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This study tried the interdisciplinary blended approach among the literary world, the religion, the thought, and the education of Su Shi (蘇軾, 1036-1101) - the great writer of the Song Dynasty. The purpose of this study is establishing Su Shi's public values toward the Ren thought and the Compassion thought - the virtues of humanistic education - from a complementary standpoint and analyzing the source and the practice aspects of the two thoughts. Su Shi lived a tough life while experiencing mental and realistic sufferings as the politically underprivileged person due to party strifes. However, even staying in a limited boundary during exile, he always thought of the people first and actively tried to share pain and joy with them. The root of his thought of loving people is different from the literary people of the ordinary political noblemen. The main points of the ideology by Su Shi are difficult to understand since it ranges over the entire three ideologies - Confucianism (儒), Buddhism (佛), and Taoism (道). The studies which have been carried out so far have fragmentarily looked into his individual ideology or put focus on Confucian ideology even it was a blended study. Su Shi overcame life's hardships through Zen (禪) and mastered the meaning of blending. 'Blending' is combining after melting. This study understood the ideological characteristics of Su Shi, comparatively examined his Selflessness (仁) and Mercy (慈悲) Ideology, and looked into cases of practicing blending ideology. This study established the boundary and relationship of selflessness (仁) and compassion (慈悲) and this study was conducted by focusing on flexibly combining blended relief projects by Su Shi with the political and social circumstances of the time based on the finalized meaning of selflessness (仁) and mercy (慈悲). This study will expand the research boundary of Su Shi (蘇軾) and open a new horizon in exploring blended humanitarian ideology of selflessness (仁) and compassion (慈悲) based on interdisciplinary connection. In addition, this study can be utilized as an exemplary educational material in the aspect of 'respect and consideration', which are essential in the community consciousness of we live together during personality education associated activities.

As the 'cultural revolution' ends and China enters a new era, Popular music from Hong Kong and Taiwan flowed into mainland China through various ways. And It develops with absolute influence on the industrialization, pluralization and commercialization of mainland music. The ‘GangTaiFeng’ music in the text, it is After the reform and opening, popular music from Hong Kong and Taiwan was introduced to the mainland through various media such as cassette tapes, dramas and movies. It refers to the music craze that has been created by having an absolute impact on the development of mainland music. In 1976, China's history opened a new chapter. Since the beginning of the reform and opening up, Hong Kong and Taiwan have again taken over the music scene in the China. Thus, the landscape of Chinese popular music was created in Hong Kong and Taiwan during this period. Popular music in Hong Kong and Taiwan is a key component of the formation of Chinese popular music. Not only was it connected to the world, but it also had a huge impact on the mainland popular music scene. In the text, after the reform and opening up, we looked at the inflow process of popular music from Hong Kong and Taiwan and its musical features that deeply influenced the ideas and emotions of the people of the period in the development process of popular music in China's new period. And I would like to emphasize the importance of looking at the cultural phenomena and mutual effects of the "Gang Taifeng" music craze that was popular on the mainland.

In the study of Taiwanese Modernist Poetry Movement from the early 1950s to the mid-1970s, many literary critics have agreed that Taiwanese Modernist poets have their various thoughts on poetics and are brought into a poem full of experimental image and metaphor, with sandwiching in between Chinese traditional culture and Western Modernist literature. The purpose of this study is to illustrate the aesthetic characteristics of Taiwanese Modernist poetry, especially focusing on such binaries as “tradition and modernity,” “Chineseness and the West,” “vertical inheritance 縱的繼承 and horizontal transplantation 橫的移植.” This study contains four parts, together with introduction and conclusion. Part Two explores three poetry schools such as “Modern Poetry 現代詩,” “Blue Star 藍星,” “Genesis 創世記” and analyses their four rounds of debates on questions such as What is good poetry? Where is new poetry going? Should poetry be easily understandable or not? What is the poetry’s relationship with society? and What is the poetic balance between Chinese cultural tradition and Western Modernism literature? The debates began in the 1950s and went through the 1960s and early 1970s. Part Three examines each individual poet of Taiwanese Modernist Poetry Movement and revaluates his or her distinctive aesthetic qualities within representative poem. The poetics and the style of every Taiwan’s modern poet are different, This appears in such poems as Yu Guangzhong‘s 余光中(1928-2017) “Lamenting for Keats-A Eulogy Commemorating the One Hundred and Thirty-Second Anniversary of Keats’s Death 吊濟慈—濟慈逝世百卅二年紀念,” Lin Ling’s 林泠(1938- ) “Tree-Shaded Path 林蔭道,” Ji Xian’s 纪弦(1913-2013) “Solitary Wolf 狼之獨步,” Ya Xian’s 瘂弦(1932- ) “Songlike Andante 如歌的行板..” Part Four concludes that Taiwanese Modernist Poets opens new direction to realize their potential between the trend of Westernization and the awakening of national consciousness, with citing Yang Mu’s 楊牧(1940- ) “Your Feeling 你的心情.”

