은나라 역사 문화유산인 갑골은 점친 내용 내지는 주제가 다양하다. 현재 까지는 관련 문헌에서는 연구 성과를 대략 24에서 10가지 정도의 단어를 중 심으로 사전식으로 해설하는 실정이다. 그리고 그 방식을 살펴보면 나열식으 로 되어있어 분류의 관점에서 볼 때 비체계적인 면이 있다. 본 논문에서는 상 대 역사 문화의 핵심엔 두 가지 중요한 주제가 있다고 보았다. 하나는 갑골복 사가 미래의 궁금증을 해결하려던 일종의 점사 같은 것이다. 또 하나는 상대 는 누가 뭐래도 제사를 중시했던 시대라는 점이다. 이 둘은 상대에 불가분 관 계에 있었다. 갑골복사를 점사라는 측면에서 보면 점친 내용이 다양하며 연구 가들은 대략 20여 가지의 소주제로 구분하기도 한다. 史와 巫가 같이 일을 했 던 고대의 직제에 착안하면 점을 치는 그룹인 史의 예언 뒤에는 필요에 따라 巫의 액땜이 뒤따랐다. 그리고 그 액땜의 의식이 대부분 제사였다. 제사는 조 상에 대한 감사와 존중이나 공동체 의식의 강화뿐 아니라 액땜의 기능을 하 였다고 보이는데 이는 갑골복사에서 확인할 수 있다. 그래서 본 고에서는 이 두 가지에 주목하여 갑골복사의 분류 기준을 새롭 게 제시하였다. 이는 그동안 나열식으로 제출된 갑골복사를 간명하게 정리하여 분류한다는 의미가 있을 뿐 아니라 동시에 간명한 분류체계가 핵심을 벗 어나지 않는 효율적인 연구를 위한 전제조건이기 때문이다. 그러므로 갑골복 사를 상대 문화의 핵심인 제사를 기준으로 설정하여 새롭게 분류하여 제시하 였다. 갑골복사를 ‘제사’를 기준으로 대별하면 ‘제사’가 포함된 유형과 그렇지 않은 유형으로 구분할 수 있다. 제사가 포함된 유형은 다시 그 제사가 액땜의 기능으로 다른 점을 친 것에 수반하는 경우가 있다. 그리고 또 하나는 오직 ‘제사’ 자체를 질문 대상으로 삼은 유형이 있다. 이렇게 총 세 가지의 유형으 로 분류하여 살펴보았다. 그 내용과 관련해서는 복사의 주제가 20여 가지가 되므로 당시 왕조의 생존이나 존립에 직결된 주제인 농사의 풍흉을 좌우하는 천문역법과 전쟁에 관한 복사를 일관성 있게 발췌하여 살펴보았다. 조금이나 마 이 글이 갑골복사 분류 기준의 단일하면서 새로운 제시가 될 것이고, 나아 가 갑골복사 연구의 체계화의 효율성에 기여할 수 있다고 생각한다.

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.

Similar to Sumerian proto-cuneiform writing, the nature of Chinese writing is fundamentally ideographic, in which concepts or thoughts are represented visually rather than through abstract speech sounds. This paper explores ten ways to form Chinese characters by using the decoded characters through their ideograms. A character comes from thoughts, the thoughts come from images, and the images themselves come from the object or the event depicted. Therefore, the same character can be used in different dialects or languages to depict the same concepts. Only when there are enough ideograms to create their graphs for phonography can we develop phonography. During the first stage of hundreds of years, most Sumerian clay characters were pictograms and ideograms. The majority of the phono-semantic compounds appeared in the second stage when the foreign Akkadians used Sumerian characters. Just as the majority of Shang bone characters were pictograms and ideograms, most phono-semantic compound characters were modified and created by the foreign Zhou people later. At present, western theories have not followed the traditional path to the meaning of thought. The ten strategies of ideographic writing are the conventional path to the meaning of thought, rather than a bridge between language.

