• The Journal of Korean Philosophical History
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• no.32
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• pp.161-183
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• 2011

Lee Ik(李瀷) had put emphasis on the achievements by self-regulated academic learning through doubts, and at the same time that it was all-embracing. His academic attitude had set an example among the members of Seongho school(星湖學派), and his disciples had strived to emulate his style. The greatness of Seongho(星湖)'s study had been revealed by development of Seongho school(星湖學派) right after his death. He had argued that the six strokes of I-Ching should be read having it divided into inward and outward divine signs. He had stated his view clearly that the divine signs ranging from one stroke to six strokes were not connected, same as Shao yong(邵雍)'s method, but, the three strokes of inward divine sign as well as the three strokes of outward divine signs were independent from each other. Seongho(星湖) also had raised many questions about Shifa(筮法), and Bianyao(變爻) and Zhuzi(朱子)'s Shifa(筮法), or Yixueqimeng("易學啓蒙") "Kaobianzhan("考變占")". In view of the Shifa(筮法), Seongho(星湖) had helped Dasan(茶山) to present 'Shiguafa(蓍卦法)' by proposing different divination rule from Zhuzi(朱子)'s Method of Divination by Shiyi("筮儀"). Seongho(星湖) had not professed something significantly different from Zhuzi(朱子) in his I-xue. His study on I-xue had been accomplished under his goal of achievements by self-regulated academic learning through doubts. "Shiguakao("蓍卦攷")" is also same. I-xue of Seongho(星湖) had made a great contribution to form Dasan(茶山)'s I-xue in the later years.

• The Korean Publising Journal, Monthly
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• s.316
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• pp.25-25
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• 2002

• 프린팅코리아
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• v.10 no.1
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• pp.100-103
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• 2011

• (The)Study of the Eastern Classic
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• no.43
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• pp.233-258
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• 2011

This paper is about Zhuzi(朱子) writings entitled Yixueqimeng("易學啓蒙"). There are only four research articles on Yixueqimeng("易學啓蒙"), although it had taken important role in the process of formation of Zhuzi(朱子) study of changes, comparing with 30 different kinds of research on his works after this Yixueqimeng("易學啓蒙"). In line with this, the author intends to make this paper as a full-scale research article on Zhuzi(朱子) work - Yixueqimeng("易學啓蒙"). Zhuzi(朱子) exposes the meaning of the Xiangshuyixue(象數易學), to wit, the emblem and numerology of Emblem and Numerology in interpreting Zhouyi("周易") again by accepting Hetu("河圖") and Luoshu("洛書"). When discussing the Zhouyi("周易"), Yiliyixue(義理易學) had drawn supports from Wangbi(王弼) Deyiwangxianglun(得意忘象論). Likewise, Zhuzi(朱子) tried to ruminate upon the meaning of the Hetu("河圖") and Luoshu("洛書") through the Yixueqimeng("易學啓蒙"). As he interprets all things through Hetu("河圖") and Luoshu("洛書"), these two systems of emblem have become essential. Even in Shifa(筮法), he elicited Dayanzhishu(大衍之數) from Hetu("河圖") and Luoshu("洛書") so that he related the divination rule to Hetu("河圖") and Luoshu("洛書"). By doing so, Zhuzi(朱子) concatenates Dayanzhishu(大衍之數) to Hetu("河圖") and Luoshu("洛書") too. Furthermore, by interpreting Yongjiu(用九) and Yongliu(用六), which belong to Qiangua(乾卦) and Kungua(坤卦) as prognostication that will be referred to when all six-line symbols are changed, he had made a great contribution to the history of Zhouyi("周易") study. Zhuzi(朱子) is responsible for a sizable part of the history of Zhouyi("周易") study as much as Wangbi(王弼) and Chengyi(程?). Of course, there are some parts where efforts were made in vain, however, the method to interpret the Zhouyi("周易") have developed day by day owing to the efforts of Zhuzi(朱子).

• The Journal of Korean Philosophical History
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• no.56
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• pp.119-149
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• 2018

Le 樂 is important in Politics of the Kings. It is the same in Nothern Song period(北宋). There was an argument about Le 樂 and Lu 律 in Nothern Song Period. Those who argued were Fan-Jin(范鎭) and Sima-Guang(司馬光). They argued for 30 years. Fan-Jin insists that a standard of weights and measures is Lu and a standard of Lu is the fundamental tone of twelvenotes scale, Hwang-Jong 黃鍾. On the other hand, Sima-Guang insists that a standard of Lu is weights and measures and a standard of Le is Equilibrium and Harmony, Zonghe 中和. Fan-Jin thinks it is possible to restore a Sage King's music through the right standard of Lu. But Sima-Guang thinks it is impossible. Sima-Guang believes that the only way to restore a Sage King's music is to complete Zonghe. And Fan-Jin thinks Zonghe is the work of the king whereas Sima-Guang thinks Zonghe is the order of man and everything. The key point in the argument is Lu and Zonghe. Fan-Jin regards Lu as the basis of music, whereas Sima-Guang regards Zonghe as the basis of music. Lu is a tangible law and Zonghe is a intangible law. Although the argument between the two ended in a stalemate, the argument shows the difference between the scholars at the time.

