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Until now there have been lots of researches and papers of ≪Changtzu≫' s theory and idea, but ≪Chang-tzu≫'s Sunglon has not been completely investigated yet. As I analyzed from ≪Chang-tzu≫ Jeonlon, ‘Sung’ is the most significant proposition, concept and selfcultivation of Chang-tzu. this article aim to determine the vague concept of ‘Sung’ from ≪zhongyong≫ and ≪Daehak≫ and its concept was manifested in ≪Chang-tzu≫ as well. ≪Chang-tzu≫'s Jeonlon can divide into ‘Cheondo’ and ‘Indo’, ‘Cheondo’ claims its Jisungmoosik Sung: Cheonjijisung, following God-given human nature: Solsung(jingisung) and following to the order of nature: Beobcheon. ≪Chang-tzu≫'s Cheondo focuses on succession of Sunglon, changes of all things, and Substitutability and diversity of all creation. Especially, accepting the death and praising it are his unique perspective of death. Indo insist that realizing of ‘Sungyi’ from ‘Shimjae’ and ‘juamang’ and expressing doli from ≪Chang-tzu≫'s fable.

This article is a study on Weijiangjunpiaojiliezhuan in Shiji. Weiqing and Huoqubing were generals from maternal relatives in Hanwudi Dynasty, who expanded Han’s territory and ousted the Huns. Sima-qian said that he wrote Weijiangjunpiaojiliezhuan in honor of their achievements. But contemporary reviews show that more negative aspects about Weiqing and Huoqubing have been found. This paper starts from the question that why there has been a gap between the positive and negative aspects.To analyze Sima-qian’s intention to write the Weijiangjunpiaojiliezhuan, I studied the structure, plot, and character descriptions. As a result, I discovered that Sima-qian criticized the characters’ lack in qualities and Hanwudi’s wrong personnel policy. And he also criticized Hanwudi’s foreign policy: he unilaterally destroyed the peace treaty and waged the war with the Huns.

Jeong Yak Yong(丁若鏞) took a critical viewpoint on Su Shi(蘇軾), but we can find Su Shi’s reflection on Jeong Yak Yong’s poetry and his life. First, Jeong Yak Yong wrote several responding poems to Su Shi’s(和 蘇詩), and he used Su Shi’s phrases in poems and episodes concerned with him. Secondly, Jeong Yak Yong usually called Su Shi to mind when he took food and he emulated Su Shi to draw the landscape of his hometown. We can say that Su Shi’s reflection on Jeong Yak Yong’s poetry and his life means Jeong Yak Yong revered Su Shi’s poetry and his life. I think it is a kind of identification therapy or literary healing.

After the birth of “Jeondeung shinhwa” and “Keumo shinwha”, respectively, they play an important role in promoting the development of their novels. They have an important position in the history of the development of novels in their respective countries. Therefore, Observe the differences between narrative traditions in the two countries. In the “Jeondeung shinhwa” legendary narrative, the narrative features of the calligraphic novels and so on are reflected, which reflects the popularization tendency of the classical novels in the early Ming Dynasty, which lays the foundation for the classical novels to open up the barriers of the classical narration and the vernacular narration. In the “Keumo shinwha” legendary narration, it actively displays the narrative function of historical genres, embodies the reliance on historical narratives in the formation of Chinese novels in the Joseon era, and this strategy has accelerated the formation of national literary spirit in the Joseon Dynasty.

This paper makes a detailed analyses of the types and function of “V+Zhe+De+N” phrase and “V+Zhe+De” phrase, and draws the following conclusions： ◯a There are different kinds of “V+Zhe+De+N” phrases in modern Chinese. According to the semantic relations and the different transformation forms of “V” and “N”, they can be divided into nine kinds of semantic types. “V+Zhe+De” is a combination of limited structure. ◯b “V+Zhe+De+N” has a variety of functions. “V+Zhe+De” serves as the subject and object in the relative verb predicate sentence mainly, and some can also act as agent subject and object in general the verb predicate sentence. ◯c “Zhe” of “V+Zhe+De” in the sentence mainly expresses the simultaneousness of the relative tense. In general the verb predicate sentence its time reference point is usually the time that the event that the predicate verb represents occurred. In the pan time sentence with no time tag time “Zhe” means that the event of “V” exist at the talk time. ◯d In Chinese grammar teaching, we should make an objective description of “V+Zhe+De+N” to improve Chinese teaching effectiveness.

