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Heroines from ≪New Songs from the Jade Terrace≫ had following physical characteristics: smooth and lily-white skin, a slim waist that seemed cannot even keep clothes and accessories steady, delicate limbs, slender hands, sideburns like wing of a cicada, black and long slender eyebrows, cherry lips with white and even teeth, and acting charming with a dimpled face. Above those characteristics, they put makeup on, so that the common aesthetic consciousness of that period could be given shape more clearly. The base of face makeup was white powder, and also the red powder was added to emphasize feminine beauty. For the eye brow, Sometimes they made a thick shape and sometimes made a long and thin shape like tentacle of a the silk moth. They put yellow rouge as the shape of stars or moon on their forehead, and put solid orange rouge on their lips, colored them deeply, so that lips could show off their healthy and beauty. As covering clothes with scent, they added feminine attraction by using perfumes such as Di Xiang(狄香), orchid, musk, et cetera.

This thesis aims to examine the life of Xu Fu, a poet, who belonged to the Jiangxi Poetry School, his position in the poetical circle, and the significance of his role in the poetical circle in exploring the poetic world of him by classifying the time into two; before and after moving to the south across the river. Xu Fu established the Yuzhang Poetry Groupat the late Northern Song Dynasty, and moved to the south. During this period, many poets formed Jiangxi Poetry Groupand made a leading poetic circle in the early Southern Song Dynasty. Xu Fu sought for changes in the creation of poetry, when the negative sides of Jiangxi Poetry School were on the verge of being revealed. Therefore, he insisted that the learning of writing in the scope of methods should be expanded to those of six dynasties. In terms of the topics, he put an emphasis on the direct and real experience as well as the description of scenery. In addition, he highlighted Zhongdi in the creation. The writing trend of Xu Fu revealed that his poems were comprehensive of the six dynasties and the late Tang Dynasty. Thus, Fresh and natural poetic style can be implied. Therefore, he succeeded to the heritage of previous poets in the poetic world of the early Southern Song Dynasty, playing a role of opening the future.

This paper analyzes Shen CongWen's “Border town” and Kafka's “The Castle” text ambiguity problem. The two works have been excessive interpretation, so the true meaning of the works are covered up. In order to better understand the connotation of the works, we start from the text analysis. The two works in the text have shown the characteristics of ambiguity. This form of ambiguity is shown in three aspects: fuzzy images, similar characters and the subjective time. The theme image of “city” in the two works is vague and difficult to approach, let people have a sense of loneliness. At the same time， the two works both used the same technique of repeat to create similar image of the characters. The characters have become vague too. The use of subjective time is the two authors attempt to seek self in all of the ambiguity. The two works from the images, characters and subjective time three angles of the text to show that essence of the world, people, self is ambiguous and uncertain. The ambiguity is the authors' cognition of the world and the charm of the works, because that the ambiguity provides unlimited scope for the reader's interpretation. “Border town”as a traditional novel obtains the value and meaning of modernity too, because in a certain degree of correspondence with Kafka.

The change of sentence patterns in ‘于’ sentence only occurred in the ‘V+于+∼’･‘V+O+于+∼’ and ‘于+∼V+O’. The object after ‘于’ changed in the process of ‘Location → Object of Sacrifice(Abstract Location / Abstract Person) → Person / Thing’. As a result, the whole structure of the sentence did not change. This explains that the usage of ‘于’ was fixed before Western Zhou dynasty. As the object changes, ‘于’ had changed from verb to preposition. However, from Shang dynasty to Western Zhou dynasty, the object after ‘在’ had not changed in ‘V+在+∼’ and ‘V+O+在+∼’ sentence patterns, but there existed only one type of object: location object. This shows that ‘在’ did not change grammatically. In addition, since ‘在+Location)/Non-Location)/Time’ structure was separable from verb, the structure was regarded as independent structure in Shang Shu and Bronze Inscriptions. ‘在+∼+V+O’ structure had not appeared in Western Zhou dynasty. ‘在+∼+V+O’ in the future generation was originated from ‘在+處所，V+O’ structure in Western Zhou dynasty. In this structure, ‘在’ had the feature of verb. This shows that ‘在’ was accepted as verb rather than preposition by Western Zhou dynasty.

Considering the relationship among ‘YU(于)’･‘YU(於)’ and ‘HU(乎)’, they are both originated from the same root. However in the most cases of GUODIANCHUJIAN, ‘HU(乎)’ is mainly used for postpositional purpose except for the usage of conjunction indicating comparison. Semantically, we can sort ‘YU(於)’ phrase in ‘place’･‘object’ and ‘scope’. Except for the usage of preposition in GUODIANCHUJIAN, the character ‘YU(於)’ is also used for the usage of exclamation and preposition, or as the ‘phonetic loan character’ of ‘YU(虞)’. Also, ‘YU(於)’ can be omitted when it is used as a preposition or no big semantic confusion is expected, particular1y, ‘YU(於)’ which comes after ‘SHENG(生)’ in YUCONG(語叢). Grammatically, the phrase ‘YU(於)’ can appear in various forms. Particularly, since the part explaining the conception accounts for the biggest share in XINGZIMINGCHU(性自命出) of GUODIAN CHUJIAN or in YUCONG(語叢), the phrase ‘YU(於)’ is often used in the partial form of judgmental sentences.

