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Oracle-bone inscriptions that records the Renfang conquest(正人方) at the tenth year of Emperor(王十祀) has been discovered many. These records are collected and these materials with a clear description of the place name and date, on the basis of these materials, or to reconfigure the Renfang conquest course of the Yin Dynasty Late, the research that created the tear-off of the Yin Dynasty late There are many people interrupted. For material that records the war diary systematically as this is not a lot, this Oracle-bone inscriptions is because an important role in the study of history and calendar of the time. After Dongzuobin(董作宾), scholars such as Chenmengjia(陈梦家), Daobangnan(岛邦男), Lixueqin(李学勤) based on this data to reconfigure the Renfang conquest history of the late Yin DynastyHowever, Renfang conquest route map drawn on the basis of which is also different from each other Daily that in the basis of this article, the researchers also restored the difference, a lot of each other. This difference is because different age determination of data with the basis of the study. And, the difference of views on calendar systems of the Yin Dynasty is also one of the causes. The author determines that for an accurate reconstruction of the Renfang conquest, Inc., that it is necessary to accurately set the first study. So, I try to present a discrimination method of the material. For this purpose, In this paper, through the study of previous research first, analyze and find the problem that issue, we present a specific method of material selection on the basis of this again. Finally, by applying this method, the extracted data of the study.

The Chinese rhetoric started in The Shang Dynasty. The Shang Dynasty started to write their thoughts. The Chinese invented the writing system known as the inscriptions on bones and tortoise carapaces. The priests using the inscriptions divined what would happen the future. The inscriptions were not the vehicle of human thought, were the supreme authority of the Lord on High. It came from respect of all things in nature, and was imitated the nature and the principle of nature. The Western Zhou Dynasty tried to deny The Shang Dynasty’s theocratic rule. It means the start of humanities times in ancient China. Through making a lecture and writing on their thought, ‘all philosophers and scholars’ were to awaken the true meaning of all things in the universe. It was the beginning of rhetoric in the ancient China. The rhetorical origin took rise in 『Zhouyi』said “use a flowery style, must be in the right frame of mind.(修辭立其誠)”. They generally used water as a rhetorical device, and the source of all things in the universe. For example, Confucius said “Some people like mountains while others like water.(樂山樂水)”, Lao-tzu said “Water`s virtue is the highest goodness.(上善若水)”. They utilized the chief element of water. The Period of Wei, Jin and Northern & Southern Dynasties was a kind of the Renaissance period in Chinese art and literature. Especially Luji’s 『Wenfu』, Liuxie`s 『The literary mind and the craving of dragons』and Zhongrong`s 『Shipin』made many meaningful arguments about shaping and developing of rhetorical device, and the correlation of natural object during the ancient China. The nature and the principle of nature played an important role on the shaping and developing of the Chinese rhetoric.

Guwen is a term that used in Philology and Dictionary academic. By investigating the origin of Guwen, this paper intends to analyze the storage condition of Shuo wen jie zi’s Guwen in Song ben yu pian, and explores the origins of diachronic inheriting and the track of synchronic change. The findings and data of the research will provide information systematically for the research of the history of spread of Chinese characters, the research of dictionaries academic of Chinese characters, historical research of academic of terms of Chinese characters and dictionaries, and provide historic theoretical basis for soring variant chinese characters in the standardization process of chinese characters.

This paper selects the asymmetry of antonym “Go Forward（前进）---Retreat(后退)” as the research object. First of all, we conducted a comprehensive inspection of “Go Forward（前进）” and “Retreat(后退)” in the modern Chinese and found there was existing asymmetries.In the diachronic level, we not only inspected representative works of the Ancient Chinese,Middle Chinese and Modern Chinese, but also made qualitative and quantitative analysis.Qualitative analysis made us understand the origin and development of “Go Forward（前进）” and Retreat(后退), but also more or less cleared the roughly time that Other meanings of “Go Forward（前进）” and Retreat(后退) appeared.

