Taboo is an ancient custom in China. The taboo system was applied to the names of emperors had a long history in China. Beginning from Zhou Dynasty, until to Qing Dynasty. It is true that taboo system has caused confusion of the recording of ancient Chinese books and inconvenience to the study of historical materials, but one will be able to apply its principle to appraise the authenticity of those books and materials of one has a good grasp of it. Taboo studies also have a long history. According to Chen Yuan’s陳垣 Shi hui ju li史諱舉例，there are different ways to avoid the forbidden words, such as change the character, blank character, omit a stroke, change the pronunciation, etc. This paper claimed that besides change the forbidden word to a synonym, other ways to achieve taboos were occurred in Han Dynasty, such as “missing one stroke of a Chinese character”, “change the formation of a Chinese character”, “change the shape of a Chinese character”, etc. That means the old conclusion of Chen Yuan and other scholars may be not true. However, philologists argued that those changes are the result of the variant form of a Chinese character異體字. Scholars stated that the way to avoid a tabooed word in Han dynasty was to change the forbidden word to a synonym. In this paper, according to Louji’s 婁機 Hanliziyuan漢隸字源, Hongkuo’s洪适 Lishi隸釋, Zhou Guangye’s周廣業 Jing shi bi ming hui kao經史避名彙考, we examine the relationship between tabooed character and variant form of a Chinese character. Finally, discuss the importance of variant form of a Chinese character in the aspect of taboo studies.

Chinese characters treated as the science and art of calligraphy is one in two and inseparable, whose interactions are the basis of the existence and development. The self-sufficiency and richness of Chinese characters makes Chinese calligraphy become an important cornerstone of specialized art, especially to help Chinese calligraphy solve the problem of the “artistic image” of art. The cultural status and development of Chinese calligraphy. Chinese characters also plays a decisive role. China calligraphy is the calligraphy existence and living inheritance of Chinese characters, which makes an important contribution to make it be the oldest surviving global rare survival and live thousands of years without failure. originated from China calligraphy, Japan calligraphy and Korean calligraphy are still thriving untill today, even after the abolition of Chinese characters in their country, Which is also reflects the irreplaceable status and function of Chinese calligraphy in the development of Chinese characters.

본고는 2009 개정 중학교 한문 교과서의 자원학습 실태를 분석한 것이다. 본고의 목적은 2009 개정 중학교 한문 교과서의 자원 학습 제시 실태 및 내용을 분석하고, 그 문제점을 살핀 후, 향후 교과서 집필 시 참고할 수 있도록 제언하는 것이다. 분석결과, 교과서에 제시된 자원학습은 자원 학습의 효율성을 반영하기 위한 것이라기보다는 단순히 교육과정의 내용요소를 담고 있기 위해, 교과서의 시각적 효과를 살리기 위해, 혹은 교육용 기초한자 900자를 교과서에 실기 위한 목적으로 ‘자원 한자’ 라는 영역을 제시하고 있다는 문제점을 발견 할 수 있었다. 또한 자원 풀이 내용에 있어서도 체계적인 기준 없이 교과서 집필자들의 자의적, 임의적 의견으로 자원 한자를 선정하거나 편의적이고 개성적인 설명에 의한 시중의 참고도서를 그대로 교과서에 반영한 경우도 찾아 볼 수 있었다. 이러한 상황 속에서 자원을 활용한 한자학습이 체계적으로 이루어지기 어려울 것이다. 한문이라 는 과목은 국가가 제시한 교육과정 내에 존재하는 과목이다. 그렇기에 ‘공교육’ 이라는 측면에서 교사가 학습자에게 전달하는 교육 내용은 균질성을 확보해야 한다. 따라서 교과서 집필자들은 최근 의 자원 연구 성과를 반영하여, 학리적 검토 위에 과학적이면서도 체계적인 자원 한자 학습이 이루어질 수 있도록 힘써야 할 것이다.

