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Among the poems of Mi Fu, who excelled in both poetry and calligraphy, 42 poems on 39 topics were selected as poems on calligraphy. These poems expressed views on previous calligraphers and calligraphy works, and Mi Fu's aesthetic view of calligraphy was analyzed in this paper. The selected poems were classified into three categories. Preferentially, the calligraphy life of the Mi Fu, who loved calligraphy enthusiastically throughout his life, was analyzed by dividing it into separate chapters. Mi Fu not only shows his love for calligraphy in an honest and plain style in his poems on calligraphy but also expresses his view of life and calligraphy. His poetry is not remarkable about the composition of poetry, but what attracts attention is that the use of allusion is rare and he revealed his view of calligraphy with honest and straightforward expressions based on his nature. In calligraphy, he is a bold creative person who learned ancient calligraphy through a traditional style of calligraphy and then changes the old and becomes his own, establishing a style of calligraphy with his character and personality, this aspect is also revealed to some extent in calligraphy poetry.

This study investigated Zhexi Liujia Ci(≪浙西六家詞≫), which is a collection of Ci poems by six writers from Zhexi in early Qing Dynasty, focusing its analysis on their responsorial yongwu ci poems(詠物詞). Zhexi Liujia played important roles in the creation of Zhexi Cipai(浙西詞派) that was the center of Citan(詞壇) until middle Qing. “Yongwu,” which sings about external “objects,” is a topic that clearly shows the creative tendency of Zhexi Cipai. They experienced a change of dynasties at a relatively early age. In those days, the “sentiment of drifting people” was deteriorated by the Qing Dynasty's overbearing and conciliatory policies for the Hanzu(漢族) intellectuals and the stabilization of politics. This trend was reflected on the works of Zhexi Liujia, showing a transitional pattern. They followed works by Nansong(南宋) intellectuals that had similar experiences during a change to a dynasty of other people and expressed some sentiments of drifting people by choosing the same topics as them to respond to them. Unlike Yunjian Cipai(雲間詞派) that had first-hand experiences with the fall of a dynasty and dealt with “woman” and “object” topics under the goal of conveying unexpressed meanings by entrusting them to objects, Zhexi Liujia separated “me” from “objects” and sang about “objects” as others. They thus described objected likened to “women” sensually as an object of desire instead of a being to whom “my” sorrow was entrusted. They recorded new information about novel objects and sang about things, animals, and foods as an object of physiognomy and love. This trend reflected changes to the perceptions of objects among intellectuals since the second half of Ming Dynasty and opened up the possibilities of moving forward in a direction of recording information about objects as an objective being completely separated from “me” rather than subjective objects on which “I” as “yongwu” was projected.

Through comparing responding poems to Su Shi’s(和蘇詩) during the Goryeo dynasty and the Joseon dynasty with the original poems of Su Shi(蘇軾), I analyzed the psychological mechanism that created the responding poems to Su Shi’s and the aspects of these poems in depth. Through this, I surveyed a phase of Su Shi’s influences on the literary society of the Goryeo Dynasty and the Joseon Dynasty. As a result, I found that responding poems to Su Shi’s during these periods can be divided into three types. The first type was written for emotional communication with Su Shi. The second type was written to train their own poetry writing. The third type was written as a means of communication with literary friends. The first type and the second type are individual creative acts, but the third type is impossible without social consensus among literary friends. So we can say that responding poems to Su Shi’s in the Goryeo dynasty and the Joseon dynasty did not stop at individual creative acts, but over a long period of time, they gradually developed into a cultural code based on social consensus, and finally, they formed a literary culture which can be called ‘culture of responding poems to Su Shi’s’.

This study focuses on the translation of story of “Jin Yunu Beats the Heartless Man”, which was the most translated into Western European language among Jin-gu-qi-guan, or Wonders Old and New. Since the first English translation of story of “Jin Yunu Beats the Heartless Man” was published in 1868, more than 11 versions have been translated into Western European languages ​​such as English, Latin, German, and French. In this study, six Western European translations published in the 19th century are examined. Each translation was examined in chronological order, focusing on the cultural context of the times the translator faced, motivation for translation, translation characteristics and the method of publication. The Western European translations in the 19th century were free translations that were closer to rewriting based on the original texts than faithful ones to the original texts, although there were differences in the degree of translation. The Western language translations played a part in the popularization of knowledge of Chinese culture and Chinese language.

