說文解字卷七下 ｢疒｣부에 나타난 질병과 관련 있는 글자는 모두 103개 글자로 다수가 질병과 유관한 글자로 “고대 중국인의 질병 발생의 근본 원인과 질병관, 질병의 종류와 증상, 질병의 쾌유”에 대하여 기술하고 있다. 본 연구는 說文解字｢疒｣부에서 22개의 글자를 통해 ‘고대 중국인의 질병 발생의 원인’을 6가지로 나누어서 기술하였다. 첫째, 氣의 과다로 인한 질병. 둘째, 외상으로 인한 질병. 셋째, 악물 오용으로 인한 질병. 넷째, 역병으로 인한 질병. 다섯째, 과로로 인한 질병. 여섯째로 선천적인 장애로 인한 질병으로 說文解字의 ｢疒｣부의 글자들을 통해 고대 중국인의 질병 발생의 원인을 살펴보았다. 그 외 說文解字에서 기술된 뜻을 좀 더 명확하게 서술하고자 출토문자들과 대조해 보고, 방증으로 중국 고대 자서와 의 학에 관한 문헌을 참고하여 “고대 중국인의 질병 발생의 원인”을 탐구하며 전개하였다.

This paper probes the elements of theoretical necessity, starting with the word ruo (若) in Duan Yucai’s Shuo Wen Jie Zi Zhu (段玉裁《說文解字註》). From the prospective of theoretical methods of “Ruo (若) ,” the theoretical necessity of “Ruo (若) ,” the exegesis functions of “Ruo (若) ” and different intonations with different modal particles, the author conducted multi-level and multi-dimensional analysis on “Ruo (若) ” in Duan Yucai’s Shuo Wen Jie Zi Zhu (段玉裁《說文解 字註》) so as to explore the concepts of theoretical necessity from Duan Yucai.

Chu Bamboo Book in Anhui University (vol.2) published in August 2022 (hereinafter referred to as “Anda II” or “An Da Jian”) is the latest collation of the bamboo slips of the Warring States Period in Anhui University by the Research Center for the Development and Application of Chinese Characters of Anhui University, which includes two parts: Zhongni Yue and Cao Mo Chen. Through a preliminary comparison and analysis of the writing phenomena corresponding to the purposes of such articles as Cao Mo Zhi Chen and Zhong Ni Yue in An Da Jian, Cao Mo Zhi Zhen in Shang Bo Jian (Chu Bamboo Book in Shanghai Museum), the author found some special phenomena related to He Wen. For example, although the writing of Cao Mo by An Da Jian seems to have various ways of writing, this way of writing may contain a profound interpretation of the meaning of the text by the scribes at that time. This writing phenomenon is of great value for in-depth consideration: 1.When the two words “Shang Xia (上下)” and “Zhi Suo (之所)” can be taken apart or not, the words that cannot be taken apart are often written as He Wen, and the words that can be taken apart are often not written as He Wen; 2.When the original two words “Jun Zi (君子)” and “Xiao Ren (小人)” cannot be separated, the written form of He Wen may represent a special emphasis. At the same time, through a comparative study of the use of Chinese characters in Cao Mo and Zhongni Yue, we may speculate that although Cao Mo and Zhongni Yue may not belong to the same style of writing, at least in the arrangement of He Wen, There may be some similar writing logic in these two chapters - the speculation about this writing logic may be used in the analysis of other difficult texts in Zhongni Yue.

구양수의 애도 시문은 작가 개인이 견지한 문학 이론을 적극 이입함으로써 애도 주제의 서술 범위 확장과 더불어 애도의 새로운 방향성 모색을 가능하도록 유도하고 있다. 그에 따라 구양수는 역사가로서의 태도를 견지하며 사실에 근거한 시문 창작 을 부각시키는 한편, 쉬운 언어와 짧은 편폭 속에 비애의 반응과 작가 개인의 견해 를 적절히 배합시킴으로써 관습주의에 매몰된 기존 애도 시문과의 차별성을 분명히 나타낸다. 이는 거시적으로 북송 문인들이 애도 시문을 대하는 관점의 변화를 나타 내는 징후이자 구양수 애도 시문의 독창성을 담보한다. 구양수가 보여준 애도 시문 의 새로운 작문법의 실천은 애도문학사 변천의 중요한 의미를 규정해준다.

