선총원(沈從文)의 상하이 시기 소설에서 나타난 여성형상의 변화를 중심으로, 그 창조 배 경과 문학적 의미를 심리학적 관점에서 분석하였다. 칼 융의 아니마 개념, 특히 헬렌의 아니 마를 적용하여, 선총원의 여성형상이 어떻게 작가의 남성성 회복과 개인적 경험을 반영하며 변화했는지를 탐구하였다. 연구 결과, 상하이 시기의 여성형상은 선총원이 남성성을 회복하고 연애전략을 통해 애정 주도형으로 창조된 것으로 나타났다. 이 시기 헬렌의 아니마는 여성형 상을 능동적이고 주체적인 존재로 변화시켜, 그의 문학세계가 개인적 차원의 심리치료에서 벗어나 사회적 비판과 생명력 찬양을 포함하는 공리주의적 문학관으로 확장되는 데 기여하였 다. 본 연구는 선총원 문학에서 헬렌의 아니마가 여성형상의 진화 과정에 미친 영향을 조명 하며, 그의 문학적 성숙과 작품 세계를 이해하는 데 중요한 통찰을 제공할 것이라 기대한다.

The book Shuowen Jiezi Yizheng (说文解字翼徵) written by Piao Xuan-Shou, which is a book specializing in the study of Shuowen Jiezi (說文解字) in the late Joseon Dynasty, is the first one to utilize materials of bronze inscriptions objects and stone inscriptions to make supplements and textual criticism of Shuowen Jiezi (說文解字). The article organizes the stone-carved material of Zuchu Wen (詛楚文), which is quoted in the book, and analyzes it from the aspects of the meaning of the quotation, the source of the quotation, the quotation and the copying. After that, this paper revises and supplies the situation of Shuowen Jiezi (說文解字) by quoting Zuchu wen (詛楚文) in the book,and combines with specific examples of characters to annotate and comment. According to whether there is any interpretation, whether there is any new content in the interpretation, etc., it is divided into three categories. And under each word, the original content of Shuowen Jiezi (說文解字) quoted in the book, the supplementary ancient characters as well as the main content of the interpretation are cited firstly, and then explains Piao’s analysis of the words’ form and meaning appropriately, and Piao’s viewpoints are evaluated by making full use of ancient character materials and the results of the existing studies and interpretations. The purpose of this article is to clarify the factual situation of Piao’s quotation of the Zuchu Wen (詛楚文) , evaluate the gains and losses of Piao’s textual criticism of the Shuowen Jiezi (說文解字) objectively, and supply the shortages of current research on Piao’s quotation of materials other than the bronze inscriptions.

For a long time, the teaching concept of “monism” has made the field of international Chinese teaching focus on “words”, not “Chinese characters”. Chinese characters that are difficult to teach and learn have not been effectively improved. In 2021, the introduction of the “Chinese Proficiency Grading Standards for International Chinese Language Education” set a new direction for international Chinese education, and the practice of listing a handwritten Chinese character list separately for the first time also reflects the importance of Chinese character teaching. Long before the introduction of the “Grading Standards”, a small number of international comprehensive Chinese textbooks had compiled handwritten Chinese character lists, but there were many handwritten Chinese characters that were not included in the “Grading Standards”. This kind of Chinese characters or have a large number of strokes, or the shapes of the strokes are more difficult, or the structures are more complex, or the ability to form words is weak, etc., which is exactly the opposite of the characteristics of the “Grading Standards”. According to the results of the relevant analysis, it can provide practical reference for the compilation of Chinese characters in textbooks in the future.

After the invention of woodblock printing in China, It gradually spread to Vietnam and achieved rapid development. Among the existing Sino-Nôm/Chinese-Nôm Literature, there are many Chinese inscriptions, which are valuable materials for studying the Chinese characters used in Vietnam. This paper analyzes the forms of simplified vulgar characters in Vietnamese Chinese printed texts from the perspectives of inheritance and variation. The inherited simplified vulgar characters, mainly include types such as the adoption of “ancient characters,” cursive script standardization, symbol replacement, and partial deletion. The variant simplified vulgar characters, primarily include types such as cursive script variations, reduction variations, and symbol variations. The purpose of this study is to explore and analyze the acceptance and usage of Chinese characters in Vietnam, in order to provide a reference for the study of Chinese character cultural exchange and mutual learning in East Asian sphere.

