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The philologist Xu Shen, in Dong Han Dynasty, established the principle of “joining words according form” in Shuo wen jie zi. But some futurities mistook this principle. This paper ground argument on the statement that said by Wang Yun, the philologist in Qing Dynasty, in his book Shuo wen shi li. Try to clarified the different and wrong explanations of predecessors. And try to prove that the “form” in “joining words according form” just means “Xingfu” not “Dian hua jie gou” in three ways.

This thesis tried to recommend and analogize the close ‘Discount form’ which is similar to generalization. It cautions for the usage compared to the form that is used in Korea with it being understood the content that is frequently used according to the definition about the part. This is because there is a possibility that the students who learn Chinese could misunderstand various discount forms. In other words, we recommend it indirectly, with the standard of ‘Discount form’ after studying the kinds of the common form analogized according to the statistics of the four kinds roughly which are used in China and targeted Chinese college students and popular Chinese portal sites.

Korean postposion ‘-에’ has many usage in Korean sentence. So when you translate Korean sentences including ‘-에’ into Chinese, it is difficult for you to translate them exactly. According to 『표준국어대사전』, there are 15 different kinds of usage of ‘-에’ and among them, 7 kinds of usages are related to ‘object’. Therefore when you use ‘-에’ as a certain ‘object’ usage, and if you can find out particular Chinese preposition that it always corresponds to, it is helpful to Chinese learners. This study shows us the Chinese preposition is ‘对’.

Saussure’s big works, “Course in General Linguistics”（Cours de Linguistique Generale）has created a theoretical system of linguistics which known as Structuralism. Itself ontology promotes people’s understanding of the language. However, in the processing of exploration and expression of language ontology, the author also hold inherent ambiguities and contradictions. The reason is that the author intended to create a kind of (linguistic) ontology, but instead of adhering to the principle of self‐sufficiency method of the ad hoc, he hoped to create another kind of (semiotics) ontology to prove the to‐be‐built (ontology).It is thus methodological wrong.

Although recitation is a very effective means of Chinese language education, it has not been efficiently applied at school. Recitation does not simply mean reading aloud. It serves as a facilitator of improving language ability through comprehensive usage of language knowledge. Recitation is a very effective learning vehicle for enhancing listening and speaking skills, which are likely to be neglected in the CFL(Chinese as a Foreign Language) environment particularly like Korea. In the main text, I have presented some reasons why recitation should be positioned as a field of Chinese education and its current situation. And I also have studied on several issues that need to be addressed for its education. The first priority given now is to organize a frame of level-based education syllabus, namely a map of the education course. Judging that recitation evaluation of ‘PSC’ can play a role as reference in constructing the education syllabus, I have analyzed the ‘PSC’s items on the recitation evaluation and based on such analysis, I have suggested a basic direction for the organization of education syllabus for recitation although it is not entirely complete. In order to have recitation established as a education branch and proceed smoothly at school, its education syllabus should be arranged and appropriate education courses will be designed as soon as possible through a process of broad research and considerable discussion on principles and guidelines of forming the education syllabus for recitation.

This article reviews the teaching of Chinese at colleges and universities in Canada, discusses the body of students, teaching faculty, curriculum structure, teaching materials, class organization and tests, and also discusses the textbook in teaching Chinese, as well as the problems on this textbook.

Due to the close link of geography and culture, Chinese character always plays an important role in the South Korean history. In recent years, with the South Korean government places great emphasis on Chinese character, Chinese character teaching in South Korea is excellent, but there are some differences of using the Chinese characters between South Korea and China. Such as differences between traditional and simplified Chinese character. The most important thing is the pronunciations are totally different. This results in students of South Korea have different understandings and influences the Chinese learning. This paper attempts to find a new link from the Chinese character teaching in South Korea, and helps students to learn Chinese and Chinese character easier. Hope the new Chinese teaching method can make students’ learning more active and strengthen their interest. Moreover this new method can make an effective link of Chinese character between South Korea and China, thus students can learn Chinese quicker.

