KJC Korea
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Based on the different types of theerrors of subjects made by Korean students in Chinese compositions, the article put out several principles on how to employ subjects in Chinese sentences, when they should appear, and when be omitted. All these principles have certain guiding sense to general narrative composition writing.

挽歌原本是用於為死者送葬的歌曲。自東漢末期開始出現以挽歌為樂的奇異現象，在賓婚嘉會，酒酣之後，續以挽歌。魏晉以後，除了實用性功能以外，挽歌大大增加了審美功能，文人們所創作的挽歌詩成為抒情性很強的詩歌題材。尤其昭明《文選》所錄的繆襲、陸機、陶淵明三人的挽歌詩，特別引人矚目。這些作品以死者口吻描述死亡的感覺和具體狀態，不但有別於當時同樣以死亡為題財的臨終詩和哀悼詩，而且有別於眾多以對生命短暫而時間流逝的遺憾和喟嘆為主題的抒情詩。

The purpose of this study is to illustrate the modern Chinese poet's self-image, especially focusing on the symbol of the star and the negative self imagery in modern Chinese poetry. While emphasizing self-expression and standing against the sweeping tide of sociocultural literature brought about by the advent of baihua or "plain language," modern Chinese poets attempt to find answers to both fundamental questions What is poetry? and Who is the poet? The frequent use of the star symbol implies the modern Chinese poet's role for two reasons. First, it purposely suggests the poet's conception of poetry as transcendent over mundane world, thus, the value of poetry is determined not by the usefulness in practical reality but by the aesthetic merit. Second, the poet is essentially a tragic figure who is destined to death as day breaks. Therefore, the modern Chinese poets are more concerned not only with displaying their high ideals of being ignored from the society but also with emphasizing the feeling of loneliness, tragic destiny, and esoterica. Another important characteristic of modern Chinese poetry is the abundance and signification of unconventional- and negative self imagery: an idler, a beggar, a nightwalker, a traveler, a blind fortune-teller, a monk, a dreamer, and a night watchman beating clappers. All of these images are sociocultural outsiders one would see in daily life of that time. These recurrent imagery reflect the modern Chinese poet's miserable and socioculturally exiled situation.

＜Criticism on the Book of Songs(詩論)＞ dates back to earlier times than Qinjian(秦簡), as underground evidence that has come to light in the late 20th century has shown. This has caused such a big echo to be called a major discovery among learned circles since Jiaguwen(甲骨文) and Dunhuangwenshu(敦煌文書). This study is intended as a comparison between ＜Mao's introduction on the Book of Songs(毛詩序)＞ and ＜Criticism on the Book of Songs(詩論)＞ on the three spheres, like as descriptive structure, viewpoint of criticism, and restoration of ≪詩經≫.

通过研究甲骨刻辞行款排列，可以了解当时的写作习惯和正确解釋卜辞内容. 研究华东甲骨刻辞行款排列，我们发现以下几种情况。 第一、排列形态的基本规则是与已发掘卜辞的排列形态基准类似。基本规则就是卜甲的排列形态是卜兆都以千里路为中心左右对称，所有兆枝都向于天里路，所以右侧的卜甲卜辞向右，左侧的卜甲卜辞向左，由上至下刻写。卜骨的排列形态是左卜骨向右，右卜骨向左，由上至下刻写着。 第二，观察H3卜辭的卜甲和卜骨刻辭的排列形态，可以发现H3卜辭的卜甲有20种，卜骨有5种，都有复杂多样的排列形态。 第三，H3卜辭的卜甲和卜骨刻辭的排列形态，都分布在卜兆周围。大部分从兆枝上方开始契刻, 沿兆枝末端向兆干方向外行，至兆干后再順卜兆外側下行。 第四，H3卜辭的卜甲都以千里路为中心左右对称，刻辞方向朝外。左甲向左, 右甲向右。最常用的形态是單列橫線形(← . →), 左右單列而下形( . ), 左右直線形（↓），左右横向下行再呈N字形( . ), 左右横向下行呈ㄷ字形(( ，)。 特别是右腹甲，右單列而下形(), 右横向下行再呈N字形()，右横向下行呈ㄷ字形( )居多。这是H3卜辭刻辭排列的一个特点，跟以前发现的其他卜辭的刻辭排列不一样。 第五，H3卜辭的卜骨刻辭排列形态跟H3卜辭的卜甲刻辭排列形态一样。可是卜骨刻辞的方向和卜甲刻辞的方向不同。卜骨刻辞方向是左卜骨向右，右卜骨向左。 第六、关于H3卜辭的刻辭排列形态已研究之中，有些不同的看法。与本稿观点相同的劉一曼․曹定雲发表了新的主张。他们的主张是排列形态的种类分为17种，本稿的考察结果是20种。再有，劉源的研究结果是所有卜辞兆枝从兆枝上方开始契刻，而本稿考察结果是向下直线形态(↓)和左右下行N字形態(,), 下行W字右向横形态()，并不是从兆枝上方开始契刻, 而是兆枝的反面以从上至下直线形态刻辞的。 总之，这说明当时刻辭的书写规则是：以卜兆為中心，从兆枝上方开始，向相反方向，或平行或从上而下书写。