The so called “special characters”, is the characters that intended to represent a particular meaning. The concept of “special characters” has been developed for a long time, and as early as the Southern Tang Dynasty, Xu Kai’s (徐锴) interpretation of “lang (郎)” in the “Shuowen Jiezi Xizhuan 《( 說 文解字繫傳》)” already had the meaning of “special characters”. The Qing dynasty scholar Wang Yun (王筠) also discussed “special characters” many times. “Special characters” are exist more or less in various periods of Chinese characters, and “special characters” have appeared as early as the existence of oracle-bone inscriptions. This paper preliminarily sorts out the “special characters” in the oracle-bone inscriptions, and then groups these “special characters” and briefly sorts out the configuration of each group of characters, in order to have a comprehensive understanding of the development of “special characters” in the oracle-bone inscriptions. On the basis of analyzing their use in combination with the example and context, the “special characters” in the oracle-bone inscriptions are compared with the “special characters” in Dongba script, and it is found that these “special characters” have distinctive characteristics when used. The “special characters” in the oracle-bone inscriptions are often accompanied by partial changes in the shape structure, and the frequency of their use is unbalanced. When “special characters” are used, there is often a situation where a character represents a phrase, the use of “special characters” is often limited by superordinate level semantics and it will gradually be unified into a glyph in the later stage. Finally, combined with the production and development process of Chinese characters, we find that the production of “special characters” is a natural manifestation in the process of writing development, which is closely related to the context of the use of oracle-bone inscriptions and the thinking habits of primitive ancestors.

The four angels standing on the four corners of the earth and the four winds of the earth by season are a same concept in a Shang Oracle Bone inscriptions. By the Yellow River in middle China, there are easterly winds during spring, southerly winds during summer, westerly winds during autumn and an northerly winds during winter. For example, when the Shang people saw the monsoon coming from the east for several days, they believed it shows that the angel of the east had come here, and announced that spring had come and they started farming. Even today the farmers are not only based on the calendar’s date to farm, also check up the new temperature keep for several days. Similarly when the southern monsoon comes and keeps, the Shang people know it is summer. However, due to seasonal lag, May, June, July, August and September are the warmest months in the middle China, it is not generally recognized that the four seasons on the calendar are equal. Two unearthed Shang bone tablets record the names (features) of the four angels on the four corners of the earth and their four winds of the earth, but so far wrongly explaining seven out of the eight characters in the bone script which name the four-end-wind inscription bone tablet. This paper deciphers the following bone scripts: The character Vibrate震 ( ), pictured that a mouth ( ) issues three forces ( ), which means shouting, the god shouting means thunderclap, the dog’s shouting means shock to awe, the belly’s shouting means pregnancy and birth娠. The character for sprout, separating out, spearing out and exploding out is depicted as Xi 析 ( ) , depicting an axe ( ) to a tree ( ). Thus, on the famous four-end-wind inscription bone tablet, the first inscription says 東方曰析，風曰震 “the east angel names Xi ‘dawn or budding’, the spring wind means thunder or birth (or the spring wind angle names thunder)”. The character Assist襄 ( ) is a picture of a host ( ) around two aliens (夷， ) and walk (行 ), it means the host helps the aliens to walk around his land. The picture is also seen as a Multiracial Zone, like a soil in which several grasses root togerther, thus it means Soil 壤. And the multi-race fusion leads culture prosperity, thus it means Rich and Varied 穰. The character Grow 長 ( ) is a person figure with long hair, in which the plant grows in a way similar to the man hair grows. One of the strategies is for the scribe to create a narrative picture (Chinese character) on the parable of the most familiar thing (for example, human body parts). Thus, the second inscription reads 南方曰襄，風曰長 “the south angel names Rich or Assistance, the summer wind means growth”. The character Dye 染 ( ), depicting a tree 木 ( ) with hatching 彡 ( ), it means the tree with multicolors, or dye is made from plants. The character Bride-kidnapping 彝 ( ), depicting two hands holding a girl with her arms back, it means marriage and extends the meaning of the cardinal law. In other perspective, it means Capture, Receive and Harvest 收 ( ). One shape is with two functions in Chinese characters. Thus, the third inscription says 西方曰染，風曰收 “the west angel names Dye or Color, the autumn wind means harvest”. The character Hug, Pack, Wrap and Womb 勹（ ）is a figure of a woman bows down and hugs a baby but the baby is omitted. Similarly a script for riding a horse is depicted as Yi 夷 and Qi 騎 ( ， ， ), the horse is omitted. The character Destroy毀 ( ), composed of an honoust man ( ) under the hand-mallet ( ). Thus, the fourth inscription says 北方曰包，風曰毀 “the north angel names Pack or Seed, the winter wind means destruction”. The first three pairs of characters Sprout-Birth, Enrich-Growth, Colour-Harvest are mutual glossing, the last pair of characters Pack-Destroy is in opposite, which forms a cycle.