The famous Korean monster Shizishan cited many documents to annotate “Shichaoshi”, which included ten seven-character Octaves written by the famous Tang poet Wen Tingyun. This paper tries to compare it to “The chronicle of Tang Poetry”, “Youxuan Anthology”, “Tang Poetry Guchui”, “Appreciation of Tang Poetry”, “Tang Poetry” and finds some dissimilarities among them. This paper aims to make a textual study on it and argue the merits and demerits of the dissimilarities. The quotations in “Shichaoshi” involved many ancient classics, but were given too simple explanation. For example, it didn’t annotate the well-known “Huanzi Xinlun”. What’s more, it abbreviated the book names, “Yu” for “Lunyu”, “Xuan” for “Wenxuan”, but it didn’t give an appendix of short forms. This will bring difficulty for the offspring to collect and edit the lost ancient books. It is the modern people’s responsibility to correct the mistakes made to the ancient classics in passing from generation to generation.

Punishment is an important method for the ruling class to discipline criminals and alert people. According to historical records, a systematic punishment system was already existent during the Xia Dynasty. The “Ancient Five Punishments” recorded in Book of Documents occupies an important position in ancient Chinese punishments. Because they were all corporal punishment and the execution methods were extremely cruel so they were abolished in the Han Dynasty. The execution process of corporal punishment depends on the use of various knives. Therefore, punishment in ancient China is closely related to the “knife”. Shuo Wen Jie Zi contains a large number of Chinese characters related to punishment, and they are closely related to the “Ancient Five Punishments”. “刵（Er）”, as an ear-cutting penalty, can be traced back to the Zhou Dynasty or even earlier, and has similar meaning with the words “聝(Guo)” and “取（Q u）”. “㓷（Yi）” and “劓(Yi)” are variants of each other, and they were widely used as a penalty for cutting the nose only before the Han Dynasty. “刖(Yue)” means the punishment of cutting the legs, which has same meaning with the words “剕(Fei)” and “跀(Yue)”, but it was different from the word of “膑(Bin)” though they have similar meaning. The three characters “ (Xing)”, “刭(Jing)” and “刎(Wen)” can be explained by each other, and they all refer to the punishment of beheading. “罚(Fa)” means punishment for minor crimes. This word and the word of “刑(Xing)” meaning the punishment for serious crimes constitute the phrase of “刑罚(Xingfa)” in Chinese.

Zheng Su Wen is an important colloquial dictionary written by Hao Yixing in the Qing Dynasty. It is the part of foreign words in the last two volumes that specially makes significantly differences from other dictionaries which also specialized in collecting common words. At present, its value has been found, but comprehensive description and investigation are still rare. Therefore, this paper makes a detailed survey of the two volumes of collected words and described them from the basic situation, regional distribution, vocabulary source and historical stages. And it also observes Hao’s interpretation, citation and textual research of foreign words, so as to summarize their characteristics which are as follows: firstly, these foreign words are influenced by regions and Buddhist culture; secondly, bibliography of these words covers a wide range of both Chinese history and domestic and foreign regions; thirdly, Kangxi Dictionary may closely be related to them. Lastly, this paper divides words into two categories according to whether the dictionary and other dictionaries are included as a judgment standard. Some words should be emphasized in the future, while some words should also be supplemented and demonstrated.

『說文解字』 ‘足’部에는 85개의 한자와 4개의 重文이 수록되어 있다. 본고에서는 ‘足’部 한자 중 重文을 제외한 85자를 살펴보고자 하며, 문자학적 관점과 의미학적 관점, 그리고 현재까지 상용되는 ‘足부 한자 등 세 부분으로 나누어 연구를 진행하고자 한다. 문자학적 접근에서는 造字 방법에 따라 관련 한자를 육서의 개념으로 분류해보고, 한자 訓釋에서의 특징, 字義 해 석과정에서의 특징으로 나누어보며, 의미학적 접근에서는 ‘足’부 한자를 크게 명사와 동사로 쓰이는 경우로 나누어 분류해 본다. 현대한자에 대한 접근에 있어서는 현대한자에서의 통용 여부, 이체자로 분류된 자형과 간체자로 사용되고 있는 한자 및 의미의 변화에 대해 알아보고자 한다. 이러한 연구를 통해 ‘足’부 한자들의 자형과 의미의 특징들을 살펴보는 것을 주요 내용으로 한다.

