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Literature and culture grew by communicating with each other. Ci poetry is influenced by the performance culture of the same period, so has a theatrical quality. The performance culture of the Northern Song period was watched by many soldiers, who liked the saga of heroes and generals, and pursued a pleasurable affection. And performance culture showed a tendency to be amusing and playful because of the low artistic level of audience. Ci poetry has a theatrical quality. First, two characters appear in the Ci poems. There are two cases: one is the lyricist describes the male and female characters, and the other is the lyricist serves as the male character. Second, Ci poetry of Northern Song period adopted a conversation style; a man confessed to a woman, or the man talks to the man. Third, Ci writers used Manci. As the number of Manci phrases increased, they could delineate the scene, and connect scenes with scenes. The fourth, Ci writers linked many songs, and sang narrative material. They chose the legendary novels of the Tang dynasty, and remade it by using a chapter-after-chapter Ci style. In short, Ci poetry of Northern Song period has a theatrical quality as one of the performances culture, which raises the artistic level and also influences the Yuan drama.

This study aimed at classifying the aspects about the way the women who were in the subjugated social position of Ginyeo, even though they were born from the class of Yangmin (normal citizens), escape from their status and try to recover their social position in Roman novels during the Song Dynasty. In addition, it analyzed the abilities and aspects of those women which were revealed in the process of being free from the subjugated social position so as to examine what requirements lead to a successful ending. The summarizations, obtained from this study are as follows: The works can be divided into three types; <Gamdangyusa> and <Dameuigagi> demonstrate the type that a woman who belonged to the social group of Ginyeo succeeds in becoming Yang Min (normal citizens) and pursues free love, <Wanggoejeon> is the the type of revenging the man who betrayed a woman called Ginyeo when she failed in being free from the subjugated social status; and <Danburang> is the type that succeeds in being free from the subjugated social status with the help of a man who is expected to marry. The things that are required for being free from the subjugated social status of these women include literary talent, economic ability, and moral characteristics, represening the virtue (德) of women. There are occasional cases that these requirements would help for Ginyeo to be free from their subjugated social position. In particular, it is estimated that the virtue of women plays a key role in attaining the liberation from the subjugated social position more than any other requirement.

≪Pan Changshui, a corrupt man≫ is a new realistic novel describing the tortuous official career of ordinary man. The author links closely the fate of Pan Changshui, a low-level cadre, with the change of Chinese society. The change of the hero's fate is the main line of the novel, and the transformation of Chinese society is the framework hidden in the personal narrative. This paper examines the protagonist Pan Changshui and the three social periods in which he lived and analyses the underlying causes of Pan Changshui's tragedy of fate. Firstly, the thesis divides the life of the protagonist Pan Changshui into three stages and sorts out his desire pursuit in each stage. Pan Changshui has different desire pursuit in different periods. In the process of pursuing desire satisfaction, his human nature has been alienated. Secondly, the deep causes of Pan Changshui's alienation of human nature are comprehensively analyzed from both internal and external causes. It is found that Pan Changshui's face-saving character makes him lack of independent personality. The ideological changes brought about by the two transformations of Chinese society have led to the alienation of his human nature.

Liu Zhen-Yun uses various appendix forms in the structures of his novels, managing these forms and conducting its experiment are characteristic of his novels. Especially, he adds four appendixes in the particular chapter of the ≪Guxiang Mian he Huaduo≫. Liu Zhen-Yun not only tells us daily lives of ordinary people through the appendixes, but tells us disclosure of family problems or filial duty. Also he presents a vision and an utopia of Chinese future, criticizing power and bureaucracy and hoping emergence of government officials of integrity and benignant. It is his deep awareness of serious problems in the Chinese society of those days that his novels deal with problems of power and bureaucracy. Setting-up an appendix in a novel is likely to be a structural symbolism on purpose. He discloses family problems or criticizes power and exposes corruption of public officials by intentionally inserting an appendix like a reference prone to look over as important part of a narrative structure. Expecially an unusual structural set-up of an appendix explains a Chinese social situation of those days. He inversely uses original meaning of an appendix. This makes the appendix more important part by revealing theme of a novel in its structure. And this is a set-up of a structural symbolism that reflects an issue of the freedom of speech in China. This takes after expression of Chinese journalism that claims inside calmative through an issue unconcerned. Also this secretly reveals a similarity between a structure of a novel and a particular structure of a society. It is a set-up of a special structure that claims his inside idea by using an external and internal structure of an appendix. And this shows his literary accuracy in the structural set-up in a novel.

