• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.973-977
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• 2009

The article is based on the research of the he culture and has discussed the prospect and possibility of application of cultural element "He" in modern design through analyzing the Beijing Olympics'cultural element "He" from its Chinese character's changing forms to its connotation; and the application of the element "He" in traditional design as geometrical figures, homophonic usage, and some legends on it.

• 중국학논총
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• no.65
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• pp.83-99
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• 2020

现代汉语中的"睡觉"来源于古汉语中的"睡觉", 但两者的词义完全相反, 構词法上也存在着差别。本文从历时角度看, "睡觉"词义演变的脉络, 并且探究"睡醒"义與"进入睡眠状态"义的渐进变化。古汉语中的"觉"和"睡觉"的最早词义为"寤(睡醒)"。大约中唐时期"睡醒"义的"觉"衍化出了作量词的"睡眠单位"义和作名词的"睡眠状态"义。而且具有"睡眠行为"的动宾式離合词"睡觉"的产生, 就是动词"睡"和名词"觉"重新组合的结果。表"寤"义的"觉"和从此义演变出来的表"睡眠单位"和"睡眠状态"之"觉"的读音, 原本都是"古孝切", 宋代为区别词义, ""寤"义的"觉"改读为"古岳切"。"睡觉"一词具有"睡醒"和"进入睡眠状态"两个义位, "睡醒"义的"睡觉"是一個由反义词素粘合而成的偏义複词, 其义偏在後, 它是直接用语法造词法所造成的词, 大约出现在东晋时代。"进入睡眠状态"义的"睡觉"是动宾離合词, 大约出现在宋代, 廣泛流行于明代以後。最後, "睡醒"一词的出现及使用频率的增加, 使"睡觉"一词只保留"进入睡眠状态"的单一意义。

• The Journal of the Korea Contents Association
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• v.19 no.5
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• pp.138-146
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• 2019

The purpose of this study is to investigate the characteristics of usage motivation of SNS emoticons in Northeast Asian culture regions, with the strong influence of normative society and to interpret these characteristics based on traditional humanistic thought. Since the mainstream SNS of each country is different, this study focused on China's WeChat. For the research, we found 38 motivations for the use of emoticons through literature research and interviews with 21 users, and we surveyed 209 participants for usage motivation. The results were as follows: First, six factors were derived from the motivation for use of emoticons, these factors were named emotional expressions, aesthetics, usability, impression management, entertainment, and sense of collectivism. Second, we explained how the ideas of 'Hwa(和)' and 'Ye(禮)' appeared in the use of emoticons, focusing on 'Impression management' and 'Sense of collectivism' among the motives of using emoticons. Hwa(和) is interpreted as a factor of 'sense of collectivism' which intends to strengthen the feeling of belonging in the chat room using emoticons and actively emphasize oneself and to be well integrated in the communication process. Ye (禮) is interpreted as a factor of 'impression management' which forms and maintains a better relationship with the moral code of ethics.

• Journal of Educational Research in Mathematics
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• v.17 no.3
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• pp.221-232
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• 2007

In school mathematics, activities to make particular convex polygons by attaching edgewise some pieces of tangram are introduced. This paper focus on deepening these activities. In this paper, by using Pick's Theorem and 和 草's method, all the convex polygons by attaching edgewise seven pieces of tangram, Sei Shonagon(淸少納言)'s tangram, and Pythagoras puzzle are found out respectively. By using Pick's Theorem to the square seven-piece puzzles satisfying conditions of the length of edge, it is showed that the number of convex polygons by attaching edgewise seven pieces of them can not exceed 20. And same result is obtained by generalizing 和 草's method. The number of convex polygons by attaching edgewise seven pieces of tangram, Sei Shonagon's tangram, and Pythagoras puzzle are 13, 16, and 12 respectively.

