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中國古代人對於巨人的認識, 隨着時代觀念的變化而有所不同. 古代文獻裏的巨人, 一般稱之為 「大人」、或「長人」, 而「巨人」此一稱號, 乃是從漢代以後方才普遍化的. 大人、長人除了指「身高」的人以外, 還包含著「道德高尚」的君子, 及「社會身分地位」崇高, 和「年長者」等不同意義. 在伏羲、后稷的誕生神話裏, 巨人神曾經以‘大跡’形態出現, 成爲始祖神聖的父系血統. 戰國時期以來流行的神仙故事中所出現的神仙, 也是在中國東海上自由飛翔的不死巨人. 古代中國人想像周邊各國多有巨人存在, 此種想法充分反映在古代中國人的地理觀與世界觀. 而在周圍異邦人士當中, 談到東方巨人的記錄特別的多, 這可能是基於在古代中國之東方, 曾經有身體高大的種族居住過的歷史事實. 《春秋》、《國語》、《山海經》等古代歷史記錄或神話當中, 被稱謂「大人」,「長狄」的巨人族, 曾經住在中國的東北方, 在漫長的歲月當中，他們與華夏民族時而爲隣, 時而對峙. 值得注意的是，長狄巨人族與神仙故事中的巨人, 在後代文獻裏便已經混淆不淸, 對於這一問題, 頗為值得深入檢討. 戰國以後巨人的出現, 時而被解釋爲吉兆, 時而被認爲是凶兆. 秦始皇時期巨人的出現被是之爲祥瑞, 但是到了漢代以後，隨著災異觀念的流行, 京房等人把他們看成是「長狄」, 認爲他們的出現是災異的「前兆」, 具有警告類似帝王死亡及國家旋將有滅亡之事發生. 在現實世界中, 漢代以前被視爲武士、力士而被人們所崇拜的巨人, 漸次喪失其英雄的尊嚴, 在《魏書》、《宋書》以後, 他們的長身反而被認爲是一種疾病,而非以正常人來加以看待.這些對於巨人歷史觀念的轉變，可以充分及見古代中國人對於巨人之認識.

The historic birth pang of the modern pattern-transformation in Chinese society and culture is a most painful and far-flung process. Essentially, the enormous gloomy shadow accumulated in the spiritual space of Chinese nationality by this process is just a kind of profound "Worriment about Modernization" or "Modernistic Worriment". The Chinese pan-modernism literature experienced this worriment innermost and responded it most miserably. By entangling the profundity of the nihility together with the sublimity of the absurdity, this type of literature has brand-ironed a kind of unparalleled "Hardship Aesthetics" to the historic contrail of Chinese nationality’s aesthetic spiritual transformation. The "Obscure Poems" movement, which occurred in 80’s of the last centuryin China, including Yang Lian as one of its representative poets,is just one of the most typical trends of this kind of literature. There are many imagines of the "Sun" with many much different emotions and significances in Yang Lian’s "China Manuscripts" and thus forms very much ambivalently an emotional complex. Taking these imagines of the "Sun" as the main clue, this disquisition not only detailed analyses the genesic springhead of the motivations and the transformative mechanism of the themes of Yang Lian’s poems in his "China Manuscripts", but tries also to reveal the profound historic significance embodied by these poems of the Chinese pan-modernism literature floundering all the while in the "modernistic worriment" of the pattern-transformation in Chinese society and culture.

本文以宏观和微观相结合的方式梳理了中国电视史。迄今在韩国国内对中国电视史的研究只侧重于它的宏观环境的变化。而笔者认为不看具体的电视制度、电视节目及制作环境等“文本”的变化，就无法准确地了解一国电视史的发展变化。因此本文在中国电视史梳理的基础上初步探索了节目变迁的历史，以期丰富国内对中国电视史的研究。 中国电视史可分为计划经济时期、改革开放初期、形成产业时期和至今的产业整合时期。在整个发展过程中，中国电视在意识形态的稳定和产业化发展之间形成了辩证发展：改革开放使电视走上产业化道路，从而电视节目也向着创新和娱乐发展，而其发展到开始向本质属性挑战的时候，政府则提出各种制度和措施，让它控制在一定范围内，并强调节目的公益性。 和中国电视制度的变迁过程一样，各电视节目也一直在“开放性”和“公益性”之间形成曲线发展，而在此过程中继续扩大观众的参与。 为了丰富对中国电视的研究，今后对具体的电视节目、文本等微观方面需要更加关注。

