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A Chinese Character we have been using was completed due to the development of many shapes of characters used in China for several thousand years. We can say that Shell and Born Characters is the first one of the Characters which has formal form. The discovery of Shell and Born Characters had made Shang Dynasty regarded as legendary age before jump into the historical period. And it was to be very useful to make a study of society and culture of Shang Dynasty together with the excavation of archeological things. Shell and Born Characters generally described natural phenomenon and human society, as it were, religious service, battle, hunt, trip, outstanding weather including typoon and flood, fortune, etc. The religious service was one of ways of keeping human being correspondance with God. Especially, while wanting to get a kinds of bless, human being who followed the leader as their king have excuted religious service for their ancient in Shang Dynasty. Furthermore, We can not but find out the religious service accompanied with numerous kinds of sacrifice in utmost quantity from Shang Dynasty only. The following facts were looked into through the subject of this Thesis; The general outlook in Shang Dynasty such as relationship between the farming, livestock, hunting, medical treatment and the royal family of Shang Dynasty, and an official post who took care of his roles. The kind of farming official post which are Xiao-Ji-Chen, Xiao-Zhongren-Chen, Xiao-Yi-Chen. The kind of livestock, hunting official post which are Mu, Quan, Ma, Ma-Xiao-Chen. The kind of medical treatment official post which are Xiao-Ji-Chen.

It discusses the aplication of Zhangs old phonology to the research of the same origin. Emphasis on original text, reference with relating literature and comparing with Wang Li the dictionary of the same origin and Liu Junjies complementarity, the paper analyzes sound-change between ge(歌)，tai（泰）and han（寒）and researches the structure, transformation and development of the primal character kua()、ge(戈)、guai( )、gua()、yi()、he( )in ge(歌).In this scope, I validate the same origin and interpret in detail.

According to Margaret Mian Yan(2006), Dongbei Mandarin dialect is devided into 3 subgroups,which are Jishen, Hafu and Heisong subgroups. And the one of the main characteristics of Jishen dialect is that there are only /ts,ts’, s/ sounds but no /tʂ, tʂ’, ʂ/. However, in Anshan city, which is just two‐hour’s drive away from Shenyang, the dialect does not only have /tʂ, tʂ’, ʂ/sounds, but also has a trend that many/ts,ts’, s/ sounds are replaced by /tʂ, tʂ’, ʂ/ sounds. Thus the servey has been conducted to describe /ts,ts’, s/ and /tʂ, tʂ’, ʂ/ sounds in Anshan dialect. And the result come s out that /tʂ, tʂ’, ʂ/ are more basic than /ts,ts’, s/ sounds in Anshan dialect. And some of the speakers even replace all the /ts,ts’, s/ sounds by /tʂ, tʂ’, ʂ/ sounds, which intrigue our interest to continue the study.

There are a lot of degree adverbs in the northern dialect, such as "Zei, Jing, Xi, Lao, Liu, Que, Wu, Kang, Ke, Si, and so on. Except for Kang, all these dialect are still commonly used. In this study, we select four of them and discuss, Zei, Beir, Lao, and Er, which are most commonly used. In the northern dialect, Zei, Beir, Lao, and Er are equal to Hen in Putonghua. We make a discussion of Zei, Beir, Lao, and Er, about the usage, the syntax function, and the sameness and difference between Zei, Beir, Lao, and Er in dialect and Hen in Putonghua. As degree adverbs, Zei, Beir, Lao, and Er are usually used together with adjectives, no matter they are single or double syllable, that is to say, Zei, Beir, Lao, and Er have no strict requirement on the number of syllable of adjectives. Zei, Beir, Lao, and Er can also be used together with verb-object structures and verbs describing one's mood. Zei, Beir, Lao, and Er are not strict with the selection of central words. Except for Er, they can be overlap, normally together with the central word. When overlap, they should be used in pairs with some auxiliary word of mood, like De and Le. Zei, Beir, Lao, and Er are also different from Hen in Putonghua on the usage. Hen can be used as a modifier of some phrase. But with Zei, Beir, Lao, and Er, they can not. Moreover, Zei, Beir, Lao, and Er can be used as complements of degree, but Hen can not be use as that. For example, “他实在可恶的很。”can not be said like "他实在可恶 的贼。” Additionally, Hen can be used to modify some nouns and some status adjectives, but Zei, Beir, Lao, and Er can not. Therefore, degree adverbs in Putonghua are used more widely on the grammar function and on the usage range.