Despite numerous errors already revealed in Shuo Wen Jie Zi by Xu Shen in Eastern Han dynasty, it is still considered to be an important literature in Chinese character studies. This study utilizes tools, such as mathematical functions, set and logic, to look into Shuo Wen Jie Zi from a new perspective. Through this approach, one can get a macro-scale tendency or trend. At the same time, one can pin-point numerous micro-scale errors. This study firstly defines functions that constitute the framework, and then processes the entire data set within Shuo Wen Jie Zi, addressing the topics associated with it.

In order to modeling seismic isolation system such as lead-rubber bearing (LRB), bilinear model is widely used by many researchers. In general, an actual force-displacement relationship for LRB has a smooth hysteretic shape. So, Bouc-Wen model with smooth hysteretic shape represents more accurately actual hysteretic shape than bilinear model. In this study, seismic responses for seismically isolated nuclear power plant (NPP) with LRB modelled by Bouc-Wen and bilinear models are compared with those of NPP without seismic isolation system. To evaluate effect of earthquake characteristics for seismic responses of NPP isolated by LRB, 5 different site class earthquakes distinguished by Geomatrix 3rd Letter Site Classification and artificially generated earthquakes corresponding to standard design spectrum by Reg. Guide 1.60 are used as input earthquakes. From the seismic response results of seismically isolated NPP, it can be observed that maximum displacements of seismic isolation modelled by Bouc-Wen model are larger than those by bilinear model. Seismic responses of NPP with LRB is significantly reduced than those without LRB. This reduction effect for seismic responses of NPP subjected to Site A (rock) earthquakes is larger than that to Site E (soft soil) earthquakes.

The purpose of the study was to the Cognitive Interpretation of “the “White” System Words in Shuo Wen Jie Zi” Terms. The results revealed Based on Conceptual Blending Theory, the paper concluded: “the “White” System Words in Shuo Wen Jie Zi” Terms, is looking for more this word, and then by metaphor, metonymy activate the synthesis of new cognitive meaning empty, meaning the formation of a new color. Such a series of “hidden word refers specifically to look for” a lot of the later “refers to identifying the dominant word” generation preparations were made on semantics (a) Colors and nominal objects usually have a fusion form in ancient times and a batch of phraseologies take place in mediaeval times consisting of color terms plus original word with color acceptation having spillage over the original word due to the latter’s wearing away and expansion for accurate expression or because of word shapes, rhetoric and perceptions. The study findings may serve as a guide for further research on Chinese color terms system and culture of Chinese.

『漢鮮文新玉篇』은 고종의 칙령으로 새로운 문자 생활이 시작되면서 시대 상황에 맞는 자 전 편찬의 필요성이 대두되었던 시기에 玄公廉이 편찬한 자전이다. 『漢鮮文新玉篇』의 한문 주석에 ‘【朝】’, ‘【日】’, ‘【華】’등의 표시가 있는 자형이 수록되어 있는 것을 볼 수 있다. 이렇게 표시된 ‘【朝】’, ‘【日】’, ‘【華】’의 의미는 다음과 같다.【朝】는 한국에서 통용되는 한자 및 한자어,【日】은 일본에서 통용되는 한자 및 한자어,【華】는 중국에서 통용되는 한 자 및 한자어를 말한다. 본고에서는 『漢鮮文新玉篇』에 나타나는【朝】를 중심으로 한국 고유 한자의 특징에 대해 고찰하고자 한다. 『漢鮮文新玉篇』에는 55자, 극히 소수의 한국 고유한자 가 출현하였지만 『漢鮮文新玉篇』을 포함한 여타 다른 자료에서 찾아 볼 수 있는 우리 고유한 자에는 우리의 생활방식이나 국가의 제도문화, 사유방식 등 상당히 풍부한 문화적 의미가 내 포되어 있다. 이러한 우리의 고유한자가 현 국어생활에서는 사용빈도가 낮아서 홀시되고 점 차 사라져가는 경향이고 이미 소실된 것도 상당수다. 그러나 우리 고유한자의 연구는 한국에 서의 한자 사용의 역사적 과정을 밝혀줄 수 있을 뿐만 아니라 한국고유의 문화적 정서를 찾 는 하나의 실마리도 제공해 줄 수 있을 것이다. 그러므로 이러한 고유한자의 발굴은 물론 그 하나하나에 대하여 학문적 구명은 반드시 필요한 일일 것이다.