This study is to compare the structure and derivation form of onomatopoeia (mimetic) words in Korean and Chinese languages. Because two different languages not only in language form, but also in structure would definitely havecertain influence on word forms and derivation of onomatopoeia and mimetic words. Although it’s an elementary way, however, this study leads to the conclusion as below regarding word form and derivation of onomatopoeia (and mimetic) words in Korean and Chinese languages(The study in Chinese language is limited to onomatopoeia. Because the most of mimetic words in Chinese standard languageis derived from general adjective or verb, in other words, the pure mimetic words such as ‘DegulDegul(데굴데굴)’ in Korean don’t exist in Chinese language.) (1) It’s easy to find onomatopoeias (and mimetic) words which consist of four or six syllables in Korean language, while there are usually four-syllable onomatopoeias words in Chinese language. (2) A mono-syllable word(A type) or two-syllable word(AA type, AB type) can be the root (fundamental form) in Korean language. The derivation process from the root shows wide range of AB type usage, which tells us the Korean onomatopoeias and mimetic words which consist of three, four, or six syllables are generally derived from the root AB type. On the other hand, Chinese onomatopoeias are mostly (or altogether) derived from the root with the monosyllable, A type (fundamental form).AA type indicates the duplicated usage of A type monosyllable which can be used as an independent word by itself, whileAB type indicates the modified usage of A type monosyllable, or combined usage of separately independent two mono-syllables. Onomatopoeias with three syllables or four syllables are eventually the modified form of AB type with A type monosyllable root. (3)The modified duplicate usage among Korean onomatopoeias and mimetic words usually changes the initial and middle sound in two-syllable words(AB-AB or ABC-ABC), but Chinese onomatopoeias changes the vowel sound of previous syllable or the initial consonant sound of next syllables. (4) In Korean onomatopoeias and mimetic words, the substitution of initial consonant sound and the interchange of middle vowel sound cause the subtle transition of nuance. However, there is no such interchange in Chinese onomatopoeias. (5) AB type onomatopoeias and mimetic words in Korean language lead to various types of ABC onomatopoeias and mimetic words by partial duplicate usage or added sound. Contrastively, there are no same cases in Chinese language, where ABC type syllables are derived from AB type syllables.

Lee De ok mu(李德懋) was one of the greatest poets in latter period of Chosun dynasty. He was a Jeongjong’s descendant and concubine’s offspring and was regarded as a literary scholar of a positive school called Bukhakpa(北學派). During the times of Youngjo(영조) and Jeongjo(정조), there were many changes such as modernized culture, new thought, various religion etc. Lee Deok mu exhibited the clear standard about the quality of poets which people had thought. That was the very person who respects metaphysics(성리학), were able to have a excellent calligraphy and writes poems well. In this thesis, I chose excellent writers by his work named 『淸脾錄』 which had works written by about 60 Chinese poets. 『淸脾錄』 was the critical book to investigate Lee Deok mu’s thought about poems and culture. Especially he respected the good writers. I divided the good writers in this thesis with three parts. The first part, the works of the good writers was prominent, splendid, plain and eccentric. The second part, the expression of poetic diction, Chinese poets used many poetic word to express their mind and soul through their works. He made it a subject of discussion to mistake in the poem by poets. When he criticized works, he maintained the objectivity. The last part, there are many criticism of Chosun written by Chinese writers. Lee Deok mu pointed out the mistakes which Chinese writers misunderstand about Chosun. Lee Deok mu can be considered to represent the excellent writer and critic who leaded the art of literature of the latter period of Yi dynasty to go more step to better literature.