이 글의 연구 과제는 ‘漢字의 形･音･義를 어떻게 파악할 수 있는가?’이다. 入門期 한자 학습자가 특정 한자를 처음 접할 때, 그 한자의 모양, 소리, 음 곧, 漢字의 形･音･義를 어떻게, 어떤 경로를 통하여 파악할 수 있는가라는 문제이다. 이 글에서 ‘漢字의 形･音･義 파악하기’로 명명한다. 이 글의 연구 과제인 ‘漢字의 形･音･義 파악하기’를 수행하기 위한 기초 작업으로 다음 세 가지 연구 내용을 설정했다. 첫째, 한문과 교육과정에 제시된 漢字의 形･音･義 파악하기 내용을 분석하는 것이다. 한자의 짜임, 부수, 자전 등이 주목된다. 둘째, 한문 교과서에 제시된 漢字의 形･音･義 파악 하기 관련 교수･학습 방법을 분석하고자 한다. 단원 구성, 한자의 짜임, 부수 등을 강조했다. 셋째, 漢字의 形･音･義를 파악할 수 있는 교수･학습 방법을 제시하고자 한다. 교육과정 내용 및 교과서 분석을 토대로, 현장에서 실행 가능한 漢字 形･音･義 파악학기 교수･학습 방법을 학습 요소, 기법, 그리고 자료 층위에서 試論하고자 한다.

The widely accepted understanding that a Chinese character has three factors, i.e., form, sound and meaning, takes sound and meaning into the account of the Chinese Graphology; this has too broad a scope. On the other hand, the view that “Chinese Graphology is in essence the study of the graphic shape” is too narrow. From my observation, Chinese characters have three properties of their own: shape, constitution and function. To start from here may in necessity attain three branches of it, that is, the study of Chinese graphic constitution and the study of Chinese graphic functions, each forming a system of its own. These three systems do not stand in parallel, nor in layers, but three independent and not severed planes of the noumenon of Chinese characters. In other words, they constitute what the Chinese Graphology should concern. This may be termed “the Three-Plane Theory of Chinese Graphology”. A dozen years of researches of ours have proved that this theory, and the study of Chinese graphic function in particular, have both important theoretical and wide-reaching practical values.

With the spread of Chinese culture, Chinese characters are becoming more and more popular among non-Chinese native speakers, who often use some characters inaccurately. This may cause funny misunderstanding. In this article we examine the production mechanism of Chinese humour and the semantic opposition in language jokes. It is claimed that the language ambiguity triggerd by homophones, homographs and polesemies could be one of the main sources for Chinese humour. We successflully used Raskin's linguistic theory (1985) to analyse the Chinese jokes and confirmed Lin Yutang's opinions on Chinese humour: It is more an understanding smile than a big exploding laughter (Lin 1924). Application of Chinese character humour in second-language teaching is also presented. We argue that the Chinese characters are a carrier not only of Chinese culture, but also of Chinese humor. By learning Chinese characters, learners should get more familiar with the different forms of language ambiguity and become more sensitive to the strokes, radicals and pronunciation of Chinese characters, and they should learn more about the origin and the development of the characters.

The debate and struggle on traditional and simplified Chinese characters cannot be ignored in the context of Chinese international education. Standing on which Chinese Character teaching position should be considered on the features of this two characters systems and learner’s personal experience. Different positions will have different effects on Chinese teaching difficulties, the difficulty of Chinese teaching is the Chinese character, on this premise, the effects of traditional and simplified Chinese character to Chinese learning cannot be ignored especially. Based on the analysis of 3000 traditional and simplified Chinese characters, we draw the conclusion that the significantly decrease of simplified characters’ strokes is far priors the negative effects on characters’ motivation. Furthermore, we suggest that simplified Chinese characters should be chosen at the primary stage of TCSL globally.

Chinese characters are materials of Chinese poems in Vietnam, including three main factors: configuration, sound, and meaning. Among those factors, generally configuration and meaning were borrowed from the Chinese while the Sino-Vietnamese sound has been developed since the linguistic acculturation of Vietnamese to Chinese language. Chinese configuration with cultural insides shown in non-numerical configuration has contributed hidden values to the works. Ideograph characteristic of this writing system generates emblems with deep cultural dimension. Analyzing Chinese character configuration is to get more understanding on the meaning of the word and to understand different hidden meanings of the word. The expressions shown on character configuration become a tightly connected system, increasing expressional value for the work and creating artistic messages. Sino-Vietnamese sound of the Chinese works in Vietnam still preserves the characteristics of similarity, prosody, and rules of ancient poetry. Comparing Sino-Vietnamese sound and Vernacular Chinese sound, we will see that, in many cases, Sino-Vietnamese sound (related to audio-track) preserves the characteristics of similarity, prosody, and rules of ancient poetry but the Vernacular Chinese sound may not. Rules on tone bring up beautiful poetry feelings of an era with distinct features. In understanding the meaning of non-numerical scripts, we care about the synonyms with slightly different meanings, which create specific values for poetry works. Chinese words with the same radical can be connected as far as their meanings go, transferring values that readers can discover based on those connections. Multiple meaning words directly contribute to the multi layers of the different layer of meaning in literature works. In general, readers need to be aware of configuration, sound, and meaning of Chinese characters in order to understand the values of Chinese poems in Vietnam.

