Starting from the relationship between the Shui Script and the almanac of the Han Ethnic Group, this paper observes further about the Shui Script, and thinks that the fundamental nature of the Shui Script system is its hybridity: the Shui script is generally the same as the almanac of the Han Ethnic Group in the basic principles, the divination of weal and woe, the logic of expression and cultural connotation. Besides, it also reflects the cultural characteristics of the nationality of Shui Ethnic Group, mainly in the spirit system and the selection of auspicious matters. The Shui Script is a hybrid system in cultural connotation. The analysis of the pronunciation, vocabulary and grammar of the Shui Script shows that the language system of the Shui Script is a hybrid system mainly composed of Chinese and mixed with a little Sui language. The system of the Shui character is a hybrid system composed of Chinese characters and Chinese form altered graph as very high frequency common words, and the self-defined characters of the Shui Script as low frequency uncommon words. On the basis of the above research, the nature of the Shui Script is re-recognized: the Shui character can record the content of the Shui Script word by word, it is the word writing, rather than the “phrase character”; the Shui character system is a hybrid system of borrowed words from Chinese, supplemented by Shui nationality’s own characters. From the perspective of language system and recorded content, it is possible that there is no pure self-initiated character, so we should distinguish the two concepts of self-initiated characters and self-defined characters.

Automation of frontline service encounters, or the replacement of frontline employees by technologies, is increasingly more common. This new service style, often called self- service, has attracted the attention of service providers who are looking to cut costs (Lin & Hsieh, 2007; Walker et al., 2002) and increase efficiency (Bitner et al., 2002; Curran et al., 2003; Dabholkar, 1996). On the other hand, a major disadvantage of self-service is that it puts the burden of service delivery on consumers (Lu et al., 2019). In other words, the introduction of self-service means a shift from consumers being served by frontline employees to their serving themselves by interacting with technologies. This means that consumers’ acceptance is key for self-service to be implemented successfully.

Kōyōshō and Yakushushō, written by a Buddhist monk of the Shingon school in the late Heian period, Jian Yi, which are used for sacrificial ceremony in Esoteric Buddhism. They are extracted from Chong Guang Bu Zhu Ben Cao, Reading―book for Emperor in XiuWenDian and various buddhist sutras, and copied by Guan You and other monks, truly reflecting stylistic features at that time and having significant research value in literature, language and character. In the process of copying books, sometimes, the content will mutate. These mutations are’t isolated cases, and tend to be systemic. This article discusses the inter-character relationship about 12 groups of regular characters of Kōyōshō and Yakushushō in the Heian period in Japan, and clears out the hidden laws of writing and use of Chinese characters.

This paper integrates the rubbings of the stone scriptures handed down in Han Dynasty and the newly unearthed stone scriptures in modern times, and compares them with the current version of The Analects of Confucius from the perspectives of Philology and Textual Criticism. A total of 54 groups and 72 articles of variants have been obtained. On the basis of classifying and sorting out the variants, this paper sums up the characteristics of the Analects of Confucius in the Classic on the stone in the Han dynasty, such as many differences between the characters used in the Analects and the current version, close literary meaning to the current version, more interchangeable words, more changes in mood words. This paper summarizes the language features reflected by these characteristics. Furthermore, this paper makes a preliminary exploration and reflection on the causes of the formation of these variants, and affirms the value of these variants in the understanding of the Analects of Confucius and the study of ancient linguistics.

Liushu Jingwei is a dictionary of Chinese characters written by Hong Yang-ho at the end of the Joseon Dynasty. Ji Yun of the Qing Dynasty compared this book with Wang Anshi’s Zishuo in the Northern Song Dynasty in his postscript, and gave a high evaluation. Zishuo had long been lost, and people today have a collection of lost works. After a comparative reading, it can be seen that the two books have similarities and differences. A comparative study of Zishuo and Liushu Jingwei will help to further understand the similarities and differences in the interpretation of Chinese and Korean regular characters, and it is also meaningful for the study of the spread of Chinese characters in Korea.