Based on the “Ch’ing chen chi” (清真詞) by Chou Pang-yen (周邦彥) and related literature, three different ways to create emotional gradation through repetitive inversion in Chou’s work are analyzed. Different from the work of Liu Yung (柳永) characterized by long melody and direct narration, Chou composed his tz’u with emotional gradation through repetitive inversion, which led to a recursive, implicit and reserved style of tz’u popular in the southern Song. There were three ways to represent emotional gradation through repetitive inversion given in the long melody of the “Ch’ing chen chi”. The first way was the explicit usage of conjunctions for inversion such as “although” and “but” in the sentences, often accompanied by the special “leading words” (領字) of the tz’u, which clearly expressed the inversion of meanings and resulted in the introduction of new ideas not only in the aspect of grammatical format but also the text meaning. The second way of emotional gradation through repetitive inversion was identified as the contrast of image and the consistence among different paragraphs in text. Zhou preferred to hide some special meanings in words and sentences between rhymes, which reflected the conflict between the reality and expectation of life due to the change of space and time and the consequence of sudden turning-point incidences during one traveling across space and time. The last one was the emotional gradation through repetitive inversion occurring on the cultural and linguistic level, where the moral guidance and knowledge system in the ancient literature was challenged and questioned. Interlacing these three types of expression incorporated with “Rhyme Partition” (分韻) and “Paragraph Transition” (過片) Zhou’s work showed elegant, deliberate and reserved style. This paper, focusing on the third type of emotional gradation through repetitive inversion, discusses the linguistic contrast due to the conversion or reversion of literature in the “Ch’ing chen chi”, which leads to a reserved style of writing.

This study is about the existing state of the conversion of music from Classic Chinese poetry and Ci poetry to modern songs. The correlation between Chinese literature and music is studied using the method of comparative literature on this paper. Beginning from Shi jing(詩經) and Chu ci(楚辭), the tradition of Chinese poetry has achieved the most dominant position in Chinese culture through the present day and is having a great effect on Chinese socioculture today. In this respect, the actual condition of the conversion of music from Classic Chinese poetry and Ci poetry to modern songs has been made up pretty high. Specially these days we can see Chinese popular singers are creating new modern popular music writing the lyrics with Song Ci poetry. Many works of Classic Chinese poetry and Ci poetry were created into modern lyrical songs, chorus, or revolutionary songs about 1940s, since 1920s. There are two cases on this happening, one is the music to be created on the base of Classic Chinese poetry and the other is the music to be created on the base of Chinese Tang Song Ci(唐宋詞). In the case of the former, there are ‘Jian Jia(蒹葭)’, ‘Lu ming(鹿鳴)’ and etc. in Shi jing and the symphonic poem, ‘the Flow of the Guluo river(汨罗沉流)’ which is made in memory of the decease of Qu Yuan(屈原). Also there are many cases of the conversion of music with the works of Li bai(李白) who wrote the best poetry among poets of his time. In the case of the latter, the representative works had the conversion of music such as the ones of Su Shi(蘇軾), Yue Fei(岳飛), Li Qing Zhao(李淸照), Jiang Kui(姜虁), and etc. mostly. This existing state of the conversion of music from Classic Chinese poetry and Ci poetry to modern songs is happening because the musical character of poetry and Ci poetry have the affinity that makes it easy to be the conversion of music and because they have the outstanding familiarity with the audience when the poetry and Ci poetry in familiar to the readers become the conversion of music. Through the mutual correlation between this literature and music, we can understand literature refreshingly and comprehend the phenomenon of diffusion in the popular culture of literature.

