• Journal of Haehwa Medicine
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• v.19 no.2
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• pp.25-33
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• 2011

Daoism is a very important subject that consists of oriental medicine(traditional east asia medicine). Among the many scriptures, The Zhouyi cantong qi (周易參同契, Token for Joining the Three in Accordance with the Book of Changes) is the main Chinese alchemical scripture. This book is composed with three kinds of subject, Zhouyi(周易, the Book of Changes), the Huanglao(黃老) Tradition and alchemy(鍊金, 爐火). The author's name is not signed but is concealed in the text. According to the traditional account, the legendary Han immortal from Guiji (會稽, in present-day Zhejiang, 古 浙江), Wei Boyang(魏伯陽), wrote it in the period between Emperor Shun and Emperor Huan of the Eastern Han (126-127 BC), after reading the Longhu jing (龍虎經, Scripture of the Dragon and Tiger). Later he transmitted it to Xu Congshi(徐從事), who appended a commentary, and to Chunyu Shutong(淳于叔通), who first circulated it in the world. While some features of this account provide significant details - especially about the reputed date of the text and about its formation having taken place in stages - the received Cantong qi(參同契) actually is not the product of a single generation of authors, but the result of several centuries of textual accretions as well as theory of three co-authorship by Wei Boyang(魏伯陽), Xu Congshi(徐從事), Chunyu Shutong(淳于叔通). It has over 6000 characters in four-word or five-word verses. Some parts of the book are in styles of prose and poem. Many scholars explain the title "cantongqi(參同契)", saying that "Can(參)" means three, "Tong(同)" means correspondence, and "Qi(契)" means unification. Through images of hexagrams of the Book of Changes, the book illustrates the thought of the Huanglao(黃老) Tradition and alchemy. Wei Boyang(魏伯陽) theorizes his own experience unifying the way of intercourse of Yin and Yang in the Book of Changes, the cultivation of spirit through spontaneity of the Huanglao(黃老) Tradition and the elixir refining of alchemy.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.401-450
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• 2010

This thesis purposes to suggest that creative stage directors have copyright ownership and we make them create high-quality of theatre direction. Stage directors are sincere creator of the theatre stage today. We have little judicial precedents about stage directors, no artistic examination related directing. Stage directors are performers who have neighboring rights, there is a problem that they won't have the exclusive right of making derivative works in this country. Others will make creation (such as cinemas, animations, novels) based on stage expression without permission, because stage directors don't have exclusive right of making derivative works. Copyright law can't protect the concept of stage directors and building blocks of them which are drama text, actors and theatre space, because copyright law don't protect idea according to idea/expression dichotomy. The expression of stage direction is belong to five fundamentals which are composition, picturization, movement, rhythm, pantomimic dramatization that are come from Dean & Carra's work. Directors' work is to make theatrical works based on literary works. Therefore, theatrical works are derivative works which based on drama texts. Also, theatrical works are able to be joint works. In the case of that stage directors write drama text and create expression on the stage, they have to own authorship of both works. Merger doctrine should not apply theatre directors' works strictly like any other functional works because stage directors usually create noble expression which have been not before. We need shift of the definition of theatrical works which are derivative works or joint works to protect theatre directors' creativity. Hereafter, the special legal section for dramatic(theatrical) works including the flexible legal definition for performing arts should be established, and 'contract form' for stage directors should be made. Acting edition(literary works) should be published to grant creative directors compensation. I emphasize to grant ownership of copyright to creative stage directors, to encourage directors' works. Therefore, copyright law will be the support for development of cultural arts institutionally.

• Journal of Korean Library and Information Science Society
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• v.5
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• pp.67-89
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• 1978

This study is the third partial study of the 'A Bibliographical Study of the Toegye.' The contents of the study is divided into three chapters as following : In the first chapter, the authorship of Hsin-ching-fu-chu(心經附註) is described Hsin-ching(心經) was edited by Chen-Te-Hsiu(眞德秀), a scholar of the Sung Dynasty (1178-1235A.D.). He selected several articles on Hsin Study(心學) from classics of ancient China, with the view of spreading of Hsin thought of ancestor. Hsin-ching-fu-chu is an annotated work of Hsin-ching, which was edited by $Ch'\^{e}ng-Min-Ch\^{e}ng$(程敏政). $Ch'\^{e}ng-Min-Ch\^{e}ng$ was a scholar of the Ming Dynasty (died 1499 A.D). His annotation of Hsin-ching was according to the edition of Tuan-Ping (端平) 1st (1234 A.D.). Hsin-ching-fu-chu which was first published in 1492 A.D., by his student, named Wang-Tsu(汪祚). In the second chapter, the editions of Hsin-ching-fu-chu which was published in Korea before 1566 A.D., when Toe-gye's postscript was written, are described. In Korea, three editions were published. The first was published before 1523 A.D. in, kwang-ju(光州), by the wooden plate block. The second was published ca 1564 A.D. in Pyeong-yang(平壤), by the wooden plate, too. These two editions have remained. The last was published ca 1564 A.D., in Hae-ju(海州), but the method of printing couldn't be found out because I have not been able to get the book itself and records on the printing. In the last chapter, facts on Hsin-ching-fu-chu related to Toegye are described. Toegye found Kwang-ju edition of Hsin-ching-fu-chu in 1533 A.D., at Seong-gyun-gwan(成均館) in Seoul. He acquired the book from his friend. He read and studied very hard and remembered all the text. Also, he taught the Hsin-ching-fu-chu to his pupils and guided the reading of Hsin-ching-fu-chu to his followers and student. He read many proof sheets of the new publication of Hsin-ching-fy-chu, correcting then on detail and making notes on them.