The original graphs cannot be made up, they must have something like them. The meaning of a graph is what it looks like and its implication, which belongs to the content word (which carry semantic content). With the need of grammar, when the meaning of a content word does not indicate the meaning of the sentence, but the relationship between other content words in the sentence, the content word becomes a function word or grammatical word. A Shang bone script for god’s will, god said and someone said is dipected as wei隹 ( “eagle”). The consensus amongst the cycle’s scholars is that the word wei 隹 (only, along) is often seen and used as a function word in ancient Chinese classic books. At first, a script was created to describle the represented object and its symbolic meanings. A word in the Oracle Bone Inscriptions is used as a content word in most of the cases, and also used as a function word in a few cases discovered by scholars. Thus the word wei隹(bird pictograph) in the Shang bone texts first should be a content word, is a pictogram of the bird, in which its meanings were expressed iconically as “bird say, angel say, tell angel, talk by the messenger between man and god”. And in the later period of the Oracle bone text the script was added kou 口(oral) to emphasis “say” and became as a new graph wei 唯. The function word wei 隹 (only, along) can be derived from its content meaning “god says”, and the content word wei 隹 (say, tell, allegedly) can be used to read the Oracle bone and the Bronze inscriptions and the classic books in their literal sense and logically, and to give an answer to some puzzling problems in the inscriptions. Through this discussion, we have used many examples of Oracle Bone Inscriptions and Jinwen, in which there are many undeciphered words. The purpose of this paper is to show how to decipher the Oracle bone scripts by using these undeciphered words. The key point is that the meaning of Oracle bone script comes from its shape, not its sound.

The oracle bone characters do not represent words of the language but thoughts or concepts. The bone text did not record an oral language. Perhaps we can say that it recorded an artificial language. The French scholar, Léon Vandermeersch says that the oracle bone inscriptions are a formula. A better analogy is to say that it is like a computer language. Is it English? The answer is yes, but it is not like English at all. Similar to Sumerian protocuneiform writing, the nature of Chinese writing is fundamentally ideographic, in which concepts or thoughts are represented rather than speech. This paper will present hundreds of examples of the oracle bone scripts that demonstrate these qualities. Excavated deer antlers Г-shaped axe and hoe and Г-shaped spear are figurative in the Oracle script jin 斤 (axe) and bing 兵 (weapon). A number of ideograms are derived from the Г-axe character. The ideograms of Sumer, Mo-so, English and Oracle script, are created from thoughts and by recording these thoughts, they are similar to narrative arts that express emotions. So an ideograph, which records ideas, not words or sounds, sometime also creates language. In addition, other kinds of small and light antler Г-shaped spear can be tied to the front end of a long slender and flexible pole, waved in a swinging motion instead of thrust. This weapon has a much longer killing distance than a spear for thrust. Bing-Г (兵) perhaps is the key technology of Shandong Longshan Culture from the Central Plains, and the predecessor of Ge-Г (戈).

본 연구는 성 각본 이론을 기초로 여대행의 성 행동에 영향을 미치는 요인을 파악하여 한국 여대생의 성 행동을 이해하고, 한국여대생의 성 행동 모델이라는 한국의 독특한 문화를 반영한 이론 형성과 성 건강증진을 위한 중재프로그램 개발에 기초자료로 활용하기 위해 시도되었다. 본 연구는 강원지역의 183 명의 여대생으로 대상으로 성 행동, 성 역할가치관, 성 주체성, 성 이중기준에 대해 조사하였다. 수집된 자료는 SPSS WIN 23.0 프로그램을 이용하여 기술통계, ANOVA, 피어슨 상관계수와 단계적 회귀분석방법 으로 분석하였다. 본 연구에서 여대생의 성 주체성이 높을수록 성 행동 점수가 높았으며 성에 대해 개방적 이고 진보적인 기준을 가지고 있을수록 성 역할가치관에 있어 평등의식이 높게 나타났다. 또한, 성 주체성 이 여대생의 성 행동에 영향을 미치는 중재적 영향요인으로 확인되었다. 이 결과는 건강한 성 행동을 위해서는 자신의 몸에 대한 결정권을 가지고 자기를 보호할 수 있는 올바른 성 주체성을 확립하는 것이 중요함을 시사해준다. 이를 바탕으로, 여대생을 위한 성 건강 증진 프로그램에 성 주체성을 필수 내용으로 포함할 것을 제언하는 바이다.