There has been a long history of concern and research on Chinese characters by Western scholars and have achieved fruitful results. According to the current construction of Western Sinology history and the development of Western Chinese Grammatology itself, the history of Western Chinese Grammatology could be divided into five periods: the germination state, the missionary period, the initial stage of specialized Chinese Grammatology in the west, the expansion period of specialized Chinese Grammatology in the west, and the peak period of specialized Chinese Grammatology in the west. The initial stage showed the tendency of specialization, disciplinarity and rationalization. The research subjects included Protestant missionaries, philosophers, politicians and linguists, etc. Systematic research results were obtained in the aspects of characters’ nature, characters’ characteristics, characters’ etymologies, characters’ analysis and characters’ phonology. Under the guidance of comparative linguistics theory, American scholar Peter S. Du Ponceau’s work A Dissertation on the Nature and Character of the Chinese System of Writing has conducted in-depth research and elaboration on the nature and characteristics of Chinese characters, which is representative. This paper attempts to take this work as a representative monograph to describe and analyze from the aspects of research content, thoughts of Chinese characters studies, research methods, academic influence and value, deficiencies and limitations, etc., giving an objective evaluation of its value in the evolution of western Chinese Grammatology in the west.

전통문화는 한 국가와 민족의 근본이며, 민족 정신의 중요한 구 성 요소이다. 오늘날 세계의 다원화된 문화 환경에서 전통문화의 중요성은 더욱 부각되고 있으며, 이는 민족의 문화적 기반이자 고 유한 문화적 상징으로 자리 잡고 있다. 중국의 전통 문학 명작에는 풍부한 내적 의미가 담겨 있어 현대 미술 창작의 중요한 모티프가 되고 있다. 조각 작품 《경양강상(景陽岡上)》과 《도발수류(倒拔垂 柳)》는 고전 문학 명작 《수호전(水滸傳)》에서 소재를 가져왔으 며, 원작을 존중하는 바탕 위에서 전통문화 요소와 현대 예술 기법 을 유기적으로 융합하여 새로운 시대적 배경 속에서 전통문화를 계 승하고 혁신을 시도한 유익한 작품이다. 문화의 전승은 혁신과 분 리될 수 없으며, 이 작품들은 전통과 현대의 융합을 통해 전승과 혁신을 병행하고, 현대 조형 예술 기법으로 전통 문화의 매력을 충 분히 보여준다. 중국 전통 예술에서 형태 창작에 대한 의상적(意象 的) 표현은 더욱 독특한 형식미와 깊이 있는 문화적 함의를 지니고 있다. 《경양강상(景陽岡上)》과 《도발수류(倒拔垂柳)》는 창작 과 정에서 전통 조각 기법을 넘어서 참신한 형식 언어를 사용하였으 며, 구성, 인물 표정의 조형, 동적 표현과 정적 표현의 조화, 전체적 간결함과 부분적 세밀함의 결합, 이미지 경계의 실루엣 처리, 인물· 동물·배경의 형태 구성, 전통 예술 요소와의 융합 등 여러 측면에 서 혁신적인 시도와 사고를 담고 있다. 무송(武松)과 노지심(魯智 深)의 형상에는 의상적 조형 기법을 적용하였고, 전체적인 형상은 간결하게 요약하였으며, 특징을 강조할 수 있는 세밀한 부분에서는 사실주의적 표현과 결합하여 표현하였다. 전통 문화 소재를 표현하 는 데 있어 현대적 형식 언어와 예술 기법을 융합하여, 현대적 미 적 관점으로 전통 문화의 매력을 재해석하고 현대적 미감을 충족시키는 예술 작품을 창조하는 것을 목표로 하고 있다.