The aim of this study is to investigate characteristics of Chinese vowels uttered by Korean regional dialect speakers. Ten Korean single vowels and six Chinese single vowels, are uttered two times by twenty- five University students from five areas: SeoulㆍGyeonggi, Chungcheong, Gangwon, Jeolla, Gyeongsang. Formant frequencies are measured from sound spectrograms made by the Praat and PC Quirer. We will examine the differences of the first and the second formants between the Chinese single vowels and the Korean ones.

There are numerous immigrants from Fujian, China because of geographical, political, and economic reasons. The majority of the Chinese people in Southeast Asia are from this area. The immigrants from Fujian in China and their descendants have influenced the countries in Southeast Asia in politics, economy, culture, language, and other aspects. In the Malay Archipelago and Philippines that have the greatest number of the Chinese people from the southern region of Fujian, many Chinese loan words are used for daily communication. This study dealt with the motivations of the Chinese people who moved into the countries in Southeast Asia and the process of their linguistic contact. This paper can be helpful for researchers who study the history of language contact in Southeast Asia, such as China and Indonesia, or lexical studies on the Chinese loan words in Indonesian language.

Foreigners with limited Chinese skills have rights to receive interpretation service when they are engaging in a legal trial. Court interpretation plays an indispensable role in not only discovering facts but also in safeguarding the human rights of defendants. Even though, in principle, court interpretation is defined by the Chinese law and judicial interpretation, it leaves much to be desired when it comes to practice. It lacks detailed rules about the certification, training and testing of court interpreters. While the demand for court interpreters is surging in china, the supply falls far short of the demand because working as a court interpreter is not an easy task that requires the interpreters to work in a unique working environment and to have in depth knowledge about the legal terms. Recently, however, translation has mrpr great strides in the Chinese aerpretercircle and ulation hies are creating undergraduate interpretation departments and master’s program for translation. So, college‐level education for court interpreters is expected to burgeon in China. Furthermore, granting license for court interpretation to the interpreters with the CATTI certification can be a way of approaching the problem as there aren’t any official national tests or certifications for becoming a court interpreter in China.

The thinking ways of Korean pay attention to the "specific", and "integration" is comparatively ignored. The characteristics of Korean thinking way are indirect and circuitousness. In the way of expression, "whole" is in parallel with "part", which means that the "whole" can be replaced by the "part", but the opposite is infeasible. In the view of Chinese, Chinese regards the "whole" and the "part"as a coin’s two sides. Not only pay much attention to the "whole", but also not weaken the importance "part". The "whole"and the "part" mutually affect each other, that mean the "part" can replace the "whole", and can be replaced by the "whole". The Korean’s thinking way starts from "ego", with "alto ego" step, reaches to the "self realization". During the realization process, the "alto ego" is emphasized. The Chinese starts from "ego" and reaches to the "self realization" directly, and emphasize the "ego".

What constitute the theoretical principles and rules of the compilation of Chinese dictionary might always remain controversial. Accompanied by the recent publication of Han Yu Gui Fan Ci Dian, this thesis attempts to explore the guiding roles the theoretical principles played and the universal values of specific rules in the compilation of the dictionary by comparing and seeking references from Chinese dictionaries such as Xian Dai Han Yu Ci Dian (Tentative version), Xian Dai Han Yu Ci Dian (2002 Supplementary), Xian Dai Han Yu Ci Biao, Han Yu Da Ci Dian, Xian Dai Han Yu Gui Fan Ci Dian.

