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China, with a vast territory and a great population, has various music character in various section of it, which provides Chinese popular music with abundance materials and inspirations. furthermore, the best way to supplement Chinese popular music works by using it by reference. on the base of it, various folk character is showed in chinese popular music. “Xi bei feng”songs, which emerged in the late of 1980s, are creative works with unigue characteristics among China’s contemporary songs. From 1986 “did not have all” and “Xintianyou” began, at the end of 1988 to the emergence of a “My beloved Hometown”, the Loess Plateau, the film “Red Sorghum” in the episode “sister song”, the drama “Syracuse” in the theme song “heart of the sun” and so on large this with strong northwest music style and distinctive characteristics of the times “Xi bei feng” songs. with their rough, bold, and a bit bleak tone, and wild and passionate rhythm, “Xi bei feng” songs were all the fashion at China’s singing stage then which exerted great influence on social musical life and were very significant in the history of China’s contemporary music. “Xi bei feng” songs has a strong northwest style, distinctive features of the times and the unique aesthetic character. It is also China pop music training and bringing up a number of composers and singers, it also promoted the development of China rock. For the combination of Chinese and Western culture, “Xi bei feng” the creation of the song also has important practical significance. this dissertation aims to make a way for Chinese popular music with folk factors to develop a school of its own in the world, which is the real meaning of this research on the folk factors in Chinese popular music.

In 2016, when the South Korean government made a decision on the placement of the THAAD missiles, the Chinese government immediately took corrective action, which was mainly centered on sanctions on hallyu, which is called the ‘限韓令(a government ban on Hallyu)’. The reason for the ‘限韓令’ is that it is exploiting ‘culture’ as a means of international politics. The thesis is aimed at critically reviewing the effectiveness of the ‘限韓令’ in the two major aspects of the foreign cultural policy, namely, ‘Cultural Security and Soft Power’ pursued by the Chinese government in the 21st century. In terms of cultural security, ‘限韓令’ seems to have failed to gain a significant effect. In terms of the ideological aspects of cultural security, in terms of cultural identity, ‘限韓令’ has been an effective policy tool. Through official or informal channels, Hallyu contents continued to circulate throughout China. Chinese’s interest in hallyu also showed little difference compared to the mere past. Also, the economic aspect of the content industry is not too big for the overall economic aspect of the economy. On the other hand, in the soft power aspect of the Chinese foreign policy keynote, Especially in terms of improving the nation’s image, only the ‘限韓令’ has led to the worst results. Regarding the future of Korea and China relations in the future, Far too many Koreans have begun to regard China as a rival or threat rather than a partner. Far too many Koreans chose America rather than China as a more important country in the future. However, the result was a completely contrary situation just a year ago. It seems that China’s foreign policy, which was viewed through only ‘限韓令’ is facing a curious dilemma. The Chinese government still recognizes ‘culture’ in terms of direct national interests, The Chinese government aggressively pushes ahead with inroads into Chinese culture, while imposing sanctions on foreign cultures. The Chinese government’s foreign policy can be recognized as another ‘hegemony’ in the international community.

At present Buddhist drama of Yuan Zaju of Yuan dynasty remained are eight works. Among eight works, four works are about reaching nirvana, three works are about punitive justice, one work is about bringing buddhistic sacred book. Thouth Buddhist drama of Yuan Zaju is buddhist drama, their contents are mixed with three religion. In the Buddhist drama of Yuan Zaju, We can see Buddhistic element, Confucian element and Taoistic element. At the Yuan dynasty Buddhism, Confucianism and Taoism are the vogue. At that time the writer of Buddhist drama of Yuan Zaju used three religions in the Buddhist drama of Yuan Zaju. In the Buddhist drama of Yuan Zaju, Buddhistic element performed major role. In the Buddhist drama of Yuan Zaju mostly hero is about Buddhism. In the Buddhist drama of Yuan Zaju most hero finnally be converted to Buddhism. In this point we can say these works are Buddhist drama. But in the Buddhist drama of Yuan Zaju, Confucian element and Taoistic element are mixed. In these works we can see Confucian element and Taoistic element. If we from the Confucian element say, In the Buddhist drama of Yuan Zaju we can see reality of at that time. For example in the Buddhist drama of Yuan Zaju, we can see loan sharking of at that time. And in the Buddhist drama of Yuan Zaju we can find Confucian concept. For example in these works we can find the thought of ioyalty and filial piety. If we from the Taoistic element say, In the Buddhist drama of Yuan Zaju we can see eternal life of hero.

Attempting to contact the Real, the Fantasy creates a stir in the value system that we take for granted. Andersen sought for solution to overcome the limitations of European society in the 19th century by opening the fairy-tale fantasy of yearning for new species or living things. Hoping for individual salvation and eternal return, he created the fairy-tales appealing for universal truth. Andersen’s mermaid has represented all the other mermaids in Western society because it is attractive and appealing enough to overwhelm the pre-existed images of mermaid in Western myths and folk tales. Afterward, ‘The little mermaid’ has been transferred and transformed in more polished and realistic ways by the aid of imaging technology. ‘The little mermaid’ was restructured as Zhou Xing Chi’s 『The Mermaid』 in post-Socialism. 『The Mermaid』 shows the image of China’s traditional mermaid in Chinese myth and literature, reveals the crack and absurdity of Post-Socialism by means of Zhou Xing Chi‘s cinematic skills, and deconstruct the existing authority and order. At the same time, the universal messages such as ‘pure love and environmental protection’ exempted the movie from government censorship and the age limit. Zhou Xing Chi’s fairy-tale-like movies have ambivalence in cultural topography of Post-socialism: resisting ideological fantasies and accepting mainstream consciousness. 21st century rules the area of unconsciousness and requires fairy-tale fantasy more. The Fourth Industrial Revolution all over the world and Cultural Hybridity caused by globalization expand the perception of ecology and deglobalization. judging from this, open viewpoint with fairy-tale fantasy will be more essential. New interpretations and transformations of ‘The little mermaid’ are looked forward to.