本論文把魯迅先生的 <孔乙己> 作爲大眾文化符號'孔乙己'來進行分析,其主要對象爲中國的孔乙己酒店和韓國的孔乙己客棧.'孔乙己'這文化符號在中國和韓國如何解讀,其所隱含的意味在何處.中國的孔乙己酒店所顯示的'孔乙己'代表紹興飲食文化和魯迅文化,而這裏存在"發財的孔乙己"意味,酒店的老板傅丹舟把貧窮的封建的孔乙己成爲發財的現代知識分子孔乙己了,這可以延伸到對當代中國發財的知識分子所含的貶義.韓國的'孔乙己'是代表中國正統飲食文化,把孔乙己看爲保守傳統的中國知識分子.它強調傳統的孔乙己,由此再強化孔乙己客棧中國料理的正宗性,還有爲了說明客棧料理的正統性,把客棧料理成爲"明朝料理".客棧所強調的傳統的孔乙己和正統的明朝料理中存在著微妙的矛盾或者中華思想意識.我們由此看到中國和韓國的'孔乙己'文化符號的生產和消費當中所隱含的所記,看到在文化資源的資本化過程中所產生的資本操作及其誤解,文化資源應該超越資本邏輯或者民族資本主義邏輯來進行健康的文化產業化和文化消費.

雙重否定是語言中表示肯定的一種重要形式, 其結構形式在甲骨文中已有使用。本文選用《論衡》、《三國志》和《世說新語》等三種中古文獻爲主要硏究材料, 對中古時期雙重否定句的結構進行全面深入的描寫和分析。

Korean Characters have positive and negative transfers to acquisition of Chinese Characters. Positive transfers are presented by that it is easy for Korean students to grasp Chinese character integrity, Chinese character stroke centrality as well as stroke order. The negative transfers concentrate in errors of the shapes, the relations of Chinese character strokes. The errors of the shapes of Chinese character strokes include: missing or changing the hooks in hook strokes into other different angles; changing dot strokes into vertical, horizontal, or left-falling ones; changing left-falling strokes into vertical, horizontal, or dot ones; changing horizontal strokes into left-falling ones and so on. The errors of the relations of Chinese character strokes include: confusing crossing strokes with joining ones, longer strokes with shorter ones, inside strokes with outside ones. These errors are not only related to Korean Characters and Chinese Characters in Korean, but also related to features of Chinese Characters, entirety priority of visual process and the attitudes of learners. And more attention should be paid to that these errors especially hook strokes errors are systematic and rational.

“S+gei+NP+VP ”is a complicated structure, which is often used in modern Chinese. It has a lot of grammatical meanings Sometimes it means disposition, but sometimes it means passiveness. And when the text circumstance is not clear, it has both of the two meanings. Based by the available research achievements, this paper investigates the syntactic functions of “S+gei+NP+VP” in 610 sentences, which are selected in the BDCC. This paper mainly comprises seven parts: First of all, this paper introduce the reason why to choose this topic, only because the complexity of “S+gei+NP+VP”. In the second part, this paper summarized the available research achievements about “gei”, and also explainded the research field of this paper. The third ,fourth, fifth and sixth part investigate the syntactic functions of “S+gei+NP+VP”, and finds that the different component of S、gei+NP、VP,and the relationship between S and NP. In the last part ,tell the contribution of this paper. Then tell the place where still need to do research deeply.

This article examines the political rhetoric meaning of hair and gender described in Chinese movie, <Xiaojie(小街, 1981)>. In the movie, political suppression upon women was expressed through a common process of women’s hair gotten damaged. Its concrete contents and meanings are as follows. <Xiaojie> is a movie that deals with political suppression in the Cultural Revolution period. The movie develops as a man who has become blind tells a director a story about a woman he met in the Cultural Revolution period. Her mother was branded as a rightist during the period, so she had to go through various hardships like getting her hair cut forcibly because her family was the Right. She cut her hair short to protect herself from the world and disguised herself as a man. One day, she ran into a man. Later the man came to know about her wound and stole a wig to help her realize her dream. However, what he had done was revealed, and he got severely beaten. During the happening, he lost his sight, and her whereabouts became unknown. After some time, the man encountered her again in a train he had gotten in to see his mother in his hometown. The woman in the movie regained her femininity, but she continued to have bobbed hair because of her job. In the movie, woman’s black long hair symbolizes femininity; however, the female main characters have their hair harmed by political violence and reality. The damaged hair represents loss of femininity or death and symbolizes political violence given upon a woman’s body. Here, hair is not only a device that shows a woman’s femininity but also a sign which symbolizes political suppression. The woman loses or gives up her femininity under the political oppression or gets to have indistinct sex as she disguises herself as a man that sexual difference by appearance is meaningless any longer. Men are described as a savior who frees women under the leadership of the Communists, the spiritual father of the past, and then as a helpless blind wandering about the history. This research has examined in a new way the relationship between the political rhetoric meaning of damaged hair and gender in Chinese movies.

