 또한 고문헌의 해석에 응용하여 ‘龍蛇競筆端’에 포함된 초서로 쓰인 한자의 수수께끼를 풀어낼 것이며, 이로써 초서 筆法字學 학습의 중요성과 그 가치를 밝힌다.

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.

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.

위치 기반 AR 게임에서 모바일 기기의 위치를 정확하게 추정하는 것은 중요한 요소 중 하나이다. 모바일 기 기에 내장되어 있는 위치 추정 시스템이 얼마나 정확하게 위치정보를 추정하는 지가 증강되는 AR 콘텐츠의 정확도를 결정한다. 하지만 도시 환경에서는 건물, 건축물, 광고판, 표지판 등 지형지물 및 장애물에 의해서 위치 추정을 위해 필요한 신호가 반사, 굴절, 회절, 차단 등이 발생하게 되고 그로 인하여 모바일 기기의 위 치 추정 시스템으로부터 추정되는 위치에 오차가 생기게 된다. 본 논문에서는 도시 환경에서 모바일 기기의 위치 오차가 증가하는 현상에 대해서 상용 스트리트 뷰와 문자 태그를 활용하여 심플하면서도 신뢰성 있는 위치 보정 방안을 제안한다. 제안하는 위치 보정 방안은 쿼리 이미지와 스트리트 뷰 파노라마 이미지로부터 생성된 문자 태그를 대조하는 것을 통해서 매칭 스코어를 계산한고 매칭 스코어에 따라 쿼리 이미지를 촬영 한 실제 위치와 가까운 스트리트 뷰를 검색하는 것을 통해서 모바일 기기의 위치를 보정한다. 제안하는 위치 보정 방안은 위치 오차가 43.71m인 위치를 위치 오차가 4.09m인 위치로 보정하였으며 낮과 밤에 관계없이 위치를 보정할 수 있다는 장점이 있다.

이 연구는 옛 중국의 강영현 여성들이 여서문자를 통해 자신의 문식성을 발전시키 는 욕망과 과정에 대해 고찰했다. 이를 위해서는 우선 여서문자의 개념과 형성 배경, 그리고 교육방식의 특성을 살펴보고, 이를 통해 여성 문식성 공동체의 형태를 고찰했다. 뿐만 아니라 이들의 정체성 발전을 고찰하기 위해 ‘설득’ 개념을 도입함으로써 설득의 확장 개념인 ‘순수 설득’ 이론에 대해서도 논의했다. 이상의 논의를 바탕으로 여서문자와 ‘순수 설득’가 서로 결합하는 가능성을 타진하고, 그 이론을 바탕으로 여서로 개작된 문학작품을 해석하며, 옛 중국 강영 여성의 정체성 형성과 문식성의 발전 과정에 대해 다각도로 살펴보았다.

As Alex Schuessler (2009, 34–39) has articulated, it is difficult to know the real reason for the choice of a particular graphic element within a composite graph. This is often due to “mental or cultural associations” that tend to interfere with the choice. Even with a simple graph it is not easy to discern what we call “graphic design” that must have guided the original scribes to create the graphs to express words. These are important issues in Chinese paleography. We will use terms like “pure phonetic”, “quasi-phonetic”, “quasi-phonosignific”, “etymonic”, “quasi-etymonic” that are not commonly used in the literature (we will define them in the paper). The Old Chinese (OC) rimes comprised of a relatively few words such as *-əp, *-en, and *-ui suffer a shortage of graphs to write the words with such rimes. This implies the existence of graphs with only a segment or segments of an OC syllable that suggest its entire phonological form with a meaning or function. For example, the top portion of (=羊 *jaŋ~*laŋ, i.e., ) seems to serve as quasi-phonosignific in (=羌 *khaŋ~*khiaŋ—cf. 西戎, 牧羊人也, 羊亦聲—SW). That is, 羌 were “sheep herders”, and the grapheme can be taken as partial phonetic, not really “亦聲” it would seem, because only the rime of 羊 agrees (“quasi-phonetic”). When we pay attention not only to the rimes but also to the initials, we may, if cogent analysis can be made, come to understand why a word was written in a certain specific way. This interfaces between paleography and historical phonology, further involving historical lexicology. We shall also assess some traditional paleographical interpretations of nǚ 女= ‘woman’ and mín 民= ‘people’ and try to descry “graphic designs” by the original scribes. Here, however, we first need to figure out the underlying meanings of the words nǚ and mín in their early history. Their semantic fields could range from synonymy, near/quasi-synonymy, antonyms, and near/quasi-antonyms to members of some large word-family. In this paper, we limit our analysis to some “graphic minimal pairs” and the words represented by them. For example, “ (女 ‘woman’) and (卩 ‘joint’)”; “ (如 ‘follow, go’) and (訊 ‘interrogate’)”; “ (目 ‘eye’) and (臣 ‘servant’)”; “ (民 ‘people’) and (見 ‘see’)”; and a few related graphs.

In this paper I examine the controversy about the shift of writing systems in Azerbaijan and five Central Asian countries. The transition from Cyrillic to Latin alphabet is important as a symbol of elimination of Soviet traditions, independence from Russia, revival of national identity, facilitation of informations in the West, and contact with the Western civilization. Currently, Azerbaijan, Uzbekistan and Turkmenistan have implemented a transition to Latin alphabet. The shift of the writing system in Azerbaijan is the most successful, followed by Turkmenistan. Uzbekistan is regarded as having half success, since both of Latin and Cyrillic alphabets still co-exist. Among the remaining three central Asian countries, Kazakhstan has been actively promoting the conversion to Latin alphabet, planning to complete the conversion by 2025, but there will be many obstacles to its realization. In other words, they need to overcome the opposition of many Russians, Russian speakers, and the Russian Federation. Also an initiative of the second president Tokaev, who was appointed in March 2019, is uncertain. In Kyrgyzstan, there have been no attempts of conversion until recently, but it is also possible to begin discussions regarding the shift of the writing system by looking at geopolitical situations including Kazakhstan's experience. In Tajikistan, unlike other countries, the transition to the Arabic-Persian alphabet is discussed. A successful transition of the writing system in Kyrgyzstan and Tajikistan will depend on the relationship with the Russian government. As a result, the change of writing system depends on the external relationship with Russia, financial conditions, and agreement between the Russian-speaking and young generations.