In modern Chinese, “Zheme” and “Shuo” are often used together to form a phrase, but sometimes they can be used as one word. This paper uses the theory of lexicalization and grammaticalization to study the historical evolution process of “Zheme Shuo” from the diachronic perspective and reached the following conclusions. First, “Zhemeshuo” has been used as the conjunction and the Discourse Marker in the Qing dynasty. The conjunction “Zhemeshuo2” appeared in the response sentences of dialogues and played a role of correlation, but it still had lexical meaning. the discourse marker “Zhemeshuo3” appeared in monologues and functioned as the continuation in the text or was used to elicit concluding discourse. Second, the main motivation of the lexicalization of the conjunction “Zhemeshhuo2” was the context which expressed the conditional relation. During its formation process, the principle of language economy and the analogy mechanism also played an important role. Third, with the high frequency use, the conjunction “Zhemeshuo2” could be used in monologues and “Zhemeshuo” has gradually become a discourse marker. Since the Qing Dynasty, the discourse marker usages have appeared in large numbers and new functions have been created.

In the modern Chinese teaching, the teaching materials are very important constituent part. The ability to use language is one of the most important goals in Chinese teaching. The most important thing to develop language ability is to improve language skills. Krashen's five core hypothesis is the input hypothesis. The guiding principle of language input in foreign language teaching is the understanding of the general law of teaching. Language has relevance, so that learners can connect with the last knowledge point when they learn the next content, So as to reduce the next knowledge. Teaching in Chinese language has been discussed in recent years the country and specific problems, and the comparative study of Chinese textbooks also gradually in-depth. The difficulty of understanding points stimulates the learners' enthusiasm and interest in learning other languages.

Although Xi Zuo Ci starts from Su Shi, but The first one to write more Xi Zuo Ci is Huang Tingjian. Huang Tingjian is one of the Su Men Literary Group and initiator in School of Jiangxi Poets. He han achievements in Poetry and Calligraphy. He wrote about 190 Ci, therer are 18 Xi Zuo Ci. The objective was to explore the creative attitude and future writing tendency of Huang Tingjian’s Xi Zuo Ci. Huang Tingjian was there writing basic creative attitude of Ci, as write a “Xi(戱)” in the preface. But He's not just writing for “Play(遊戲)” position, showed his true feelings. He indicates The function of play and entertainment and emotion, thereby shows a variety of content. It's consistent with the writer's the creative attitude. In addition, We know that his Xi Zuo Ci is similar to the meaning and function of Xi Zuo Ci of his later generations. it influenced on the creation of Xi Zuo Ci in the Song Dynasty, can boost the creative activities of Xi Zuo Ci. Through this study, could find out the creative significance of Huang Tingjian’s Xi Zuo Ci, he widened the scope of Xi Zuo Ci creation in the Song Dynasty. It could prove the important position of Huang Tingjian in the history of Song Ci.