Radicals serve as the central elements in the semantics of Chinese characters, but what foundational and extended meanings do they convey? This paper examines all characters with the radical ‘目’ related to attributes, as recorded in Shuowen Jiezi and The Standard Dictionary of Chinese Characters. In Shuowen Jiezi, the ‘目’ radical encompasses four conceptual categories—physical attributes, scale, color, and value. Specific elements under these categories include physical attributes such as ‘dimness, disease, clarity, order, and dryness,’ scale including ‘size, depth, height, thickness, density,’ value comprising ‘beauty and gentleness,’ and color represented by ‘white.’ Over time, these categories have been substantially reduced, with only physical attributes, limited to ‘dimness’ and ‘disease,’ being retained in later literature. This reduction highlights that ancient Chinese vocabulary contained a broader range of conceptual and semantic elements than modern vocabulary. Additionally, synonyms associated with the attribute concept of ‘目’ have mostly disappeared, while newly introduced vocabulary shows a shift towards polysemy, indicating an evolution in lexical structure. Extended meanings have followed mechanisms such as the expansion from attribute to action, metaphorical extensions, and grammaticalization. Semantic expansion frequently shifted to perceptual verbs, while metaphorical extensions moved from ‘human to object’ and ‘action to time.’ Grammaticalization trends were also observed, extending meanings to adverbial and modal uses. These findings reveal that ancient and modern uses of the ‘目’ radical differ significantly in both meaning and conceptual application.

본 연구는 한국 근대 시기 한자자전에 [華]로 표기된 한자의 유형과 특징을 분석 하여 [華]로 표기된 한자가 무엇을 의미하고 그 속에 포함된 한자의 원류를 찾아 [華]로 표기된 한자의 속성을 규명하기 위한 것이다. 이를 위해 본 연구는 한국 근대 시기에 출판된 자전석요(字典釋要)(1909), 한선문신옥편(漢鮮文新玉篇)(1913), 자 전대해(字典大海)(1913), 자림보주(字林補註)(1924) 등의 한자자전을 중심으로 [華] 로 표기된 한자의 데이터를 추출하고, 추출된 한자의 유형과 특징을 살피면서 [華]로 표기된 한자의 전거(典據)를 확보하고자 한다. 이를 바탕으로 [華]로 표기된 한자의 원류를 파악하고 이 한자들이 한국에서 어떻게 변용되어 사용되는지를 살펴서 한국 근대 시기 한자자전에 [華]로 표기된 한자의 속성을 규명하고자 한다. 이러한 연구는 당시 사용된 한자의 실태와 역사적 변천사의 재구를 실현함으로써 언어 문자학사와 지성사의 연구는 물론 한국 문화의 정체성을 확립하는 토대 연구가 가능하도록 할 것이다. 아울러 한자문화권의 주요 국가인 중국과 일본 등 같은 성격의 자료 비교를 통해서 당시 사용된 한자의 정체성과 역사성을 규명하고자 한다.

As a component of Chinese vulgar characters, the character wen (文) not only serves symbolic functions but also conveys ideographic meanings. Furthermore, its dissemination has led to the emergence of numerous Chinese vulgar characters incorporating the wen (文) components. According to the unearthed literature, the inherited literature and the extraterritorial literature, the wen (文) components exhibits more than ten functions, categorized into three types: symbolic function, combined symbolic and ideographic function, and ideographic function. The former two types primarily reflect its inheritance in neighboring countries, while the latter indicates its diffusion beyond the region. Overall, although the function of the wen (文) component is generally consistent outside its native the domain, it has engendered new forms of vulgar characters, thereby broadening the repertoire of Chinese characters, and these vulgar characters are not devoid of rationale. Analyzing its developmental trajectory and dissemination bears significance for understanding the history of Chinese character evolution and dissemination.

The character Qian (䙴) first appeared in oracle bone inscriptions of the Shang Dynasty. In the Western Zhou Dynasty, it meant relocation or migration. During the Warring States period, its meaning extended and its written form differentiated. The original character Qian (䙴) often represented QianXing, a form of punishment by exile, and the differentiated character Qian (遷) took on the meaning of relocation or migration originally carried by Qian (䙴). In Qin and Han legal documents, Qian (䙴) and Qian (遷) had clearly defined functions, but in other Qin and Han texts, there was a phenomenon of functional overlap between them. In the later Western Han period, these two characters underwent functional merger, with Qian (遷) assuming all functions and Qian (䙴) gradually disappearing. The reasons for the function changes can be attributed to the frequent migration activities during the Qin Dynasty, the culture and psychology of seeking auspiciousness and avoiding misfortune, the pursuit of clear semantic representation in writing, and the dynamic adjustment of the Chinese character functional system.

