본 연구는 소설 『금병매』 속 인물 반금련이 현대춤 작품 <금병매>에서 어떠한 방식으로 재현되거나 재창작되는지를 분석하여, 인물의 성격·행위 동기·서사적 기능을 기준으로 설정한 인물 재현 각색 원리와 인물 재창 작 각색 원리가 현대춤 작품 해석에서 분석적 판단 기준으로 기능할 수 있는지를 검증하는 데 목적이 있다. 본 연구는 새로운 각색 이론을 제안 하기보다는, 기존 각색 이론을 토대로 정리한 인물 중심 분석 틀을 실제 현대춤 작품에 적용함으로써 그 설명력과 적용 가능성을 사례를 통해 확 인하는 방법론 중심의 연구이다. 연구 방법으로는 원작 『금병매』 속 반 금련의 인물 특성을 분석하여 이론적 기준을 설정하고, 현대춤 작품 <금 병매>의 장면 구성과 오브제 활용을 중심으로 비교·분석을 수행하였다. 분석 결과, 반금련은 인물 재현 각색과 인물 재창작 각색이 장면과 관계 맥락에 따라 병행 적용되었으며, 이러한 중첩 양상은 현대춤 각색 과정 에서 인물이 유동적으로 재구성됨을 보여주는 중요한 분석 근거로 작동 하였다. 본 연구는 인물 중심의 두 각색 원리가 현대춤 작품 분석에서 실질적인 분석 틀로 활용될 수 있음을 실증적으로 제시한다.

This study investigates character collaboration strategies in the context of rising kidult fashion as an emotional and cultural consumption trend. Jo’s kidult consumers typology and Byeon’s character function theory were used to analyze 33 SPAO collaboration cases released between 2022 and 2024. The study adopts a two-stage qualitative content analysis method: 1. categorizing the cases into four types of character collaboration strategies: character-centric, narrative worldview-immersive, fandom-centric, and retro sensibility; and 2. interpreting each type through an integrated framework combining emotional design, nostalgic bonding, and social identity theory. Data were collected from publicly available digital sources and examined with respect to emotional visualization, product design, affective messaging, and participatory/social-media strategies. The findings show that character-centric collaborations were most prevalent (45.5%), emphasizing direct visual cues and everyday product integration. The other three types account for 18.2% each, highlighting narrative immersion, fandom identity, and generational nostalgia, respectively. Character collaboration operated as an affective and symbolic communication mechanism that structures emotional connection, identity expression, and cultural resonance. The results demonstrate that character collaboration is a strategic tool for strengthening consumer engagement, cultural inclusivity, and brand loyalty. The study positions kidult fashion collaboration within an integrated emotional identity and offers a framework for brands to develop emotional comfort products, immersive storytelling designs, fandom-driven engagement, and intergenerational appeal.

This study analyzes the semantic network of the Chinese character heng (橫, horizontal) based on the comprehensive data from the Hanyu Da Cidian (漢語大詞典), elucidating how the notion of ‘horizontal’ systematically acquired negative connotations in the Chinese language. Through a detailed examination of 31 semantic entries and a complete analysis of 407 compound words incorporating heng, it was found that negative meanings accounted for 51.6%, constituting a majority, while positive meanings represented merely about 10%. Initially referring to a wooden barrier placed horizontally across a doorway, heng evolved metaphorically to denote disorder, suddenness, violence, and reckless decisiveness. This semantic development contrasts sharply with the vertical axis (縱 zong, 經 jing, 直 zhi), which symbolically represents order, centrality, authority, and continuity. Consequently, the horizontal axis became semantically associated with disruption and deviation from established order. Conversely, the English concepts of “horizontal” and “lateral” predominantly carry positive or neutral connotations, embodying metaphors of fairness, equality, and creativity. Such divergences originate from the contrasting cultural contexts: the Chinese sedentary-agricultural civilization strengthened values centered on the vertical axis, whereas Western maritime, nomadic, and contractual traditions affirmed the positive symbolism of horizontal metaphors. In conclusion, the semantic orientation of heng offers linguistic evidence of the vertical-axis-centered thinking inherent in Chinese civilization and exemplifies significant structural differences in conceptual frameworks between Eastern and Western cultures.