This paper aims to show that plant metaphors are being used as an efficient communicative tool in Mandarin Chinese. It discusses two kinds of plant metaphors, borrowed metaphors and assimilated metaphors, all of which are formed based on the similarity between plant and human being. The borrowed metaphors are used to name plants such as flowers, trees, grasses through borrowing the terms of human body, family members, human behaviors, doctor's treatments, famous persons etc. These metaphors based on the metaphorical concept [植物是人] help the speaker to vividly refer plants and the hearer to have a good and easy grasp of the plants referred through association and inference. The assimilated metaphors based on the metaphorical concept [人是植物] are used to compactly and vividly express person's specific features, such as personal appearance, property of age, character, status, behavior etc. These metaphors are interesting enough to fascinate the hearer, even though they are brief and compact. In conclusion, plant metaphors, either borrowed or assimilated, are used to communicate various meanings and features in a vivid and compact manner, which helps the hearer to have a strong interest and an easy understanding of the delivered meanings and features in Mandarin Chinese. This shows plant metaphors to be an efficient communicative tool.

The questions of word order change has still been much debated during the last decade. This study has conducted a analysis of the word order change of adverb in Chinese and its typological meaning. Li & Thompson(1974) insisted that the direction of word order change in Mandarin Chinese has been SVO→SOV. But we need to reconsider this hypothesis. The adverb order of the old chinese is located before predicates, but the adverb of the Eastern Han Dynasty and Six Dynasties is quite different from that of Old Chinese, some are located after predicates, for instance, verb measure word, direction complement and degree complement. Also the word order of the aspectual markers in Old Chinese also is different from that of Modern Chinese. Grammatical aspect is expressed by pre-verbal adverbs in Old Chinese whereas pre-verbal adverbs in modern chinese. This fact apparently contradicts the assertion of the word order change from SVO to SOV in chinese. In contrast, this study showed that chinese has fixed SVO order.

The degree adverbs “hen” and qualitative adjective “duo”, “shao” compose “hen duo” and “hen shao” which are called isomorphic antonym. They seem like a pair structure but have opposite meaning. The meaning and grammatical function should be symmetrical, but in fact, it's not. The isomorphic antonym presents the asymmetry in actual use and causes usage errors of Chinese learners. This paper analyses the semantic and syntactic function about “hen duo” and “hen shao” through Corpus. First, collecting and organizing the corpus, combing the researches, concluded the meaning of “hen duo” and “hen shao”. Secondly, combining the asymmetry of the meaning, comparing the syntactic function with “hen duo” and “hen shao”. Cause the asymmetry of the meaning, they are asymmetric when they be a subject, object, attributive, complement for adjective, adverbial modifier. Moreover, the author will try best to find the reason of asymmetry of isomorphic antonym and hope that could do some favor for teaching Chinese as a foreign language.

This paper intends to analyze the perspective of a Taiwanese intellectual Wei Qing-de on the Northeast countries including Japan, Joseon, China and Manchuria in the early 20th century, based on the travelogue of the journey to Japan, Joseon, China and Manchuria. Wei Qing-de, who was born in Taiwan and lived there his whole life. Wei Qing-de was one of the Taiwanese intellectuals who traveled each country in Northeast Asia as a poet and a journalist, and left a significantly large amount of poetry and proses describing the images of the Northeast Asian countries based on his experiences. This research aims to summarize Wei Qing-de’s journey and purpose of trip to the Northeast Asian countries including Japan, Joseon, China and Manchuria and the sentences describing the Northeast Asian countries among his poetry and prose, and identify the recognition of Taiwanese intellectual Wei Qing-de of the Northeast Asian countries based on the literary works. Wei Qing-de recognized that the current point of Northeast Asia was an emergency situation after traveling around Manchuria and Joseon in 1935, he argued to protect the peace of East Asia and advocate for Pan-Asianism based on the mutual prosperity of Japan and Manchuria. He recognized that Japan was the most appropriate country to execute and achieve the proposal.

Su Shi(蘇軾, 1036~1101）was one of the most distinguished poets in the Northern Song(北宋) dynasty(960~1127), until now most of his poems are very influential, and he occupies important position in the history of Chinese literature. His poems were introduced into Goryo(高麗) during his lifetime. After that, his poems were widely read by the poets of Goryo and Chosun(朝鮮) dynasty(1392~1910). But the middle Chosun dynasty is a period while admiration for Su Shi comparatively declined with the appearance of Korean neo- Confucianists. Even though Shin Heum(申欽) was one of influential Korean neo-Confucianists of this period, he not only worshiped Su Shi’s personality but also had a passion for his works. He even wished to identify himself with Su Shi. Through this thesis, I surveyed Shin Heum’s viewpoint on Su Shi’s personality, and presented some aspects he loved and learned Su Shi’s works.