Multimedia sources is crucial in Chinese literary and educational. multimedia sources include video, sound, flash and etc. multimedia has a movie DVD, Internet streaming video, radio, MP3 sound, and so on. because they are includes sound source, It’s effective in Chinese and Chinese literature education. First, the DVD contains the abundant resource than other source. DVD media is included video, sound, and subtitles. on particular, the subtitles will be a very important role in Chinese education. extract clip and subtitles from DVD video and the effect is excellent when used in a mobile app as “nPlayer”. Second, sound rather than movie clip simple, but it is essential for teaching Chinese. however, there is no subtitle, a lot of beginners have difficulty in learning Chinese. Chinese education, educators are sound (mp3) and the lyric file (LRC), effect can be maximized. the application as “Lyrics go” use in Smartphones, students be obtained visual effects thought LRC file. Third, movies, sounds and subtitles that extract from DVD can be combining the ebook. software such as “3D ISSUE” is produced ebook that will work on PC and smartphone. Smartphones are excellent portability and accessibility. When teaching Chinese, smartphones will have much effect rather than the PC. Smart Chinese educational content can be a new alternative in Smart Age.

On the basis of previous research, this paper divided “Ba” construction into 13 subcategories according to strict logic programs, which are having verbs or not, verbs being idioms or not, having several verbs or not, a single verb having no additional ingredients in front of and behind itself or not, and so on.The 13 subcategories are无动式、熟语式、复谓式、唯动式、状动式、动得式、动结式、动趋式、动副式、动介式、动宾式、动量式、动体式. As for naming the 13 subcategories, this paper haven’t adopted using Arabic numerals like 1, 2, 3 as Beijing Language Institute Sentence Type Research Group (1989) and Lv Wenhua (1994)did, and formula “v p = v r” as Cui Xiliang (1995) did, and codes like Ⅰa、Ⅰb as Xiao Xiqiang etc. (2009) did. We mainly followed Fan Xiao (2001). The 13 categories of “Ba” construction are fewer than Lv Wenhua (1994), more than Beijing Language Institute Sentence Type Research Group (1989), Cui Xiliang (1995), Fan Xiao(2001), Xiao Xiqiang etc.(2009). 9 out of the 13 categories have the same names as Fan Xiao (2001). Except adding 无动式、熟语式、复谓式,we changed Fan Xiao(2001)‘光杆动词把字句’（bare-verb “Ba” construction）into ‘唯动式把字句’（one-verb-predicate “Ba” construction ）to make the name cleaner and be consistent with the others on the syllable to achieve a consistent effect. The references of “Ba” construction naming by Arabic numerals or Roman alphabet are difficult to memory, and by a formula are not simple enough. The best choice of naming “Ba” construction is using a Chinese phrase, which can have a brief form,and a clear reference.We would like to make such a classification and naming, mainly for the convenience of analysis of corpora and reading and writing. Our classification follows the strict logical principles, and the standards are very clear. According to our steps, any “Ba” construction appearing in a corpus can be easily classified into a proper subcategory.

In current Chinese, the changes of ideas caused by the social reality and the changes of life caused by new media revolution have been intertwined, and been presented by a rich deconstruction phenomenon occurred in the field of words meaning. Deconstruction means that the original meaning of the concept is broken, the old meaning scope is deconstructed gradually ( not disappear) and the new meaning is accumulated continuously. Social mainstream thought, pop culture, the factors from people（as language’s host）and language development are leading to the meaning’s deconstruction. The current deconstruction of Chinese words meaning has two kinds of forms: explicit form and intrinsic form. It can come from the rationale of logical reasoning, language game, self-mockery or ridicule others, court jester as well. Meaning’s deconstruction doesn’t mean simple destruction or subversion, but aims at meaningful reconstruction. In fact, the significance of deconstruction and reconstruction are actually two aspects of the same phenomenon. During the past decade, under the leadership of Chinese civil power, a lot of deconstructions of the words meaning appeared in Chinese language, which shows that common people intend to grasp the right to speak more. We can see that it also currently affected China’s mainstream thought or trend. This observation comes from the perspective of deconstruction and towards the newest development of the Chinese words meaning, the purpose is to research on the trends of living Chinese language better in our new media age.

