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This paper examines the traditional musical dance of the Tang Dynasty, ‘Baizhu-Wu’, and its lyrics. ‘Baizhu-Wu’ is ‘Qingshang-Musical Dance’, which is declining due to foreign musicals, but the song is still sung by the public. When some writers of the early Tang Dynasty write the lyrics, they reject the ‘SishiBaizhu-song’ of the Southern dynasties, and inherit the ‘Zhongyuan Baizhu-song’ in the Wei and Jin periods. Therefore, Tang Dynasty’s ‘Baizhu-song’ uses three lines of seven characters to a line in terms of form, and sometimes combines the 3･3･7 verse pattern. This is the aspect of early folk songs. In terms of content, it connects Wu Dynasty’s famous beauty, Xishi with the fall of the Wu Dynasty and expresses a criticism of this. This is the aspect of the ‘Baizhu-song’ in Tang Dynasty, which is because it inherited the ‘Zhongyuan Baizhu-song’. In this way, we can reveal the new aspect of lyrics literature through musical dance.

This thesis is a literary analysis of Li-Bai's prose “Feasting in the Peach-plum Garden in Spring Night”. In the process, this thesis pointed out that the existing interpretation misread this “Feasting in the Peach- plum Garden in Spring Night”. “Feasting in the Peach-plum Garden in Spring Night” was a work in which poet Li-Bai's personal and literary sense of self clearly appeared and this literary poet was a person with extremely arrogant pride. On the other hand, there is a point where real and literary poets disagree with each other in the “Feasting in the Peach-plum Garden in Spring Night”. His humility, which does not fit the content of the article, means the breakdown of the prose content. Focusing on this phenomenon, this thesis argued that “The Floating life” in “The floating life is like a dream, and how brief the enjoyment is?” which is the famous phrases of the article that already had a great reputation can be interpreted as a life that pursues and strives to the end, not just an inevitable passive life.

This study focused on the Ci-poetry of Li Wen, one of “Yunjian Sanzi” that were active to create Ci-poetry those days, examined the meanings of his Ci-poetry as a deposit of sorrow, and tried to demonstrate that it already showed the developmental possibilities of Qing Ci-poetry. In other words, Li Wen personally witnessed the Ming-Qing transition and underwent complicated emotional changes, which were reflected on his Ci-poetry. Li Wen could not resist the Qing Dynasty like Chen Zilong and held a government post in the new dynasty. Unlike Song Zhengyu who led a stable life as a government official, however, he kept having shame and conflict, which changed the thematic consciousness of his Ci-poetry. It shows the possibilities that Ci-poetry could serve as a means of literature to deposit the sorrow of intellectuals undergoing a huge historical event that was a change of dynasty beyond the literature for simple amusement.

This study analyzes the narrative of the next world represented in Part “Rebirth” of Taiping Guangji by dividing it into spatial, emotional, and material imagination. In the spatial aspect, the next world was perceived as a space that exists above the sky rather than underground. However, despite the spatial difference between this world and the next world, from the Chinese view of the next world was also depicted as similar to the real life in this world. In the emotional aspect, the living and the dead must live in their respective worlds that are divided into this world and the next world by death, but it was found that the ancient Chinese tried to overcome the fear of death by believing that the two worlds are not permanently separated and imagining links that would connect them in several forms. In the material aspect, it was considered that the concept of paper money and the use of it for funerals were based on the ancient Chinese's consideration for the dead in terms of a material tribute. The narrative of the next world discussed in this study is an affirmation of life that continues in any form after death, and a representation of an active worldview that does not consider death as the end of everything. The love, regrets, sorrows, and desires depicted as experienced by the living and the dead in these stories are not new to us today.

≪The three body problem(三體)≫ is a world of science fiction where numerous reasoning and imagination unfold. The appearance of mysterious scientific ideas and numerous episodes of human history intertwining and bumping into each other can seem distracting, disorderly, and meaningless. However, the numerous anecdotes are clues, duplexes, and evidence of the interaction between humanity and the universe that create eternal cosmic epic. In the end, ≪The three body problem≫ is a story about the nature of mankind from a cosmic point of view, and vice versa, through a perspective on the nature of mankind, imagining the civilization of the universe and imagining its effect on the universe. The universe of ≪The three body problem≫ is a wonderful world of fear. Of course, much of the fear can be seen as derived from the “sense of guilt” of humanity's “wrong” history, as Carl Sagan pointed out. In China's history and human history, Liu cixin saw the weaknesses of mankind and imagined a universal evolutionary style of space civilization called “dark forest”. Nevertheless, ≪The three body problem≫ says that without any guarantee, Exploration to Cosmos to pioneer our destiny, itself, is the original way the universe works.

