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‘Shang(上)’, ‘Shang-mian(上面)’ and ‘Shang-bian(上边)’ might be recognized as the elements which have the identical function due to their high formal and sematic similarity but practically there is the discrepancy of the grammatical properties among them. This paper attempts to understand the grammar properties through the syntactic and semantic analysis as well as the characteristic of the Chinese localizers further more. Syntactically, Shang is a bound form and Shang-mian and Shang-bian are a free form. Hence it is appeared that those have the different characteristic at the sentence distribution, combination structure and function etc. It is discovered that Shang-mian is used to express only the upper position and the part of abstract range also, Shang-bian is used to describe only the upper position due to its strong restriction whereas Shang is semantically used to state the diverse/widespread senses such as the upper position, space and abstract range and so on. This is caused by the different grammarticalization degrees among Shang, Shang-mian and Shang-bian. It is believed that understanding this phenomenon basically would be helpful to study the Chinese education, grammacticalization and word class.

This research examined the spelling of Korean-Chinese bilingual translation aspect of shop name in Yanbian in China. The research was progressed for the purpose of presenting a translation of a ‘good shop name’s typical model in rhetorical term. The research’s case data were excerpted from Central National University, Korean department’s students’ report of investigation of bilingual shop names (1284). This paper studied the spelling of bilingual shop name’s aspect by examining features of Chinese-Korean and Korean-Chinese shop name’s transition of the spelling process. The writer of this paper progressed of rhetorical analysis from this aspect of Korean-Chinese shop name cases. Lastly, the paper made a suggestion of a ‘good shop name’s transition of typical model.

China and Korea have been maintaining close relations over the centuries. The nations have been enjoying political, economic, and cultural exchange. For these reasons, Chinese language has become one of the major research subjects in Chinese studies. Most of Chinese language learners whose first language is Korean perceive the meaning of the word ‘眼’, means ‘eye’ in English, as correspondence of ‘눈’ in Korean. However, those two words have significant differences in meanings. Words that have multiple meanings have its marginal meaning based on the central meaning of the word. The patterns of formation of the meaning expansion are related to the way how native speakers of the target language perceive the subject of the word. Therefore, investigating the differences of how people in Korea and China perceive certain words differently by comparing the differences in its central and marginal meanings is important. In this research, the word ‘eye’ in Chinese and Korean is going to be discussed. The patterns of how the meanings are formed will be investigated by looking through the metaphor and metonymy of the target word and how the way of native speakers of the target languages perceive the subject differently.

The purpose of this study is to reveal the differences between the two Chinese words daozhi(導致)and yinqi(引起) from the perspective of semantic prosody, and to verify the existing findings on these words by analyzing and comparing corpus data. This paper proves that the words daozhi and yinqi have similar meanings in some way, as in ‘to lead something as a result’. However, the words have their own semantic characteristics; daozhi has predominantly negative semantic prosody and yinqi relatively has neutral semantic prosody. The results of the research will be expect to provide a reference for future related researches, and also for revising learner’s dictionary of Chinese.

Prepositions have been considered to form the complement with their object, when they are placed after the verbs or adjectives in Chinese. This kind of viewpoint can’t explain the changes in Chinese. In Chinese the prepositions have the tendency of adhering to the verbs or adjectives when they are followed by the verbs or adjectives. “Jiyu” is one of the structure of “verb+preposition”. A preposition is to form prepositional structure with a noun, a pronoun, or a noun phrase to modify a verb, and it functions as a complement, when it is prepositioned by verbs or adjectives. The dictionary 《Xiandai Hanyu Cidian》 describe that “Jiyu” is a preposition, but I don’t agree with it. According to my research, “Jiyu” can also use as a verb in Chinese. So I think that it not only has the function of preposition, but also has the function of verb. Most prepositions that came from verbs still retain their verbal functions, for example; Zai, Dao, Gei, Gen etc. Actually “Jiyu” also retains its verbal function. Therefore I agree that “Jiyu” is one of the double classification of words.

This paper will study on “yibian VP1 yibian VP2”and “VP1 de shihou VP2”. One side this two structures have same grammatical meanings, on the other side this two fixed combinations have very subtle differences. It is very necessary to distinguish this two expression formats, the conclusion will be useful for teaching Chinese as second language.

The vocabulary of poetic language bears the imagery of poetry, expresses the poets’ emotion, and is distinguished by its unique characteristics. Through statistical analyses of the frequencies of various parts of speech in “the Table of Commonly Used Vocabulary in Chinese Modern Poetic Language,” the author found two categories of function words which are commonly used in the modern poetry: auxiliary and conjunction words; and their usage is different from everyday language. The author also found that the structural characteristics of the poetic language include the advantage of monosyllables in terms of their frequency; the preference for double-barreled words and the reduplicative form of words; the independent usage of morphemes such as chuang [the window] and chun [the spring season] in the modern poetic language; and the use of the de-familiarization method which distinguishes the modern poetic language from everyday language in terms of grammar structure.