上海博物館藏戰國楚竹書至今已出版共六冊。刊布以來，引起學界的高度重視，許多學者已紛紛撰文來發表個人的看法。《上海博物馆藏战国楚竹书(六)》中〈莊王旣成〉一篇，原整理者陳佩芬先生所作编联和释文为学者提供一个很好的研究基础。該篇共有四支簡，都完簡無損。共九十三字，書於竹黃, 字體工整。本篇屬對話體, 記錄莊王築城後問沈尹子莖子孫能有幾代保住亡城之事。個人在硏讀該篇的過程中，參照相關學者的硏究成果，將竹簡全文翻譯成韓文，其中或有不同於他人之意見，或有補充他人見解之處，或有存疑待考之字。希望給在韓國從事相關硏究者提供新的材料。

이중부정은 의미상으로 긍정을 나타내는 중요한 언어현상 중의 하나이다. 중국어사적인 측면에서 볼 때, 이중부정형식은 갑골문에서 이미 출현하였고, 상고시기에는 광범위하게 사용되고 있었다. 이에 본 논문에서는 상고시기 중국어의 이중부정구조에 대하여, ≪논어≫, ≪좌전≫, ≪맹자≫, ≪장자≫, ≪사기≫등 다섯 가지 문헌을 주요 연구대상으로 삼아, 통계조사를 적절히 활용하여, 이중부정구조의 범위, 구조형식, 어용 등 세 가지 측면에서 구체적으로 고찰해 보았다.

繼戰國文學而揭幕的漢代文學, 標志着中國文學已進入了一個新的發展時代. 這個時代, 隨着封建專制體制的形成和確立, 儒學終于取得了定于一尊的地位, 幷理所當然地對有又一代的文學生産了巨大的影響. 但是, 由于漢代經濟上, 政治上的種種複雜原因, 同時也由于儒家狹隘實用的功利主義哲學經常造成對文學的束縛, 損害和破壞, 這就使道家思想始終得以作爲一種與儒學相補相抗的理論而對這一時代的文學發展産生了同樣不可低估的影響. 有漢代四百餘年, 儒家思想在文學領域中所取得的支配性的影響, 無疑是十分明顯的. 然而, 作爲儒學對立補充者的道家思想, 給予漢代文學以影響的事實, 也是昭然在視的. 從數量上來說, 儒家是居于優勢, 不過, 眞正在文學史上留下了深刻的影響, 對後世文學表現出持久衝擊力的篇章, 常常不是前者, 而往往是一些與後者的關係更爲密切的作品. 不僅從文學創作上來說是如此, 就文學批評上來看也是這樣. 在漢法制搖搖欲墜的漢末, 在儒敎神學, 讖緯宿命的荒唐觀念已失去了統治人心的力量之後, 眞正思辨的, 理性的道家哲學, 必然會喚醒‘人的自覺’. 沒有這種‘人的自覺’, 就不會有詩人的主體意識和眞正抒情的歌唱. 五言詩在儒學思想極爲濃厚的班固那裏, 所以那樣“質木無文”, 毫無詩思與個性, 而到了<古詩十九首>這裏, 却顯示出了“驚心動魂”的力量, 其原因卽在于此. 漢代, 在封建體制的壓迫及正宗儒學的桎梏下, 不僅禁錮了人的心靈, 也窒息了抒情藝術的生命. <國風>,<離騷>以後, 沈寂了多時的抒情詩, 到了漢末這個時代, 終于隨着漢法制的崩解與哲學思潮的變化所喚醒的‘人的自覺’, 而恢復了情眞, 意眞的歌唱.