• Journal of the Daesoon Academy of Sciences
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• v.42
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• pp.143-165
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• 2022

This study is a novel attempt at a fusion of female-authored Chinese poetry and Daesoon Thought. Notably, this has style of fusion has never been attempted in classical literature studies or in studies on Daesoon Thought. This study will also clarify the the key concept of grievance-resolution (解冤 haewon) in Daesoon Jinrihoe through comparison with classical works. Choi Song-seoldang's poetry that was composed in the early 20th century, contemporaneous the emergence of Daesoon Thought, is analyzed here via the concepts of 'tranquility (平 pyeong)' and 'harmony (和 hwa)' under the framework of grievance-resolution for women. An effort is made to find a point of progression towards familial harmony (家和 gahwa) and Mutual Beneficence (相生 sangsaeng). Resentment (恨 han) from the perspective of a woman was expressed in her works such as Wang So-gun's Resentment (昭君怨 sogunwon), Self-Report (自述 Jasul), and An Original Rhyme of Song Seol-dang (松雪堂原韻 Song Seol-dang Won-un). Works such as Wishes on the First Day of New Year (元朝祝 wonjochuk) and A Spontaneous Poem (偶吟 Ueum) expressed the contents of wishing for familial peace. In the process of trying to resolve the grievances (冤 won) of her family, Song Seol-dang faced limitations, and felt resentment (恨 han) for her inability to become a man. She strived her whole life to embody 'tranquility' and 'harmony' as both are crucial components of achieving familial harmony. This thesis has an important significance in terms of academic expansion via the convergence of literature and ideas. In terms of Daesoon Thought, it is meaningful to examine concepts and literature within a context of fusion because this goes beyond research that focuses only on theory or ideology. It is also meaningful to confirm aspects of Daesoon Thought through the life and culture of the still traditional early modern era and to reveal how it still has the present-day significance that transcends time.

• 중국학논총
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• no.71
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• pp.131-149
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• 2021

The Oriental thought does not stay in self, society, or state, but goes further to expand its bounds as "Chunha(the World, 天下)", which is not just the spacious expansion but the moral expansion. It provides a clue to overcome the limitations of the Western international political thought resulting in nationalistic tendencies. Such a cosmopolitcan orientation in the East can be found in the concepts of "Wangdo(Just Way, 王道)", "Yinjung(Benevolent politics, 仁政)", which make Hua(harmony, 和) its essential characteristics. If the East Asian community is formed, it should be based on universal principles that all East Asian citizens can sympathize with from below, not in a one-sided and coercive way. In this regard, the formation of "Sahaeyilga(四海一家, We are the world)", the "Chunha天下" based on the philosophy of the peace seeking 'similarity' in 'difference', can provide philosophical clues to resolve the conflicts and contradictions of the current isolationalist and confrontational international situation.

• 중국학논총
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• no.71
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• pp.61-81
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• 2021

作爲使用頻率較高的副詞, "皆"和"都"分別代表了古代漢語和現代漢語中的兩類總括範圍副詞. 這兩類總括範圍副詞之間, 不是簡單的詞彙替代, 而是一種系統的變化. 通過語義指向, 焦點, 與否定副詞的連用情況的考察, 我們發現"皆", "盡", "都"存在一定的差異, 而且得出了"都"對"皆", "盡"的功能進行了基本結論. 這個演變從深層結構上說, 是各自的語義焦點的差異. "都"之所以能夠取代"皆", "盡", 成爲現代漢語主要的總括範圍副詞, 是因爲它在語義上不僅像"皆"那樣統括的範圍之內的個體在動作行爲或者性狀上的一致性, 也不僅像"盡"那樣強調指向對象的無例外, 而是這兩者的綜合.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.72-85
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• 2009