The poetic language is an imagerial and intentional language, which is different from the legal language, the everyday language and the literary language, especially in terms of vocabulary. With a close examination of The First 200 Words of the Modern Poetry in comparison with The First 200 Words of the Legal Language, The First 200 Words of the Everyday Language, and The First 200 Words of the Literary Language, the author argues that: 1) Because the poetic language and the legal language belong to different registers, the two languages differ significantly in their selection of vocabulary, therefore we should put more efforts into the study of register; 2) The poetic language is constructed on the basis of the  everyday language, on account of the shared vocabulary of the poetic language and the everyday language; 3) The poetic language is most closely related to the literary language. The poetic language transcends the literary language, and should be distinct from the literary language.

Yue-fu(樂府) Folksongs of South dynasties deals with the theme of love stories between men and women it tends to be somewhat romantic and monotonous. Through geographical, Yue-fu Folksongs of South dynasties has beautiful natural conditions, featuring production from the Chang-jiang(長江) that are rich, so that content is significantly different from previous Yue-fu folksongs. Because the southern regions has good natural conditions, so those people living in natural conditions in the full payout would have a romantic mood. In this study, meeting and parting sentiment of the South dynasties yue-fu is clearly shown in the Xi-qu(西曲). Xi-qu was composed on the whole middle Han shui(漢水) and chang Jiang(長江), beacause this area is zoned for commercial heart of the harbor of the geographical features, sailor and relative qing-diao(情調) and the wayfarer and the merchant’women would sing a parting of the constant. In this study, the civil works of the affection in Xi-qu, I analyzed to the joy of meeting the sorrow of parting and longing was divided on the basis of the geographical background to analyze.

This article was written to study the various symbols of the daffodils in ancient Chinese poetry. Daffodils have various common names including daffodil, narcissus, and jonquil are used to describe all or some of the genus in western. Daffodils grow from pale brown-skinned spherical bulbs with pronounced necks. The leafless stems, appearing from early to late spring, each flower has a central bell-, bowl-, or disc-shaped corona surrounded by a ring of six floral leaves called the perianth. There are two kinds of daffodils in China, and the flower was received full of love by many people. The various symbols of the daffodils in ancient Chinese poetry are summarized as that :The first, the daffodils have legend about the spirit of water like Xiang river(湘夫人), Han river(漢女), Mi-fei(宓妃) etc. Due to the legend, the daffodils have numinous imagery by all people, and have represented the nobility in expression of Chinese poetry. The second, the daffodils have maintained the purest beauty like white snow in itself, it means that the daffodils full of expression of beauty and dignity, and the poetry of daffodils are generally expressed the symbol of clearness, elegant, noble, highbrow. The third, the daffodils also have attribute of cold hardness and strength, so the poems of daffodils are very often means of the expression of patience and integrity. Since the flower have endured intense cold through winter and blooms in early spring, it has also become a symbol of patience and integrity. The poets often express as the symbol of noble mind and honor, and the poets took off their hat to daffodils’ perseverance, and can get powerful feelings of endurance by composing the poems about his own lonely conditions and emotion.

Old yuefu poetry “Wuyeti” is a ballad of the feminine sensibility, which combined the eventual emotion of a woman who was abandoned by sweetheart and the the atmosphere of the southern provinces in old China. The sadness of abandoned woman was such a familiar feeling in the field of classic Chinese poetry. It could have been found frequently and very much in the literary forms from the beginning of the Chinese poetic history. There were many crows in old China, especially southern provinces. People could always see crows and hear the sound in town and country. Frequent appearance of crow in the folk ballad of southern provinces was natural. People had got various feelings day and night from the cry of crows of the real world or of the lyric songs. The title of Old yuefu poetry “Crow cried at night” meant every important things of the poetry. It explained the tragic lonesomeness of the heroine who couldn’t fall asleeping at night until dawn, hearing cry of crows that were belived to share the sad emotion of abandonment. “Wuyeti” was a weak and passive appeal of complain, could be heard everywhere in old china from every common ladies. It’s emotion was based on feeling that was shared by public members of common provinces. so the myth of crows that would usher in good news and accomplish wish for the noble class who suffered from some unfair events. Common yuefu poetry did not need that legendary origin. Jianwendi, the emperor of liang dynasty had the poetic ability, he divined two yuefu poems-“Wuyet-Crow crying nighti” and “Wuyexi-Crow sleeping Night” from old yuefu poetry “Wuyeti”. He composed many poems and defined the difference of two. “Crow crying night” was tragic mood like old “Wuyeti”. “Crow sleeping night” was lyrical romance of love adventure of southern province folk guys including noble ones. The standard of Jianwendi had been accepted by other poets of classic chinese world for long period.