This paper discussed the syntactic difference of the adjective used as an adverbial or complement in a sentence. The contrastive features of the using of the structures A+(de)+V and V+de+A are followings: The NP could be used after A+(de)+V quite freely, and sometimes the NP could be the prerequisite for the using of A+(de)+V, whereas the NP is seldom used after V+A, and the NP could not be used after V+de+A. The particle “zhe” could be used after A+de+V in which A is a single syllable adjective, and the particle “le” could not be used after it, whereas The particle “le” could be used after V+A in which A is a single syllable adjective, and the particle “zhe” could not be used after it. A+(de)+V could be used in the structure of “zai……(zhe)(ne)” with a present progressive tense, whereas V+A and V+de+A could not be used in it. A+V could be used in a LIANDONG sentence or a pivotal sentence, and V+de+A could not be used in a LIANDONG sentence, whereas A+V could not be used as an adverbial, and V+de+A could. A+(de)+V could be used as an object of some verbs “jueding”,”yuanyi”,”dasuan”,etc, whereas V+de+A could be used as an object of some verbs “renwei”,”yiwei”,”jinxing”,etc. A+(de)+V could be seldom used as a modifier, whereas V+de+A couldc be often used as a modifier.

Shijing is one of the earliest art forms in Chinese literature, also it is the most developed genre. Shijing is four-word patterned and its rhythm is two-two pulse. And Shijing is the headspring of the Chinese poem pattern in the later time. Some of the poems of Chuci are basically patterned in Shijing′s form After Shijing came out, it has been followed by many excellent poets, such as Cao-Cao, Ji-Kang, Tao-Yuanming etc. Tao-Yuanming accepted Shijing in wide and various aspects. He did not only follow the pattern of Shijing, but also introjected his individuality in the poems, thus endow a new artistic conception in his poems. Tao-Yuanming inherited the pattern and the meaning of the verses, therefore, there is the style of Shijing in his poems. The innovation of Tao’s poems is that they became more literal, and less folk. Besides the tradition of the irony of Shijing, Tao’s poems also reflected some philosophy theories, especially the Confucianism by which Tao-Yuanming thought of his life. Tao-Yuanming imitated Shijing, but he gave the poems a new life.

Lu You is the most patriotist poet of South Song Dynasty in Ancient China. His literature world is not only a vast but complicated geographical world. Precisely to say, his peoms contain three features: the feature of places, the feature of geography, the feature of maps. The feature of places are associated with personal merit and fame at one end, and with homesick feelings at another end. The feature of geography expresses his military strategy thoughts. The feature of maps reflect the authentic geographical outlook of South Song Dynasty. The ideology within Lu You’s literature world carries the essence of his academic concepts of peoms, with which they are presented in the forms of memoirs, daydreams, as such they are the tokens of national spirit of entire South Song Dynasty.

Koryo Kingdom (AD. 918~1392) succeeded the culture of Shilla Kingdom internally and exchanged culture with China on an equal footing externally. In particular, their contacts with the Chinese culture facilitated a smooth introduction of the Chinese culture, and as a result, the Chinese literature prospered in Koryo. According to the literature, 'lyric' or a sort of lyric literature representing Sung China was introduced during this period only to influence the Chinese literature in Korea. The existing "Collection of the Korea Literary Works" feature a total of 663 works written by nation's major figures from Three Kingdoms period until 1910. According to the surveys so far, 'lyric' works are carried in 85 works of the collection. Professor Cha Joo hwan earlier introduced 421 lyrics written by the literati class during Korea Kingdom and Chosun dynasty. and since then, scholars have identified 1,250 lyrics written by 171 authors. According to the literature, lyric of Koryo Kingdom was introduced from China first in 1073, and in 1089 a king of Koryo wrote a song with a lyric. Later for about 3 hundred years, some 30 writers produced some 150 lyric works only to conduce to establishment of a new lyric system in Koryo kingdom. The study, a basic comparative research into Koryo and China lyrics, reviews how the Chinese lyrics were introduced to the kingdom and how they were accommodated there to develop into Koryo lyrics. Namely, this study focused on 4 aspects of Koryo lyrics: introduction of the Chinese lyrics, creation of Koryo lyrics and their characteristics and the challenges for future studies. Data about and researches into Koryo lyrics have been collected and conducted over the last 40 years, recording a remarkable academic achievement. Lastly, it is hoped that this study will be followed up by future studies collecting further data and analyzing the literary characteristics of their texts.