This study attempts to examine the principles of landscape composition for a 'Suhwon(書院)' and the meaning and value of its traditional landscape architecture, in order to apply the results to the design of modern landscape architecture. A 'Suhwon' is a vital space containing the form and meaning of human activity. This study analyzes the characteristics of landscape composition in the construction of the Namgea Suhwon, located in Hamyang, by examining the form and meaning of its area and composition. The Namgea Suhwon was constructed with a suitable configuration and harmony in a good location, neither field nor mountain, and which encompasses transcendence and a return after passage through a period of birth and abundance. Its appearance means 'life existence and hidden death(生居死幽)'. Its spatial system is a reflection of the idea of Samshinoje(三神五帝: The three abilities of Providence and its five subjects) connected with Ilsangje -Samshin -Ohje. It was built based on the idea of Biryebudong(非禮不動) meaning that one should follow only good decorum and avoid discourtesy, complying with "the frame of decorum" developed by the family rites of Chu Hsi. The environmental design of the Namgea Suhwon was interrupted by the material confrontation between mountains and water and a binary code system, such as front to rear, length to breadth, and movement to stillness. The design did not adhere to stiff axes, but pursued the harmonic principles of asymmetric balance in the building and the yard, which are very naturalistic. The name 'Namgea Suhwon' is closely related with the view of placement(置) and harmony(和), which are unified with the function and meaning formed by connecting Sung Confucianism with the Pungsu-Sasinsa structure in the layout of the grounds. When examining the D/H ratio of the building and yard, it can be seen that the spaces of Ganghak, Yusang and Jehyang were built appropriately, according to the natural characteristics of each space, such as a sense of openness, enclosure, tension, relief, enhancement, and hierarchical order. The spaces also reflect human scale concepts that take advantage of auditory features. The transition process after the construction of 'Namgea Suhwon' reveals the intentions of the builder to create an ecological landscape composition based on Placement and Harmony. Placement embodies' a purposeful space in which nature and the building are connected naturally, 'incomplete open space pursuing completion', and 'potential beauty in which tension and relaxation are repeated'. Harmony embodies 'order and continuity having a sense of unity with the natural environment' and the 'sharing of daily life and memory'. 'Namgea Suhwon' contains many ideas for landscape planning, land use and the design of a campus environment.

• Journal of Korean Medical classics
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• v.18 no.1 s.28
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• pp.7-32
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• 2005

청대적명의오국통(淸代的名醫吳摘通), 불근시'온병'제가(不僅是'溫病'諸家), 우시관어림상각과논치적명가(又是關於臨床各科論治的名家). 관어(關於)${\ulcorner}$온병조변${\lrcorner}$(溫病條辨)상온병학(上溫病學)술리논적특정(術理論的特征), 정리여하(整理如下). 대온병병인(對溫病病因), 파융합제가문학설(把融合諸家們學說), 규명시종일관(糾明始終一貫), 제시료정상화비정상적'복기'(提示了正常和非正常的'伏氣'), '사천시영현행지기'('司天時令現行之氣'), '려기'인기온병적삼도인치온'지학설('戾氣'引起溫病的三圖因致溫'之學說). 吸收諸家們的長處(흡수제가문적장처), 創案'三焦辨證'濃體系(창안'삼초변증'농체계). 수선(首先), 타이'삼초'위강영구분병위적상하(他以'三焦'爲綱領區分病位的上下), 천채(淺採), 기차이'륙경'위구별설명장역부화경락적불동(其次以'六經'爲區別說明?驛腑和經絡的不同), 재일차이'위기영혈'(在一次以'衛氣營血') 구별료표리적선후(區別了表裏的先後). 우용횡향급종향논술료온사적전변규률(又用橫向及縱向論述了溫邪的傳變規律), 최후제시료'치상초여우(最後提示了'治上焦如羽), 비경불거(非輕不擧). 치중초여형(治中焦如衡), 비평불안(非平不安). 치하초여권(治下焦如權), 비중불침(非重不沈).'적약물치료원칙(的藥物治療原則). 재질병적변별구분'온열'화'습열'(在疾病的辨別區分'溫熱'和'濕熱'), 재약물적사용상구별'강조'화'유윤'(在藥物的使用上區別'剛燥'和'柔潤'), 저우시오씨적온병학술특징지일(這又是吳氏的溫病學術特徵之一). 재치법(在治法), 방제(方劑), 약양(藥量), 전법(煎法), 복법(服法), 음식(飮食), 조양등적온병치료방면(調養等的溫病治療方面), 제시료광범위적'금기'학설(提示了廣範圍的'禁忌'學說). 타심각적감각도료오치온병적결과(他深刻的感覺到了誤治溫病的結果), 위료방지오치(爲了防止誤治), 관전치료'금기'(灌展治療'禁忌'), 현재야필요준수적충분적가치(現在也必要遵守的充分的價値).