dynasty is the time that the commercial economics of China had been developed in the full scaled mainly in the southern side of a river. With this impressive development of commercial economics, the cities of Song dynasty are more emphasized to be commerce and industry characteristics and square market system, which is a closed city planning system in the Tang dynasty, is gradually collapsed. Bianjing in Song dynasty, night market was opened for overnight trades. With this active overnight trades facilitated the prosperous of product trades, various level of citizens pursuited the emotional pleasures based on the prosperous material life in peaceful and stable cities in Song dynasty. The energetic culture consumption has been occurred in the Wa-she and carved railings as the development of commercial economics in the Song dynasty. Audience gradually demand higher quality of the performances that they pay for, the sensitive reaction of audiences for the dramas led the change of the whole Chinese traditional dramas in the Song dynasty. The Nan-xi, which is the first format of Chinese traditional drama classified to be the matured and real opera among the popularized entertainment, has been emerged. Then, what would be the linkage between the economic flood of commercial development and the Chinese traditional drama as one of the main objectives of cultural entertainment? What type of trace left from the Nan-xi works grown with this commercial atmosphere? This paper illuminate the meanings and roles of commercial development with the issues in the development of Chinese traditional dramas.

Born of Tujia people in Chong Qing, China, the poets Ran Zhongjing and Ranran have managed to express their acute feelings towards the nature, the society, the time, and the life through their unique emotional experience, creating a deeply desolate world in their works. Loneliness and desolation are penetrating between their words and lines. Their feelings are genuine and deep, which could only be owned by souls full of longing and hope. From the perspective of emotion-expression in their poems, this article presents their unique experience and understanding towards life, analyzes the artistic world they have constructed, and explains their poetic values.

The correspondence column of The New Youth have distinct characteristics and essential effects, from column establishment, content, edit to literary style form. The success of the correspondence column, not only changed the edge status, but also promoted enormously the prosperity of the correspondence column and provided rich experience to the development of the correspondence. As a golden column in the time of ‘the May Fourth’, the correspondence column of The New Youth, has not been given sufficient attention to academics and research, compared with the important academic value and significance.

Lu Xun’s casual remark of Pearl S. Buck in a 1933 letter shaped in a negative way the Mainland academic valuation of this 1938 Nobel Prize winner for more than half a century. Different interpretations of Lu Xun’s remark exist among scholars, which have always been colored by fluctuation of political sentiments instead of historical analysis. The present paper places Lu Xun’s writings in a theoretical framework of Max Scheler’s “ressentiment” to explore his inner drive in emergent modernity in China. Fredric Jameson’s concept of “Third World Literature” is also applied to establish the relationship between Lu Xun’s writing and his nation-state identity crisis, which in turn reveals his didacticist critique of Chinese “national character”. Opposite to Lu Xun’s effort, Pearl S. Buck follows the idyllic dimension to transcend alienation of modernity through her writing of rural China, which in the context of Great Depression was interpreted by the American readership as an allegory of hope. However, when Buck’s rural China was translated back to China, the allegorical significance in America got lost among a society of disturbances. Therefore, to a leftwing writer like Lu Xun, Buck’s idyllic rural China is but a missionary vision, conservative with imperial nostalgia.

Zhu Guang-qian’s experience in Chengdu for more than one year influenced his later academic life. During those days, the most critical thing for Zhu Guang-qian was the change of his social identity from scholar, professor to dean of the liberal arts college in Sichuan University, which caused Zhu Guang-qian to take more part in the practical personnel work and lead people against Cheng Tian-fang’s coming into Sichuan University when the Ministry of Education appointed Cheng to replace Zhang Yi as the president of Sichuan University. The above far-reaching unrest launched by Zhu Guang-qian not only made the high-ranking officials of KMT, such as Chiang Kai-shek, Zhang Qun and Chen Li-fu, pay attention to him, but also made Zhou Yang who was responsible for the work concerning literature and education in Yan An to noticed him. The KMT leadership’s notice of Zhu Guang-qian was the important cause for Zhu Guang-qian’s later appointment a member of the KMT Central Supervising Committee and make intense political comments against the student movement in the late 1940s, and also was the indirect cause for Zhu Guang-qian to incur harsh criticism from the CPC, such as Guo Mo-ruo, Shao Quan-lin and Cai Yi. Therefore, in the early 1950s, he was the focus of thought reform in Peking University. Zhu Guang-qian’s experience in Chengdu played as the landmark in his academic career. Before the experience, Zhu Guang-qian’s academic work was mainly influenced by the dominant academic discourse, but after the experience, more by the impact of the mainstream ideology. This paper analyzes the process in details.