Focused on Xixia dictionaries, this paper collects and arranges allographs of Tangut script. Its type can be divided into allographs with variant configurations and allographs with form-altered, among which there are more of the former and fewer of the latter. Most patterns of the variations are bidirectional and general. Not only does the formation of the allographs have an objective basis but is also influenced by certain subjective factors such as convenient writing, beautiful figure, and taboo.

The history of the spread and development of Chinese characters in Korea is very long. Chinese characters were introduced into the Korean peninsula as early as in the period from the end of the Han Dynasty to the Three Kingdoms (A.D. 3C). Until the end of the 19th century, Chinese characters were the official writing system in Korea. The Korean peninsula has a history of using Chinese characters for over 1,500 years. It has an incomparably rich collection of ancient texts and documents written with Chinese characters. Of them are a considerable number of stone carvings that authentically recorded the profound literacy of the Korean people in the Middle Ages as far as the culture of Chinese characters is concerned. At the same time, these stone carvings are also of valuable reference for the developmental transformations and the configurational patterns since the formation of the clerical script, through the Wei-Jin period, the Sui and the Tan dynasties, and all the way through modern times. The present study takes as an example of the stone tablet of Master Chinkam Sŏnsa of the Silla era collected in Korean Grand Compendium of Ancient Inscriptions published by the Korean Studies Institute. I specifically summarized and analyzed the alternative script of ancient Chinese characters in the Korean stone carvings. I found out that there are characters written with different strokes or in a different internal structure, those which have been simplified, those which some parts have been added to or subtracted from, and those with a different position. Then I explored the formation and the developmental trajectory of individual variant forms of a Chinese character. Thus, I grasped the reasons for the formation of the variant Chinese characters in Korean ancient stone carvings as well as their writing characteristics.

The intent of this paper is to introduce a method of deciphering oracle bone characters; specifically the interpretation of the Compound Ideograph. Utilizing this method, the article applies known characters to hypothesizing the expression of unknown characters. This view of Chinese characters comes from such work as I Ching or Classic of Changes and Shi-poem or Classic of Poetry, where the figurative mean and depiction of a realistic scene or parable are captured and symbolized within a pictorial representation or ideograph. By returning pictographic combinations to the realistic scene, all the meanings of an ideograph are derived from the scene and scene’s parable. The following explains the correlation between the combinations with the intended meaning. The ideographs are shown in that the first part is the pronunciation sound in Chinese while the second part in italics is the scene combined pictographs. [1] The English character of Bow for shooting arrows is borrowed figuratively to express “to bend the knee or body, as in reverence, submission”, “to cause to bend; make curved”, and is extended to Bowl to denote the Container figure like a bow. [2] The character of Sol means the sun, and its scene maps a lonely man like the sun without partners around, so Sol is used to denote solitary (alone, lone), sole (single), etc. in its figurative sense. [3] The Chinese character Gou-ear (句) is a scene of the ear with an ear-hook. Gou-ear means the hook in ear’s figurative sense, for a man uses his ear as a hook, or an ear looks like a hook on the wall. In another perspective, Gou-ear depicts Be-hooked, meaning Arrest, Capture, or Chain-up. When an ancient encounters a hook or a man stooping to work, and tries to tell others about it, he may say a tool like the ear (projecting out of the head) or a man working like the ear (figure), which is similar to saying that it looks like a bow in the West. [4] A character Fu-man:tiger (赴) is made of a tiger and man, reading ‘the tiger is like a man standing up’. A scene-parable of the tiger standing suggests “pounce, jump”, extending its meaning to “go to like a tiger jump, dedicate on”. It is a man determinative ideograph: the tiger is determined by a man standing. ‘Man is read as his feature: standing’ is called semantic loan. Similarly, Yue-man:deer (跃), means a deer like a man standing, also meaning a leap. Xiong-man:pig (熊) means a bear; a pig standing is like the bear. [5] A character Lian-ear:mouth (聯) is a narrative scene of the mouth-ear-mouth, words to words through the ear, telling a narrative story of people that are connected in the ear in the wild restricted visibility, which is derived to the connection, union, and contact. [6] Dong-kid (動) means a move, a scene of a boy (semantic loan), for a child’s behavior is the non- stop action for a moment. [7] A character Yu-pup:gape (欲) is a scene of the mouth opened up, which maps ‘want’. Man’s want means wish, man’s want from heart or by nature is hard to draw and ancient Chinese oracle priest to draw ‘animal’s want’, which was used metaphorically to mean the very wish, appetite, and desire (sex, material). Overall, an ideo-character is a narrative picture or story which tells thoughts or ideas, not record language words, and then is pronounced the glyph in it later. Thus the character creates the word.