Zao-Yi's ≪OubeiShihua≫ is a representative poetry criticism in Qing Dynasty. The ≪OubeiShihua≫ consists of 12 volumes, and has selected ten representative poets of China and focused on their poetry. There are not only poets of Yuan, Ming, but also poets of Qing Dynasty poets in ≪OubeiShihua≫. In particular, Wu Wei-ye and Zha Shen-xing, who are only decades old than themselves, are discussed side-by-side with Li-Bai and Du-Fu. It was possible because of Zao-Yi's developing point of view on poetry. In this paper, I review the Qing poetry evaluation method mentioned in the text of ≪OubeiShihua≫ of Qing Dynasty poet. Because Zao-Yi lived in the middle of the Qing Dynasty, he clearly realized the rich and abundant information of Wu Wei-ye and Zha Shen-xing, the representative poets of Qing Dynasty living in front of him, as well as the characteristics of their works. Wu Wei-ye and Zha Shen-xing has lived in a different age by forty years away and has worked on different backgrounds ; in the age of a replacement of the dynasty and a stability of the dynasty respectively. This paper will show the clear characteristics of the works of Wu Wei ye and Zha Shen-xing more closely through the viewpoint of Qing’s intellectuals, and furthermore, this work will be the foundation for the study of Qing poetry. First, this paper examines the Zao’s poetic and his viewpoints on Qing poetry, and then examines poetry criticism of Wu Wei-ye and Zha Shen-xing represented in ≪OubeiShihua≫ Next, it analyze the evaluation methods in ≪OubeiShihua≫ with the aspects of 1) the author's age and growth background, 2) comparison of poetry and the historical research method.

The description of fighting in “Water Margin” is a valuable subject which is worthy of our attention on doing a certain research. But there is still a lack of relevant research on this subject. Fighting action is the product of extreme circumstances, and through fighting action we can most visiblely observe the characters’ temperament and personalities. The Description of action is just one kind of description in the novel but it’s also a very extreme action description. Through the complicated description of the fighting we can also visiblely observe the author’s capability of organizing the characters and the plots.The study on the description of fighting action in “Water Margin” is only a preliminary attempt, but it is hoped that the research of this paper will provide a new dimension for the study of the art of character’s creation in “Water Margin”

The concept of “Zhen” in Zhuangzi means nature and true of all things in the world. Two both fables of “Qinshi Diao Laodan”and “Zhuangzi Gu Pen er Ge” in Zhuangzi illustrate the concept of “Zhen”. They are also two good examples exemplifying his ideas, in addition, they are the practice in his philosophy. These two fables perfectly clarify philosophy of Zhuangzi. That is the concept of “Zhen”. In life, we should not impose on others do what you would not want to do and what you desire to do, because people can only know themselves and can’t know others, that is why people only know the “Zhen” of themselves, not judge other’s false. Therefore, there is no fixed standard of “Zhen”. Person who follows the original intention and agrees with his own heart is called “Zhen”. This is the core connotation of Zhuangzi’s “Zhen”. The author makes this connotation down to “Follow your mind”, “Follow your mind” that is do what you want to in your mind, so the only judgment standard of “Zhen” is whether do things follow your mind.

Simplified Chinese Characters were composed on the basis of cursive style with abbreviated strokes, which has considerable influence upon the education for the Simplified Characters as well as the appreciation of literature written by making use of them. According to Han Yu (韓愈), cursive style often attains more delicacy through the pictographic aspect of characters by re-communicating sympathy with matters. From this point of view, this paper pay attention to the pictographic origins and features of ‘lai来’ and ‘jia夹’, and their esthetic effects on the appreciation of literature. First of all, as in the meaning of ‘the Simplified Character, lai 来’, i.e. ‘coming’, which have been appeared several in the poems of Tang Dynasty, there is a great feeling of exotic and unusual images similar to that of Zhou Dynasty (周代) when wheat and barley were firstly imported from the foreign land to China, it has been examined that how the images originated in ‘lai 来’, which has the pictography of wheat and barley, could be made good use of for appreciating the works of literature. Secondly, in case of the Simplified Character, ‘jia夹’, attention being given to its pictographic aspect of bowing politely one's head (揖禮), it has been argued, within the limit positively cognized and exploited, that the ‘jia 夾’, presented several in the poems of Tang Dynasty, promotes potentially the ability of poetic appreciation through its image rlated to bowing politely (揖禮).

