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The purpose of this paper is to study the relationship between Shuowenjiezi Duruo and Chinese characters. Shuowenjiezi contains important information to analyze the meaning of Chinese characters. Duruo is the only Chinese characters pronunciation method recorded in Shuowenjiezi. This allows us to analyze the pronunciation of Chinese characters at the time of Han dynasty. After Xushen used the method of Duruo in Shuowenjiezi, through Qing dynasty, there are three kinds of opinions about Duruo so far. First, Duruo is to display the pronunciation of Chinese characters. The second Duruo is meant to represent the meaning of Chinese characters. Judging from the current research results, Duruo has both the pronunciation and meaning of Chinese characters. Gujinzi was created to distinguish the difference between the meanings of the past and present Chinese characters. Especially, pronunciation of Chinese characters is an important condition to judge Gujinzi and Duruo. Because of this commonality, Gujinzi can be found in Shuowenjiezi Duruo. In conclusion, Shuowenjiezi Duruo is related to various linguistic phenomena. Therefore, Duruo can be used to study the process of Chinese character development from the past to the present.

The quantifier has developed most notably in the period of the Wei， Jin and Northern and Southern Dynasties. The nominal measure word， which represents the individual quantifier of the natural unit， is widely used on the basis of preliminary application and enters the stage of full maturity, the verbal measure word is rapidly developed from the bud and has the nature of gradual maturity. The category of quantifier use has been formed, But in the two classifiers， the verbal quantifiers is relatively late and is far less abundant than the noun quantifier， so there has always been a situation of weak study on verbal measure word in the study of measure word. The reason why we choose the verbal quantifiers in Qi Min Yao Shu is mainly because "Qi Min Yao Shu" is the most complete ancient agricultural science and technology monograph in ancient China， which has great influence. In terms of language style， the oral information is very valuable and rich， while the book is compared with the same period's document literature. At present， although there are some achievements in the study of the quantifier of Qi Min Yao Shu， all of these researches are related to noun quantifier in Qi Min Yao Shu. This paper， based on the traditional lexicology， modern linguistics and the theory of semantics， carries out the quantitative and qualitative analysis of the verbal quantifiers in Qi Min Yao Shu. From the types of verbal quantifiers in Qi Min Yao Shu， the representation of verbal quantifiers and the grammatical function of the verbal quantifiers， the article describes the appearance of the verbal quantifiers in Qi Min Yao Shu， and the development of the verbal quantifiers in Qi Min Yao Shu as far as possible in combination with the inheritance of verbal quantifiers. From the classification of verbal quantifiers， all kinds of verbal quantifiers of Qi Min Yao Shu appeared， including not only the special verbal quantifiers， but also the borrowed verbal quantifiers. From the inheritance of verbal quantifiers， there are both the verbal quantifiers in ancient times and the new verbal quantifiers in the middle ancient times. Verbal quantifiers in Qi Min Yao Shu are much richer than those literature of the same period. From the point of the expression of action quantity， the verbal quantifiers expression in Qi Min Yao Shu has "number+verb"，"verb+number+verbal quantifier"，"number+verbal quantifier+verb"，"number+verbal quantifier"， "verb+number". In terms of data， the expression "verb+number+verbal quantifier"，"number+verbal quantifier+verb" are more flourishing than before. We hope to give a comprehensive description of the system of verbal quantifiers in Qi Min Yao Shu and provide some helps for the research of verbal quantifiers.

This study discusses various forms corresponding to ‘le(了)’ in the Min(閩) dialect through the method of literature investigation. In the Mindong(閩東), Minnan(閩南), Puxian(莆仙), Minbei(閩北) and Minzhong(閩中) dialects that belong to the broader Min(閩) dialect, the meaning of ‘le(了)’ is expressed by various forms. They all share a commonality, the Perfect Aspect or the Sentence-Final Particle. However, differences appear in terms of the position and function within a sentence. In addition, they are similar to ‘le(了)’ in modern Chinese as well as other distinct differences. For instance, the object of the transitive verb is placed in front of the verb in the Mindong(閩東) and Puxian(莆仙) dialects and it must accompany the modal particle after the ‘掉’ and ‘了’ in the Minbei(閩北) dialect. These are distinct characteristics from ‘le(了)’ in modern Chinese. It is hoped that the results of this discussion on several markers corresponding to ‘le(了)’ of modern Chinese will help provide greater understanding of the typical development path of the Aspect Marker in terms of grammaticalization.