本文將探討寒山詩與宋詩壇, 其主要內容爲寒山詩在宋代的評價, 以及對宋詩的影響如何. 爲了硏究的方便, 本硏究應從文化史的硏究方法着手, 先將探索寒山詩的主要特徵, 再觀察在宋代文化環境裡所發生的宋詩的新傾向, 而比較寒山詩的特徵與宋詩的新傾向, 最後將尋找寒山詩對宋詩的影響範圍. 寒山詩爲唐代的白話詩, 但其人其詩在唐代幾乎沒有被認知. 經過五代而至於宋朝, 寒山詩在宋代突然廣範地流行起來, 除了禪寺以外, 在文人社會也出現所謂寒山詩熱潮, 黃庭堅等許多宋代文人喜愛筆記或愛誦, 甚至王安石等不少詩人模擬其詩. 考其主要原因, 宋代詩壇所尋的文學精神可能與寒山詩相接近所致. 宋代而言, 結束唐末以來長期的軍閥紊亂政治的時代, 標榜文治而建立以文人爲中心之政權. 並且强力擴大實施科擧而多增加文官人數. 在文化思想方面, 正進入儒彿道整合而各自發展之際, 佛敎禪宗顯得備受宋代文人的崇尙, 儒家性理學正式出帆. 宋代文人喜談禪理, 樂嘗禪趣, 常寫禪詩. 故可言禪宗對宋詩影響極大. 但他們願脫離濃厚的宗敎色彩而寫平淡純粹的通俗詩. 宋代詩壇注目唐代王梵志和寒山拾得的詩, 其中最重視寒山詩. 因爲除了他們對亦儒亦僧的寒山子表示敬意以外, 在寒山詩的素材以及詩語等, 他們頗爲敬愛, 寒山詩對宋詩通俗化的影響頗深. 另外, 如已上述, 宋代正進入儒彿道整合時代, 文人之間議論不斷, 開了高度議論文化. 加上, 由於國防的脆弱, 始終患於邊防異民族的侵掠, 同時社會進入腐化階段, 國家正處於困境. 爲了突破各種困境, 王安石等一些文人試圖政治改革, 繞著改革爭論不息, 以此發生黨爭. 在此, 宋代詩人用詩展開議論, 成爲宋詩的重要特徵. 議論詩的出現並不是宋代開始, 寒山詩本來爲民衆啓蒙而寫, 許多詩開頭就‘我見’‘我(今)有’‘我行’‘我在’‘我住’或‘余見’‘余家’‘余曾’‘余勸’‘吾心’等進行議論, 或著用‘世有’等來進行議論, 可稱爲議論詩之先驅. 黃庭堅蘇軾王安石等亦常襲用其法而展開議論, 可知寒山詩對宋詩議論化的影響甚大. 從上而知, 寒山詩爲何在宋代深受如此的歡迎. 也可知寒山詩在宋詩發展過程上所致的影響. 看寒山詩與宋詩的密切關係, 寒山詩在中國詩史中的位置重新再定立的餘地.

本文以淸代中叶具有表性的文人作家蔣士銓、杨潮观的作品为中心，对淸代中葉文人剧的思想和语言风格方面的特征进行了考察。具有以雅为美的审美传统的文人士大夫的参与必然会给属于通俗文化的中国戏曲带来雅俗之间的调整。各时代的具体调整现象都各有不同。明代文人剧追求雅俗共赏，淸代中叶由于市民阶层的壮大、花雅之争、职业戏班的昌盛等等原因，符合一般市民的审美趣味的戏曲发展迅速，同时，文人剧自身的审美需求亦得以充实，变得更为典雅。在清代的尊儒政策、以理学为正宗的复古文化思潮的影响下，文人剧的内涵特征表现为儒家的教化说、社会公利性和文学观的深化。教化戏曲观的具体内容不是以老百姓为对象的教化或者以生活桎梏再现的手法反映现实，而是基于儒家思想哲学性、历史性的分析和评价而追求儒家的理想。蔣士銓的性情论、蔣士銓和杨潮观的作品里对循吏理想的追求充分表现了上述特征。在语言风格方面，淸代中叶文人剧继承正统文人的艺术风格，运用诗人本色的清真高雅的语言，创造意境，开拓了诗剧、哲理剧等领域，展现了清真高雅的语言风格和意境之美。基于此，我们认为，淸代中叶文人剧充分反映了文人士大夫的思想和审美传统，提高了文人剧的文学性和艺术性，在某种意义上这可以说是淸代中叶文人剧在戏曲史上的意义。