This study attempts to examine the cultural system which entirely organizes Chinese life worlds and changes of the contemporary Chinese society, by analyzing the main ideologies appearing through the design of urban structures and spaces and the action of images as practical discourses for it. It recognizes the 'culture' for problems in the contemporary Chinese society as a meaning system, reflects the Raymond Williams's cultural research perspective arguing that multilateral reading is possible and begins with active interest in problems and phenomena in the contemporary Chinese society. This study has an implication, in that it attempts to enhance the potential of new humanities through the negotiation and dialogue with literature and sociology, and it also extends the width of studies and seeks for qualitative improvement. This study aims to examine the mechanism of cultural production in the contemporary Chinese society. It intends to analyze institutions and policies for organizing the urban landscape in Shanghai and consider the political action of images as practical discourses. Here, the urban landscape is the representation of main ideologies and the political action of images involves all of visual practice and contents, for propagation and reinforcement of policies based on main ideologies: all kinds of posters, slogans and cultural events. They reorganize the memory of a specific period and space in Shanghai, a capitalist city into symbolic images in the space of socialist revolution and continuously reinforce it. This study considers the mechanism in which politics integrates culture via capital, by examining such reorganization and reinforcement. In addition, it attempts to understand the contemporary mechanism of cultural production, by deeply considering Chinese lifestyles and changes in their psychological structures, in terms of politics, economics and culture.

Numeral-Classifier structure is the one of important characteristics in the Sino-Tibetan. In the Chinese history, From the Pre-Qin to the Qing Dynasty, generally its location is the front or the back of the Noun. Just the distinction between them is that the latter is the more before the Qin-Han Dynasty and the former is the more after Middle Archaic Chinese. This paper mostly examines the Numeral-Classifier structure in the Mengzi(孟子) of the Ancient Chinese. The aim is to summarize component and the relation between Numeral-Classifier structure and the Noun by analyzing the Numeral-Classifier structure in the Mengzi(孟子). 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 Numeral-Classifier structure in the Mengzi(孟子)”. It mainly discusses a component of the Numeral-Classifier structure in the Mengzi(孟子)’. ChapterⅢ is about “the coupling method between Numeral-Classifier structure and the Central Component in the Mengzi(孟子)”. It respectively discusses the relation between Numeral-Classifier structure and the Central Component. ChapterⅣ, Conclusion.

A address term is a word that calls the other person in the conversation directly to draw listener's attention, and a reference term is a word that indicates an object. The address term is relatively independent and can be omitted. On the other hand, the reference term is impossible to omit it, because it forms a linguistic relationship with other sentence components in the sentence. In this paper, I grasped indirectly the aspects of address terms which was used in China's Qing Dynasty, through the analysis of address terms in the classic novel 『Dream of the Red Chamber』written by Cao Xueqin of the Qing Dynasty. Even in the Qing Dynasty, address terms were used in a wide variety of forms. These various types of address term can be classified according to its address subject and internal structure. First, if the address term is categorized according to its address subject, the address term can be divided into the 󰡐kinship term of address󰡑which is used among people of kinship and the 󰡐social term of address󰡑which is used among other members of society. Next, if the address term is categorized according to its internal structure, there is the simplest type of the 󰡐basic kinship term of address󰡑 and the 󰡐general term of address󰡑. And there are types of combination of 󰡐numeral󰡑, 󰡐hao󰡑 or 󰡐qin󰡑, 󰡐lao󰡑 or 󰡐da󰡑 or 󰡐xiao󰡑 and 󰡐wode󰡑 in front of these basic kinship term of address or general term of address. In addition, there is the type that adds a first name or a family name in front of the basic kinship term of address or general term of address. Finally, there is the type of 'family name + first name' or frist name or nickname.