본 연구는 문자 기호가 도자 조형에서 어떠한 의미와 형식으로 활용되어 왔는지를 살피고, 이를 조형 디자인의 관점에서 정리하는 데 목적을 둔다. 문자는 기록을 위한 체계에서 출발했으나, 회화, 조각, 설치 등 여러 예술 장르에서 이미지와 더불어 표현 재료로 수용되면서 선, 획, 구조가 시각적 구성의 중요한 요소로 자리하였 다. 도자 분야에서도 문자는 기록, 장식, 상징을 비롯한 다양한 기 능으로 조형 디자인 전반을 이루는 요소로 활용되고 있으며, 글자 의 형태는 도자 표면의 질감, 소성 과정의 변화와 어우러져 다양한 시각적 효과를 만들어낸다. 이러한 특성은 문자 기호가 의미와 형 태가 함께 작용하는 시각 언어로 확장되는 배경이 되었고, 개념적 내용의 표현, 특정 경험을 남기는 기록적 접근, 형태의 조합과 변형 을 중심으로 한 조형적 활용 등 여러 방식으로 나타난다. 최근에는 디지털 기반 제작 방식과 인쇄 기술의 도입으로 문자 기호를 보다 자유롭게 적용할 수 있는 환경이 마련되었다. 전통적 으로 축적되어 온 상감, 철화, 인화 기법은 여전히 중요한 제작 기 법이며 전사지, 실크스크린 등 현대적 공정과 결합되면서 새로운 조형 방식이 나타나고 있다. 이러한 흐름은 전통과 현대 기술이 서 로 영향을 주며 문자 기호의 표현 범위를 넓히고 있음을 보여준다. 본 연구는 문자와 기호의 개념적 차이와 시각적 구조, 예술 전반 에서의 수용 양상을 고찰한 뒤, 도자 조형에 나타나는 문자 기호를 개념 중심, 기록 중심, 조형 중심의 세 유형으로 나누어 그 의미를 정리하였다. 또한 전통 시문 기법과 현대적 변용을 비교함으로써 문자 기호가 도자 조형 디자인으로 발전하는 과정에서 나타난 표현 특성과 가능성을 파악하고자 하였다. 이러한 논의는 문자 기호가 도자 조형에서 장식이나 표기 방식, 의미와 구조를 함께 이끄는 조 형 요소로 자리하고 있음을 밝히는 데 의의를 갖는다.

본 연구는 최근 대중매체에서 언급되고 있는 한국인의 문해력 논란이 왜 한자어에 집중되고 있으며, 또 한자어가 왜 한국어의 문해력을 방해하는지를 고찰해 보고자 하였다. 비록 기존 연구의 주장이 있기는 하지만, 본문은 그 근원적 원인을 한국어에 서 한자어는 본래 외래어였다는 사실과 한국어와 인지구조가 다르다는 관점에서 출 발하였다. 그래서 본문에서는 먼저 한국어의 개념 논리와 언어습관이 시공간의 인식에서부터 중국어와 다르다는 각도에서 출발하여, 한국인의 한자 개념 이해와 한자어의 구조 방식, 더 나아가 의미의 이질화, 신조어의 변화 양상 또한 달라진다는 각도에서 다양 한 예를 통해 분석을 진행하였다.

Several years ago I wrote an article comparing the vernacular character scripts of Tai-speaking peoples north and south of the China-Vietnam border, and made a preliminary case for finding older and newer layers in the Tày vernacular script. The argument was based on the identification of the historical strata reflected in the readings of Chinese characters. The results showed a relatively high degree of commonality between part of the Tày script and the Zhuang scripts in the West River area in central Guangxi, an area which is known to have been subject to strong Chinese cultural influence for the last 1800 years or so. Another part of the Tày vernacular script was completely different from any of the Zhuang and Bouyei scripts north of the border. My hypothesis was that the first layer was relatively old, and the second layer was more recent and came from a separate source. I am now in a position to propose a possible source for this more recent layer: the Vietnamese vernacular script. Evidence will come from two sources: traditional Tày and Vietnamese manuscripts, and relevant entries in Nguyễn Quang Hồng’s dictionary of the Vietnamese vernacular script (2014). The implications of this finding will be briefly discussed.

Dunhuang Manuscripts and Song Yuan Common word are important sources for the common words in the Great Chinese Character Dictionary. A comparison with the original source facsimiles reveals that a significant number of the vulgar character entries adopted by the Great Chinese Character Dictionary from these works are, in fact, spurious or erroneous characters that ought to be removed. Furthermore, issues exist regarding these common words, such as relatively arbitrary form standardization, inconsistent criteria for inclusion, and incomplete clarification of the relationships between characters. These problems require correction based on a comprehensive re-examination. Additionally, the citation examples for these common words are not exhaustive; they need further supplementation, with clear specification of the edition information for the sources cited.

