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This article explores the dynamics of speech acts demonstrated the scope of the operation characteristics, namely, pragmatic (Rhetoric) dynamic analysis of the factors and its statistics and senses‐ it is these dynamic statistics and senses, by which formed a lot of specific structures and expressions that are kinds of naïve and individual stylistic. Pragmatic analysis category of the areas of motivation is “Modal Function”. Pragmatic behavior or expression (rhetoric) is “generically meant to” kind of modal statistics: language using is all states in various sorts of modal features, including pragmatic capacity construction，pragmatic capacity comparison and pragmatic capacity change and so on. Operation and innovation in language activities, are along with modalities construction by its statistics and senses ,its productivity and progresses.

This study focused on the syntactic function of the “NP+de+VP” structure (syntactic distribution), to examine when we put this dependent structure into a larger syntactic structure, what kind of syntactic position that can take, what kind of syntactic and semantic constrains exist with its related components. Then, from the structure of the external features and characteristics come back to see the internal construction and the originate of the structure. In other words, through this structure’s external features and limited options, test the two viewpiont about that construction of its structure and sources ; (1) the predicate component “VP” of the “NP+de+VP” is first nomialized, then by structural modification “de”, constitute the nominal-modified structure. This theoretical assumption can be called “The partial nominalization viewpoint”. (2)“NP+de+VP” is a nominalization form by inserting the nominalizational marker de in the subject-predicate construction, rather than an endocentric construction in which the predicate component “VP” not nominalized. This theoretical assumption can be called “The whole nominalization viewpoint”. Finally, this study found the “The whole nominalization viewpoint” of the structure is more logically consistent, more in line with the language fact than “The partial nominalization viewpoint”.

Dictogloss is a task-based teaching method with text and task as its base and learners as its center．This paper, based on an introduction to dictogloss, aims to illustrate its four procedures of preparation, input, discussion, and creative analysis and error-correction. It comprehensively studies its roles in application in integrated Chinese teaching in the aspects of overall Chinese skills training, reading comprehension, real communicative activities, group interaction and cooperation, therefore guaranteeing the synchronization of instruction and assessment, and cultivation students’ linguistic reconstructing awareness and capacities.

The Lesson has been a very prominent part of the Chinese lessons in many Korean universities. This text introduced a textbook “the New Chinese Newspaper Reading” and discussed all manner of the problems about the lessons, including the compiling textbooks， teaching method etc. At first ,it is of the opinion that the textbook should follow these basic principles: cultural transmission, timeliness and stylistics teaching. Secondly, it emphasized the textbook should has its special characteristics, for example, simpler, more new words, more acronyms, more writing words and more critical words. Thirdly, it indicated it should integrate an intensive reading with extensive reading, integrate the with, intensive the Korean-Chinese Translation with Chinese-Korean Translation, integrate the teaching with the discussion, integrate with the Close-Book Examination. At last, the wished make the lesson become better through the discussion.

This paper was “New Vision of Chinese-Korean Translation Study” originally announced in 『International Academic Conference of Chinese-Korean Translation Education』which Korean Language-Culture Research Institute of China Peking University conducted on Jan-8, 2011. In addition, writer revised and corrected it. First, examine the meaning and classification of oral translation, written translation and adaptation. There is no way which we know how to translate before ‘Hunminjeongeum’ invention in Joseon Dynasty. However after ‘Hunminjeongeum’ invention, translation developed to 2 direction. that is oral-translation and written- translation. In oral-translation, first, Sayukwon and Seungmunwon established. Second, the 4 language of Chinese, Yejin language, Mongolian and Japanese built up. Third, foreign language education and translator promotion system organized. Up to now, teaching materials such as《Logeldae》,《Paktongsa》 remained. In written-translation, Joseon Dynasty started to translate Confucianism scripture(Sase) and literary works(《Dusiyoenshe》). Also translated textbook such as 《The Thousand Character Classic》,《Sazakyung》,《Myungsinbogam》. There is big achievement. In Japanese colonial period and 1950’s Korean War(6ㆍ25) we have no translation. In the Cold War period, we have to carry out cultural exchange only with Taiwan, Hongkong, because there is no way to associated with China. At that time, we were influenced by Japan. In 1980’s every university started to set up Department of Chinese Literature. In 1992, Korea established diplomatic relations with China formally. The interaction between Korea and China has become more active. The writer of this paper paid attention to Chinese Classics translation and comment from 1970’s. Writer plan to publish 「Professor Im, Dong-seok’s Chinese Classics 100 works」, already published 109 volume of book in 50 classification. In the future, writer plan to press 70 volume of book in 40 classification. Writer explained the press motive of series books, the process and difficulty of translation, the writing direction, the system, the feature, the academic recognition based on this situation. The sinology of Korea need to raise his ability to higher level through Chinese Classics translation and comment. The higher level is the route of analysis, application and development.