吳孝媛은 조선말기 여류시인으로 평생 독신을 고수하며 서방 기독교의 관념을 수용하였고 당시 여성들에게 남성과 동등한 교육의 권리를 부여하기 위해 명신여학교를 건립하여 근대 여성 교육에 커다란 공헌을 하였다. 본 논문은 선행연구에서 주목받지 못했던 오효원의 중국생활과 시가창작을 연구 과제로 삼아 오효원의 생평과 중국에서의 사회활동을 상세하게 고찰하였고, 오효원과 중국문인과의 교유 및 중국여행을 탐색하는 동시에 오효원의 중국인물에 대한 비평과 중국에서 느낀 민족의식을 살펴보았다. 오효원은 자국에서 폭넓은 대인관계를 통해 시인으로 교육자로서 성취를 이루었는데 현실에 안주하지 않고 더 넓은 세계로 나아갔다. 오효원은 천하의 奇聞과 壯觀을 접하겠다는 포부를 가지고 자신의 무대를 동아시아로 확대하여 자유와 평등을 추구하였다. 오효원은 28세에 학생신분으로 상해에 가서 2년간 거주하였다. 그녀는 중국의 유명한 도시와 명승고적을 유람하고 詩詞를 창작하고 중국의 유명한 시인들과 교류하며 적극적으로 사회활동에 가담하였다. 詩書畵大會의 간사를 역임하였고 申新신문사에서 기자로 활동하면서 중국사회에 영향력을 행사하였다. 오효원은 袁世凱의 둘째 아들인 袁寒雲과 다섯째 아들인 袁百納 그리고 근대 사상가인 梁啓超와 詩詞를 주고 받았고, 원세개의 시중인 廉南湖와 그의 처인 吳芝瑛과 친분이 두터웠는데 吳芝瑛은 근대 여성혁명가인 秋瑾의 절친한 친구였다. 오효원은 廉南湖의 집에서 중국 근대의 대표적인 여성인 여벽성과 역사적인 만남을 갖게 된다. 여벽성은 오효원에 대한 강한 인상과 평가를 시에 표현하여 근대 한중여성 문인간의 교류를 시사하였다. 오효원은 萬里長城 · 燕京 · 上海 · 赤壁 · 阿房宮 · 杭州 · 西湖등 도시와 명승고적을 유람하며 자신이 느낀 감개를 문학창작에 표현하였고, 중국의 역사적인 인물인 伯夷 · 叔齊 · 屈原 · 管仲 · 荊軻 · 諸葛亮 · 西太后에 대해 주관적으로 비평하였다. 오효원은 한국과 중국 역사에 대한 풍부한 지식이 있었고 , 작품속에서 강렬한 민족의식을 표출하였다. 그녀는 명나라 사신인 채무가 봉황성에서 피살된 사건에 대해 애도를 표하는 동시에 심양에서 병자호란을 회상하며 조선 인조의 청나라에 대한 굴복과 치욕을 통탄하고 처형된 三學士의 저항정신과 충절을 기념하였다. 오효원의 중국체험과 시 창작을 통해 근대 한중교류사의 단서를 파악할 수 있고 한중 여성의 문학창작과 여성의식을 심도있게 파악할 수 있다. 오효원은 한국의 근대문학을 대표하는 여성작가로 방대한 문학작품을 창작하여 한국의 고전문학과 현대문학을 연결하는 중요한 교량의 역할을 담당하였다.