Micro-Blade (Stone knife) and its manufacturing techniques or flaking methods, considered by many scholars as the marker of modern humans, are used popularly back from 20 000 years ago Lower Old Stone Age until to 2 500 years ago Zhou Dynasty. Visible technological processes map invisible thinking patterns. The thinking model of Genesis, create a pioneering work, hurt your skin and bruise in Oracle Bone Script all are derived from Stone knife flaking process model. Comparing a common thing or process to a concept, especially abstract concepts, are a common means for the expression of thought in ancient, like a parable in the Bible and proverb in public. OB Script uses a scene of a common process, a parable or proverb to expressing ideas. An Oracle character does not have to record language, first is an ideograph used for alluding. The other sample of Dongba (Mo-so) pictographic glyphs is largely a mnemonic system, and cannot by itself represent the Naxi (Mo-so) language. Tab.2 is a sample of Mo-so Genesis can be read as a long story for hours and hours by the priest. A popular and most academic understanding of the Oracle characters as logograph or phonograph hinders the deciphering of many Oracle characters. The character刅 (Tab.3 CH1, now write as創. 倉 is add-on sound, 刀 is刂 idea) imitated to K” (transcription),「K」set as a Knife, 「”」as like debris from broken scars. K” suggests a third scene of flaking a stone knife from a stone core by percussion (Fig.1), this is Scene-parable telling 說象 . The scene of Blade flaking suggests skin hit or trauma 創傷肌膚 , enemy hitting or attacking 重創對手 , pioneering tool by hitting or innovation and creation創 造全新 工具或創造全新 工具或創造全新 工具或創造全新 工具或創造全新 工具或創造全新 工具或創造全新 工具或創造全新 工具或創(a knife is a pioneering tool when comparing to Chopping tool that perhaps in nature), analogy of an egg hatch by mom percussion can be stretched a genesis by god percussion創世紀 , this is sense reading解意 . The scene is rich in symbolisms above that are depicted the word meanings as much as possible; this can be called as Self Deriving. For English example, a scene of hive is depicted meanings of a school of bees, gather into a hive, a place full of people who are busy as bees, hive off [divide up family property and live apart], store (like bees). A scene of hand (of head, of bow, of moon, so on) may be another example. The character刀 (Tab.4) is imitated to K (transcription), pictograph of Micro-Blade (Stone knife, Fig.3). The character勿(Tab.4) is imitated to C: (transcription), 「C」as bow, 「:」as no string, 「C:」suggest a third scene of an unstringing bow. The scene of the archery removed bowstring suggests no-shoot arrow or hunting, no attack, 勿 use as No, Do not in OB Script.

Naming script has its rationale, and thus the script name with symmetry reflects some differences and connections among its function, evolution, and propagation. Some scripts reflecting the divergence in its function mirror users’ gender differences, different use areas, the discrepancy between the folk script and formal one, and whether it is official or not. Others reflecting its evolution show that the new script has improved on the basis of the old one. Others again reflecting its propagation give an expression to the connection of character sources, object writing, and character morphology.