Different from the way of western thinking, the way of Chinese thinking is constructed by the viewpoint of Yin-yang which is the foundational viewpoint in Chinese traditional culture before the May 4th Movement. Under the Yin-yang viewpoint, there are many different ways of press, especially the press of gender. The thinking way of men as yang and women as yin which leads to the humble women and the high men predominates in the traditional China. The first and most important for Chinese women to gain a faire and equal society, they ought to destroy the traditional way of thinking under the leading view of Yin-yang viewpoint. From the May 4th Movement, the traditional way of thinking in China has been destroyed by the radical thinkers including women thinkers. However, owing to the political reasons, the traditional way of thinking in China still has its power. Therefore, it is very necessary for Chinese women to use the western contemporary radical thoughts such as the deconstructionism to destroy the foundational thinking of Yin-yang viewpoint to gain a relatively faire and equal society.

As an important literary province across China, Jiangsu novels in recent years have made rapid development. Not only the number of works is very large, and high-quality works are also increasing. 2013 is the harvest year of Jiangsu novels. In this year, Jiangsu writers published nearly one hundred novels. Overall, whether they choose to take on the theme of the story, or digging in bold ideological theme, whether in the form of innovative structure, or a breakthrough in terms of characterization, have a distinctive performance. Throughout Jiangsu novel creation in 2013, we find them in the selection layout, almost formed from anc ient times to the present one, from the historical continuity of the subject matter to the realsystem, clearly showing broad and lofty conception of Jiangsu writers’ horizon. We are excited that Jiangsu novels’ narrative passion for contemporary life and the spirit of exploration is quite prominent. While some works focus on the rediscovery of history, more works comprehensive in-depth contemporary life, or in the intertwined aesthetic space and time between the history and reality, to write the changing times and complex landscape of contemporary culture. From the novel types of view, marriage fiction, urban fiction, local novels, officialdom novels, youth writing, children’s literature, and even popular literature, fiction network, etc., are very well developed, clearly showing a high degree of enthusiasm and a strong aesthetic ideas of Jiangsu Writers’ creativity. Jiangsu novel also exhibit a unique aesthetic qualities. They are good at using the profound implication of imagery or imagery group to form the story of the process, but also more inclined to condense some life experience to expand the complex relationship between the characters. Thus, many of the works are difficult to be analyzed from the ordinary type of framework. Many works have already overrun certain stylistic boundaries and type of mode, and different from the general realism, or romanticism, or other writing methods, but showed a spirit of individualism, in order to achieve a strong combination of aesthetics and exploration of human nature.

This thesis focuses on Taiwan highland Aboriginal writing-Ahronglong Sakinu, Husluma Vava, Topas Tamapima’s text. This thesis analyzes ecological ethics in the native people and aesthetic value by ecology writing viewpoint. Taiwan highland Aboriginal Literature considers inter-relationship of human and nature inter-subjectivity originally. Human being does not develop nature but adapt to nature. Therefore human being makes Inter-dependent structure of human and nature. Although frame of reference contemplating nature is not theorized and not systemized in Aboriginal language system, Aboriginal live view and behavioral norms means conservation and sustainability in modern knowledge hierarchy. Taiwan highland Aboriginal wisdom of ecological ethics provides modern people resulting in ecological crisis, pursuing material progress excessively, ignoring dignity of nature, running out of beauty of life with new directivity to better life.

Wu Zhuoliu’s autobiographical novel of Orphan of Asia, which is originally written in Japanese, completed in 1945, it is widely regarded as a classic of modern Asian literature and a groundbreaking expression of the postwar Taiwanese national consciousness. Born in Japanese-occupied Taiwan, raised in the scholarly traditions of ancient China by his grandfather but forced into the Japanese educational system, Hu Taiming, the protagonist of Orphan of Asia, ultimately finds himself estranged from all three cultures. Orphan of Asia offers a powerful depiction of the political, cultural, and psychological impact of colonialism. Taiwan has experienced Japanese colonial rule from 1895 through 1945, many factors of Japan’s colonial policy that brings its modernity to Taiwan. The Taiwanese identity crisis is regarded as a problem of mental trauma, and it also examines the structure of emotion in Colonial Taiwan. Therefore, the text of the Wu Zhuoliu, Orphan of Asia, is the symbol of the social history of modern Taiwan, from the colonial modernity and colonial experience, it is worthy of discussing to find the implication of the novel.