This paper had investigated the problems and terms associated with archaeological research systems which is part of law regarding cultural relics and discussed the potential improvements that could be made on the political system that would effectively protect cultural relics. However despite every efforts placed into preserving cultural relics, Chinese law still possess many areas that need to be rectified. Especially the legal system for relics, which requires archaeological investigations, is extremely ambiguous and feeble that it faces difficulty in taking measures against the rapid change of its society. The uniqueness of cultural relics, consists in its burial underground, making it necessary for archaeological investigations, that is, archaeological survey and excavation for it to show its existence. Archaeological survey is a procedure that confirms historic relics and remains that are exposed to the surface and the purpose of it is to grasp their range of distribution. Thus the purpose, range, procedure, method, period, report, mean to preserve cultural relics as well as utilization of collected data of archaeological survey must all be specified in the law; however China has not yet instituted a single law regarding cultural relics, in which the damage is inevitable under continuous construction for development. Hence the paper proposed a specific investigational plan as to establishing such law. Archaeological excavation is a procedure which exposes only the historical relics and remains buried underground that was confirmed via archaeological survey. However due to feeble attempts to protect cultural relics by means of the legal system, a vast quantity of history remains were destroyed without seeing the light of the world. Collected historic relics and remains by investigation also need to be made public to the general population; however the majority of data collected through archaeological investigations is still not being released. As opposed to the claim made by Chinese government being a leading country in terms of cultural aspects, their attention is solely focused on foreign trades and developmental projects. Therefore in order to prevent further damage to cultural relics, archaeological research should be made complete at once prior to promoting so that they could devise a system that could then be reflect on business projects. Although cultural relics investigations should be fully attended by government as it is national property entitled to the public, such problems can be thought to have been caused by neglecting the obligations and responsibilities to protect. One crucial point to note is that the perception held by the members of the public for cultural relics must also be raised along with the investigations and the maintenance of preserving the system. The areas that needs in depth study and consideration by Chinese government in the future are cultural relics preservation in conjunction with effective utilization of discovered relics. That is, by establishing a plan for the maintenance and utilization of relics, its existence should be firmly linked to the public. Considering all the previous statements, Chinese government should have their efforts directed at terminably integrating the investigation, study, preservation, protection, development, utilization and education etc. into a single system for overall management. The existence of cultural relics related law in China getting vague with time or data being intercepted in the early stage is are indivisibly connected to cultural relic investigation and protection that the law and regulations must soon be put into place for its effective management.

Tea is not only the material product, but also the spiritual product because it included inexhaustible culture contents. Tea culture is the important part of Chinese traditional culture. The Chinese tea is broad and profound and it has a long history. Long time ago, people found tea can make people spirited and think clearly, so it became one of seven daily necessities. All tea used in the world now are from China originally. Chinese tea culture has the same long history as Chinese culture. In the past twenty more years, China tea culture have been rich and colourful, tea culture organizations have been founded one after another. At the same time, more books on tea culture were published and the market was just unfolding. We believe, in the twenty one century, China tea culture will illuminate the world. In this paper, I will summarize something about the tea history and the differences tea culture between China and Korea and problems which chinese tea have own in loacal and outside market. And I will try to point out which kinds of aspect we should more be care on importing chinese tea in Korea.

After March the first independence movement of 1919 fails, an army of warrior who love country and act inside and outside Korea together with their family numbers go into exile. In April of 1919,Shanghai Korea provisional government comes into existence. Shanghai becomes the core area of Korea independence movement. In about ten kinds of publication established by Korean, now we can inquire about 《Du Li Xin Wen》、《Xin Han Qing Nian》、《Zhen Tan》. 《Du Li Xin Wen》is established by provisional government. It is Korean and department newspaper. 《Xin Han Qing Nian》is established by the Party of new Korea young. It is Chinese newspaper. 《Zhen Tan》is Chinese weekly newspaper that is established by Zhen Tan newspaper office. These publications reveal the crime of Japanese imperialism. They report Korean independent warriors and the international situation. They try their best to gain the sympathy and sustain of Korea independence movement from international public voice and the people all over the world.