The oracle bone script is an ideograph that represents an idea or concept rather than a word or speech sound in general. The ‘ten writings’ means the ten methods used to create characters, to show how ideographs to express a concrete subject and an abstract concept. Ten Writings includes (1) character’s form picturing (象形), (2) form marking (指事), (3) form-form resembling (比喻), (4) form narrating (敘事), (5) form-pattern transferring (字式), (6) form-form modifying (偏正), (7) form-form suggesting (轉注), (8) form borrowing (形借), (9) form-meaning borrowing (意借), (10) form-sound borrowing (音借). The traditional six-fold classification scheme (Six Writings) was originally popularised in the 2nd century CE, is not a guide for the reader on how to decipher an unknown bone script. Ten Writings (十書) system is not a theorization analysis, is an operation manual to deciphering the oracle bone scripts, illustrated through some specific instances below. A script called “Yi, 以” ( , later , turned 90 degrees to show properly, similarly hereinafter) shows “a worm ( ) which has a big head and a long tail and a woman ( )”, it is understood as the “woman looking after the worm”. Later, its simplified form is a “worm ( )” only, which is from （ ）and means “worm totem people”. It is common to find a shape with more than two functions in Chinese characters. Therefore, this script Yi of “using worm for silk and cloths” extends “use”, “by means of” and “with”, it sounds Yi. In other perspective, the “worm” also means “(cloths process) start” and “begin”. And “(the silk people) looks like each other” and “similar”, so the “worm” is also a symbol of “similar”. Because the costume worn by people in ancient times was a nation identification. The same word “worm” for “start” and “similar” sounds Si (silk). The Chinese word for silk also sounds Si. In a worm totem perspective, the script Si means “worm people”. Similarly, the script for “sheep people” is represented as a man wearing a headdress of sheep horns. In addition, the worm character may be pictured from silkworm, later the proper noun “silkworm” was used as the general term “worm”. Now the character “worm” includes worm, insect and snake, even some animals. The variant of Si ( , “worm”) is written as ( , , , “worm”), which are the same as ( , , ) being used for a tribe name. When a common script may be simplely written as ( , “worm”), if a same script for tribal name may be decoratively written as ( ), as the word of the name are written in capital letter. The tribal name Si 以 ( ) is the surname of the Xia dynasty royal family Si 姒 in the Classic of Shiji 史記, the bone text “Xia Si 下以” is the Xia Si 夏姒for the Xia dynasty in the classics. The Shang oracle bone script for the idea BORROW is shown as an ideogram (Jia 假, ) combining a pictogram SHOULDERING-HOE (荷, “farming”, “carrying”) and a pictogram SUN, it together suggests a third scene “under the sun a woman carries a hoe to irrigate the rice fields”, meaning “farming”, “peasant”; in other perspective “borrow sunlight to farm”. The Jia 假and Xia 夏 were one word, and the bone texts for the Jia 假 are about the Xia River 夏水where the Xia dynasty lived.

This study employs Generative AI and computational linguistics techniques to analyze the correspondence between modern Korean and Chinese HAN-character sounds. The research focuses on 5,978 characters categorized by difficulty levels, aiming to confirm systematic phonological correspondence patterns. Method: The study utilizes advanced computational methods to examine the phonological relationships between Korean and Chinese characters. It categorizes the characters based on difficulty levels and analyzes their sound patterns. Results: The research confirms high-consistency patterns in Korean onset-Chinese initial and Korean coda-Chinese final mappings. It also identifies complex relationships between Korean vowels and Chinese vowels. The study reveals that Chinese exhibits greater syllable type diversity compared to Korean. Additionally, it finds slightly higher correspondence rates for ‘basic’ characters compared to ‘advanced’ ones, though the overall difference is not substantial. Conclusions: Based on these findings, the study proposes language learning strategies that prioritize high-consistency patterns for foundational phonological correspondence. It recommends adopting gradual approaches for complex correspondences and incorporating phonological knowledge into education. This approach aims to help learners understand commonalities and differences between the two language systems. The research offers insights for Korean language education and HAN-character vocabulary learning. It suggests that consistent learning strategies can be developed regardless of character difficulty. Future research directions include developing AI-based personalized learning systems and conducting longitudinal studies on learners' acquisition of correspondence rules. This study introduces an innovative methodology integrating Generative AI with computational linguistics for phonological analysis. It potentially enhances HAN-character vocabulary education and represents a new paradigm for language education research.