This paper studies the mountain place name characters of the "Shuo wen jie zi", including eleven ancient Chinese characters: "Nao(峱), Yi(嶧), Yu(嵎), Yi(嶷), Min( ), Ji( ), Jie(巀), Xue(嶭), Hua(華), Guo(崞), Yang(崵)". Those characters are all from the same radical of the "San"—mean about mountain on "Shuo wen jie zi", and neighbor in the "San" radical. Mountain place name characters in "Shuo wen jie zi", the character structure all added a radical "San", making it become a synthetic character. However, ancient Chinese geographical literature, the mountain place name not necessarily have the radical "San". Therefore, this paper will focus on the mountain place name characters of the "Shuo wen jie zi", research on structural principle related and the use cases on ancient literatures.

The Assisted evidence of Shuo Wen Jie Zi（《說文解字翼徵》）was written by Piao Xuan Shou who is a famous scholar in Joseon Dynasty. This is South Korea's only remaining book that The author was first use of Chinese bronze inscriptions, Seal characters and drum-stone inscriptions to research Shuo Wen（《說文》）. By this way, The author want to correct the mistake of Shuo Wen. So it is stand for that the philology researching reached new heights. However, there are still quite a few defects and shortcomings in the book, like follow blindly view of Xu Shen and wrong to knew Chinese bronze inscriptions. For the Chinese scholars, this book have some effects like “Stones from other hills may serve to polish the jade of this one”. As an example with 12 characters from Bronze inscriptions of Yu Tripod （《大盂鼎銘文》） that it had quoted in this book, and the current Academic research Can be checked with the view of correction Shuo Wen. So that this book can be evaluated and inherited.

허신의 『설문해자』는 중국 언어학사에 있어서, 자형을 분석하고, 자의를 밝히고, 자음을 표 명한 최초의 자전이다. 지금까지 학자들에게 가장 영향력이 있는 고전 중의 하나이다. 그러한 이유 중에는 부수법의 창안이라는 업적이 자리하고 있다. 현재 우리가 사용하는 자형분류법 에 의한 ‘214부수법’은 허신의 자의분류법에 의한 부수법과 구분된다. 자형의 변화와 검자의 편리성 도모라는 현실적인 원인이 있다. 그와 함께 부수 본연의 의미에서 벗어난 모순도 함 께 지니고 있다. ‘214부수법’의 모순을 극복하고 보다 합리적이고 과학적인 대안을 마련하기 위해 부수 본연의 목적에 충실했던 허신의 ‘540부수법’에서 사라진 부수들의 귀속를 추적, 분 석하고자 한다. 허신의 540부수 가운데 『신화자전』을 기준으로 소실된 부수자의 수는 333개 이다. 궁극적인 목적을 달성하기 위한 연구의 첫걸음으로 본고에서는 귀속자를 가지지 못한 36개의 부수(‘문일부수’)를 연구대상으로 삼고 그 변화와 귀속을 분석하고, 그 속에서 대안을 위한 원칙을 세워나가고자 한다.

說文에서 말하는 이체자중 古文과 籒文의 자형은 문자학상의 가치가 매우 높다. 그러므로 한자 형체 발전 과정에서 매우 중요한 자료이다. 許愼이 말하는 소위 省의 개념은 주요하게 몇 가지 방면 으로 나타나는데 이것이 바로 한자발전상 매우 중요한 현상 省形 省聲현상과 연관된 것이다. 본 논문은 說文의 籒文과 古文중의 省形 省聲현상을 연구하고, 연구대상은 籒文이나 古文에서 形旁이나 聲旁을 생략한 글자로 삼는다. 說文 籒文과 古文의 省形 省聲字를 고찰한 결과, 籒文의 省形字는 6개, 籒文의 省聲字는 14개, 省形이면서 省聲字는 2개, 형체에 의혹이 있는 글자는 1개이다. 古文의 省形字는 5개, 省聲字는 7개, 고문자와 소전과의 관계를 省形과 省聲으로 잘못 오해한 것이 18개로 가장 많았다. 省形과 省聲은 일종의 특수한 현상으로, 이러한 현상이 생기는 원인은, 고대 사람들이 글자를 쓰기에 편리하게 하기 위하여 만들거나 쓸 때 자형의 균형을 위해서 조자 과정중 일부형체를 省略한 것이다. 한자는 簡化와 변화의 모순 속에서 발전하고 있고, 발전과정도 서사나 기억의 簡化를 위해, 공시 적이나 통시적 평면에서 존재하고 발전하고 변천하고 있다. 許愼이 비록 古文字 材料의 한계로 인해, 字形의 분석에 오해를 가져왔지만, 說文解字의 省形 省聲방법은 漢字를 創造하는 방법으로, 후 대사람들이 漢字構造를 硏究하는데 많은 도움을 주었다.