Tadasuke Takata was a prominent scholar in the study of Chinese characters in modern Japan. The concept of graphic variation reflected in his work Kochūhen holds significant theoretical value and research importance. This paper focuses on his writings to systematically examine Takata’s歸納 and interpretation of the evolutionary patterns of Chinese characters. From a diachronic perspective, his theory of graphic variation summarises five major patterns of character evolution from the standpoint of structural change: component addition, component omission, semantic adaptation, component substitution, and comprehensive transformation. At the same time, it reveals the mechanisms behind the development of Chinese characters from both internal and external dimensions, discussing the influence of human writing habits and other factors on graphical evolution. His approach was not only methodologically pioneering but also provided an important reference for subsequent research on character evolution. As a foundational study on the structural evolution of Chinese characters, it is a cornerstone of modern East Asian character theory. His systematic歸納 and research demonstrate considerable advancement and offer valuable insights for understanding the development of East Asian character studies. However, his work is also limited by inconsistent classification, lack of depth in analysis, frequent misinterpretations of character forms, and superficial theoretical explanations, which overall restrict its academic impact.

The study of Chinese character cultural sphere or Sinosphere, for a long time, has primarily focused on the influence of Chinese character on the development of written forms in the regions of East and South Asia. The impact of Chinese character on scripts developed in neighboring North Asia, namely the Mongolian steppes, has received less attention, due to the multilingualism and complex trajectory of written forms changes in that area. Based on historical documents, stele carvings and cultural relics discovered since the 20th century, this study focuses on the two types of Khitan characters —large script and small script — created in North Asia in the 10th century and popularly used in centuries to examine the relationship between Khitan script, also its successor, the Jurchen script, and Chinese characters in terms of form, sound, and meaning, analyzing their borrowings, similarities and differences with Chinese characters. The study finds that the creation of the two types of Khitan scripts adhered to the structure and elements of Chinese characters in different degree with different invention strategies, but also introduced modifications and innovations, creating new glyphs and rules to suit the needs of written down Khitan language and expressing meaning. The creation of Jurchen large and small scripts, the successor to the Khitan scripts, was a borrowing and adaptation of the Khitan scripts, directly or indirectly a reaction to the historical spread, impact of Chinese character in North Asia. This study demonstrates the promotion and contribution of Chinese character to the scripts development of ethnic groups in the multilingual and multicultural context of North Asia, providing new data and new perspectives on studies of Sinosphere as well as studies of written forms generated from diverse sources around the world.

International Chinese language education within the context of the Chinese character cultural sphere holds both strategic and practical value. In this regard, by focusing on Korean learners and tracing the etymological origins of Chinese characters and their historical influence on the Korean language, a comparative analysis of the similarities and differences between the Chinese and Korean lexical systems across monosyllabic, disyllabic, and polysyllabic words, as well as native, Chinese character-based, and loanword categories, reveals the following: Korean learners can leverage shared Confucian cultural origins, the positive transfer of Hanzi word forms, sounds, and meanings in Korean, the adaptability of Hanzi words to grammatical structures, and the correspondence between Korean and Chinese vowels to gain significant cognitive advantages, achieving efficient connections between “character form-semantics-pronunciation.”However, modern linguistic differences, homophones, phonological systems, and societal “de-Sinicization” policies can easily induce negative transfer and weaken learning motivation. Based on this, the article proposes a four-dimensional teaching strategy encompassing cultural-linguistic integration, digital resources, contextdriven tasks, and policy coordination to enhance the acquisition pathways of Chinese character-based words, expand international understanding within the Chinese cultural community, and provide references and paradigm updates for international Chinese language education within the Chinese cultural sphere.

