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This study is about analyzing the characteristics of quasi-affix ‘客’ and ‘X客’. The results of the analysis are as follows. First, we found that ‘客’ is grammaticalized with in meaning but refers to someone and the degree of grammaticalization is measured to be weak. So ‘客’ is quasi-affix closer to root. Second, When a quasi-affix ‘客’ composes a word, ‘客’ is located at the back of the word. It is confirmed that it has the structure of ‘X客’. Thus, ‘客’ can be defined as a quasi-suffix. Third, ‘客’ is a quasi-suffix which can make nounization and considered to have a high vocabulary productivity. ‘客’ is generally used as a word meaning ‘a person with certain characteristics’. In conclusion, most of the words derived from quasi-affix ‘客’ are derived from the development of modern science and technology, especially the Internet. It is assumed that the Internet technology will continue to evolve in the future, and the words expressing this phenomenon will gradually become more and more derived. Quasi-affix ‘客’ will have a rich vocabulary productivity and will continue to derive words. ‘X客’ could be a word that can express various phenomena utilizing the Internet.

In order to communicate between the speaker and listener, the sociolinguistic competence is of foremost importance with grammatical competence. Based on this point, this paper was performed to study on expression of politeness in Chinese. In addition, this paper describes how to express of politeness in Chinese is used in the discourse from views of pragmatic. First, as for illocutionary expression of politeness, it is divided into phrase, auxiliary word of tone. The former is the causative verb ‘请’, the latter is the verb reduplication in Chinese. As touching expression of politeness by auxiliary word of tone, I used the example sentence of ‘吧’ and ‘呢’. Second, as for perlocutionary expression of politeness, it is divided into adjunct to head act, euphemistic pragmatic markers. The former is divided into ‘好吗’, ‘行吗’, ‘可以吗’, ‘能不能 VP？’, ‘能 VP 吗？’, and the latter is divided into the adverb ‘好像’, ‘可能’, ‘也许’, and the interpolation ‘我想’, ‘我觉得’. I have examined thoroughly how to express of politeness in Chinese is used in the Chinese dialogue. I hope that this paper will be able to save minimize errors in Chinese pragmatic and Chinese discourse comprehension.

This article was written to study on the aspects of the Zhu-Qingyu(朱慶餘)'s poetry. Zhu-Qingyu(朱慶餘) is one of the poets of Middle Tang Dynasty. There are a few articles on Zhu-Qingyu(朱慶餘)'s poems by now, but his poems have important content which can show distinct feature and style of Middle Tang Dynasty. The aspects of Zhu-Qingyu(朱慶餘)'s poetry can be summarized as that : The first, Zhu-Qingyu(朱慶餘)'s poetry basically contained the sense of sorrow about social aspect of Middle Tang Dynasty and his own life story. In many part of his poem, he expressed his feelings of sadness, and the feeling make his poem melancholy style. There’s a pathos in his poems which he never lets slide into sentimentality. The second, Zhu-Qingyu(朱慶餘) have expressed rich emotion about his friendship by using forthright vocabulary in his poem. That also means he have the intense friendship and aspirations toward people. Forthright vocabulary can provide truthful and emotional spray, so he can pursued more clear and fresh style in his Poetry. The third, Zhu-Qingyu(朱慶餘)'s landscape poetry have clear and fresh style, but in the features of landscape poetry, that also contains inner world in his poetry. Most of poets of Middle Tang Dynasty experienced suffering life which comes from political environment, but his landscape poetry was also a part of the expression of his life, that the expression can be offered his landscape poetry have some of Quiet, Delicacy, Lonesome styles.