About the original meaning of the hieroglyph “文”, I have continued to have some doubts from what is brought. But when I have looked at“滄源崖画”(Wall paintings on cliff. There is this painting in Yunnan. It is maid about three thousand years ago), I found out the new interpret. I noticed that the described persons on the “崖画”(Wall paintings on cliff) wear poncho(“貫頭衣”). The reason why I found out that originates from the association through comparison between the described persons on the “崖画”and the described persons on the Japan’s “銅鐸”（dotaku ;　　　, a bell-shaped bronze vessel of the Yayoi period）. Both of them wear a poncho(“貫頭衣”).　Furthermore the mark “× ”of “ ”(“甲骨文”of “文”) shows tattoo（“文身”）marks. The ancient race in the south China that live in the house of a raised-floor construction have two characteristics. They are “貫頭衣”and “ 文身 ”. Therefore the model of “ ”originals in this both characteristics. Until now model of “ ” has been thought the person of Shan(商). The conventional idea is based on the idea that the shape of “ ” belong to the character of “大”. The idea that “大” is the front shape of a person is popular. The character of 爽・狭・夫・天・央・夭 belong to the character of “大”. But “文”not belong the genealogy of “大”. Therefore “文” is the character of the individual genealogy. The model of “文” means the person that wear clothes(that is“貫頭衣”).

This study aims to survey the creation process of female figure as a whole by linking features of female association depending on Shen cong wen's creation period with the characteristics of female figures of each time. Female figures at the first creation period are, in many cases, just passive subjects looked into the eyes of the male writer. This is largely because of a woman named Ma, Yao Mei, and Ding ling, who were those Shen associated when he first started writing literatures. They were women who hided their true colors of wicked women under the veil of positive image of girl and seem to have a huge impact on the creation of female figures by Shen at the initial stage of his literature creation process. At the second period, female figures in his literatures are varied and colorful. There are novels in which a woman is a main character and stories, in many cases, are delivered from a point of view of a woman. Ding ling and Zhang zhao he associating with Shen at that time had a great impact on this. Literatures by Shen in this period were a dedication for the love and friendship with friends and lovers. Female figures at the third period have contradictory characteristics; sometimes it is too ordinary and plain, and others it is too abstract and difficult. This is related to the fact that the association with women did not directly motivate his creation at that time due to the reality called marriage and a special circumstance: war. But, in this period, he was absorbed in creation to capture the lively motion and beauty of life that he had constantly envisioned. In conclusion, by investigating the relationship between his association with women and female figures, the author has been able to identify the meaning of coincidence and women when it comes to creation, as the way he had expressed. His creative tendency was determined according to the nature of women he was in association with each time and the female figures did not stray from the shadows of women he was in association with. This feature on the creation of literatures by Shen suggests that his literary world and female figures are to be interpreted and studied in various ways in the fields such as eco-feminism and gender psychology.

在《2011年香港中學會考(中國語文)考試報告及試題專輯》指出:「基本文言字詞和句式仍然是閱讀能力的基礎。」即是說在學習文言文的時候，我們應以基礎為本，而文言文中虛詞的學習就是最基本的導入。 《史記》正正蘊含了大量豐富而簡單的虛詞，實在是非常作為教材教導學生；因此本研究以「之」、「乎」、「者」、「也」四個虛詞作為教學研究重點，並透過對筆者任教的一班中四級學生(18人)進行相關的教授、測試及問卷調查，以探討《史記》作為文言虛詞教學的成效。 結果顯示，以《史記》作為文言文教授的材料及工具，能使高中學生更容易掌握虛詞的運用，並且亦能有效提升學生的基礎文言能力。

歷年以來，學者皆首推段玉裁《說文解字注》為闡釋許慎《說文解字》的文字工具書。然而，段《注》亦不免有不少漏錯之處。近年來，徐《箋》中的一些說法受到學界的認同和徵引，徐《箋》逐漸得到學術界的接受和肯定。徐《箋》雖為段《注》作箋，但徐氏不像一般的注釋家，把自己的工作局限在解釋原文方面，盲目跟從和維護段《注》對《說文》的解釋。徐《箋》的撰寫目的在於表識段說，在段《注》含混之處加以說明，簡略之處加以補充，有時更會另提己見，其識見甚或比段《注》更精確。本文試從「馬」、「䠶」、「臣」三字為討論中心，闡釋比段《注》精準之處。