It has been analyzed that 21st century Chinese science fiction has made a very positive contribution to Chinese science fiction literature by distinguishing it from 20th century works while forming a new terrain through the emergence of excellent “gèngxīndài(更新代)” writers. Specifically, the characters desire to escape in 21st century works “found within a confined and heterogeneous space of daily life seems to have a distinction from 20th century works in that they present active and challenging ways of modern thinking. Based on these facts, this study focuses on the fact that the majority of Chinese science fiction works in the 21st century are centered on the heterotopia space in both external and internal aspects but also in the internal form. However, I agree with the argument that the essential meaning of heterotopia can be found through the stories of the “subjects” occupying the space, so this study will focus on the “subject” aspect of realizing the order in the heterotopia space. In other words, this study is an attempt to convert heterotopia, which has been regarded as a concept of ‘space’, into a problem of ‘subject’. Therefore, a review of the heterotopia space, the processing method of characters, and its operation can be presented as a shortcut to looking into the nature of the times and the order of modernity, and as a way to understand the characteristics of 21st century Chinese science fiction. At this time, Nietzsche's thoughts, which have been revived in modern times living in the 21st century, will be a good basis for insight and understanding the ‘subjects’ in heterogeneous spaces. Accordingly, in this discussion, the 21st century’s representative ‘xīnshēngdài(新生代)’, ‘gèngxīndài(更新代)’ writers award-winning works will be analyzed. In addition, I would like to examine the representative works contained in the collection the collection ‘宇宙摩天輪’(2010) which is considered a milestone in Hong Kong science fiction from a diachronic perspective. Hong Kong, which has stood as the center of global capital since the 1980s, has been considered a contradictory and special space where constant conflicts between the old and the East and the West intersect. However, it remains irony in Hong Kong’s science fiction world that the development of science fiction in Hong Kong has not reached the level of mainland China and the peak in a good growth environment without any cultural constraints. In this respect, this study intends to discuss works that are different from mainland China and Taiwan in terms of styles and themes with diversity that encompasses the fields of history, culture, love, religion, and politics in the collection mentioned earlier. In particular, as Hong Kong is regarded as a post- modern culture different from mainland Chinese culture in the 80s and 90s when the golden age of 21st-century Chinese science fiction is based on China’s economic growth and technological development, the insightful search for the issues of science fiction created by Hong Kong's relationship with mainland China can be seen as a valuable test of 21st-century Chinese science fiction.

The 1960s was also a time when new women's literature was created as a large number of many writers appeared through ≪Literary Review≫ and ≪Modern Literature≫, which led the attempts and initiatives of modernism in Taiwan. The Taiwanese literary acceptance of modernism is a reaction to the coercive political environment such as the surveillance culture of white terror and martial law. At that time, it was difficult for writers to deal with sensitive sanctions such as the reflection of the social reality claimed by the Literary Magazine. For this reason, as an antithesis, he tried to find an answer in subjective reality, emphasizing inner experience and individual consciousness. Existence and death, which are constantly questioned and thought about in the works of Taiwanese women in the 1960s, are ultimately a philosophical interpretation of the fear and pain they faced.

This paper studied the case types of the causative arguments of the Austronesian languages in Taiwan. The languages of the Austronesian family in Taiwan have a unique focus structure that is largely divided into agent focus and non-agent focus(patient focus, locative focus, instrumental focus, peripheral focus). This unique focus structure affects the argument case structure of the causative sentences. This paper investigates the case structure of the two argument causative sentences, three argument causative sentences, and four argument causative sentences of the Austronesian languages in Taiwan, respectively, and classifies the types. It can be seen that the case structure types of the argument differs according to the focus structure types in all of the two argument causative sentences, three argument causative sentences, and four argument causative sentences. In the case of the agent focus two argument causative sentences of the Austronesian languages in Taiwan, the types of argument case can be classified into 4 types. And in all languages, there was a common characteristic that the causer appears as the nominative case. The case structure in which the causer appears as the nominative and the causee appears as the ablative was the most with 8 languages. In the case of the non-agent focus two argument causative sentences of the Austronesian languages in Taiwan, the types of argument case can be classified into 4 types. In the non-agent focus two argument causative sentences, the patient focus sentence and the locative focus sentence were found as the non-agent focus sentence. Languages with non-agent focus, and with the case structure in which the causer appears as the genitive and the causee appears as the nominative were the most with 11 languages. In the case of the agent focus three argument causative sentences of the Austronesian languages in Taiwan, the types of argument case can be classified into 4 types. And in all languages, there was a common characteristic that the causer appears as the nominative case. In the case of the non-agent focus three argument causative sentences of the Austronesian languages in Taiwan, the types of argument case can be classified into 14 types. there was a common characteristic that almost all of the causer appears as the genitive case. Four types of non-agent focus sentence were discovered in the non-agent focus three argument causative sentences, patient focus sentence, locative focus sentence, instrumental focus sentence, and peripheral focus sentence. Languages with non-agent focus, and with the case structure in which the causer appears as the genitive and the causee appears as the nominative and object appears as the ablative were the most with 5 languages. It is difficult to systematically classify the case structure of four argument causative sentences of the Austronesian languages in Taiwan because examples of four argument causative sentences were found only in Puyuma, Sakijaya, and Saroan references. However, considering only the examples found, there was a commonality in that the causer appeared as the genitive case in all three languages. After examining and classifying case types of causative arguments of Austronesian languages in Taiwan, this study compares them with the case types of causative arguments suggested by Dixon (2000:30-83). As a result, it was found that the case types of causative arguments of Austronesian languages in Taiwan and the case types of causative arguments suggested by Dixon only partially matched each other and most of them did not match.