Capstone Design is a demand-oriented education that focuses on the industry demands. Capstone Design is being opened by universities based on demand-oriented education, which focuses on industry demand, which is demanded by industry, and discussions based on the demand for completion of courses. Translation education has also evolved based on the application of language and industrial demand. In this regard, the researcher decided that Capstone design was similar to translation education and applied Capstone Design to Chinese translation education. Especially, for the first time applying capstone design in the Chinese translation process, the capstone design instruction model that can be applied in Chinese translation is given priority. The evaluation of this model measures students' satisfaction after the course. As a result of the research, the key to Capstone Design was how to produce industrially relevant results. The students accepted the results as new knowledge and showed high satisfaction. The students' satisfaction was measured by the performance process, the teaching method, and the satisfaction of the learning achievement. The basic direction of research is quantitative study based on case studies and descriptive statistics.

Existing research on this book has been conducted from the viewpoint of mathematical history and mathematics education. However, since this book has a value as a document containing the culture of Han Period before it is a simple mathematics book, work on it should be preceded. In order to understand this book in a deeper and more accurate way, it is essential to understand the connection with the surrounding cultural environment. Therefore, this article first examines the composition and contents of "Nine Chapter Arithmetic" and examines the cultural meaning of the book in relation to the Bible period of this book.

This study explores an argument between Wu, Rulun(1840-1903) and Zhang, Yuzhao(1823-1894). It is mainly about the "Three Rivers" issue in "Shang Shu·Yu Gong", which was carried out intermittently from 1887 to 1888. This argument began with an article by Zhang Yuzhao, which was the "Contemplation on “three rivers”in Yu Gong". In this article, he mainly pointed out that Ban, Gu was inevitably wrong in "Hanshu Dilizhi", and then advocated that there is another Nanjiang River other than the Beijiang River and the Zhongjiang River associated with the Yangtze River. This is simply an unprecedented insight, because the Sanjiang theory has always referred to three parts of the Yangtze River or three Rivers diverted from the Yangtze River. As far as the theoretical structure is concerned, Zhang, Yuzhao is mainly based on Guo, Pu's Sanjiang theory: Lijiang, Songjiang, and Zhejiang, which led to the new proposition that Nanjiang is a river. Wu, Rulun verified it in all aspects, and Zhang, Yuzhao refuted it. In the debate, they involve a wide range of academics, sometimes classics, sometimes texts, lexicons, geography, and so on. This shows that they are also well-versed in many academic fields. At the same time, it is commendable that they strive to put the above academic methods and attitudes into education. The "Contemplation on “three rivers”in Yu Gong" mentioned at the beginning is written for the purpose of education. By examining the beginning and end of the debate, although it is impossible to determine who wins or loses, it is estimated that Zhang, Yuzhao’s claim cannot be successfully recognized by Wu, Rulun. However, regardless of the outcome, this controversy makes sense, that is, they absorb new knowledge at the end of the 19th century and boldly challenge academic stereotypes, which are valuable in themselves, especially their profound knowledge of geography. In fact, this is the main background that touches the debate.

Ye Jiaying persevered in the face of hardship, adhering to the belief of disseminating Chinese poetry. At the age of 94, she still stood on the rostrum to impart poetry, and trained many talented person. This paper told how Ye Jiaying, a global female scholar, interpreted classical poetry. She not only explained how the poet expressed his indignation and sadness through poetry when facing the hardships of life and political and social setbacks. Ye Jiaying used the image of abandoned wife to describe the poet's depressed psychology abandoned by the monarch. She commented on the hardships faced by Quyuan, Sima Qian, Wang Can, Cao Zhi, Tao Yuanming, Du Fu, Li Shangyin, Su Shi, Lu You and Wu Wenying from a comparative point of view and the characteristics of poetry creation. She combed the injustice in the poet's heart delicately. It also revealed that modern people can seek spiritual comfort and healing by appreciating ancient poetry and combining suffering with similar experiences of poets. Ye Jiaying analyzed the differences of the writer's emotion, style and artistic conception, and found out the poet's life and era background, character, learning accomplishment and artistry. Ye Jiaying analyzed the characteristics of the style of Ci, and combed the origin and influence of the writers in the context of the development of history. Ye Jiaying said that Zhang Huiyan in Qing Dynasty attached great importance to "bixingjituo" and was suitable for appreciating Wen Tingyun's and Wei Zhuang's works. Wang Guowei's theory in modern times was influenced by western philosophy and aesthetics, which was suitable for appreciating the works of Feng Yansi and Li Yu. Ye Jiaying explored the western critical theory, and used Tang and Song dynasties to analyze the characteristics of traditional poetry from the perspectives of Western Europe's hermeneutics, phenomenology, new criticism, reception aesthetics and reader response theory. Ye Jiaying attached great importance to the degree and expression of feeling in poetry, and highly appraised works that directly conveyed the vitality of feeling like Ci of Li Houzhu in the Southern Tang Dynasty. Ye Jiaying has guided traditional poetry in Beijing, Taipei, Canada, the United States, Tianjin and other countries for 60 years, contributing to the popularization of Chinese classical poetry.