• English Language & Literature Teaching
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• v.12 no.3
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• pp.99-122
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• 2006

The purpose of this paper is to explain the meanings and uses of the English auxiliaries SHALL/WILL. The complexity of modern usage of SHALL/WILL has been one of the most disputable themes of traditional English grammar. The paper purported to address the study and analysis of diachronic and synchronic approach to the two auxiliaries. A general view of the figures of Fries'(1925) survey was added for further investigation. The results of the study showed that these auxiliaries express some of various modal meanings associated with the volitional or emotional attitude of the speaker without implying futurity. The findings also suggested that the use of SHALL in present-day English is restricted to non-volitional future with the first person but the practice of this use is also diminished by the expansion of the use of WILL, and the original meaning of WILL, 'to desire or wish', has generally been replaced by other verbs or modal forms. But sentences which seem to indicate futurity are often tinged with modal senses. Therefore, WILL/SHALL should be considered to act either as tense auxiliary or as modal auxiliary depending on situational contexts in which it occurs.

• Journal of Convergence for Information Technology
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• v.9 no.11
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• pp.110-117
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• 2019

This study attempted to publicize the excellence of art of seal engraving in the Joseon Dynasty by analyzing the fusion factors of seal 'Wandangyego' which Oh Gyuil engraved. The appearance of Wandangyego was compared with other seals. The calligraphy philosophy in Wandangyego, the composition of inmun Wan-Dang-Ye-Go, and Oh Gyuil's method of holding graver were analyzed. As a result, Wandangyego was the world's largest rectangular seal and contained the writing philosophy of his teacher Kim Junghee. Oh Gyuil was a seal engraving artist and expert in the manufacture of seal handles. He used 'chungdo' and 'jeoldo' appropriately, and stimulated the deliberate emotion of oriental art with layout applied with exquisite oriental golden ratio. The importance of the real seal was suggested, and it was proved that the seal Wandangyego was a prominent work worldwide. The results of this study are expected to be a new research methodology for analyzing the fusion factors in painting, sculpture and design.

• Journal of Convergence for Information Technology
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• v.9 no.10
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• pp.94-100
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• 2019

This study presents the superiority of his calligraphy by analyzing the use, meaning, and calligraphy of nickname three dragon-man(yong-jeong) written by Kim Junghee before and after exile in Jeju Island. Based on the basic structure of the three dragon-man, the relationship between the times, the context, and the characters was studied. Through this change process, the difference of art engineering with other works was analyzed. Kim Junghee intentionally went through a difficult situation by using a nickname with a dragon. He wrote different meanings, uses, and typefaces of the nickname three dragon-man, depending on the circumstances. Finally, Kim Junghee used 'three dragon-man' to King Heonjong and Monk Choui to express his feelings and intentions. His writing was excellent in art engineering and unique in the world. All were found to be supported by his epigraphy insights. The results of this study will be a new methodology for analyzing the meaning of nicknames of ordinary artists.

• Annual Conference on Human and Language Technology
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• 2003.10d
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• pp.121-126
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• 2003

한국어 피동구문에서 출현하는 '가형 성분'에 대해 어떤 통사적 기능을 부여할 것인가에 대한 논의는 조사 자체에 대한 인식과 밀접한 관련을 맺을 뿐만 아니라 한국어 구문 분석에 있어서도 매우 중요한 위를 차지한다. 본 고에서는 논리명제적 차원에 머무는 분석보다는 언어의 발화행위 차원을 고려하여 문장의 형식을 고려할 필요성을 제기하고, 문장을 조사와 어미를 중심으로 하여 인칭과 서법 요소들을 통해서 볼 때, 문장 성분에 대한 인식이 달라질 수 있음을 '피동동사'를 중심으로 제시했다.

• Transactions of the Korean Society of Mechanical Engineers
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• v.18 no.4
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• pp.876-886
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• 1994

Process design in superplastic forming to produce a Nickel-base jet engine disk has been carried out using the rigid-viscoplastic finite element method. This study aims at deriving systematic procedures in forging of superalloy engine disk, and develops a simple scheme to control strainrate within a range of superplastic deformation during the forging operation. The new process, a pancake type preform being used, is designed to have less manufacturing time, and more even distribution of effective strain in the final product, while the conventional superplastic forging of an engine disk has been produced from a cylindrical billet. The jet engine company, Pratt & Whitney, provided the basic information on the manufacturing process of superplastic forging of a jet engine disk.