Qi Min Yao Shu has a high reference value for Chinese grammar research. There are a lot of “A-V” structures which are composed of a monosyllable adjective and a monosyllable verb in this book. These structures have syntactic, semantic and pragmatic features adapted to the development of the times as one of the typical structure in Qi Min Yao Shu. Syntactically, there are no Two-syllable adjectives or verbs that can enter the AV structure, but two of the coordinate monosyllable adjectives or verbs can enter the AV structure at once, and this kind of structure has no essential difference to the AV structure. But AV structure as a whole can match with the number of structure freely, or add a new adjective or a new verb after it. And this kind of structure will change the internal combination form of the original AV structure fundamentally. Semantically, through comparative analysis between the AV structure and the Serial Verb Structure shown in Qi Min Yao Shu, we can find under the guidance of the Time Sequence principle, there have two semantic relations - “modifying and restricting – action” and “supplement and explanation – action” between adjective and verb of the AV structure. It shows that the AV structure is still not a mature structure in this period, because a stable structure can express only one meaning. Pragmatically, in the actual context, no matter which semantic relation the AV structure shows, there also is a “expression focus - structural focus” pragmatic structure between the adjective and the verb.

This research examines the changes and characteristics of the literary style of Chinese translated Bible by Western missionaries, and aims to study the missionaries' understanding of the discordance between written and spoken language of the then Chinese society. Bible translation was a crucial duty for missionaries and in order for the Bible to be read and accepted by the Chinese people, comprehending the linguistic situation and background of China of the times was required, in addition to grasping the Chinese language itself. Thus, the translated Bible is valuable not only for understanding missionaries’ awareness toward the Chinese language, but also for realizing the linguistic reality of modern China. The literary styles of the Chinese translated Bibles have changed dramatically through time. The Morrison version, Marshman version, and Delegate version, which were the first complete translated Chinese versions, were all in classic styles. Since then, the Nanjing, Mandarin, and easy classic style versions appeared, under the intention of translating an easy-to-read Bible. In the case of the Union Version, the shift of such literary styles was planned into three types: classic style, easy classic style, and Mandarin style. Such change in literary styles reflects one aspect of the missionaries' efforts to spread the Bible to both the literati and the commoners in China, during the era of discordance between written and spoken language. Missionaries tend to have subdivided the Chinese literary styles, rather than dichotomizing it into written and colloquial language. Division of written styles was made into several stages, or a specific literary style was established in-between written and colloquial styles. This is closely related to the easy classic style that appeared in Chinese translated Bibles during the late 19th century. The easy classic style received great attention from the missionaries due to its accessibility by the commoners for its easiness compared to the classic style, and since it was regarded as an element that can complement the weakness of dialectal differences and the vulgarity of the colloquial style. However, standing in the middle of written and colloquial literary styles, the easy classic style failed to distinguish itself from the normal classic style, and thus eventually declined due to its resemblance to the classic style. Meanwhile, missionaries were burdened with translating the Bible into colloquial style, since there existed a phenomenon where Chinese people belittled colloquialism. Nevertheless, as they gradually focused more to the Mandarin Chinese as China’s lingua franca, colloquialism steadily settled in as the main literary style of Chinese translation of Bibles.

In China, Russian Literature was introduced in earnest after the Bolshevik Revolution in 1917. Chinese intellectuals regarded the 19th Russian literature as intrinsic force for the revolution. In the early years of the twentieth century, Chinese left-wing intellectuals supported literature for life's sake. They believed that literature had the power to change social status and miserable life of the lower classes. Under these special historical context, Leonid Andreyev's works was introduced and translated into Chinese. This paper explores the reception and translation of Leonid Andreyev by two major Chinese translator groups: the German and Japanese translation group attempted to absorb Leonid Andreyev as a great realist and psychological author.; the English translation group placed Leonid Andreyev among the best humanists. As a Results, Chinese literary world was able to a new realization about humanism and realistic description of the Silver Age of Russian literature. At length, most of stories and plays of Leonid Andreyev translated into Chinese in Republic of China, 1920s. Realism works of his was estimated highly, but symbolic spirits did not received a fair assessment. Unfortunately, Since Chinese left-wing intellectuals criticized Leonid Andreyev for unconsciousness of the Marxism class theory in the 1930s, Leonid Andreyev has become an object to be overcome.