There are two types of polar questions in Mandarin Chinese, i.e., sentence final particle ‘MA(嗎)’ question and V-not-V question. It is well-known fact that those two question types are distinguished in three ways. First, only ‘MA’ polar question implies speaker’s bias reading, which can be divided into evidential bias and epistemic bias. Second, only ‘MA’ polar question can co-occur with scope bearing elements. Third, only biased ‘MA’ polar question allows answers with response particle ‘Shi(是)/ Bu shi(不是)’. Our main concern is how to effectively capture these syntactic, semantic and pragmatic properties typical in ‘MA’ polar question, and how to clarify the interface phenomena observed. Rizzi(1997)'s hierarchically organized fine-grained syntactic structure and Wiltschko(2014, 2017)'s speech act related functional projections provide useful tools to associate the interface between syntactic structure and discourse-related notion. Especially, by setting speaker-oriented Ground projection in the syntax of question, the vague notion speaker’s bias can be overtly encoded into syntactic structure. Different syntactic restrictions on scope-bearing elements in two types of polar questions can also be explained by connecting similar necessary conditions on speaker’s Ground projection and scope-bearing elements, as well as by positing distinct syntactic positions licensing interrogative feature of ‘MA’ and V-not-V questions. Lastly, this paper shows that the dual-function of response particles and agreement feature value of them are responsible for the different answering patterns of the two types of polar questions in Mandarin Chinese.

This paper analyzed Biotherm's case on the conceptual blending theory seen in Chinese brand naming and advertisement. Cosmetics brand ‘Biotherm’ is represented by its image as ‘Creation using emerald green hot spring water from Europe’, which cannot be achieved by the individual inputs of two input spaces, and only be obtained by building a blended space. Blended spaces in advertisements were also found to have an emergent structure with online composition, completion and elaboration after two or more mental spaces were activated. Unlike a static analysis of taxonomy and semantics by morphological characteristics or a conceptual metaphor analysis in which a single source area is projected into a single target area, the conceptual blending analysis explains the dynamic language processing patterns of humans, explains the principles and processes of forming new emergent meanings in addition to the input information, and has broad application of human thinking to various fields such as literature, art, science and mathematics. The consideration of linguistic phenomena through conceptual blending theory is a methodology for understanding the human mind required in the era of the Fourth Industrial Revolution, which explains the hidden behind human creativity and cognitive abilities in an unambiguous way. We look forward to various attempts by linguistics circles in the future.

South Korea and China are countries belonging to the East Asian Chinese character culture, and the two countries' text and language are closely related geographically and historically. The two countries based on Chinese character culture have developed literature and art through their own language, culture and literature records for thousands of years, using a common medium called Chinese Characters. The two countries have used the same Chinese Characters in Chinese character culture for many years, but the Chinese Characters used in both countries are different in their forms. Currently, traditional shaped Chinese Characters is used in Korea based on the shape of Kang Hee Jajeon, while in China, The simplified Chinese Characters is used. This study surveyed learners' perceptions and realities about the learning relationship between traditional Chinese characters and simplified characters. In order to examine the existence and degree of correlation between traditional Chinese character and simplified character learning, we conducted the study in two aspects. One is to look at learners' perceptions of traditional Chinese characters and simplified learning correlations through a survey response method for students currently learning Chinese at universities, and the other is to use specific survey responses to identify simplified characters that match traditional Chinese characters to examine the correct rate of selection by learning level and to see if the results of the respondents' recognition survey actually match the learner's selection results. Through this research, we checked the status of university students' perception of the correlation between traditional Chinese characters and simplified Chinese characters, and also looked at the status of learners' study about simplified Chinese characters, based on the degree of Chinese characters acquisition and Chinese language acquisition.