This paper gives detailed analysis on LiuShipei’s writing about history of Chinese literature in the following aspects such as the interaction between LiuShipei’s History textbooks writing, historical thoughts and views about literature history; its style, characteristics, values about his literature history writing, and its advantages and shortcomings.

About "the First World War " the Neo-idealism had transformed one kind of worldly ideological trend of society transforms，had exerted a great influence in China. Zhou Zuoren introduced the Neo-idealism into China in the earlier stage of May 4th, thinked deeply, at the same time, did one's utmost to advance the practice of society transforms of the Neo-idealism. The article combs how the Neo-idealism be introduced into the modern Chinese emphatically,, and probes into Zhou Zuoren’s ideas of the Neo-idealism.

Lyric Novel and Author's Career---A discussion ofthe careerofLi Xiaoshi and Yu DafuThe aim of this discourse is to explore the common ground anddifference between Li Xiaoshi and Yu Dafu by the examination of theirgrowing history and lyric novel.In theirdepressed and lonely infancy,Li Xiaoshi and Yu Dafu were bothbroughtup in a family shortofemotional attachmentoffamily members.Butthis cultivates their deep love to the nature instead. Before going to themodern school,they all studied traditional ancientpoetry in the private schooland showed their literary talent by publishing poems on newspaperin theirteenage.Li Xiaoshi and Yu Dafu both was the youngest pupil in their class ofmodern school,buttalentmakes them excellentin study.Being sensitive anddissocial,they led lonely studentlife which letthem devote all their boyishpassion to poem writing.Itis the inherentpoetblood and dissocial characterinduced by excessive sensitiveness thatplays a decisive role in theirwriting

From the literature interior and exterior, the article researched seperately and detailedly to three novels written by Wu Ming Shi on the korean's resistance to Japanese. After analysing to their artistic technique, the article pointed out that the novels written by Wu Ming Shi have mixed expanse and expatiation with simpleness and realism. It is the extension and variation of "narration on hero", enthused over by enlightening writers in May 4th movement that Wu Ming Shi described and craved "others" hero. It expressed relativity of recognization between "others" and "ego" in modern China. The aim to discuss these "no attention" works is to research the novels on Korean in the Chinese modern literature completely and to call out attention and research to the early works written by Wu Ming Shi in academe.

Both Eun kyo Kang(姜恩喬) and Shu-Ting(舒婷) are representative poetesses in Korea and China, respectively. Eun kyo Kang is referred as ‘nihilist’ while Shu-Ting is noted ‘visionary’. Ms.Kang developed her poetical imagination from ecology-oriented and ontological futility, planting her deep meditation for the value of darkness and freedom in the public. Using comprehensively the shamanic rhythms combined with traditional epic and symbolized words, she embodied her unique style and that is the sensation and momentum of her pieces. Undoubtedly, Shu-Ting is the only model among the visionary poets. However, the words of Shu-Ting’s poetry are not dim at all yet clear and there is nobody who would think that it is hard to understand the messages her poems imply. The end of Cultural Revolution allowed her to speculate on the period anew offering the hope for bright future and a sense of duty as well. For certain, it is not easy to find a deep thought of recognition to history, society, and the time in her works, but nonetheless, they have experiences that others may not perceive, special tenderness, and the sympathy she gained from community as well as nature. There are allegory and metaphor in both of their poetry. They have built their own periodic cord in their works. Though ‘Feminine’ description can be found in their works at times, it is also another expression of the era. Thus, this paper analyzes the backgrounds of both poetesses, narration of ‘age’ and ‘woman’, and finally the meaning of ‘nihilism’ and ‘visionary’ created and settled by their versification.