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.

Chinese characters underwent the process of conversion of seal script to clerical script, transitioning from lines to strokes in composition. the degree of tokenization components increased markedly. Some characters could no longer be classified by radicals as explained under the “unified by form and meaning” principle described in Shuowen Jiezi (《說文解字》). Thus in the Ming Dynasty, Zihui (《字彙》) eliminated and combined many of the radicals in Shuowen Jiezi (《說文解字》), and adopted the principle of “classification under form and not meaning” for classification purposes. The Kangxi Dictionary (《康熙字典》) from the Qing Dynasty continued the tradition of 214 radicals included in Zihui (《字彙》). Though radicals were established and classified according to two principles: convenient perusal and being true to the meaning of characters created by ancients, the form and meaning of characters become disassociated after conversion of seal script to clerical script, though the original theory of character creation which linked external composition of character with internal meaning was passed on. As the two radical classification principles of classification through form and classification through meaning conflicted with one another, the book adopted the principle of radical classification through form to facilitate convenient perusal. Thus, some radicals were iconized, losing their function to convey meaning or sound in characters. From the perspective of the development of clerical script, clerical script from the Qin Dynasty (qinli) is also referred to as “ancient clerical script” (guli), an early form of clerical script during this transition period between ancient and modern characters. Development of clerical script reached maturation in the Han Dynasty, with the Eight Points (bafen) script. This paper attempted to organize the mark process that Chinese characters underwent during the conversion of seal script to clerical script, through utilizing ancient texts which have been unearthed, Han Dynasty steles, and texts from Qin and Han Dynasty bamboo and wooden slips unearthed in the past few decades as research material. The hope was to uncover the evolutionary process and original form of iconized radicals as they formed.

The objective of this study is to propose methods to design and analyze a catenary shell using a computer program without experiments and measurements. The intial idea stems from Pendergrast’s study, but his method should be improved. In this study, the process of making catenary shell using computer was reproduced by Grasshopper script. In order to enhance credibility, two models from Grasshopper script were analyzed by SAP2000; one was just a square-based catenary shell, while the other was the re-created shell originated from the Naturtheater Grötzingen. The outcome of analysis was reasonable.

In the first century, Sinographs and Chinese culture were transmitted to Japan, Korea and Vietnam, simultaneously had profound impact on countries they passed by, and then, formed the vast Sinographic Cosmopolis. During the contact with Sinographs and culture, the people of all three nations had created their writing systems that based on these elements of Sinographs. Based on script evidences recorded in Kokuji no Jiten, this article will analyze the characteristics and suggest the historical divergence of the Waji system (also called the Kokuji), conduct comparisons with the Vietnamese Nom script, develop the model of the structure of these scripts, and specifically point out the similarities and differences of these two writing systems.

This study integrates the cognitive appraisal theory and script theory, highlighting the bridging role played by recollective memory. The relationships between visitors’ appraisals, emotions, recollection, storytelling and repurchase intention as they relate to the luxury cruise trip experience were assessed. We developed 14 theoretical hypotheses from a literature review. We then tested these hypotheses using data collected from 300 luxury cruise passengers. To the best of our knowledge this study is the first to incorporate the cognitive appraisal approach into script theory in a luxury tourism setting. Our work discloses that these two theories complement each other and recollection is the tie between them. This research reinforces the theoretical literature on cognitive appraisal and script theory. Moreover, the luxury cruise sector is under pressure due to fierce competition and as a result there is a need to acknowledge the crucial determinants of tourists’ emotional reactions. An understanding of tourists’ emotional experiences, and their antecedents and consequences will aid in the formulation of strategic marketing, segmentation, and communication efforts. The results of our study confirm that different emotional reactions can be elicited due to the power of four appraisal dimensions: appetitive goal congruence, certainty, novelty and agency. The findings not only enrich the cognitive appraisal framework and script theory literature but also provide guidance for managerial and marketing strategies of cruise industry practitioners.