There are 49 metrical poems among Lu Xun’s 61 old style poems. In his poetry writing, Lu Xun basically comply with the traditional standard in words and sentences, antithesis and rhyme. Among them, the rhythm and the words and sentences stringently comply with the rules. Specifically, the main characteristics are: the strict distinction between Rusheng（入声字） tone words well, the flexible use of variant pronunciation, in addition to use the normal save skills, also use the save mode with his own characteristics; the majority free and easy antithesis; the majority rhyme in accordance with the Pingshuiyun（平水韵）. All of them reflect Lu Xun’s literary spirit — keep pace with the times.

This study is intended to discuss the issues of ‘cultural exchange’ as a cultural movement and acceptance in progress between Korean and China. It focuses on the most active type of cultural exchange, the musical theater, and discussion highlights musical as performing art contents. This involves discussing the type and case of the musical theater between Korea and China, and it is limited to private sector of cultural exchange which is expect continuous flow in future. Therefore, various types of collaboration are widely presented through private enterprise companies such as CJ E&M as well as local festivals (e.g. DIMF). And it contains non-verbal performance which are openly discussed as another type of musical theater. “Finding Destiny” is chosen to discuss in this case study, which is successful in Korea, China, and Japan as of 2013. This original Korean musical was re-arranged through the collaborations in between countries to fit the local circumstances and became a good model of cultural exchange through musical theater. The case of “Finding Destiny” can be guidance and provide direction to the future Korea/China performing art exchange program. This case study particularly focused on the cultural exchange through musical theater which export to China. Korea musical’s oversea expansion is done through dual producing, non-verbal performance, and local festivals and conjunction with area. To re-adjust on language, character, story, actors/actress, and the producers to fit the local custom is another important layer to the successful Korea/China cultural exchange.

The purpose of this study is to explore the leisure life of the middle class in China.Since the rapid growth of China economy, the middle class has sharply grown in cities. Based on the theories of western, the growth of the middle class can ease the expansion of the gap between rich and poor and stable social order.Furthermore, Chinese people are longing for the middle class life today. For these reasons, to explore the leisure life of the middle class is very important. The findings indicated that first, the middle class aware the importance of leisure life and take an active part in many kinds of leisure activities. Second, leisure spending of the middle class is significantly higher than that of other classes. Third, ‘lack of time’become the major reason why most middle class do not enjoy their leisure life. This study will contribute to the understanding of characteristics of middle class in China.

Ming Tang was originally the place for emperors in ancient China to perform state affairs and various memorial services. It was developed under strict standards reflecting tradition. It was not only a site praying for prosperity and perpetuation of country and descendants, but also a place for an emperor to reside at, allocating the year’s state affairs to feudal lords. In the background of creation of Ming Tang, there was a purpose to practice efficient politics by harmonizing the year’s energy of Yin Yang and the seasonal divisions, and by looking into geological characteristics. In Chinese classic literatures, Ming Tang is recorded deeply related to Chinese Shu Shu(術數), and then, it is Feng Shui which makes up for classic field of Chinese Shu Su. The records on Ming Tang are shown without exception in literatures representative of Feng Shui. In Feng Shui, Ming Tang, in connection with Qi, Yin Yang, mountain and water, water flow, earth color and flow of Qi, is regarded as an important criterion to judge which is an auspicious site. While Ming Tang was recorded as a constituent of auspicious site in Feng Shui literatures, it was regarded as auspicious site itself beyond a constituent of auspicious site in Chronicle Record of the Chosen Dynasty. At first, those who made use of Ming Tang were limited only to emperors, but it got to mean a constituent of auspicious site through widening recognition of Feng Shui, and it got generally used by people of every class. By the way, geological application of nature, succession of tradition, a certain rule and condition and so on are still kept up in common, but as time goes by, they are getting more minutely divided. The purpose of Ming Tang has always been for future prosperity, regardless of when it meant the essential place for state affairs, a constituent of auspicious site or the auspicious site itself.