San Zang Buddhist monk is hero in Yuan Zaju 「Journey to the West」. In this drama San Zang Buddhist monk play double roles. One is mythical and heroic character. The other is humouros and common chatacter. Becasse of this the emage of San Zang Buddhist monkis fulled with myth and hero. On the other hand in this drama San Zang Buddhist monk has humouros and common chatacter. In this drama one common country woman sneer San Zang Buddhist monk. Also San Zang Buddhist monk way to the west is kidnaped by monster. In this point San Zang Buddhist monkis an incompetent man. In this drama Sun Wukong plays double roles. Double roles conflict each other. which element produced these opposed two characters? This is antinomy. Unity of Three Religion is significant element. At that time Unity of Three Religion is general tendency. Yuan Zaju 「Journey to the West」 is influenced by the Unity of Three Religion. Addedly the writer of Yuan Zaju 「Journey to the West」 concerned in stage effct.

This article examines the relationships between Wang Po (王婆), Dai An (玳安) and other protagonists. The narrative features of Wang Po (王婆) and Dai An (玳安) have been analyzed from three aspects: narratives of character, dialogue and behavior. The mood of the characters dominates the overall work : Wang Po (王婆) has pushed Ximen Qing (西門慶) and Pan Jinlian (潘金蓮) into the dangerous (liaison) and unspeakable relationship, while Dai An (玳安), the slave of Ximen Qing (西門慶), kept silent after witnessing all the evil behavior of his master. The value of these two characters can truly be presented when they also went down with their master at the end. In addition, the behavior of these two characters has general and specific value in the book. It made the work more stable and complete. In 'Jin Ping Mei (金甁梅)', the actions that the characters take reflect what they have on their minds. The characters hardly show any inner conflicts or hesitation in taking actions. Their instantaneous verbal and physical responses heavily rely on their instinct. The protagonist, Ximen Qing (西門慶), has the ultimate power because his thoughts and actions control others' fate, In an epic story of this kind, a lower class character such as Wang Po (王婆) or Dai An (玳安) cannot be considered as the one who is changing the course of the story or in the center of the conflict. However, Wang Po (王婆) and Dai An (玳安) have a unique voice of their own as well a those found in every human beings. The author created and developed those characters by balancing their unique and universal traits. They certainly contributed to making 'Jin Ping Mei (金甁梅)' special. 'Jin Ping Mei (金甁梅)' depicts everyday life in a given period, but it does not present it in a linear way. Wang Po (王婆) is a character who helps Panjinlian (潘金蓮) find her identity, and Dai An (玳安) is there to assist Ximen Qing (西門慶).

Nong Zhigao is the forefather and great hero for the Zhuang people, a minority ethnic group in China. He founded Danan Guo at the border between China ad Vietnam during the reign of Emperor Renzong (仁宗) of Song. When quelled by Di Qing (狄靑), a great general of Song, he fled but was eventually killed. His life and wars with Song are described the most in the Chinese records, and as documents affiliated with the Zhuang people, the orally transmitted tales may be helpful, as well. The two sides offer quite opposite views on Nong Zhigao. The Chinese records view Nong Zhigao as a bandit who raised a rebellion and brutal man, whereas the Zhuang people’s ethnic tales depict him as a hero and demigod.