The Chinese society has strengthened after decades of internal tensions and external wars. With an epoch-making history of refracted modernization, the Chinese society has challenged itself again to transform completely to bring about a structural change. If we were to discuss the difference between the latter half of the 19th century and the present, it would be the fact that China is seeking “Modernization of Sinicization”. It plans to fulfil this desire by pivoting on its rich culture and breaking away from emulating the West and adopting its methodologies in science and technology. In the first half of the 20th century, the clerisy was deluded to believe that China could drive modernization by simply imitating Western culture. Subsequently, China was ushered into a new era. The initial idealistic belief of imitating Western culture has led to China treading an independent path to modernize on its own merits. Therefore, from a broader perspective, China has entered a stage of “true modernization” by focusing on socio-cultural development shaped by tradition instead of merely importing foreign approaches. It is paradoxical that the Chinese ideology brought about by a misconception of tradition is now perceived as a threat to the rest of the world. While we cannot doubt the significance of reflective thinking on science, which had originated from China’s traditional school of thought, people around the world are concomitantly aware of the value ​​of Chinese culture. In other words, although contemporary Sci-Fi is recognized as a tool to reconstruct and strengthen nationalism, the belittlement of humanism, the decline of morality and the loss of human dignity have collectively attributed to the revitalization of contemporary Sci-Fi and its instrumentality to safeguard humanity. There are three factors contributing to the contemporary “Sci-Fi Fever” phenomenon. First, the existence of modern clerisy who has gained rationality and freedom in creative thinking enabled by “The Chinese Dream”. Second, China has once again become a force to be reckoned with. Third, the decrease in vulnerability, emanated from strong nationalism and unity of its population. Despite the relation between rational thinking and rational behavior, actions cannot be determined by reason alone. We can then learn from China what it means to be truly human.

This paper aims to compare between the main woman characters in Panjinlian and Leeyeongnjeo. These are presentative works published in Korea and Chinese in the 1920's. Panjinlian and Leeyeongnjeo publishes in this era which Korea and Chinese suffered from invasion of western culture. Women were especially the weak under that phase. In this two works, main woman characters are in a tragic situation under the various feudal oppressions in common. They were married woman who suffered from male-dominated society. They couldn't help depending on the various support of the man for survival. Especially, it was the sexploitation that was most serious problem for the woman. The struggle between men and women leading the plot of drama. This two main characters couldn't overcome the oppression of male-dominated society. So they were finally destroyed in tragic. Therefore this works can be defined in a social drama that faced up to the reality of society at that time.

Since LuXun proposed that CaoPi's era could be regarded as a period of Consciousness of Literature, it has been a key expression to describe Jian'an Literature until many scholars raised their objections in recent years. Some scholars pointed out that “Consciousness of Literature” is an academic concept originating from the West which is not appropriate in the study of Chinese literature. Therefore, it is necessary to survey the literature of CaoPi's era again. This paper started from finding the concrete meaning of the concept which is so-called originating from the West, and then considered the meaning of LuXun's original words and the position of LuXun, we can get the conclusion that the concept of “Consciousness of Literature” is not appropriate to summarize the characteristics of Jian'an Literature. On this basis, we re-examined the Literature of CaoPi's era, in view of the concept, there has been a change from “Care of Statement” to “Lyrical Expressing”, from the perspective of literati writers, there has been a change from “Servility” to “Human nature”, and from the perspective of literary genre, there has been a change from “Vassal” to “Independence”. Therefore, from a comprehensive perspective, the overall trend of literature in this period has turned into a turing trend. CaoPi's era can be seen as a turning point in the history of Chinese literature.