With the help of literature analysis, the development and evolution of “ping (垪)”,“di (俤)”,“zhen (鋴)” and “ba (紦)” were sorted out ,which makes up and corrects errors in universal language dictionaries. Character research follows the principle of “practical and realistic”. Basing on literature, we can study changes and developments of Chinese characters and avoid circulating erroneous reports in deciding originality.

과거 지식 중심 교육과정에서는 많이 아는 것이 중요하였다면, 역량 중심 교육과정에서는 무엇을 할 수 있느냐가 중요하다. 각국의 역량중심 교육과정에서 나타나는 공통점은 개인적으로는 창의적 사고력, 문제해결력 등을 강조하고, 사회적으로는 협동, 배려 등을 강조하고 있는 것이다. 핵심역량 은 역량 가운데 학교교육을 통해 누구나가 길러야 할 기본적이고 보편적이며 중요한 성격의 것이다. 역량중심 교육과정에서 교사는 역량을 중심으로 학습목표를 진술하여야 하고, 교수･학습 방법 또한 이러한 역량을 신장시키는 융합 수업, 프로젝트 수업 등을 적극 활용하여야 하며, 평가의 방법 역시 과정 중심의 수행평가를 통해 학생들이 자신의 지식을 통해 어떻게 역량을 길러내는지에 초점을 두어야 할 것이다. 2015 개정 교육과정은 미래 사회가 요구하는 핵심역량을 함양하여 창의융합형 인재를 양성하는 데에 중점을 둔다. 2015 개정 한문과 교육과정에서는 의사소통 능력, 정보처리 능 력, 창의적 사고 능력, 인성 역량, 심미적 감성을 한문과 핵심역량으로 설정하였다. ‘한자와 어휘’ 자료를 통한 문자도 그리기 수업, 한자 자르기/만들기 수업, 이름 한자로 이야기 만들기 수업, 동음 이의어로 짧은 글 짓기 수업, 상형문자카드로 문장 만들기 수업 등은 한문과 핵심역량을 함양할 수 있을 것이다. 다른 교과와의 융합 수업 모델이 적극적으로 개발되어야 하며, 한문과 역량을 측정할 수 있는 도구 개발이 필요하다.

Chinese characters in Vietnam have a long history, more than one thousand years. This paper with three main parts is aimed at doing a research overview of Vietnam’s Chinese characters over the years. In the first part, the birth and the usage of Chinese characters will be presented through the analysis of formation circumstances as well as the historical position of the characters in Vietnam. In the second part, the paper will introduce the social, cultural and educational background, the unearthed literature and handed-down literature, and anonymous literature as well as the arrangement and the research of the characters over each period in the history. In the last part, the achievements and the failures of researches on Vietnam’s Chinese characters by far will be pointed out as the foundation of future researches, which are to improve the status of Chinese characters socially.

Chinese characters are one of the longest-running text in the world, which has not been abolished so far. East Asian countries, especially Northeast Asia, are inextricably linked by Chinese characters. Moreover, Chinese characters has been the Korean people’s writing system in the past two thousand years. Therefore, Chinese Character is an important component in Korean language. Korean vocabulary incluedes two systems, that is, original Korean vocabulary and Sino-Korean vocabulary. Original Korean is the vocabulary that used by Korean people for thousands of years. Sino-Korean is the vocabulary that borrowed from Chinese and Japanese words created by Chinese characters. In Korea, many scholars have carried out a detailed analysis and deep research about Chinese Characters. On the basis of the previous scholars’ research, this paper makes a preliminary study on the usage and status of Chinese characters in Korea, in view of the present situation of Korea. The first section pointed out the research background, purpose and method of this paper; the second section have reviewed results of previous studies and the process of Chinese Character’s education. Moreover, the status of Chinese Characters in Korea will be described; the third section focused on the usage and countermeasures of Chinese characters; Finally, the result of this paper has been summarized in the last section