语言是文化的载体，一个民族，一个国家，其社会制度，经济形态，价值观念，思维方式，风俗习惯等无不在其语言中得到反映。從語言學角度來看，特别詞彙研究可以說是獲得特定歷史時期社會狀況最敏感，最迅速的寶庫。 本文以20世紀日本侵略期漢語會話教材中的『自習完璧支那語集成』(1921)和『無先生速修中國語自通』(1929)为语料，通過考察這兩本書所出現的詞彙，對反映當時社會文化現象中的衣食住行等問題進行全方位地研究。

中國的表演藝術是融合中国輝煌燦爛的歷史和豊富多彩的各民族文化爲一體，具有高度蕴意的藝術表演形式。它汇集了劳动人民的智慧，在悠久的历史长河及优良的环境中不断地成长起来。中國的表演藝術大致分为戏曲和讲唱两个部分，它们分别以多姿多彩的形式发展到今天。 中國的表演藝術是在充分反映中国特有的传统文化风格及神话色彩的想象力的基础上，融进具有音乐性娱乐性审美心理等要素，并且经过长期性的融合而形成的具有综合艺术性的表演形式，这种表演艺术比任何其他艺术形式都能更明确地表达中国人的艺术价值观和审美心理形态，所以可称之为中国文化的精髓。 中国地域广阔，民族众多，各地域的方言和音乐都有差异，各地方戏曲都有自己独到之处，艺术界就把体现各地方的方言和音乐的戏曲艺术叫做地方戏，或者地方剧。中国的地方戏曲文化可谓百花齐放，各显风姿，现在中国就有三百多种的地方戏来丰富着人们的文化生活。随着地方戏不断进入大都市，自然而然各地方戏间就展开了相互的交流和竞争，通过这种的方式形成的某些剧种成为全民共同所喜爱的戏曲而迅速成长起来，有些地方戏受到其他地方戏的影响从而出现了新的地方戏形式。 现在，能代表中国表演藝術的戏曲形式有九种地方戏。代表北方文化色彩的有京剧，评剧，二人转，豫剧，晋剧，秦腔等戏曲形式，代表南方地方色彩的戏曲有越剧，粤剧，川剧等等。本论文将以代表北方文化色彩的戏曲形式京剧，代表南方地方色彩的越剧为研究中心，对各戏曲的形成和发展过程进行考察分析，并且要对表演藝術的特征进行全方位的探求，在此研究基础上，要进一步对在大学教程中，中国传统表演艺术科目的内容进行具体性的探讨。

本文的目的在于分析和解釋文化心理因素對于中國对外行为所起的影响。本文假定来源于一国历史，传统文化，价值观念等的政治文化因素必定影响着其国家的外交，而国家的对外行为尤其是武力介入等极端行为就无法光靠行为者的理性和权力标准来予以说明。为了检验此假定，本文试图把中国的自我认同,世界观以及国家角色观当成三个文化心理变数，来说明和分析中国在1950年爆发的韩战介入过程。介入过程分为两端，第一是战争爆发后决定参战为止，第二是从参战到停战的期间。 分析结果，笔者发现，不管是对参战决定还是对参战过程，文化心理因素确实起了不可疏忽的影响。中国为了保持自己的生存和确立新生国家所必须具有的自我认同，有意地加强和发展了自己的社会主义认同和两大阵营世界观，也积极地展开了作为社会主义国家必须要做的反帝反霸角色。同时，中国使言辞上的主导力量，可以透过道德诉求的建立而进一步的创造和巩固政府的合法性。从某种意义上看，可见理想主义与现实主义可以说是一体的两面。