The purpose of this article is to study printing blocks and the content containing within the blocks of Yangzhou Cangjing yuan(Holding Scripture Depository). Yangzhou Cangjing yuan was the place for carving block for printing Buddhist scriptures in Yangzhou during the late Qing and early Republic of China. It is located at Wanhongfang(宛虹坊) 58hao in Guanglingqu(廣陵區), Yangzhou(揚州), Jiangsu Province(江蘇省), People'S Republic Of China. Cangbange and Cangjinglou still exist. It is said that a carving project was undertaken in the reign period of Xianfeng, but we can not still find its substance. The organization began the activity of carving in a full-scale from 1874(the 13th reign year of Tongzhi) and stopped entirely in 1939(the 28th reign year of Republic of China) when the Sino-Japanese War broke out. forty thousand to fifty thousand sheets of printing blocks stored in Yangzhou Cangjing yuan were transferred to Guangling shushe(廣陵書社) in the early days of the Cultural Revolution and moved again in 2005 to Yangzhou Zhongguo diaoyban yinshua bowuguan(Yangzhou Museum of Chinese Carving Printing揚州中國雕版印刷博物館). Now Yangzhou Zhongguo Diaoban yinshua bowuguan has thirty thousands sheets of Buddhist scriptures. It is presumed that most of them are the edition of Yangzhou Cangjing yuan and those of Zhongxingan(衆香庵版) are partly included. ≪Yangzhou Cangjing yuan jingshu mulu(扬州藏经院經書目錄)≫ was carved on August 1927(the 16th reign year of the Republic of China). Two kinds of books written by Korean are included in the edition of Yangzhou Cangjing yuan. One is ≪Cheontae sagyoui(天台四敎儀)≫ by Chegwan(諦觀) of Goryeo, which was carved in 1909(the ist reign year of Xuantong). The other is ≪Goryeoguk Bojoseonsa susimgyeol(高麗國普照禪師修心訣)≫ by Jinul(知訥) of Goryeo, which was carved in 1916(the 5th year of Republic of China).

At present, the study of context is in a flourishing stage. Language scholars and other scholars with contextual related disciplines have studied context from different angles. In general, the linguistic context of linguistic context is still focused on the application, limited to the branch of linguistics, and in the study of the division of various branches of linguistics. The basic theory of context is still very backward, and the context is still lack of a comprehensive, comprehensive, comprehensive study and a understanding of the context. It is still vague, and there has been no significant progress in the basic theoretical research on the nature, form, structure and type of context. At present, contextual research has been paid more and more attention by linguists and scholars, and has become a very important research content in linguistic research. Context research is gradually getting rid of the subsidiary status of other disciplines and is developing towards an independent research direction of linguistics.

This paper examined the frequency and vocabulary repetition frequency of vocabulary in three kinds of Third grade textbooks on the market. Class Third grade textbooks are students whose target audience is Third grade. The vocabulary of the textbook should also take the Third grade, the third grade vocabulary. However, as a result of the analysis, the vocabulary of grade 4 or higher appeared in all three textbooks. 73% for A textbooks, 71% for B textbooks and 75% for C textbooks. There were a lot of vocabulary other than the grade. 54% for A textbooks, 51% for B textbooks, 53% for C textbooks and 49% for D textbooks. Compared to the 600 words of the 3rd grade vocabulary presented in “International Chinese Language Teaching Vocabulary” (2014), the number of proper vocabulary of the 3rd grade of the three kinds of teaching materials was quite high. 66% for A textbooks, 61% for B textbooks, and 75% for C textbooks. I examined the number of vocabulary repetition of three kinds of teaching materials on the market. Carpay (1975) was applied to investigate the proportion of vocabulary that appeared more than four times. The average grade A to grade 1~6 was 27%, the textbook B was 26%, and the textbook C was 26%. At least 26% and 27%, respectively. It is not easy to use grade 3 vocabulary (including Grades 1 and 2) when organizing Third grade textbooks. You may also use several classes of vocabulary depending on the purpose of the textbook. However, if a Third grade textbook is used, it is reasonable to use a vocabulary lower than the third grade for the purpose.

≪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.