The famous novel ≪Besieged Fortress≫ written by the great Chinese author Qian Zhong Shu has been published twice in the Korea Republic during the 1990s. The first Korean translation of this masterpiece is actually an indirect translation via its English version. The second Korean translation is a direct translation based on the original novel written in Chinese. Influenced by the English version instead of the original version, some parts of the first Korean version appear vague and rigid as it was unable to be expressed in corresponding appropriate Korean Chinese characters. However, translating this way has its own advantage compared to direct translation. As this would lead to free translation instead of literal translation, therefore it took away the interference from those Korean Chinese characters, as a result it used more authentic Korean words to make the story more vivid, and has a significant good effect in describing the era and the society then, in which the characters of the novel had lived. Thus it also helps readers to understand the novel better. That is why this indirect version is regarded by many translators as an important reference book. Furthermore, it promotes Korean language and its culture, which of course is a desire for all translators from Korea. As a translator, you always want to do your best to produce the highest quality work and hope it will be liked by your readers. Because of that, your translation style has to be catered to the taste of your readers. This study shows that no matter whether it is a direct translation or an indirect translation, provided it helps producing a good translation work, being a translator you need to learn to apply either method or both into your translation to suit your readers.

As　Lin Yutang(林語堂) refers to Confucianism and Taoism, Confucian thought is not suitable for human nature from the educational point of view. Reactionally, Taoist(道家) thought is suitable. In chinese philosophy, to be a great Chinese who has the mutual supplement & integration of the Romantic Taoist and the Classical Confucian. True Chinese literature was created by Taoist thought. For example, we are relieving the strict life of Confucius from a form fitted to some extent and a moral sermon. Chinese writers mention ethics 道　in the morning and discuss morality 徳, but if they go out into the field, they will write poems and make lyrics. The poem is full of Taoist thought. This is why poetry accounts for the majority of their writings and the most Chinese writers make poems. So, what is the reason for evaluating Taoist thought like this? It can be estimated with two kinds. One is to comfort the injured heart of the Chinese as a supplement to Confucian faults. The other thing is to act as a nutritional agent in Chinese literature. Lin considers Taoist as naturalism = ‘painkiller’, and clarifies the relationship between immortal masterpieces and Taoist thought. In other words, if the theory of Confucianism is useful in the age of peace and national unity. Romanticism of Taoist thought, poetry of a Taoist, is useful to solve the suffering and grief of the Chinese in the era of chaos. In other words, the power of the negative and positive in Taoism and Confucianism are to keep the Chinese survive.

≪BiJiManZhi≫ established a comparatinely complete theoretics system concerning The origin and ontology of Ci poetry in view of philosophical cosmologist genesis and dualism. Wang Zhuo(王灼) put forward the following Ci Poetry of the Central Ideas. Wang Zhuo is literature, theorists during the southern song dynasty. He achieved some success In the fields. His ≪BiJiManZhi≫is the highest achievement. That is the earliest extant a ci theory monographs. This monograph related to Music and the relationship between Ci, the Ci origin, Ci criticism and so on. That is a high works of data value and academic value. This article uses the literature review method, mathematical statistics, and logic analysis method. Study ci poetry criticism theory and analysis aesthetic standards. The first part with a longitudinal perspective Wang Zhuo for CI, CI origin theology and part of speech features are discussed. The social background and scale master piece of Ci that had mainly probed the sources and evolution of poetry, ci and the southern song dynasty, made the question of their clear to break through then sterotypes of ci the southern song dynasty to live up to Ci for Poetry and offered the theoretical proofs for remaining the song like literary traits of ci.