Based on Hanhan Mingwen Dayupian, The Great Chinese Dictionary and Sea of Chinese Characters, Using “font, use, interpretation, pronunciation, order of the five seek each other” method of word examination, this paper conducts a textual research on some difficult characters Contemporary Large-sized Dictionaries in Radical “Che”. The difficult characters to be interpreted mainly include those with incorrect interpretation, unclear interpretation, phonetic errors, incorrect transcription of characters, incorrect identification of variant characters, undifferentiated homographs, common and erroneous characters that have not been communicated with the correct characters, and those that can be supplemented and corrected based on existing interpretation conclusions.

이 연구는 한·중·일이 각각 선포한 배타적 경제수역이 중첩되는 수역의 법적 성격과 연안국 및 기국의 권리와 의무를 분석한다. Ⅱ장에서는 한·중·일의 배타 적 경제수역의 선포와 연안국 간 잠정어업협정 체결로 형성된 법적 사실관계를 정리하고, 해당 수역을 배타적 경제수역(EEZ), 잠정적 공동관리 구역 (provisional joint regulation zones), 유보 수역(reserved waters)으로 분류하여, 분쟁수역이 배타적 경제수역과 공해의 이중적 성격을 갖는다는 결론의 전 제를 도출한다. Ⅲ장에서는 분쟁수역이 배타적 경제수역 또는 공해로서의 이중적 법적 성격 을 갖는 근거를 제시하고, 분쟁수역에 대한 배타적 경제수역과 공해의 법리 적 용 논거를 통해 연안국 및 기국의 권리와 의무를 쟁점 사안별로 검토한다. 특 히, 공해의 법리가 적용되는 논거에서는 UN해양법협약상 배타적 경제수역의 공해적 특성과 분쟁수역의 특성에 따른 공해의 법적 성격을 구분하여 살펴본 다. 해당 수역의 잠재적 법적 성격을 분석함으로써 동북아시아 내의 분쟁수역 에 대한 구체적 이해에 기여한다.

漢字構形學은 한자를 구성하는 단위의 개념을 규정하고 각 단위가 맺는 공시 적, 통시적 관계를 밝혀내어 관계를 지배하는 원리를 기술하는 학문이다. 1980년대 말에 한자구형학 이론이 정립된 후 2002년에 처음 출판된 󰡔漢字構形學講座󰡕부터 10여 년이 지난 후 2015년에 출판된 󰡔漢字構形學導論󰡕까지 내용이 보완되면서 점차 늘어난 편폭 만큼 한자구형학에 대한 저자의 깊은 통찰력도 더욱 분명하게 드러난다. 이 책 서문에서 저자는 한자를 인식하는 데 필요한 두 가지 열쇠가 표의성(表意性)과 형태 구성(構形)의 체계성이라고 강조하고 있으며, 이것은 漢字構形學을 지배하는 기본 원리라고 할 수 있 다. 漢字構形學은 한자의 본체인 ‘형태(形)’에 초점을 맞추어 한자의 형태가 구성되고 변화하는 과정에서 나타나는 ‘현상’을 연구하며, 그 이론을 관통하고 있는 핵심 주제는 한자의 ‘체계성’이다. 체계성의 핵심 의미는 그 체계를 구성하는 요소 간의 유기적 관계 에 있다. 이 책은 한자의 본체인 자형(字形)을 중심으로 한자 체계의 내부적, 외부적 요 소 간의 ‘관계’를 폭넓게 다루고 있다. 그리고 한자 체계 내부에 존재하는 각종 관계와 외 부 요소와의 관계는 통시적인 형태 변화 과정에서 나타나는 현상을 근거로 증명한다. 이 책은 이론적인 문제의 해결에서 ‘관계’를 기술하여 설명하고 ‘근거’를 들어 ‘증명’하는 한 자학의 학술적 의미를 되새기게 한다.