The Nanjing Museum has published the photographs of some of the oracle bone fragments from its collection. After perusing them, the author believes that the digital color photographs of these materials can provide some insights into the previous cataloguing of the oracle bones in question and the interpretation of the inscriptions they bear. In the article, the author provides the examples and relevant discussion of the cases in which the photographs are: “useful for correct interpretation of an inscription”, “useful for identifying forgeries”, “useful for evaluating rejoinings”, “useful for supplementing information”, and “useful for clarifying the information on the duplicate fragments”.

Modern attempts to decipher the Shang bone scripts have been hampered by the fundamental assumption that the scripts are recordings of the sound of the language and not ideas. Some phonetic “translations” could be proposed without the possibility of verification, and some graphic “translations” without meanings are seen as the names of sacrificial rituals by previous scholars. Actually, a character is derived from a thought, and the thought is derived from a figuration, while the figuration itself is derived from the graphed object or event. Therefore, the same character can be used in different dialects or languages to depict the same concepts. Based on the bone scripts being ideograms, several bone scripts used frequently for the names of the day were assumed to be the moon phases; thus, the time interval between two corresponding days with its moon phase was calculated for verification. Extensionally, according to the time interval between the two days, and the moon phase recorded on the bone tablets (or bronze wares) and the chronological table of the kings of Shang compiled by the pre vious scholars, the assumptions of the moon phase characters are attested by the calculations of the numbering days of the solunar date. Solunar dates (Chinese: Gan-Zhi 干支) were used to record dates with a cycle of 60 days. Conversely, on consideration of the dates and moon phases for the bone inscription events, the prevous chronology is improved with iterative methed, and we propose new chronology for Shang kings. In addition, through computation, three records of a lunar eclipse on the Shang bronze inscriptions and on the Zhou bronze vessels are newly recognized, which helps to reconstruct the years of the kings of Shang and of the kings of Zhou; the Shang bone calendar’s New Year started from the summer solstice of the year, from the full moon of the lunar phase and from the dawn of the day.

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.

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).

Human sacrifice in the Shang Dynasty (1600 BC – 1046 BC) refers to the practice of killing of human beings in rituals such as slaves, war prisoners as offerings to divine patrons and ancestors. The reason for this is the worship of the ancestors and the sacrifice of slaves to the gods to expand the ranks of their ancestors in another world. This paper aims to demonstrate that the Shang culture was based on human sacrifice to the wife of a king of Shang called Female Ancestors(xianbi 先妣) and the focus of this article is qualified xianbi of enjoying sacrifice in oracle inscriptions of Shang Dynasty. This research shows that xianbi had a quite high status in Shang dynasty, they enjoyed the same species of human sacrifices and animals with male ancestors(xianwang 先王). These results are evidence showing that the status of men and women were equal in the royal system of Shang Dynasty.