본고에서는 거창 지역의 성지(城址)와 거열산성(사적) 및 분산성을 검토한 바탕에서 거열성과 거열주 만흥사산성을 비정하고 그 성격을 규명해 보았다. 거열성은 거열(거 타) 지역의 중심적인 성이라 할 수 있으며, 따라서 거창의 중심지에 위치한 고대 산성인 분산성이 그것이었을 가능성이 크다. 그곳은 가야 때부터 중요한 지점이었던 것으로 판 단되며, 여기에 성이 축조되어 거열성이라고 지칭되었을 것이다. 거열주 만흥사산성은 건흥산성, 즉 거열산성 2차성에 비정된다. 거열산성 1차성은 6 세기 중엽부터 군사 시설로 활용되었을 가능성이 있지만, 그것을 거열성이라고 하지는 않았을 것이다. 신라는 당과의 전쟁 도중에 여기에 새로 만흥사산성을 축조하였다. 신라 는 가야 지역을 차지한 뒤 한강 유역과 같이 본격적으로 축성하지 못하였는데, 그 결과 백제에게 이 지역을 내주기도 하였다. 문무왕 13년(673) 만흥사산성의 축조는 당군과 대치하는 상황에서 기존에 뚫렸던 함양-거창-고령 루트를 보완, 방어하기 위한 조치였 다고 판단된다. 본고에서는 문헌에 나오는 거열성과 거열주 만흥사산성을 일관성 있게 비정하고자 하였다. 그 논리는 단순한데 거열성과 거열주 만흥사산성은 마치 한산성(이성산성)과 한산주 주장성(남한산성)이 다른 것처럼 다르게 봐야 한다는 것이다. 앞으로 문헌에 나 오는 성을 성지(城址)에 비정하는 것이 좀 더 체계적으로 이루어졌으면 하는 바람이며, 이를 통해 고대 성의 성격과 활용에 대해 구체적으로 논의할 수 있기를 기대한다.

This study was conducted to quantitatively verify whether payment motives and usage patterns differ according to the motivations of users of mobile character-collecting games. For this purpose, three user types were derived based on game motivation profiles tailored to mobile character-collecting games: Cluster 1 (Communicators), Cluster 2 (Character Collectors), and Cluster 3 (Competitors). It was confirmed that each cluster was mutually exclusive and exhibited different payment motives and usage patterns. These findings emphasize the value of a motivation-based segmentation strategy in understanding the behavior of mobile game users. Furthermore, based on the results of this study, game developers and publishers can more sophisticatedly tailor game content, monetization strategies, and marketing campaigns based on users' motivational profiles, rather than relying on simple demographic variables. Future research needs to expand the diversity of the sample by including a wider age range and considering a balanced gender distribution. Additionally, to gain a more in-depth understanding of the temporal changes in user motivation, future studies should explore potential causal relationships through a longitudinal research design.

齐 is a simplified form of 齊. This thesis examines the evolutionary process and usage patterns of the character 齐, concluding that it exhibits both orthographic and popular forms. These two variants coexisted in ancient documents, though their frequency of use varied significantly. Moreover, the dominant glyph of 齐 differed across dynasties. From the Qing Dynasty through the Republic of China era to the Peoples Republic of China, the official standardisation of 齐 underwent a developmental trajectory from 齊 to 齐, which can be categorised into three distinct phases: the incipient period, the exploratory period, and the finalisation period.

Some scholars argue that after the Yuan and Ming dynasties, the function of the character "Dai"(埭) gradually diminished in real life, and the character itself slowly faded from people's view. In modern life, people may occasionally encounter the character "Dai"(埭) in some ancient place names or modern place names that inherit ancient traditions. Others suggest that the use of "Dai" (埭) in place names in Wenzhou, Zhejiang Province, is influenced by the Min dialect. However, this paper holds a different view. In fact, in the provinces and cities south of the Yangtze River, including Zhejiang, Shanghai, Jiangsu, Anhui, and Fujian, the character "Dai"(埭) is very common as a place name, with a higher frequency of use compared to its function as a water conservancy facility. It is by no means "occasional." As a frequently used place name, including in Fujian, it has not faded from people's view at all. Through diachronic examination, it is found that the character "Dai"(埭) has been used as a place name at least since before the Tang Dynasty and has never been (埭) interrupted. It was not only used as a place name after the Yuan and Ming dynasties. The toponymic use of 'Dai' (埭) across Zhejiang, Shanghai, Jiangsu, Anhui, and Fujian can be regarded as a vestige of ancient Chinese linguistic heritage. Many dictionaries, including some well-known ones, have not included the meaning of "place name character" for "Dai," which seems inappropriate. These dictionaries have included the dialectal usage of "Dai"(埭) as a measure word but have overlooked its dialectal place name usage, which is a case of "focusing on one thing while neglecting another."