When Chinese People’s Volunteer Army retreat from N. Korea in 1958, the second peak of literary creation on the subject of the War to Resist America and Aid Korea is coming. Aleida Assmann said ‘remembered past’ is a matter of securing legitimacy and interpretation of reality. As she said, in the beginning of the nation, this war left the Chinese people national pride and a elementary experience of internationalism. It has been summoned and reorganized to meet the new political mission of changing domestic and international situations in 1958. This article is purposed to review why and how this war was remembered in 1958 as a main turning point. I particularly focused on Chinese memories of the Korean War seem uniform on the surface, but it is not homogenous inside. Thus, this paper considered diachronic change and narrative levels as the key factors that make up a memory. First, through focusing on documentary films The War to Resist U.S and Aid Korea(1951) and The sing for Heros(1958) as the official narrative, analyzed a background and the political nature of the recall of war. Second, considered the difference between official and popular narratives through analyzing a film drama Friendship(1959). And we can discover the cracks in the imagination of N. Korea and China's internationalism by comparing N. Korean film showed in China Comrade(1959) at the last.

Hybridity is the main feature of two films, The Wedding Banquet (1993) and Eat Drink Man Woman (1994) made by Ang Lee. This article explores how the aspects of hybridization have been represented and changed from the following elements such as national culture, gender, generation to each individual. The film director Lee also has hybrid identity so that he is good at representing various characters’ hybrid identities within two films. First, in the film of The Wedding Banquet, we can find out the Others who come across in hybrid boarder. In this film, there are two representative characteristics of hybridity such as eastern culture and western culture and heterosexuality and homosexuality. However, A. Lee does not insist for audiences to judge which is right. He just represents that each culture has its own characteristic. Second, in the film of Eat Drink Man Woman, there are hybrid individuals following to essential life. The father and four daughters have the difference between their identity and life style. Each person pursues different life goal to find out his/her inner identity including social and role identity. A. Lee utilizes the various chinese food in this film to represent these kind of hybridities that characters have, which are changing from traditional values to modern values or vice versa. He also does not concentrate on the special person but show their own hybrid values through their behaviour and selection. So we can say that these two films represent not hybrid cultures but hybrid individuals. Also A. Lee deals with these hybrid things from collision, conflict to harmony, recognition. Thus, we can call his works - The Wedding Banquet and Eat Drink Man Woman - bricolage in french.

Director Li Yang produced only three movies for fifteen years, from the first feature length movie Blind Shaft (盲井) in 2003 thru Blind Mountain (盲山) in 2007 to Blind Way (盲道) in 2018. Because not many movies were produced by him, his exposure to the media and reviews on his movies are comparatively less than those of other famous Chinese movies directors. However, whenever his individual movie was released, it aroused considerable debates and repercussions to Chinese society. Also, his movies were widely acknowledged by winning many prizes in numerous film festivals nationwide and worldwide. Therefore, in spite of less production of movies, he is a notable figure together with other major Chinese movie directors. This article aims at introducing Li Yang himself and his respective movies, both of which are unknown to Korea. I focus on analyzing his so-called blind trilogy from different perspectives via controversial issues and reviews centering around it. Further, I touch on the issues of censorship and commercialization which he encountered in the course of making his movies.

In recent years, the cultural industry has become the most promising industry, and has become a representative industry for the upgrading of global industrial structure. However, more and more countries have begun to implement cultural economic strategies in order to seek cultural industries to become the emerging pillar of the national economy. Since the implementation of an opening and reform policy, China has achieved the rapid growth of the economy. With the growth of national income, the demand of culture is also increasing. China is a big manufacturing country in the world. Hence, traditional industries have high resource consumption, serious pollution and overcapacity. There is an urgent need for economic transformation and structural adjustment. Due to its high technology content, low resource consumption and low environmental pollution, the Chinese cultural and creative industries have typical characteristics of low energy consumption, high added value, and environmental protection, which provide strong support for the transformation and upgrading of the national economy and the improvement of quality and efficiency. The economy has maintained an increasingly important role in maintaining high-speed growth. Under the new normal of economic development, when the structural reform of the supply side is fully promoted, the cultural industry continues to accelerate its development and is becoming a new engine for economic and social development. Nowadays, the Chinese cultural industry has developed relatively fast and the contribution rate to the national economy is steadily increasing. However, it has many problems such as the weakness of Chinese cultural industry in general ability, the structure of cultural industry is unreasonable, other industries and collaboration system are not built up. Understanding the technological efficiency, which is a key indicator determining the competitiveness of the Chinese cultural industry, is very important for enhancing the competitiveness of China's cultural industry and promoting sustainable development. Therefore, the Super-SBM-DEA model and Malmquist index are used to analyze the level of technological efficiency of the Chinese cultural industry in detail, and to suggest ways to measure the efficiency of the Chinese cultural industry.