The purpose of this study is to find the future direction of Chinese language education at universities in the era of the 4th Industrial Revolution based on the actual case of Chinese conversation course operation. Owing to the technical innovation together with the 4th industrial revolution, mankind has entered the hyper-connected society where everything is connected to each other. On top of lots of changes in the concept of talent required for society, the improvement of learners’ core competencies was rising as the most important goal, instead of effective teaching of knowledge & information, which was the center of the existing college education. In other words, it is time to change the existing system and methods of education or training. Therefore, this study approached and analyzed the case of the operation of the College online Chinese conversation subject from a core competencies perspective. First of all, after examining the core competencies elements of the education plan, the learner's core competencies improvement and learner perception were analyzed together. Also, a survey targeting the students verified that the lesson design of this course had effects on the improvement of core competencies such as communication, self-directedness, global citizen, and cooperation/devotion of students. The results of this study could be the foundation for presenting the new direction of Chinese language education.

This paper aims to examine the characteristics of pitch and duration in the speech of Chinese speakers, who have Mandarin as their mother tongue, when speaking Korean, a non-tonal language. Especially, the paper focuses on prosodic features such as stress pattern and duration differences of loan words. The pitch pattern of Korean loan words has a different pattern from accentual phrase. The syllable length and pitch of loan words pronounced by Korean mainly depend on the number and structure of syllables, and the presence of an initial consonant can be a cause, however it is not absolute either. The syllable length and pitch of Korean loan words pronounced by Mandarin speakers are affected by the syllable structure, the types of consonants and vowels, and the aspirated feature of the initial consonant. The pitch types of Korean loan words are identified as 2-syllable word HL, 3-syllable word LHL, HHL, 4-syllable word LHLL, HHLL, 5-syllable word LHLLL, HHLLL, HHHLL, and errors found in pitch by Chinese speakers of Korean loan words are the high frequency of H realization and frequent use of high pitch in the first syllable. In summary, the prosody of Korean has been primarily studied with a focus on intonation, however like loanwords, rhymes (length or height) within words also need to be studied.

In this study, natural colloquialisms that young people in their 20s and 30s actually use in daily life in Korea were studied, and five machine translation platforms, such as Naver Papago and Kakaoi in Korea and ‘百度’, ‘腾讯’ and ‘有道’ in China, were used as subjects of study. This study examined the error aspects of colloquial machine translation between Korea and China. This study does not focus on the evaluation and comparison of machine translation platform performance, but focuses more on the inherent characteristics of Korean spoken language, looking at how AI machine translation handles subtle situational nuances or linguistic and cultural contexts, and what they have in common. Efforts were made to reveal the error patterns. While previous studies on Korean-Chinese machine translation mainly dealt with written language such as newspaper articles, editorials, speeches, and reports, and even if they dealt with colloquial language, they focused on Chinese conversation or refined dialogues appearing in HSK textbooks. It is differentiated in that machine translation was studied by taking live dialogues actually used in daily life by young Koreans in their 20s and 30s who appeared in season 2 of the Netflix original reality program <Single's Inferno>.

James Legge(1815~1897), best known for his translations of the Chinese Confucian and Daoist classics, spent thirty years as a missionary at Malacca and Hong Kong before assuming the first professorship of Chinese at Oxford. Some of his lesser-known works published in Hong Kong include two “brief accounts”(jilüe 紀畧) of the biblical stories of Joseph(Yuese jilüe, 1852) and Abraham(Yabolahan jilüe, 1857), which rewrite the original narratives in the style of Chinese fiction. Ostensibly meant to broaden scripture’s appeal to Chinese readers, Legge’s “novelizations” nevertheless hew so closely to the biblical text that they are largely translations, albeit with some additions and omissions. This paper analyzes these two works in the context of Protestant missionary debates in the mid- to late nineteenth century on how to proselytize the Chinese. It shows how the works are written to appeal to both learned and popular audiences, and how they extract the biblical stories from their original narrative arcs in order to underscore their socio-ethical teachings while downplaying their theological implications.