문화언어학은 문화학적인 측면에서 언어를 연구하는 학문이라고 할 수 있다. 즉 문화언어학은 언어를 민족의 문화적 패턴과 민족문화의 부호체계로 인식하고 언어형식, 언어구조, 언어운용, 그리고 언어의 변화 배후에 내포된 문화적 함의를 밝히는 것을 그 목적으로 한다. 따라서 이상의 논문에서는 이러한 문화언어학적 이론을 바탕으로 “춘”자에 내재된 상징적 의미와 그 어휘체계에 대한 분석을 통하여 생명에 대한 인간의 갈망과 탐구를 고찰하는 한편, “춘”자에 대한 각 시대의 기록을 통해 당시의 중국민족이 “춘”자에 대한 객관적 인식을 체득하면서 그 인식 과정 중에서 “춘”자에 부여한 함축적 의미와 해석에 대한 이해들을 살펴보았다. 그리고 이러한 연구를 토대로 “춘”자에 투영된 漢민족의 생명의식과 문화의식이 어휘의 발전에 어떻게 기능하고 발전해 왔으며, 또한 영향을 끼쳐왔는가를 구체적인 분석과 함께 체계적인 접근을 시도하였다.

현대의 은유 이론에서는 은유를 일종의 인지 현상으로 보고 있다. 언어 중의 은유 현상은 바로 이 인지 활동의 주된 표현으로서, 중국어에 음식 어휘와 관련한 은유 현상만 해도 대량으로 존재하고 있는 것을 볼 수 있다. 본 논문에서는 은유의 본질, 은유의 체계, 은유의 구성 방식 특징 등의 측면으로부터 이 현상을 분석하며 은유가 인류의 인지 수단과 언어의 운용 원칙에 중요한 역할을 하고 있음을 설명하였다. 동시에 은유와 사회문화가 긴밀하게 연관되는 현상들을 논증하였다.

韩国虽属汉字文化圈, 可是现代韩国年轻人并不熟悉汉字。因此，到中国去旅游的许多韩国人总觉得不方便。本论文的目的是通过一些在北京营业(包括北京近郊)的饭店名，分析它(饭店名)所表达的内涵，来帮助韩国游客通过饭店名得知有关该饭店的信息。 由中国资本成立的饭店名可分为两种。 第一，饭店名里包括一些象征北京字眼的，比如‘京’, ‘燕’, ‘都’, ‘薊’等等。 第二，饭店名里包括一些有关北京内地名或者名胜古迹名称的。 由外国资本成立的合资饭店可分为日本资本的和欧美资本的。日本资本的饭店名基本上和在日本使用的汉字名一样。 属欧美资本饭店的"汉语名"大体可分为三种类型。 第一，直接把英语发音音译成名的假借型。 第二，把英语意思意译成词的翻译型。 第三，并用假借型和翻译型的混合型。 这三种类型中尤其从利用假借型起名的饭店，可以明确得知它是先从香港或者广东起步的饭店。

到了21世紀, 興起了文化、文化産業、文化原型、文化技術、文化contents等用語. 對於文化原型、文化contents, 能提供的人文學來源就是‘故事(story)’. 自古以來, 故事用各樣各色的媒體被演出了. 到了現在, 跟新媒體組合的很多種故事登場了 ‘說故事(storytelling)’的歷史, 在世界各國多種多樣地演變了. 看一看有些故事, 我們可以發現了超過時代、民族、國境的有着相似性的同一類型‘說故事’方式. 本論文,通過中國宋代的話本小說<金玉奴棒打薄情郞>和韓國電視連續劇<愛人的誘惑>硏究了有着相似性的同一類型‘說故事’ 當然, 話本小說和電視連續劇‘說故事’的過程中因互不相同的媒體顯露了差別. 可是,超越中國跟韓國的交界刻畵了以人性、慾望爲主的當時社會的肖像, 各種小說和電視連續劇通過‘說故事’存在着, 給大衆提供了人間群像、社會相.