비선형적 서사 기법은 시공간적 초월성과 설득력 있고 다양한 가능성의 사건 전개의 방식을 말하며 이를 뮤지컬의 등장인물에 적용하며 서사를 전달하는 주인공이 아닌 다른 등장인물들 중에서 비선형적 인 인물의 가치와 역할을 분석하는데 연구의 목적이 있다. 본 연구는 이야기를 전달하는 인물이 아닌 새로이 창작된 인물들이 등장하는 뮤지컬 <엘리자벳>과 <서편제>를 통해 비선형적 인물들을 규정하고 이들의 음악적 역할들을 분석하였다. 뮤지컬 <엘리자벳>에서 루케니는 지속적인 사건 개입과 시간과 공간으로 넘나들며 관객을 이끌어가고, 토드는 추상적인 의미를 인물화 하여 음악적 변화를 주도하는 대표적인 비선형적 인물이다. 뮤지컬 <서편제>의 비선형적 인물은 대중음악을 공연을 위한 새로운 인 물 춘식으로 다른 음악적 양식을 융합하는 역할을 주로 한다. 동호모는 비선형적인 인물로 죽음과 상처 그리고 오랜 유랑생활을 상징하는 초월적 인물이며 시공간을 이끄는 역할을 한다. 본 연구는 뮤지컬 주인공이 아닌 비선형적인 인물들을 분석하여 무대에서 시공간을 효과적으로 전환하고, 다양한 음악 장르들을 융합할 수 있으며 더 나아가 흥행적인 요소를 가진 뮤지컬 배역을 개발할 수 있다. 뮤지컬에 서 비선형적인 인물들의 연구는 다양한 음악의 융합과 보다 구조적으로 짜임새 있는 뮤지컬을 제작할 수 있다.

영화 <다음 소희>는 주인공 소희를 통해 미시적으로는 청소년 노동자 의 현장 실습 문제, 거시적으로 보면 신자유주의 시스템 안에서 노동자 가 겪는 구조적인 문제를 상정하고 있다. 본 연구는 주인공 소희 캐릭터 를 통해 우리 사회의 구조적인 문제가 인간의 삶에 실존적 위협을 가하 는 광경을 살펴보고 대안적 실마리를 발견하는데 그 목적을 두었다. 『인 간의 조건』 (The Human Condition)에서 아렌트가 제시한 ‘노동’, ‘작 업’, ‘행위’라는 개념은 “인간의 조건에서 비롯되어 인간의 조건 자체가 변하지 않는 한 결코 잃어버릴 수 없는 영속적이며 일반적인 인간 능력” 이다. 이같은 개념에 기초하여 영화 캐릭터의 ‘현장 실습’, ‘춤추기’, ‘언 어적 소통’을 현대적·인문학적 관점으로 재해석함으로써 한국 노동 사회 의 단면을 통찰하고자 한다.

Compound characters in oracle bone inscriptions refer to the form of two or three oracle bone characters combined together. These characters, formed after combination, are called compound characters and represent one of the structural features of oracle bone scripts. The phenomenon of compound characters is prevalent among river names in oracle bone inscriptions. Based on this observation, we propose that the formation of river names in oracle bone inscriptions was initially the combinations of geographic names and rivers, and these compound character forms have generally gone through a development process from separate characters to compound characters. Through the study of the structure formation of river names in oracle bone inscriptions, a deeper understanding of the people’s perceptions of river systems and geographical environments during the Shang Dynasty can be obtained, as well as the relationship between geographic names and rivers.

The same character or word has two opposite meanings, and this phenomenon is called the enantiosemy in traditional Chinese. It was as early as 1728 that Joseph de Prémare concerned about this special phenomenon in the Chinese language. In the book Notitia Linguae Sinicae, he cited four examples of Chinese enantiosemy characters such as “Luan”(亂), “Du”(毒), “Gu”(蠱) and “Qing”(清). Later in 1891, G. Schlegel published an article entitled “On the Causes of Antiphrasis in Language” in T’oung Pao, in which nearly twenty Chinese enantiosemy characters were listed and analysed. Upon closer examination, some of the Chinese enantiosemy characters cited by Joseph de Prémare and G. Schlegel do not stand up to scrutiny, because they are not objective and clear enough in terms of a basic but crucial issue - the connotation of the “enantios” in the enantiosemy. This paper analyses all the Chinese enantiosemy characters listed by Joseph de Prémare and G. Schlegel, and summarises Western scholars’ perceptions of the “enantios” in the enantiosemy. On the basis of the compilation of Chinese scholars’ viewpoints, the connotation of the “enantios” in the enantiosemy is clearly defined as “opposite” and “relative” two areas; and mainly borrowed from the research results of the antonym, the “enantios” is divided into four types of relationship such as the complementarity, the antonym, the converseness and the pragmatic.