The people of Shang Dynasty were superstitious, advocating ghosts and gods. They liked divination to ask the gods for anything, and used this to judge the good and bad. Therefore, ‘disaster’ and ‘auspicious’ are two very important aspects of divination. For the words about disaster in oracle-bone inscriptions, the predecessors have done more systematic studies. However, there is relatively little systematic research on words related to ‘auspicious’. So this paper focuses mainly on the words that few scholars have discussed before, and compares their glyphs, meanings, modified things and grammatical aspects between oracle-bone inscriptions and bronze ones. After the systematic comparison and analysis, it draws the following conclusions. First, in terms of the glyphs and meanings, the components and combinations of the words in the oracle-bone inscriptions are mostly stable, but the meaning extension method is simple and very imperfect. Second, in terms of the types of things modified, and in comparison with the category of the bronze inscriptions, that of the oracle-bone ones is more and more detailed, and at the same time, the focus of the oracle-bone ones is different from the ‘person’ to which the bronze ones pay attention as the focus of them is on the ‘event itself’. Last, in terms of grammatical functions, the words are more independent in the oracle-bone inscriptions than in the bronze ones, having the usage of single-word sentences. But they cannot be used as attributives, and the stability of grammatical functions is not as good as that in the bronze ones. Through the analyses and conclusions above, this paper shows the synchronic distribution, the diachronic development, and the characteristics of the words in the oracle-bone inscriptions in a comprehensive way. It also demonstrates the ideology and culture of Shang Dynasty and Zhou Dynasty, which can be summed up as ‘from the theocracy-centered to the ruled-by-men’.

It is at present generally believed that there was only 疾 but not 病 in the disease-related oracle bone inscriptions. This implies that there was no distinction between the two characters in the late Shang Dynasty, and that their concepts were not thoroughly understood in the Yin and Shang dynasties either. It was not until the middle of the Warring States period that the word 病 began to gradually replace the word 疾. In the early years of the Western Han Dynasty, the word 病 had a slight advantage. Since the Eastern Han Dynasty, the meanings of 疾病 (disease) and 生病 (to catch a disease) have been basically used instead of 疾. However, from the oracle bone inscriptions, there are about two kinds of characters: 、 and . These different types of hieroglyphs indicate different situations. The word 疾 in oracle bone inscriptions has not merely different glyphs but different concepts of human diseases as well. Therefore, this paper intends to trace back to the concept and usage of 疾 and 病 in the late Shang Dynasty from the shape of the word 疾 in oracle bone inscriptions, and to the evolution of the meanings of 疾 and 病 in ancient literature.

The origin of the ‘rainbow’ in oracle bone inscriptions has been debated in the academic circles, but no final conclusion has yet been found. According to what the ‘rainbow’ in the oracle bone inscriptions looks like, scholars roughly divide it into two categories: the ‘snake’ and ‘dragon’. Reviewing previous argumentations on this issue and resting on comprehensive analysis of various views, this paper traces the academic origin of the ‘rainbow’ in the oracle bone inscriptions, and, at the same time, takes the ‘rainbow’ as the ‘dragon with two heads’, one of the description views on it. Furthermore, it, by means of combining with some arguments over the present archaeological results and discussing again relevant points of them, puts forward an argument that the ‘rainbow’ in the oracle bone inscriptions was taken from the image of the ‘dragon’. On the basis of this argument and relevant theories of philology, archaeology and cultural anthropology, it reinterprets the cultural connotation of ‘auspicious and ominous symbols’ and ‘gender metaphor’, both of which are unique to the special natural phenomenon of the ‘rainbow’ in Chinese culture. Analyzing the cultural meanings such as pouring rain, giving birth to an emperor or a sage, fornication and reproduction, etc. also helps to explain the cultural interconnectedness between the ‘rainbow’ and ‘dragon’ or, more specifically, dragon worship-related cultural prototypes of China.

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.