LiHe’s immortal poem continues the tradition of poetry about immortal images in his previous traditional poems, but also to some extent followed the middle Tang dynasty fairy faith in secular, and the secular trend of fairy theme secularization. But his immortal poem at the same time has a strong and distinctive individual character. Both in subject matter, or in the words and sentences, the immortal image made LiHe played the genius imagination to create some previous work. In his poetry, fairy images always make the daily things or secular things to be wonderful or immortal. Like their predecessors, LiHe wrote the beautiful fairy world to express his feeling, but the layer upon layer comparing of fairy space-time, human space-time and absolute time gave more special expressing way for the traditional theme. Describing the world of the goddess is a major feature of Li’s poetry, the different of the goddess styles, all kinds of beautiful mystical images to be different from other writers described in the Tang Dynasty poetry about immortal poems .

The different attitudes towards the poems of Li Shangyin (c.813-c.858), a prominent poet in late Tang Dynasty (618-907), have led to various evaluations on his personality. On one hand, the opposites of Li’s poems often criticize the personality of Li. On the other hand, the supporters of Li’s poems praise almost all aspects of him. This resulted in serious bias all over the studies on Li. Focusing on the historical context of the Tang Dynasty, this article analyses the limitations of the viewpoints of both the Li’s supporters and opposites, and points out that discussing the personality of Li is indeed not an appropriate way in knowing this historical figure. Since the Tang scholars were highly enthusiastic in obtaining political success, this article chooses to re-evaluate Li through the view of politics. Based on Li’s commentaries on the past historical events and current affairs and his performances in dealing with other officials, the article illustrates the weaknesses of Li and tries to provide an objective new understanding of this important poet.

This paper employs an Phenomenological approach to study the discourse of Su Shi. Focus will be the meaning of Yi in his thought of art, in which the attributes of I, the generation with the nature, the procedural and general construction and the temporary stay transformed will be interpreted in details. The significance of the generative characteristics and Existentialism in the domain of Aesthetics will be revealed.

This paper explores modern Taiwanese poerty with the memory form of Halbwachs. To make the discussion, this paper not only analyzes autobiographical memory, but also attempts to explain the connection between historical memory and collective memory by the Taiwanese poet, Xang Yang(LIN QI-YANG,1955- ). When the collective reader participated in the text, this was by returns to the collective memory personally a process. Develops from the autobiographical memory to the historical memory, therefore its poetry the mass variation, may may be called the model of Taiwanese poetry history.

The modern poetry is an important creation undoubtedly in Xiang Yang’s writing as it has developed the poet’s network which looks after regarding the reality in Taiwan. In the modern poem category, Xiang Yang is careful about the poetic style, and attempts each kind of expression forms unceasingly, such as the image poem, the network poems, the child poems, etc.; this constructs the polybasic coexisting graphs. And called “child poem”, this represents pitches up in the reading object to “the child” the age level, indicates the literary specialty by the child view. The child poetry anthology in Taiwan’s publication states by the picture-story books primarily. The poet cooperates with the different illustrator, presents the creation views which blend the drawing and the poetic composition, the literature and drawing each other fords the alternate growth mutually, spreads out many kinds reading spaces. Through the vein, the writer considered that to know the development poetry creation of Xiang Yang, the child poem is also the important cuts into the faces. This article plans from toward the few study of Xiang Yang’s child poem, and then extends the thought of creation of Xiang Yang. Try to take《鏡內底的囝仔》（1996）、《我的夢夢見我在夢中作夢》（1997）、《春天的短歌》（2002）,these three works for the focal point on the discussion, from the form to the content, speculates it to the writing which accommodates or varies. The main description divides into two parts：First, drawing and phonology：Cross medium and cross language creative arts；Second, adult and child：Growth experience’s dialog space.