The purpose of this study is to illustrate the tragic life of Ruan Linyu 阮玲玉(1910-1935), a legendary movie star in the history of Chinese film, especially focusing on her representative films and the role of depicting women's miseries in those films. While portraying a full of her charming beauty as an accomplished actress and accommodating significantly the cinematic agenda of gender discrimination for women in 1930s Shanghai, she has been regarded as a symbol of people's nostalgia for the 1930s "Old Shanghai"' This study also focuses on analysing her two silent films The New Woman 新女性(1934) and Goddess 神女(1934) with their female characters. The character Wei Ming, a school teacher as well as a woman writer, that Lingyu portrayed in The New Woman has been regarded as the symbol of women's tragedy over their powerless economic position vis-a'-vis Chinese traditional patriarchal forces. In Goddess, she performed a noble-minded mother and a lowly prostitute, expressing her special aura of sensitivity and sensuality. The specific image of prostitute frequently appeared in the 1930s Shanghai film world is a creative metaphor that illustrates the oppression of women and even the Old Shanghai. Both The New Woman and Goddess seem to give the impression that Chinese women's social position and economic independence in 1930s Shanghai proves more formidable than reality. Viewed in this light, it goes without saying that this theme and the characters she portrayed is still the shadow of Old Shanghai as a bustling cosmopolitan metropolis in 1930.

Adoption of the New Chinese Accounting Standards (reflect IFRS(International Finance Reporting Standards)) is expected not only to affect preparation and reporting of financial statements, but also to influence firms ' culture in general such as accounting process, information system, and personnel organization significantly. Unfortunately, companies and accounting firms are likely to fail to precisely predict amounts of impact caused by changes such as consolidated finance statements, valuation method, accounting event management and so forth. Companies need to minimize impact of New Chinese Accounting Standards and its risk by taking advantage of experience on Financial Group's Multi-GAAP conversion and benchmarking the best practices in Europe & China's subsidiary company. This study attempts to infer the risk of potential impact of New Chinese Accounting Standards adoption on firms ' financial statements and accounting transparency from analyzing the financial statement data of china's famous Bank case which already adopted the IFRS & New Chinese Accounting Standards. Also provides companies with 4 strategy plans -Unification, Accuracy, Timeless, Effectiveness- (with Critical Success factor)in order to effectively comply with timely financial report disclosure. Unless we do not fully recognize and are not well prepared for such risk and success factors of New Chinese Accounting Standards adoption, further would notice best way for accounting transparency in the global market.

在多种地方戏中，通过「变脸」这部电影，四川剧在我国得到一些介绍。本论文将以四川剧，即川剧为中心，考察其形成和发展过程及其舞台公演艺术的特征。 川剧是中国四大剧种之其一，它是流行于四川，贵州和云南一带的地方戏，以唱，念，做，打等丰富多样的要素来表达艺术效果。戏中的演员具有类型化，演员们是按各角色所担当的具有规定性的演艺形式进行表演。在这一点上，与其它的地方戏，如昆剧，京剧，越剧是大同小异的。可是川剧是形成于具有地域性特点的四川地区，当然也就包含着这个地区独特的审美认识观和艺术风格。 如上所述，川剧虽然继承了中国古典戏曲的固有形式，但它是以四川方言和特有的音乐节拍为基础，融合了四川地区独特的人文环境，生活习俗和人们的性格特征及鉴赏风格，在悠长的岁月中形成了独到的表演体系和舞台艺术性。 本稿将对川剧的表演艺术特性进行高密度的考察，分析。并以此为基础，对川剧所具有的独特的审美意识和美感表达方式的形成过程做进一步的探求。

本论文以日据时期汉语会话教材《改正增补汉语独学》为语料，根据1910年朝鲜总督府管辖的内务部学务局所公布的「舊學部編纂普通學校用敎科書竝ニ舊學部檢定及認可ノ敎科用圖書ニ關スル敎授上ノ注意竝ニ字句訂正表」(附錄 祝祭日略解)」的内容，对这本教材所出现的词汇进行考察，并对1910年代日本对韩国的教育政策进行全面的研究。