협업과 정보 공유가 중시되는 현대 사회에서 기술의 상호운용성은 기술의 원활한 활용을 위해서 필수적인 요소이다. 그러므로 시장 후발주자는 기존의 시장 지배자가 구축한 시스템과 상호운용 가능한 제품을 출시하여야 하고 그 과정에서 선점자의 저작권을 침해하는 경우가 적지 않았다. 미국의 법원은 위와 같은 사례에서 1980년대까지는 상호운용성 달성이라는 목적에 특별한 의미를 두지 않고 그대로 저작권 침해를 인정하는 태도를 보였다. 그러나 90년대부터 미 법원은 위 판결의 태도를 비판하며 상호운용성과 관련해서 저작권법상의 예외를 인정하기 시작하였고 이런 태도는 현재까지 이어져 왔다. 미 법원의 이런 태도 변경은 미국 컴퓨터 산업이 컴퓨터 제조업 시대에서 상호운용성이 강조되는 인터넷 시대로 전 환하는데 기여하였다고 평가받고 있다. 그러나 최근 미 연방항소법원은 Oracle v. Google 사건에서 기존의 기류와 상반되는 입장을 취한 것으로 보인다. 구글이 상호운용성 달성을 목적으로 오라클의 API 코드 일부분을 복제하였음에도 불구하고 미 연방항소법원은 구글의 저작물 공정이용 항변을 배척한 것이다. 따라서 미국의 과거 판례와의 비교⋅검토를 통해 상호운용성에 대한 판례의 태도가 과거로 회귀한 것인지 만약 그렇다면 선례와 모순적인 부분은 없는 것 인지 확인할 필요가 있다. 저작권법은 자신의 창작물을 통제하고 이용할 수 있는 작가의 권리와 자유로운 아이디어, 정보 유통의 사회적 이익 사이에서 균형을 맞추는 방식으로 시행되어야 하고, 그 균형추의 역할을 하는 법리가 바로 공정이용 법리이다. 본 연구는 상호운용성과 공정이용 법리의 관계를 탐구함으로써 공정이용의 법리가 그 본래 목적인 균형추의 역할을 수행할 수 있도록 하고자 한다. 따라서 본고는 공정이용 조문의 제정목적과 미 DMCA 등 과 같은 다른 법조문을 검토해 판례의 공정이용 조문 해석론이 체제 정합적인지 살펴볼 것이다. 이와 더불어 소프트웨어 산업 동향과 다른 국가의 입법례를 고려했을 때 판례의 태도가 사회적 요구에 부합하는 것인지 검토할 것이다.

Through the description, and inscriptions tool books, the Yin Ruins Oracle was edited by Wang Shaodong and Wang Yuxin, there are at least four aspects of the following problems: First, the interpretations is not new. secondly, the notes are uncertainty. and thirdly, The translation is out of order. Finally, some punctuations are wrong. As an exact textbook for the introduction of ancient Chinese characters in the cultural relics press, we can not fully trust and should use it carefully when using it.

이 논문은 제3차, 4차, 5차 교육과정기의 교과서를 통해서 갑골문 학습의 양상을 밝히고, 당시 갑골문 학습의 문제점을 밝혀 낸 것이다. 제3차, 4차, 5차 교육과정기에는 분석 대상의 교과서들이 單體字 위주로 甲骨文 한자를 제시하고 있다. 合體字는 본디 會意字와 形聲字의 造字 原理를 제시할 수 있음에도 불구하고 갑골문으로 제시 된 合體字는 會意字와 形聲字의 조자 원리를 제시하지 않았다. 또한 대부분 ‘중학교 한문 교과서’의 주로 초기 단원 또는 ‘중학교 한문1’에서 甲骨文을 제시하고 있다. 이는 초기 학습에 字源을 제시할 목적으로 제시한 것일 뿐이다. 상형자의 특징을 보여 주고 한자의 변천 과정과 함께 제시하여 字源 을 통해서 한자를 익히도록 했다. 제5차 한문과 교육과정 해설에서는 ‘內容體系(한문과 교육의 구 조)’가 처음으로 분류 제시되었다. 內容體系는 ‘漢字, 漢字語, 文章’으로 체계화되었으며, 그에 따라 교과서의 소단원에서 ‘본문 이해’의 구성을 ‘한자의 짜임(구조), 한자어의 짜임(구조), 문장의 구조’ 로 제시하였다. 그러나 매 소단원의 한자의 짜임은 楷書를 위주로 ‘한자의 짜임’을 반복 제시하였다. 오히려 甲骨文에 따른 자원 교육은 앞서의 제3, 4차 교육과정기보다도 감소되었다. 제3, 4차 교육과 정기 교과서의 갑골문 제시는 한자의 자원을 보여주기 위한 것으로 제시되었으나, 합체자의 회의자 나 형성자의 자원을 제시하지는 못했다. 제5차 교육과정기 교과서는 ‘한자의 짜임’을 내용체계에서 체계화했으나, 자원 제시 및 자원 해설과 자체 변천 과정 제시는 이전 보다 약화되었다. 제3, 4, 5차 교육과정기의 자원 제시는 체계성이 부족함이 밝혀졌다.