In short, Guiqulaixi, a satirical play centered around the Qiaoshen family by Laoshe, successfully depicts the psychological processes and clashes involving worries and conflicts over the selfish interests and desires, patriotism, and personal and national revenge of the characters with different personalities and positions during the Sino-Japanese War. Qiaorenshan is evolved from the Worrying Hamlet, who lacks activity and is made as a caricature a little bit, embodied in Tianlide, the main character of New Hamlet, a novel by Laoshe in 1936. He manifests Hamlet required by the times who discards indecisiveness and avenges himself with grim resolution. Laoshe’s plays during his fighting years were in the experiment stage and thus exhibit their limitations. He put too much emphasis on the fighting propaganda that his characters were divided by the extreme ends of good and evil. As a result, there is room for improvement in his creation of complex characters with reality and their images. Laoshe himself always showed a humble attitude toward playwriting he started late, despite which his plays demonstrate tight plots and the force of his written style as much as his novels, his representative creation genre. Guiqulaixi, his satirical play examined in the present study, also demands ongoing research and examination as part of the efforts to assess the literary values of Laoshe’s plays. In spite of its limitations as one of his early creative works, it holds huge significance by serving as the foundation for his masterpieces of great completeness after the establishment of New China such as Chaguan.

Evaluations of LU Xun as a poet are well-established. Beginning with The criticism of LU Xun (Changzhi LI 1935), “An Epilogue on A collection of Classical Chinese poetry by Lu Xun” (Shoushang XU 1944) , “A preface of Lu Xu’s draft poem” (Moruo GUO 1961), and up through more recent studies of LU Xun,all of which continue focus on his collections of prose poetry―Wild Grass (YeCao),which is a kind of traditional Chinese Poetry.However,these do not show that there was no difference between LU Xun himself and the evaluation of “the poet LU Xun”.LU Xun himself attached great importance to Classical Literature, while he also tried to create a new way for the times. That is “literature miscellany”. We can see his love and pride of these works, nearly a conceit. Lu Xun’s achievements in literature were enough to prove that he was a “poet”. However, trying to stand in LU Xun’s shoes,I do not think that continuing to focus on him as a “poet” will lead to the true understanding of Lu Xun. I would like to evaluate squarely the time when he lived,as a “miscellanist”.

This paper first explores Edward Said’s theory of Orientalism and ArifDirlik, James L．Clifford, and other scholars’ further theorization on this topic to introduce the definition of Orientalism and Self-Orientalism. Second, because the orientalism in Taiwan is in fact extended and mutated from Japanese Orientalism, this paper will illustrate how native Japanese writers or Japanese writers temporarily staying in Taiwan during 1900s-1920s produce novels on Nanban (Southern barbarians), exoticism in the south, and Taiwan colony by imitating orientalist point of view. Third, this paper discusses the differences in the representation of Taiwan by works written by Japanese writers settling in Taiwan and “Wansei” writers and local Taiwanese writers or Japanese writers staying in Taiwan for a short period of time. This paper also pinpoints why Taiwanese writers fight against these Japanese writers in terms of the competition between “foreign literature” and “Taiwan literature,” and how the orientalist point of view in these works affects Taiwanese writers. Finally, focusing on exoticism in works on Taiwan during Japanese Colonial Period, this paper demonstrates the complicated phenomena in the creation and research of Taiwan literature caused by orientalism and self-orientalism.

After the Chinese Civil War, the Republic of China on Taiwan and the People’s Republic of China in the other side of Taiwan Strait had become rivalries. Among people of R.O.C. who leaved Mainland China toward Taiwan with the government are called ‘Waishenren（外省人）’, and people who leaved before the defeat of government toward Hong Kong or the US are become Ethnic Chinese. Because of the transfer of these people at 1949, the diaspora of half-century has begun. Although Chiang Hsiao-Yun（蔣曉雲） was born in Taipei, her parents were the outcome of such dispersed group. In this research, I have gone in depth analyzing Chiang Hsiao-Yun’s novels after she had settled in the US about 1980’s, discussing the abroad students of Taiwan in the US, outlanders and dispersed common. Some of these characters of her novels are based on existing individuals that comes from her parent’s generation and others came from people she had encountered. By adding her composing, imaginations and fabricating, these novels reflected immense collectives that experienced the days of diaspora. These three types of characters each have faced their own destinies, physical and mental problems and they all struggle to overcome these issues through relating and returning to the significance and connotation of ‘home’. Instead of the nation which is still changing in political imagining, a stable family of clear, definite consanguinity becomes the core of their life in diaspora.

The analyses of Yan Lianke’s long-length novel Four Books highlight the writers’ allegorical engagement with Chinese intellectuals’ spiritual trials during epochal political events—the great leap, the anti-rightest movement, and the Great Famine. Through interpreting several important fictional characters in the novel, this article attempts to explore how Yan Lianke restores human complexity to the literary conscience and the intellectual conscience of the revolutionary China.