• Journal of Korean Medical classics
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• v.20 no.2
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• pp.269-288
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• 2007

"표유부(標幽賦)"포라료침구경락적기본이론화자오유주침법(包羅了鍼灸經絡的基本理論和子午流注鍼法) 유주팔법등침구임상이론(流注八法等鍼灸臨床理論), 역우기송(易于기송), 통과대차(通過對此)"표유부(標幽賦)"급역대주석가대(及歷代注釋家對) "표유부(標幽賦)" 주석적연구(注釋的硏究). 금득출여하결론(今得出如下結論): 1. "표유부(標幽賦)"중출현적두한경적학술사상(中出現的竇漢卿的學術思想), 시재계승(是在계承)"내경(內經)"화(和)"난경(難經)"적침구학(的鍼灸學), 이론적기본상(理論的基本上), 진일보발전이성적(進一步發展而成的). 대후세침구학적발전산생료중요적영향(對後世鍼灸學的發展産生了重要的影響). 2. 유우폐경적경기유운문혈수출(由于肺經的經氣由雲門穴輸出), 연경락순행체표(沿經絡循行體表), 우시사운문혈구유료통경행기적주치작용(于是使雲門穴具有了通經行氣的主治作用), 고이불설'혈출중부'(故而不說'穴出中府'), 이제출'혈출운문'(而提出'穴出雲門'), 저시두한경재침구이론방면적독도지외(抵是竇漢卿在鍼灸理論方面的獨到之外). 3. 소우침구보사(소于鍼灸補瀉), 인위수지보사법적작용중우호흡보사(인위手指補瀉法的作用重于呼吸補瀉), 제시료순(提示了循), 문, 제(堤), 안(按), 탄(彈), 염, 차, 반(盤), 추, 내(內), 동(動), 요(搖), 조(爪), 절적십사종침자보사수법(切的十四종鍼刺보瀉手法). 4. 제출침자전요관찰확인침구유무이상손상(提出鍼刺前要觀察確인鍼具有无이常損상), 시침전요냉침온난(施鍼前要냉鍼온暖), 시침시요예방절침화피부근육적손상(施鍼時要預防折鍼和皮膚筋肉的損傷), 제출좌수당중이다안침혈(提出左手當重而多按鍼穴), 우수경이서서염전자입적수법(右手경而徐徐捻轉자入的手法), 인위사용쌍수진침위호(인위使用쌍手進鍼위好). 5. 호침가관통경락기혈운행적통로(毫鍼可관通經絡氣血運行的通路), 여오행상응(與五行相應), 인이가평오장지한열(因而可平五臟之寒熱), 가조육부지허실(可調六腑之虛實), 유견사부정지공(有견邪扶正之功), 재구침중응용최위광범(在九鍼中응用最위광泛). 6. 제출침자시요관찰본신(提出鍼刺時要관察本神), 대우'본신'구체가간주시환자적'맥기'화'혈기'(對于'本神'具체可看做是患者的'脈氣'和'穴氣'), 종대적방면간가간주시환자적정신(종大的方面看可看做是患者的精神). 7. 제시료참조전후좌우지혈정확취혈적방법(提示了參照前後左右之血正確取穴的方法), 여참조주변경락확정경락적방법(여參照周邊經絡確定經絡的方法), 병강조요준조골도분촌화굴신수족관절적방법취혈재능취혈정확(병强調要遵照骨度分寸和屈伸手足關節的方法取穴才能取穴正確). 8. 소우두면오관(소于頭面五官).인후경항(咽喉頸項).흉복부(胸腹部), 요배부(腰背部), 부인(婦人) 소아(小兒) 사지등질환(四肢等疾患), 개소료침구치료적경험화심득(介沼了療鍼灸治療的經驗和心得), 제시료자오유주축일안시개혈침법여영구팔법등안시취혈침법(提示了子午流注逐日按時開穴鍼法여靈驅八法等按時取穴鍼法), 성위후세각종안시개혈침법적기초(成위後世各種按時開穴鍼法的基초).