The phenomenon of incomplete correspondence between writing and language units is widespread in the Dongba Scripture The White Bat’s Search for Sacred Books. This paper makes a comprehensive analysis and investigation of the incomplete correspondence in the Scripture, and then summarizes several common types and gives examples. This paper hopes to provide a reference for scholars to understand Chinese characters and other mature hieroglyphs in the early stage.

This paper makes a comprehensive investigation of the New Edition of Copying and Interpretation of Yin Ruins Characters, and finds that there are still some problems in it, such as the unreliability of the character interpretation, the lack of interpretation, the errors in sentence breaks and inaccuracy of annotation. The publication of this book is of great value in the field of oracle bones, and although it has some minor flaws, it does not prevent it from becoming an authoritative work.

The ancient Chinese character “ ” in the second slip of Kongzishilun was calligraphed as “ ”, and explained as a kind of musical instrument made of bamboo. However, it is suggested in this paper that this character should be calligraphed as “ ” in Clerical Script instead of “ ”. Its phonetic loan is “蕩”. Its meaning is “profound and grand” according to the bamboo’s exact meaning and the masterpiece Shijing. The second part of this paper mainly discusses the ancient Chinese character “ ” in the tenth slip of Kongzishilun. There are many explanations of it, such as “攺”, “改”, “妃”, “媐”, “逑” and so on. In our opinion, this character should be written as “施”, which means “educate” or “education”. “關雎之” reflects Confucian ethics of “克己復禮”.

Comparative graphology is an important branch of graphology research. It includes adopting the comparative method to analyze two or more kinds of scripts in order to find the differences and relationships between these scripts. However, the angle of script comparison is somewhat monotonous and not systematic enough at present. This article starts from making a brief introduction to setting the comparative targets, selecting the comparative materials, choosing the comparative contents, finding the starting point of comparison, choosing the framework or theory for comparison, and finally aiming at finding the certain paradigm for the comparative study of scripts.

卜辭에서 冓는 ①만나다[遇], ②祭名, ③人名, ④方國의 이름 등의 뜻으로 사용되었고, 再는 아직까지 명확하게 무슨 뜻으로 썼는지 판명되지 않았으며, 爯은 ①祭名으로 祭物을 단에 올 라 헌상하는 뜻, ②爯冊(칭책, 왕명을 받아 그 영을 전달하는 것), 제사를 지냄에 있어 천거하 여 령을 전하는 의식, ③인명으로 사용되었다. 이런 갑골문 문장을 보면, 제사나 사람, 사람이 사는 곳과 밀접한 관련을 갖고 있다. 冓의 자형이 화톳불 형식으로 제사에 사용되었기 때문에 제사 뜻을 갖는다. 再는 冓의 아랫부분과 상하에 횡으로 그은 한 획[一]을 더하 여 만들어진 글자다. 爯 행위를 하면서 사람이 다소곳이 앉아 봉례 하는 모양이 偁으 로 서로 통하기 때문에 제사를 봉행하는 행위를 나타낸다고 풀이된다. 冓와 爯, 再은 연관성을 가지고 있다. 모두 제사와 떼려야 뗄 수 없는 밀접한 관련을 맺고 있다고 하 겠다.

In this paper, it suggests how to input what it needs under gesture based which is able to put its text 3 times faster than an existing way with voice based by a person who is a visually impaired person with a smart device that is flat display without a physical button. The suggesting way is a text input method based on gesture that after setting the touch display of the smart phone to 8 directions, then, it inputs number, English/Korean tests and special characters with initial location and central point of input texts following drag motion of the users or it controls and processes all applications in the smart devices naturally. It tries to prove efficiency of this method through real test to the visually impaired.

Yang Shen (1488-1559) was born in Si Chuan Xin Dou. 《Ming Shi》 said that Yang Shen is the most famous for the extensive memorization and abundant writings. Yang Shen also contributed to the philology researches. According to Wang Wen Cai’s 《Yang Shen Xue Pu》, Yang Shen had many kinds of writings, such as 《Shuo Wen Xian Xun》, 《Liu Shu Lian Zheng》, 《Liu Shu Bo Zheng》 etc., but most of them are disappeared. 《Liu Shu Suo Yin》was thought that it’s disappeared, it can be found in the library of RENMIN UNIVERSITY of CHINA. It was included in 《Si Ku Quan Shu Cun Mu Cong Shu》. From Yang Shen’s 《Liu Shu Suo Yin-Introduction》, we knows that Yang Shen was based on abundant philology researches to appear his research system. Yang Shen had different academic judgements for each text researchers’s theories to appear Yang Shen’s conceptions of “Zhuan Zhu Gu Yin”. 《Qin Ding Si Ku Quan Shu Zong Mu》 was based on the the text textual content to comment Yang Shen’s 《Liu Shu Suo Yin》 negative. We can discuss the comment is appropriate or not? 《Liu Shu Suo Yin》 is distinguished into rhyme, so it had its own system. These researches are related to Yang Shen’s other research works in Xiao Xue. In philology researches, we can investigate Yang Shen’s contribution to philology researches with 《Liu Shu Suo Yin》 to clarify and analyze.