This thesis discusses about the evolution of Zhuxi’s positivist theory. This theory is a methodology for verifying if your knowing is correct or not. The first part of my thesis discusses some correlative theories during the period that predates the advent of Zhuxi’s positivist theory, such as the theory of “Can-yan(compare and verify)”、“San-biao(three standard of measurement)”、“Fu-yan(corroborate)”、“Cha-yan(inspect)”、“Gui-yan(regarde the experiences as the important things)”、“Jian-wen(experiences)”. The above theories regarded vaguely the experiences as standards of judging right or wrong, but they failed to loosen the bonds of the sociopolitical theory ,so they did not become the truly epistemology. “Xing(doing)” and “Zheng-yan(verification)” did not become the important standards until after the debates in knowing and doing in the period from Song to Yuan. The second part of my thesis discusses Zhuxi examed the theory of Zheng-yan(verification)with the practical example about physical science. This part have mentioned three problems:1) “Armillary sphere” and the theory of Zheng-yan(verification); 2) “Xuanji-yuheng” and the theory of Zheng-yan(verification); 3) “Two opposite mirrors” and the theory of Zheng-yan(verification). Though “Yan(verification)” and “Xing(doing)” suggested by Zhuxi is only personal moral practice and scientific experiment, they are the standards of judging right or wrong in the theory of Zheng-yan(verification). Zhuxi have made many important questions (such as how to the criterion of truth) included in the category of Epistemology.,and therefore the theory of Zheng-yan(verification) can be thought of as the transition of “Shi-zheng( factual proof)”. Moreover, the theory of Zheng-yan(verification) has pushed old epistemology to a new stage.

『Di Zi Gui(弟子規)』 is written by Li,Yu-xiu(李毓秀) who is from JiangZhou, Shanxi, in Qing Dynasty during the reign of the Kanxi Emperor. The original name of the book is『Xun Meng Wen(訓蒙文)』 . The book is based on the ancient teaching of the Chinese philosopher Confucius saying “A good student is dutiful to the parents at home, and respects elders and superiors while away from home. He is cautious in doing things, trustworthy, loving all equally, and close to wise and virtuous people. In addition, he needs to further study of the literatures passed down from the ancient sages and learned scholars.” The text is mainly illustrates that a young man should be a good son at home and obedient young man abroad, sparing of speech but trustworthy in what he says, and should love the multitude at large but cultivate the friendship of his acquaintances. If he has any energy to spare from such action, let him devote it to making himself cultivated. This assists children to not only create a wholesome forklore but also nurture the family tradition. In Qing’s dynasty, the book『Di Zi Gui(弟子規)』 was a required reading text book for kids, to lead children in the right direction.『Di Zi Gui(弟子規)』 was acknowledged as the best textbook until the foundation of the People’s Republic of China, also it was second only to “San Zi Jing” which explains the influence of this book was remarkable. The author Li,Yu-xiu(李毓秀) Zi(字) is ZiQian(子潛), Hao is Cai San(采三). He is from province Shan Xi, Xinjiang Country LongXingZhen，Zhouzhuang village was born in 1674, Shun Zhi 4th year and died in 1729 at the age of 83, during Yongzheng Emperor 7th year. In the early Qing dynasty, he was a prominent educator and scholar. Li passed the state examination with honors, and lived the life in pursuit of study. Later on, he combined the traditional demand of child education and his own experience in education field and compiled the book named “XunMengWen”. According to ”Xinjinagxianzhi(新絳縣誌)” it is recorded as『Di Zi Gui(弟子規)』 , originally named『Xun Meng Wen(訓蒙文)』 , and the author is Li,Yu-xiu(李毓秀) , from XinJiang. Since then, with the help of modification from Cunren Jia, who is from Fu Shan(浮山), it is reformed and named『Di Zi Gui(弟子規)』 . According to many sources, after the change of name from『Xun Meng Wen(訓蒙文)』to『Di Zi Gui(弟子規)』 , it influenced the age significantly which continues today. Therefore, Jia Cun-ren(賈存仁) is recognized for his great contribution on the scripture『Di Zi Gui(弟子規). As previously mentioned,『Di Zi Gui(弟子規)』 confirms the way of education in the statement which says “A good student is dutiful to the parents at home, and respects elders and superiors while away from home. He is cautious in doing things, trustworthy, loving all equally, and close to wise and virtuous people. In addition, he needs to further study of the literatures passed down from the ancient sages and learned scholars.” In other words,『Di Zi Gui(弟子規)』 is the teaching of saints and it says that being dutiful to one’s parents at home, elders or children(Di Zi) is the first thing to practice, and next one is to measure one’s words and acts. Furthermore, one should keep faith with others. If one can manage this, one can nurture humane affection and can practice the six things mentioned above. If one has enough energy to spare after all these, and then one should take time in pursuit of studying. It is not saying that learning is not important but saying that learning and practice both are all important. However, if one does not have an accurate understanding of theories or contents, one tends to act in a incorrect way, whereas one can only focuses on studies but studies without practice serves nothing. Therefore, start with the basis of filial piety, one should coach one’s recognition and slowly merge it with the theories to unite the knowledge and the behavior. Also, the content of this children’s textbook instructs lessons that is should be learned by not only children but also adults that they should be obey, having significant educational value.