The literary criticism of the postmodern era no longer sees accuracy as the ultimate goal of critics, but allows a critic to endow a text with new interpretation drawn from active misreading. As a demonstration, this research is supported by the concept of “intertextuality” in linking up Chen Yingzhen’s “O! Susanna” and Susanna from the Apocrypha, and “O! Susanna” is to be misread as a text that written to convert Susanna.

Before the “local writings” of women’s literature in the fifties have not been followed with interests, scholars usually focus on the issue of “homesickness” in women’s prose. However, literature on homesickness could not fully express the complexity involved in this kind of writings. Therefore, the author attempts to emphasize on the “imagination of China” in order to broaden the discussion of literature on homesickness. This essay begins from the pathway of “imaging” China in the “Women’s Writing Collection” printed by the Taiwan Women Association on Writing, and probes into the discussion of “collective memory” and “cultural sensibility,” in order to display how the imagination of China in lyric prose is strategically transferred and expressed in the social structure and internal integration. With these imaginations of China, these female prose writers make dialogue with “China”, and it also draws out the important facet of self-identity, aesthetic meanings and cultural context. Hence, the “imagination of China” in “Women’s Writing Collection” is extremely complicated, which not only becomes the “collective memory” with important historical meanings in Taiwan cultural field, but also has been embedded with cultural and aesthetic meanings, as well as signifies the literary features of the female prose and its aesthetic pursuit.

This study focuses on how the readers accept the 90’s contemporary chinese novel in the view of raising acceptable aesthetic. Especially through the ethnographic methodology, the readers can accept Yu Hua’(余華)s literary works and translated through the novel aspects of the work and the reader could look at the diversity of the novel. There are million books of Chinese contemporary literature translated and published in Korea, which does not include 325 Chinese knight-errant novels that are under research at the moment. For these reasons, I think, through the specialized undergraduate education, best brains can be produced and that they will be able to lead our publication world in the right direction, when ‘publication’ has been the basis of information industry. Finally, I do hope this report will be surely helpful to publication planners as a useful manual and that it will encourage our publication culture to flourish.

This paper applies the imageries of air of the Poetics of Four Elements by Bachelard to study the poetry of Xiao Xiao. The characteristic of Xiao Xiao’s poetry is continuous ascending and descending. His deep penetration into the internal parts of substance, like the inside of a hard rock, is the most special feature of descending. Under the influence of the Buddhist religion, Sunset integrates with the rest of the earth and shows an mild atmosphere.

With its unique mountain-sea characteristics as well as its aesthetic value, the Chinese Literature creation of contemporary native Taiwanese writers has won an irreplaceable status in Taiwan literary world, which has attracted the attention of the educational circles on both sides. In recent years, the study on Chinese literature of the native Taiwanese of both sides has been activated mutually, forming a join force on the difference and complementation presented in both results. This will further promote the prosperity of the native Taiwanese literature, which is of profound and far-reaching significance.

Modern Chinese literature has a long tradition of naming Chinese writers and poets after the Western ones. For example, in the 1920s, Lin Huiyin becomes China’s Katherine Mansfield and in the 2000s, Lomen and Rongzi China’s Browning couple. A detailed study of the relationship among these poets (or writers) in terms of their poetics will demonstrate that these labeling are unfair, misnamed and mismatched. The reason(s) behind these misnamed may be numerous. One of them may be caused by the misunderstandings involved during the course of cultural exchanges and receptions. This paper argues that this particular tradition should be broken. To do this, a comparison between the poetics of the Lomen’s couple and the Browning’s couple will be made and the interpretations will help exhibit that the practice of labeling is problematic.