Integrating exegetical and textual scholarship with analysis of the Eastern Jin text Cārya-nidāna, this study resolves gaps in inter-character relation communication in Great Chinese Dictionary (second edition). Specifically, the characters zè (仄), cè (側), cè (惻), cè (𡍫) and cè (畟) should each supplement the semantic value of "filled; filled to capacity", and their phonetic loan relationships necessitate clarification. The pronological entry (1) for cè (側) as 阻力切 should be marked with the historical reading zè. While emphasizing that the phonetic differentiation of cè/zè (側) is influenced by its near-synonym zè (仄), it is crucial to note that zè (側)'s "narrow" semantic sense is independently derived and didn't require the inter-character relation with zè (仄). The character niè ( ) and liè ( ) should be introduced, with an explanation of its variant relationship between niè (孽) and liè (鬣).The meaning of "long hair (on the human body and head)" should be added to liè (𣰌), with an explanation of its variant relationship between liè (鬣). The relationship of being alternative forms of each other between gāi (姟) and gāi (垓) should be established. The character méng (萠) should be introduced, with an explanation of its variant relationship between méng (萌).

The cooking method {炒 (stir-frying)} is a commonly used verb in daily life, closely related to our existence. Its appearance in transmitted texts did not occur until the Han Dynasty. The term {炒} was historically represented by eight model of characters, though only six were actually used, each with numerous variant forms. During the Han Dynasty, {炒} was recorded using “𩱦” and “㷅”, with “𩱦” being the predominant choice. In the Six Dynasties period, “ ” remained the standard. After the emergence of “炒” and “煼”, both characters were widely adopted across subsequent dynasties, with “炒” becoming the conventional form, though it never fully supplanted “煼”. This trend was also interspersed with the use of simplified variants like “㷅” and “𩱦”. Investigating the historical graphic representation of {炒} holds significant importance for understanding the development of Chinese culinary techniques and interpreting related transmitted texts.

The preface, postscript, foreword, and general notices of the Korean Chinese dictionary, contain not only the reason and purpose of compiling the dictionary and the relationship with other Chinese dictionaries, but also the understanding and even the view of Chinese characters in ancient Korea. Combining the contents of the preface, postscript, foreword, and general notices of Korean dictionaries, as well as other Korean Chinese literature, it analyzes Korea’s understanding of Chinese characters, and explains the main contents of Korea’s view of Chinese characters from different dimensions, such as the dissemination of Chinese characters, Chinese characters ontology, and the use of Chinese characters. On this basis, a comparison is made with the views of Chinese characters in Chinese dictionaries and other literature and Chinese character views in Vietnam, to provide new perspectives on the study of extraterritorial dissemination of Chinese characters and Korean Chinese characters.

This study aims to demonstrate the integration of character education with content and language integrated learning (CLIL) and evaluate its effects on the English language learning and character development of young learners who use EFL. Eight participants received character-integrated CLIL instruction over 16 class sessions. Employing a mixed-method approach, this study collected qualitative data primarily through observations, interviews, portfolios, self-assessments, and peerassessments, complemented by quantitative data from English tests and questionnaires. Findings revealed that character-integrated CLIL significantly enhanced learners’ oral language skills, confidence, and engagement in learning English. Additionally, it facilitated simultaneous development of language proficiency and subject knowledge, while promoting acquisition of positive character traits. The learner-centered environment supported by teacher scaffolding and authentic materials allowed learners to apply their knowledge to real-life situations. These results provide educators with a model for effectively integrating character education into language learning. They also highlight the broader potential of CLIL to foster holistic learner development.

서예는 시각으로 감상하는 조형예술로서, 특히 현대의 서예 계에서는 서예의 공간적 조형구성에 많은 관심을 기울이고 있 다. 따라서 본 연구는 회인(懷仁) 집자에 의한 <집자성교서>에 나타난 필세(筆勢), 체세(體勢) 등의 특징을 정리하였다. 그리고 이를 기반으로 결자조형(結字造型) 방면을 중점적으로 분석 연 구하여 왕희지(王羲之)의 결자 처리의 미적 취향을 환원하고자 하였다. 특히 서예의 결자조형(結字造型)과 필세(筆勢) 및 체세 (體勢)는 불가분할의 관계이다. 부동한 용필(用筆) 방식 부동한 결체(結體) 형태에 따라 모양과 미적 효과가 다르기 때문이다. 그러므로 본 고에서는 <집자성교서>에 필세와 체세, 행축선(行 軸線)에 대한 회인(懷仁)의 배치와 회인집자(懷仁集字)의 기준 을 포함하여 같은 글자를 다룰 때의 세밀한 고려를 살펴보았 다. 이에 따라 왕희지 서예를 배울 때, 진(晉)나라 사람들의 소 산(蕭散)한 자연 의취(意趣)를 깨달아야 하며 글자의 공간 조형 변화와 대비 관계를 파악하여야 함을 알았다.