Comparing Chinese science fiction in the 1980s and 1990s, it should be said that works in the 1980s were at a clear opposite point to the 1990s trend of work, which was exposed to the active trend of reform and opening up. This is because if Chinese science fiction empirically shows futility in the 1980s, socialist ideals, and Confucian traditional values disappear and pluralistic values begin to emerge in the 1990s. Therefore, the 1990s can be regarded as the starting point for announcing the new literary trend of Chinese science fiction. Nevertheless, since modern times, Chinese science fiction has not easily escaped the shadow of the perception that it is a means of enlightenment for the transfer of scientific knowledge. However, because the story of criticizing the country or system is still taboo amid the ever-increasing censorship and control of the Internet in China, and that many Chinese science fictions originate from the Internet, it is not enough to simply lead to a political position. In short, since the 1980s, Chinese science fiction has outlined various aspects amid the inevitable influence on public cultural factors. However, despite international interest in Chinese science fiction, related research in China is mainly focused on late Qing China works, and considering the works themselves, it is understood that Western academia has been actively conducting research. Then, if we have to overcome the difficulties faced by the Chinese science fiction community, which is in self-conflict today, and seek the development of Chinese science fiction, where should the discussion begin? The researcher believes that an integrated analysis should precede the interrelationship between Hong Kong and neighboring Taiwan, considering the nature of today's literature and China's special cultural and social background that crosses boundaries. This process can be a useful way to reflect on the literary location and meaning of Chinese science fiction and to grasp the limitations and significance revealed in Chinese science fiction. It has been pointed out as a regret that the works of Taiwanese and Hong Kong artists cannot be found in numerous Chinese science fiction books published on the Chinese continent so far, and the public comparative review of the three regional works appearing in different cultural backgrounds is of great significance in many aspects. First of all, this discussion aims to derive awareness of the ideological framework of nature and myths in these works and analyze how the artist tried to resolve the corresponding ecological relationship between humans and nature. This is no different from exploring the intrinsic way of thinking of the Chinese.

This paper aims to study the several problems in the Yangsheng rhyme of Juyao(full name Gujinyunhuijuyao(古今韻會擧要)). Juyao designed the Zimuyun(字母韻) system is an important material for demonstrating the phonetic change in the history of the commonly used Chinese language from Ancient Chinese to Modern Chinese. This paper focuses on studying the following problems: First, I will examine the availability of materials used in reconstructing the Yangsheng rhyme system of Juyao. Secondly, I will try to reconstruct the Yangsheng rhyme of Juyao on the basis of several materials. Finally, I will analyze the Zimuyun systemof Juyao and discuss several problems concerning the Yangsheng rhyme. I will also study Chinese nasal final syllable change and the phonological system’s basis of Juyao by comparing the differences between Juyao and Guangyun(廣韻), Zhongyuanyinyun(中原音韻), Contemporary Chinese dialects.

This thesis examines the types of focus and expression ways of ancient Chinese. The focus has complementary relationships with topic, presupposition, or ground, as an axis of consisting of an information structure, which is the part that the speaker emphasizes the most in the sentence. Lambrecht(1994) classified ‘focus structure’ into predicate-focus structure, argument-focus structure, and sentence-focus structure. This study also classified the focus structure of ancient Chinese based on the structure, mentioned above. The predicate focus structure is located in the predicate where the focus is presented with new information. The argument focus structure is located on the noun phrase which is an argument, where the focus is emphasized regardless of the sentence final and the sentence initial. The entire sentence becomes new information and focus in the sentence-focus structure. Ancient Chinese makes use of the syntactic means; focus marker, word order shift, and ellipsis, to express the focus. In the first place, focus markers, 之 and 是 are inserted to emphasize the object components with which are contrasted. Second, the focus of ancient Chinese is also influenced by the movement of the word order shift. For example, a predicate part is pre-modified in front of the subject, or the object is pre-modified in front of the predicate part. As well, the prepositional phrase are pre-modified or post-modified in front of the predicate or in the rear of predicate. Finally, in ancient Chinese, old information is often omitted to stand out new information with high information value.