This study was designed to show how ancient Chinese understood the concept of truth through characters listed in Shuowen Jiezi, the first analytical dictionary of Chinese characters (A.D.100). In my previous research, I examined the interconnectedness of „zhen‟ (貞) and „zhen‟ (眞) as cognate words, to show how ancient Chinese developed a concept of „truth‟ early on. In this paper, I would like to clarify how ancient Chinese thought about truth/falsehood, right/wrong, and assent/dissent through interpreting the meaning of characters with shi 是 („true‟) or fei 非 („false‟) as a components in Shuowen. I analyze shi 是 („true‟), 25 characters having 是 as a component (2 characters having 是 as a semantic part, 23 characters having 是 as a sound part), fei 非 (false), and 35 characters having 非 as a component (5 characters having 非 as a semantic part, 30 characters having 非 as a sound part). I further analyze fú 弗, signifying „not‟, and 17 characters having 弗 as a component (17 characters having 弗 as a sound part and 0 character having 弗 as a semantic part), because 非 and 弗 are similar in meaning and usages. Taking into consideration all the different meanings represented by these characters, I divide them into three categories: (1) characters for depiction of the object in question with distinctive features, (2) characters for regulation, and (3) characters representing value. The first category include 14 characters having 是 as a component (56%), 3 characters having 非 as a component (16%), 1 character having 非 as a component (6%). As the second, 4 characters having 是 as a component (16%), 23 characters having 非 as a component (66%), 4 character having 非 as a component (24%) are included. 5 characters having 是 as a component (20%), 3 characters having 非 as a component (9%), 12 character having 非 as a component (71%) are classified as the third. I hope this paper is to stimulate related research by providing the origins, historical development and detailed interpretation of truth-related characters, and so be able to advance toward more insightful writings on truth.

Shape analysis ought to be emphasized in the teaching of Chinese characters. The primary methods to analyze the form of Chinese characters are incarnated in ShuoWenJieZi includeing analysis on component function, analysis on form variation and analysis on isomorphic part, all of which afford us as references that merit academic attention in modern teaching of Chinese characters. The paper introduces the method of structure analysis from ShuoWenJieZi, focusing on how to draw lessons from these approaches in the teaching of Chinese characters and illustrating key points in practical application as well as effects that may achieve.

The research for the “Tsinghua possession Chu Jane” conduct a concentrated study to explore the “shí-organs” in some Chinese characters. The research focuses on the text of the test interpretation, and then throughout discussion to go deep into the understanding of food culture. The results will be beneficial to facilitate academic writing materials excavated Warring States to expand research in other areas.

Since China announced the “Chinese Character Simplification Scheme” in 1956, two sides of the straits have had different usage of Chinese characters, which is Traditional or Simplified. This situation has been there for 60 years and we have noticed that, although simplified characters make it easy to remember and write, some original concepts of the characters, such as Chinese culture or how the character was created, have been lost. As Chinese characters consist of “format”, “sound”, and “meaning”, which are closely connected with one another, simplified Chinese have made it inconsistent with the original Chinese characters as they have become simple lines and symbols. When people are learning Chinese, they are not able to understand the close relationship between the format and the meaning or the rich Chinese culture carried by the character. The research motive is from the trend in the survey of university students about their concepts of the usage of traditional and simplified characters. The research will further explain how the format and the meaning of ancient Chinese characters were closely connected.

The study aims to discuss the relation between square-shaped Chinese Characters and the attitudes of life. There are six structures of Chinese Characters, which influence six kinds of attitudes of life of Chinese people. First, the right-and-left structure ( , ex.好) and the vertical structure ( , ex. 惡) demand symmetry and balance, which shows the love of equitable attitude of Chinese people. Second, the axis positioning of Chinese Characters, shows that Chinese people persist in moderation. Third, surrounding structures encourage Chinese people to be introverted and humble. Fourth, the Pyramid-shaped structures (ex.品) show the respect for seriousness and solemnity. Fifth, the components combined in layer strengthen Chinese people’s values of order and group. Last, the straight strokes and vertical writing reflects Chinese people respect for decency and uprightness. The six structures and the six attitudes influence and accomplish one another. This research is also hoped to inspire different thoughts on the cultural aspect of Chinese Characters. Most of all, the knowledge can lead us to know learn more about the Kaishu’s value in both the ancient and modern times.