I have been thinking of the problem of Korea and Taiwan’s cultural difference ever since I studied abroad in Taiwan for the first time more than 20 years ago. Specific for, how did Taiwan’s Buddhism become flourishing? What’s the difference between Korean society’s and Taiwan society’s Confucian values? Is it connected with Korean society’s exclusiveness and Taiwan society’s inclusiveness? These small macro-problems recurred to me from time to time. And I have tried to discuss on the problems I have been thinking about on the base of these factual situations in these two years. My shallow opinion of The Charm and Influence Enacted by Buddhism in Contemporary Society of Taiwan: Together With Its Similarities and differences with Korean Buddhism had been delivered at the International Symposium of the Religious Retrospect and Prospect at the One Hundred Anniversary of the Founding of ROC which was hosted by Taiwan Association for Religious Studies and held in Academia Sinica on May 14th, 2011. And also in August, 2012 I delivered the Religious thoughts of Confucianism, Buddhism and Daoism and Taiwan Society at the 32nd International Symposium on Chinese Studies that hosted by Korean Association of Chinese Studies and held at Yonsei University in Korea. The reason of the big differences between Taiwan’s and Korea’s Chinese Buddhism has been further discussed on the base of existing studies in this essay. This is a very interesting and important subject. The textual research has been made from four aspects which include the analysis of Taiwan Buddhism and Korean Buddhism’s developing process from the view point of Confucianism and Buddhism’s conflict and compromise, what actually are the reason of Taiwan Chinese Buddhism’s prosperity, and the research of Chinese Buddhism’s developing process in Korea. Firstly, the different religious values between Korean scholar-officials and Ming dynasty’s officials is analyzed through the 16th century’s cultural records of Fujian Min district which is one root of Taiwan’s culture in order to realize that Ming dynasty’s officials held inclusive religious value that is a mélange of Confucianism, Buddhism and Daoism; but Korean officials held exclusive religious values that is the overwhelming Confucianism and the attack on heresies. Secondly, the value that Confucianism occupies the central position and Buddhism plays subsidiary role was still kept on the base of the combination of Confucianism, Buddhism and Daoism in Taiwan district during the late Ming and early Qing periods; However, in Korean Dynasty not only the value of Neo-Confucianism was kept from the beginning to the end, but also the views that were different from Neo-Confucianism were always intolerant. Thirdly, the consciousness of rebelling against tradition was appeared in Taiwan’s Buddhist circle during the period of Japanese occupation which not only made firm position for women’s independence, but also raised Buddhism’s position and narrowed down the distance between Confucian scholars and monks; During this period although the modern trend of establishing new educational institutions was appeared in Korean Buddhist circle, Korean Buddhism was essentially dependent on Japanese Buddhism as to seek Korean Buddhism’s revival and development. As this dependence became stronger and stronger, the opposition and dispute between anti-national Japanolatry “Educational Institute”’s mainstream power and “General Affairs Office”’s nonofficeholding power which emphasized nationality and independence was appeared. Finally, owing to Taiwan culture and scholar thought’s pluralism, extremely conservative values and traditions of Neo-Confucianism weaker and weaker gradually so as to make room for the contemporary development of Taiwan’s modern Buddhism. But in Korea, the centralized Buddhist system and thought that started from the Joseon dynasty and based on Confucianism’s great unity ideology had been continued and caused the phenomenon which was unfavorable for Buddhist development. In light of this, this kind of centralized system has comparatively many negative factors to affect Korean Buddhism’s overall development and is not fit for the contemporary pluralistic age. As for pluralism and centralization, this is not only a very interesting phenomenon, but also the biggest advantage to Taiwan society and the biggest shortage to Korean society.

The five emperors’ times that appeared in Sima Qian’s HistoricalRecordsㆍBiographic Sketches of Five Emperors is equivalent to Longshan culture era in archaeology. The most difficult part of the research in this era lies in the lack of historical data. Previous researchers tend to exclude myths, legends and historical documents that contain mythological quality from research field, which makes the study on this period of history at a standstill. On the basis of totemism theory of anthropology, present researchers should break through the bondage of traditional historiography concepts, interpret mythological materials, explore its historical reality, construct historical system of five emperors, and then fulfill the tracing of Chinese Civilization origin.