This study investigated 92 poetry written by emperor Taizong and 65 poetry written by emperor Xuanzong, and the culture inside the poetry. The first part covered cultural policies of Tang dynasty. Tang dynasty is known for stable society and strong economy. This is attributed to the efforts made by Taizong and Xuanzong; They revitalized Confucianism education, valued school education, and established social atmosphere where scholars are respected. The second part is the study of banquet which should be held by emperor. Observations found in 12 poetry written by Taizong and Xuanzong are as follows: First, they took a rested appreciating garden and surrounding landscape at the banquet. Second, they held banquet during the seasonal holidays and when celebrating emperor’s birthday. Third, banquet was held to commemorate the victory in the war, appreciate wise retainers, and to inform etiquette culture to accomplish political purpose of emperors. The third part focused on royal tour which was made for the political purpose by Chinese emperors. While going on a patrol, the emperors visited historical plates and determined to respect and pursue the words of the sage. In addition, they recollected initial difficulties of ancestors, reminded history, and refreshed themselves while appreciating Pungmul and customs among people. The fourth part is about jieling(节令) which represents seasonal or national holidays. Taizong wrote poetry of four seasons including spring, summer, fall, and winter and expressed a sense of futility with the change of seasons. Meanwhile, Xuanzong wrote poetry of seasonal holidays such as hanshi(寒食) and duanwu(端午), which reflected the customs of the period. On duanwujie(端午节), people enjoyed qiuqian(鞦韆) and cuju(蹴鞠), while on hanshi(寒食), they hung changmingsi(长命丝) in their arms, ate boiled tame duck, and made plum wine.

“Pinhuabaojian” written love story between literati and female impersonators of the Qing Dynasty in Beijing, with The novel has unique style, some people, and “Hongloumeng” in comparison. There are three main characters relationship, that is Meiziyu[梅子玉] and Duqinyan[杜琴言], Tianchunhang[田春航] and Suhuifang[苏蕙芳], rich and Heixianggong[黑相公]. Each relationship has characteristics. First, Meiziyu and Duqinyan’s relationship rooted in genius arid beauty novels. Next, Tianchuhang and Suhuifang’s relationship is similar to traditional scholar and prostitute’s story. Finally, rich and Heixianggong of the relationship reflects the operatic life, showing the real features of the society at that time. ChenSen[陈森] through these characters and relationships, on the one hand describes the real life, on the other describes the image of his ideal female impersonators. Through these relationship, we can see the relation between literati and Female Impersonators in Qing Dynasty, and the author’s narrative attitude. As a result, these description stems from a sense of pride that literati hold deep in their hearts. They were enjoying to the female impersonators. Therefore, female actors have more feminine characteristics and conform to the taste of society. These passive female impersonators are also related to the absence of female characters in the novel, so Chensen will be his ideal female image of an female impersonators. He also admits that the female impersonators are a humble occupation. So at the end of the story, the ideal female impersonators get away from their job, and regains the identity of the male.

This study aims to try to discuss an idea of the digital textbook for the Chinese linguistics education based on previous literatures about the future of the knowledge. For this purpose, this study mainly discusses why we need to bring the digital textbook for Chinese linguistics into the class, and how to try to make it with the textbooks that have published and with other materials(photos, clips, web site etc.). The article consists of three sections. In the first section, we deal with the backgrounds that need to try to make and use the digital textbook from the various point of view, e.g. means and co-ownership of knowledge, change of time and education, medium of education and materials. In the second section, we treat of an idea of the digital textbook for the Chinese linguistics. For making it, we need to consider two sides. One is how to present the linguistic knowledge with the knowledge of history, geography etc., and the other is how to relate it with the reading convention in a new era. The textbook has to have common functions(searching, bookmarking, linking with web dictionary or site etc.) in terms of form, and put the concepts of time, space, human in it in terms of content. In this study, some suggestions and examples(by iBooks Author) related with the idea are proposed. In the third section, we integrate main points of the article and point out some limits before bringing it into the class. The limits include the problems of copyright of materials, platform for offering, administrative cooperation of institution, etc. and they need to be solved before all.

The idiom, which is a special kind of Chinese vocabulary structure, reflects people’s wisdom and it is the fixed phrase with the characteristics of stable patterns, frequent uses, historic and racial traits. There are many animal-related idioms because humans have long been associated with animals and have a very close relation with animal. So this paper choose animal as a research subject. This paper mostly examines the marks of the animal idioms with four syllables in Chinese. The animal morphemes in Chinese are ‘ma(馬)’, ‘hu(虎)’, ‘gou(狗)⋅quan(犬), ‘long(龍)’, ‘yu(魚)’, ‘ji(鷄)’. The aim is to summarize the animal morpheme and its outside form by analyzing the rules of the animal idioms in Chinese. There are four chapters in this essay. ChapterⅠ, General Introduction. This chapter introduce the object, the scope, the methods. ChapterⅡ is about “the Component on the Animal Idioms with four syllables in Chinese”. It mainly discusses a component of Animal Idioms in Chinese, ‘ma(馬)’, ‘hu(虎)’, ‘gou(狗)⋅quan(犬), ‘long(龍)’, ‘yu(魚)’, ‘ji(鷄)’. ChapterⅢ is about “the Outside form on the Animal Idioms with four syllables in Chinese”. It respectively discusses “When the Animal morphemes are used alone” and “When the Animal morphemes are used together”. Finally, a paper reference appendix is attached.