The twenty-first century is the Age of Digitization and Internet. According to the backdrop we are in, the paper points out that arguments and grounds of argument in the essay composed by Zhou Suyuan and Zhang Guangzhao still need to be further discussed: 1. The instrumentality of Chinese characters in the Age of Digitization can not determine its comlexity or simplicity in appearance. 2. It is a false proposition to say that the simplification is a must for the evolution, optimization and beautification of Chinese characters. 3. For further simplification of characters is definitely a possibility, but not a necessity. The Age of Digitization requires characters to stay in a relatively stable state. The standardization and unification of Chinese characters must be from a perspective of informatization and internationalization. As for now, there is no possibility or necessity for further simplification.

Chinese Character studies have mainly been focused on four areas: orthography, phonology, meaning, and character frequency. To add a new dimension to the existing approaches, this paper will provide and examine a quantitative data about the range of the vocabulary in Chinese character dictionaries. As a promising new method, the new approach, both diachronic and dynamic, will be very useful in exploring changing aspects of Chinese Characters usage, compared with the existing synchronic and static approaches. This paper aims to provide analysis of all Chinese Characters included in Chŏnun-okp'yŏn, the most authoritative dictionary of Joseon dynasty published in 1805 meaning ‘Chinese Rhyme Dictionary’, and in Sinjajeon, meaning ‘New Dictionary of Chinese Characters’ published in 1915, to explain their changing aspects in the entries of two dictionaries, and then to show how social change affected the use of Chinese Characters in early twentieth-century Korea. To that end, I construct the database of the two dictionaries on the basis of a detailed analysis of all the characters with respect to the radicals, strokes, components, and structures of these characters, which shows that Chŏnun-okp'yŏn includes 10,997 Chinese characters and Sinjajeon contains 13,348 characters with 13,084 in the body text and 264 in three appendices. 2,114 characters were newly inserted and 7 characters were removed in the body text of Sinjaeon. In particular, the number of the radical headings containing more than 20 newly inserted characters are 35, with 1,624 new characters in total, accounting for 77.1% of the total. The total number of radical headings including more than 30% newly inserted characters are 26. In addition, the number of radical headings containing more than 10 newly inserted characters with a growth rate of more than 20% is 903, accounting for 43% of the total number of characters. Based on these data, modern Koreans appears to have a wider vocabulary consisted of Chinese characters. The number of characters under the radicals meaning animal and plant ( 犬 (dog), 牛 (cow), 肉 (meat), 木 (tree), 米 (rice), 禾 (pine), 田 (farmland), 虫 (insect) etc.), those meaning mineral (石 (stone), 玉 (jade), etc), those meaning industrial products (皮 (leather), 巾 (towel) ect.), those meaning pathology (疒 (illness), 歹 (broken bones), etc.), increased quite a bit, the words reflecting newly emerged phenomena of industrialization or modernization in the early 20th century. In addition, it can be pointed out that the words used for spoken Chinese newly appears in Sinjaeon.

중국에서 보편적으로 통용되는 식자는 ‘일반적’, ‘특수적’ 방법이 있다. 일반 방법은 식자는 쉬우 나 언어 환경과의 괴리를 피할 수 없다거나, 흥미 유발로 식자 능력을 배양할 수 있으나 한자 고유 의 규율을 이해하는데 어려움이 있다거나, 한자가 가지고 있는 특성을 도외시하게 되는 등 문제점을 가지고 있다. ‘벽문절차’와 ‘자족문’이 특수 방법으로 벽문절차는 한자의 형․음․의 분석을 통해 관련된 부분을 도출해내고 독특한 연상법을 활용해 흥미를 유발하고 기억하게 한다. 그러나 한자의 규율을 무시하 는 문제에 따른 해설상의 오류를 벗어나기 힘들다. 한자 특성을 제대로 학습할 수 없게 만들고, 언어 환경도 고려하지 못한다. 자족문은 획기적이고 신선한 방법으로 평가받는다. 한자 특성을 고려해 파생을 활용하여 자족이 란 개념을 창출했다. 문장을 익히면서 문자를 익히고, 문자를 익히면서 문장을 익숙하게 하는 문장 과 문자 학습을 통일시켰다. 문장 학습으로 언어 환경을 잘 활용할 수 있고 개별 문자를 쉽게 이해 할 수 있는 방법으로 한어 특성을 살렸다. 그러나 자족문 방법도 중국 언어체계에서 활용도가 높을 뿐 우리 언어체계에서 쉽게 활용할 수 없다는 단점을 가지고 있다.