Qian Zhongshu (1910-1998) ranks among the foremost twentieth-century Chinese literary scholars and writers, known for his burning wit and formidable erudition. His satiric novel Fortress Besieged围城seeks to form a new relationship between literature and society by examining a form of the existence of the intelligentsia living in the period of the War of Resistance Against Japan. This paper is based on a re-reading of the writings of Qian Zhongshu in order to improve our understanding of Qian Zhongshu’s thought structures and the unique role Qian played in both the fields of Modern Chinese literature and academia. This paper aims to systematically research how Qian Zhongshu consciously employed such thought in those areas. So as to gain a closer reading of Qian Zhongshu, as Qian’s identity was based in literature, I have therefore chosen as my point of departure the novella Fortress Besieged; a work that displays different literary forms, from “metaphor” to “allusion”. Here an investigation into how Qian employs such literary forms from the points of view of both literature and academia using so-called “intertextuality” shall be further discussed and Qian Zhongshu’s individual mode of thought shall be demonstrated. A close reading of Fortress Besieged allows for many different points of analytical departure, as Qian Zhongshu’s work contains many instances of struggle between lively literature and fundamental academic debate. It is the conclusion of this paper that herein lays the value of Fortress Besieged.

As a renowned award-winning Taiwanese writer in the Chinese-speaking community, Luo Yijun is famous for his innovative skills in crafting the art of novel. His short novel titled “Xiang Sheng Shi Er Xing Zuo” (literally meaning “born in the zodiac”) is an interesting amalgamation of realities, memories and fantasies. In the novel, Luo juxtaposes different types of consciousness together across different times and spaces in realities and the fictional worlds. In this essay, concepts like montage, collage and labyrinth are used to explore the various manifestations of time and space and the representations of fiction and reality in both the world of texts and the world of readers. This essay also demonstrates how the idea of labyrinth can be incorporated into the study and the reading of novel, city and human life at large.

‘Garland’ was a short story of Gao Xingjian. It was about Dabao who brought his fiancée Xiaohui to his uncle’s place in the countryside. After making a garland to Xiaohui, they met Chunlan and her young daughter at the water melon field. Chunlan had been a girl friend of Dabao at his childhood and he made a Garland for her when she cried, because she was isolated by her peer group. The feeling of Dabao at the moment of their meeting again was strange but he hoped Chunlan would forget their past forever. Another theme in this paper was, to analyze the story through new interpretation of the thinking of Buddhist philosophy. The three times of wearing the garlands in this story symbolized the short moment of a person’s brilliant life and too quickly in the samsara of human lives.

Bashu culture is a typical regional culture deeply rooted in the Ba Mountains & Shu Rivers. Represented by Shading, Aiwu, Li Jieren, Zhouwen, Luoshu, and Bajin, the Bashu culture influenced Bashu local literature writers showed intense and sober embracing to local cultures in their life and artistic creating, permeating distinct color of Bashu culture, like story-featured narrative structure and region identification, as well as objective realistic satire art, and vivid and expressive “Sichuan flavor” dialect, which all manifest the profound influence of Bashu culture, and interpret the unique regional cultural features of Bashu culture.

The Imperial Examination is a grand event held annually since Sui Dynasty. In Sanyan Erpai，only Jingshi Tongyan - Yutangchun’s Encounter with Her Husband writes on the theme of zhuang yuan （which is the champion of the imperial examination）. The leading character falls in love with a prostitute of charitable heart. But their romance is obstructed by the bawd after he spends all his money. After roving in several alienated areas，he is awaken，determined to study hard and eventually achieves to be named in the imperial examination and to win back his love. This paper integrates the theories of M.M. Bakhtin’s Carnival and Mennipean Satire as well as Repetition of Victor Shklovsky to analyze the writing skills of Yutangchun’s Encounter with Her Husband.