Ancient Chinese people like to learn to walk around, so farewell was common. So the start of parting poem is very fast and can be found in the ‘ShiJing’. In the Tang Dynasty, parting poem has been specially developed. There are three reasons, first. in the Tang Dynasty, especially there was a lot of traveling. From the emperor to the commoner, they emphasized consciousness of farewell. When they parted, must share poetry. Second, a new function has occurred in parting poem. Beyond the function to convey emotion and meaning, it was noted as a means of social intercourse. So the Tang Dynasty had a large number of parting poem, it's got a new feature. The parting poem like a recommendation letter or introduction. Third, The combination of music and poetry was rife. Many famous poems were made into songs. Like this the prevalence of parting is not accidental, it is closely related to the age conditions. Tang parting poems not write about the pain of parting, write about scenery around, a big farewell party, their deep friendship. So Parting poem in Tang dynasty is different from previous one. Before the Tang dynasty, the main idea of the parting poem is the sorrow of parting. but After the Tang dynasty, Poets form a complex structure. It made of parting time, parting place, heartbreak. They enjoyed using typical expressions in parting poem. Because it is easy to feel same emotion. So South port·Willow·sunset·alcohol·Moon are constant use. They allowed poets and readers to sympathize. Parting poem in Tang dynasty achieved universailty of parting sorrow and artistic value.

Literature protectionism arguing that literature should not be monopolized by the logic of politics and politicalism asserting the literature of pro-Japanese collaborators is not worthy of any literary work look contrasting to each other at first, but they are not different from each other in that they both did not fully consider Zhou Zuo Ren and the historical value of his literature being confined to the dichotomy of literature and politics and the same of nationalism and anti-nationalism. Zhou Zuo Ren’s literature is not irrelevant to politicality in that it was inseparable from Japanese literature (or conversion to Japanese literature) in the first place, and his collaboration crosses over the line between literature and politics and nationalism and anti-nationalism in that his collaboration was not free from the temptation, which was ever ready to slip into compromise easily under the pretext of “actualization of morality” or “misery of the Orient”. Given that it is rare to find a writer that has penetrated the history of literature while embracing complex momentums contradicting and contrasting to each other, the way to legitimately evaluate Zhou Zuo Ren’ life and literature should begin first and foremost with a good understanding of the contradicting and contrasting momentums. The problem recognition of this body starts from here.

This paper based on constructivism theory and its notion on culture, and analyze the uniqueness of China aid indicated by the result of comparison with western aid. Through two World Wars, aid holds a stable place in each country's diplomacy. Whether it is strategic or unconscious, aid is influenced by the culture of donor country and its social value. By their Confucius view to the world, China identifies itself as the center of the universe and the grand nation. China's national identity continued into diplomatic rhetoric, its way to treat other nations, relationship(Guan Xi) climate, serious consideration on face(Mian Zi). Consequently, a certain character of China aid was affected by Chinese culture, such as non-political conditionality, disparate relationship with recipients, construction of symbolic buildings. As the aid is a part of each donor country’s diplomatic act, it has to serve its national interests, and so does China aid. Also countries' provide aid to conform a global norm to assist other countries as a moral imperative, and so does China. However this paper was more concerned with the different character of China aid but general tendency. Analysis by cultural perspective helps to deliver the clearer image of China aid. Culture is the foundation to define national interests, and thus each countries got different definitions on their national interests. Therefore culture and the national interest does not reverse to each other, cultural perspective in this paper does not contradicts previous analysis.

This study examines the function of humanism in the post-Cold War era in two movies <Brotherhood Of War> and <Assembly>. The rupture of Korea’s diplomatic relations with China for about 40 years led to the two countries’ different understandings of history. The two countries show a great disparity particularly in their perception of the Korean War, one of the most significant events in the modern history of East Asia. Even when people remember the same war, recollections of the war can be vastly different depending on who is doing the remembering. In South Korea, movies about the Korean War depict it as refugees marching across war-torn lands. That is why those movies do not provide any of the heroic tales and breathtaking spectacles that are normally found in other generic war movies. Those movies instead offer glimpses of self-consciousness as “victims” and convey emotions of bitterness and remorse. However, once transferred onto the land of China, the 'KangmeiYuanchao' War gets completely different treatment. China completed a picture of the “War to Resist America Aid Korea” by converting what was practically a defeat into an ultimate victory. The mass media in China concealed the damage done by the war but repeatedly reproduced images of “victory.” The Chinese people, consciously or unconsciously, internalized those images and were incorporated into China’s Cold War ideological mechanism. The memories of the war may seem stable and unambiguous but in fact they are an unstable and incomplete construct. Despite all that, the memories of the war have an indelible impact on people’s perceptions. This article focuses on the post Cold War cultures and their de-political mechanisms through Korea-China blockbuster movie comparison.