Simasangdun includes to Taiwan literature history. But, he roved missing the native place with 'Outside'. had some life base: China northeast area, Taiwan, Japan, the United States of America. Through this, we can know truth of 'Driving out and wandering are eternal subject of Taiwan literature'. Simasangdun's literary subject is consisted of driving out and wandering mainly. Life site that change makes him contact the different nation, different language, different culture, made his reason richly.

To research deeply Confucius Classic The Spring and Autumn Annals and The Zuo Commentary, and to make its research scientification and logication we explain the five logic pattern.1.subtle with obvious meaning.2.dark and gloomy record of facts. 3.gentle words is in literary composition. 4.immediate and not circuitous speaking.5.punish evildoers and encourage people to do good. Logic patters of two the books have a double function of logic and meaning. We have refer to fixed express which is as thought and content. We also elucidate with categories e.g. speech, music, regulations, number of degrees, list of name and position, name ware, and their explanatory form and content.

The leading player of the sixth generation directors, Wang Xiaoshuai and the most of his works have made a remarkable mark and taken the most important position in the sixth generation of Chinese Film. Wang Xiaoshuai has kept interests in the life of Chinese at that time by the way of estrangement, and tried to describe people who have troubles in their lives through his films. Thus, his pictures, in which a marginal man is the main character, show obviously their neglected aspects of lives and awareness. The looks of the marginal man in his films are distinguished by their configuration- first, the sense of isolation of artists or the elite, second, the sense of alienation of the common herd, and last, other maladjusted people's awareness of marginal man. In the essay, across the study about the aspects of marginal configuration and awareness of characters in Wang Xiaoshuai's films it is aimed to provide the factual understanding towards the sixth generation directors' films and their main consciousness of theme as well as their films themes.

This survey has shown the following four aspects. Firstly, Korean drama has widely been accepted by Chinese college students, and Chinese college students prefer Korean drama to that of other countries. Secondly, by contrast with Korean historical drama and Korean family ethics drama, Chinese college students prefer Korean love drama and Korean romantically comedic drama. They are attracted because Korean drama has veritablyrepresented daily life, and they are also attracted by stars. Thirdly, Korean drama has affected the daily life and thinking of Chinese college students, and the influence is mostly positive. Fourthly, Chinese college students have an relatively objective opinion on Korean drama. Korean drama has its strongpoint, but it will not lead the world tide of drama. It has certainly damaged the advantage of Chinese drama, but it will not be a danger to domestic drama because it is not absolutely superior. Therefore, although in an inferior position, domestic drama should not refuse and depreciate Korean drama, but should assimilate the strongpoint of Korean drama so as to produce more wonderful drama.

Korean Tv drama has contributed on the formation and development of the “Korean Wave.” However, there has been little study on the motives of viewing from the perspective of Chinese audiences. Thus, the current study is to address Chinese audiences’motives to watch Korean TV drama, which is the main engine of “Korean Wave”, based on “the uses and gratification approach”through survey method. The current study sets research questions like the following: 1. From what motives Chinese young audiences watch Korean TV drama? 2. Are there any differences between Chinese young audiences’ motives to watch Korean TV drama and Chinese TV drama? Through the factor analysis, the current study finds 10 motives of Chinese young audiences to watch Korean TV drama because they like “elements of TV drama”, “consolation”, “social reality”, “the interaction with society”, “time spending”, “information and education”, “the uniqueness of Korean TV drama”, “ relaxation”, “habitual viewing” and “entertainment” which Korean drama provides. Through the current study has a significant implication on the cultural exchange between Korea and China, it has some methodological limitations. Thus future research needs to be done to overcome these limitations.