This paper studies the characteristics of passive sentences of Sinitic languages. As the characteristic elements of the passive sentence, the passive implementation method, the predicate, the subject, the agent, and the passive semantic elements were analyzed. As a passive implementation method of Sinitic languages, there are word order, preposition, and patient particle. Most Sinitic languages ​​use word order and preposition to express the meaning of passive, and there is one language ​​that use word order and patient particle. Transitive verbs and dynamic verbs are generally used as predicates in passive sentences, showing the appearance of canonical passive predicates. The subject usually has the role of an patient, appears at the beginning of a sentence, and is a definite noun in passive sentences, showing the appearance of canonical passive subject. Agents are generally manifest, semantically ‘agent’, ‘human’ agents, and definite noun (or pronoun) in passive sentences, and all were downgraded from core argument to non-core argument. Therefore, in general, they show the appearance of canonical passive agent. Regarding the semantic characteristics of passive, passive sentences in Sinitic languages mainly expressed the adversative meaning.

The purpose of this study is to examine the quasi-affix characteristics of ‘味’ in ‘X+味’ in the modern Chinese language and to explore the process of forming derivatives from a cognitive linguistic viewpoint. Before research questions were presented, this study showed that quasi-affixes have the same grammatical and functional characteristics as affixes, while affixes have lost their conceptual meaning through delexicals, but quasi-affixes can form various derivations based on abstract meanings. It was found that ‘X+味’ has a high derivation power in the formation of new words when it comes to functions, in particular when combined with two-syllable noun roots. As for the structure, it is located in the last syllable of a word, causing a quasi-suffix derivation. From a semantic aspect, it is abstracted from the basic and derived meanings representing taste and smell to form and categorize the semantic qualities of atmosphere and feeling, showing the utilization of quasi-affixes. This study found that such a process is closely related to our physical experience and recognition of taste, and, in particular, is the result of conceptual metaphor and metonymy.

This research focused on the fact that Neng V de C(能V得C) implies ‘possibility’, which means ‘can do~’, while it is different from Neng V C(能VC) and V de C(V得C). Here are the following results: First, when Neng V de C(能V得C) is used in declarative sentence, the adverb such as Cai(才) or Hai(还) is used together in front of it to provide conditions or hypothesis for the goal, and psychological factors such as judgment, guess, claim, and denial are following, ‘Zhiyao……jiu(只要……就)’ is used the most among them. Second, when Neng V de C(能V得C) is used with interrogative such as Zenme(怎么), Shenme(什么), Shei(谁), Nali(哪里), interrogative usually implies scolding, impossibility, strangeness, anxiety, criticism, opposition and it does not indicate location, method, or cause. Third, when Neng V de C(能V得C) is used in interrogative sentence, it usually represents the meaning of rhetoricalness or possibility. The negative meaning formation of rhetorical sentence is mostly due to doubt. The speaker uses rhetorical sentence when he/she thinks the context of the two adjacent sentence is incorrect, abnormal, or does not match. Especially the usage of rhetorical marker such as Nandao(难道), Hebi(何必), Qi(岂) is remarkably high and non-marker interrogative sentences use intonation to convey rhetorical intentions instead of specific rhetorical marker. Finally, declarative and interrogative(non-marker) sentence of Neng V de C(能V得C) have differences in duration, pitch, pitch register, and in case of interrogative sentence final syllable lengthened, intonation rised, and the shape of tone contour was found to be the same as citation tone. This research is meaningful in that it started from syntactic and semantic point of view, analyzed massive amount of corpus and studied how does Neng V de C(能V得C) actually works in real language environment, and it can be used in Chinese education field.

Learning polysemy is one of the difficult parts for learners studying foreign languages. This is because the meaning of polysemy with more than one expressed meaning is deeply related to the culture of the society and the cognitive method of the members of the society influenced by the culture. In the case of translation, the meaning may vary depending on the accurate translation of polysemy, or the exact transmission may not be possible. Thus, learners must also invest a lot of effort into learning polysemy when learning a foreign language. Therefore, this paper examines whether Korean Chinese learners can correctly translate sentences using a Korean polysemous verb, and the ability to process polysemous verb translation of neural network machine translation when they translate Korean polysemous verbs into Chinese. Thus, this paper is a follow-up study of the Korean-Chinese machine translation pattern of a homonymous verb conducted as a previous study. By examining the machine translation pattern of a polysemous verb, it can be confirmed that Google still shows low accuracy while Papago and Baidu have improved translation accuracy in the translation of polysemy. In addition, Papago and Baidu have much better translation skills than middle-class Chinese-level college students who participated in this study in the translation of a polysemous verb and a homonymous verb. Thus, students will be able to use the neural network translation system as useful learning tools to help modify the translation on their own in the future.