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The form of “無助” is widely used in Mordern Chinese. There are lots of similar structures to that of the “無助”, for example “無異”, “無益”, “無害” etc. So I would argue that “無助” has already changed into a word. According to my research, “無助”has the meaning of “無可奈何”, and it is often placed side by side with adjectives. So I think that “無助” is an adjective. But the original meaning of “無助” is “沒有幫助”, The meaning of “沒有幫助” is deeply related with the meaning of “無可奈何”, but there are some differences between them. I have found that when “無助” has the meaning of “沒有幫助”, it can not be used alone in a sentence, and is always followed by “於”, The structure of “無助於” has the function of transitive verbs. The “於” in “無助於” is easily being dropped, and consequently “無助” can perform the role of a transitive verb in sentences. This means that “無助” should be classified as a transitive verb, and its meaning is “對‥‥沒有幫助”.

This paper studies the modern Chinese demonstrative pronoun "Nen" from three aspects. First of all, on the origin of "Nen", this paper summarizes two kinds of etymologies in the academic circle, namely "Ning, Neng" origin theory which starts from the head consonant letter of "Nen", and another one which starts from the ending “-m” of "nen". Based on these two etymologies, this paper holds that the original origin of "Nen" is "Er" and it is a dialect word influenced by the southern language. Secondly, this paper focuses on the use of "Nen" alone and collates the syntactic functions of the commonly used "Nen" prefixes "Nen Me" and "Nen De". It is concluded that "Nen" can be used as attributive before noun and noun group, adverbial before adjective and verb, also can be used as predicate and object, and also explained the reason why "Nen" is seldom used as subject. Finally, this paper analyzes the phenomenon that "Nen" indicates the uncertainty of distance, and thinks that "Nen" should not be regarded as a neutral demonstractive, but has the function of indicating first, and the distance semantics is based on the specific context and adds the neutral indicator. At the end of the paper, this paper points out that the case that the pronoun "Na" means the near distance and the pronoun "Zhe" means the far distance which is concluded that the deixis "Nen" has a high degree of separation from distance semantics.

Thepreposition "Duiyu" is the key and difficult point in prepositionresearch. Based on a certain scale of Chinese interlanguage corpus, this paperanalyzes the actual acquisition of "Duiyu" from the corpus. Combinedwith quantitative and qualitative analysis, it is found that the output of"Duiyu" sentence is not ideal, and there are various types of errors,but there are some common features. This paper also puts forward teachingsuggestions combined with output and errors, which can provide reference forTCFL teachers' daily teaching.

Yuewushi is expressed by utilizing the genre characteristics of the Tang Dynasty poets who experienced the special cultural the development of Music and dance. Originally, the Chinese classical poetry contains a stronger ability to narrate the facts of the poet himself. Especially Yuewushi is a record of cultural reflection and self - reflection of contemporary poets who lived in the age of culture mixed culture. One of the cultural aspects that reveals the mixed culture of the Tang Dynasty most clearly is the development of music and dance brought forward from the West. From the royal court to the house of the Noblemen, the big and small music and dance were performed when the banquet was held. Tang poets have formed a unique artistic system of Yuewushi, with their own eyes to understand their world. While enjoying the performances of music and dance, the poet did not simply describe the superficial beauty of music and dance. First, he gained insight into the socio-cultural background of the formation of this fashion. Secondly, he had to experience music and dance to a significant level He showed sympathy to the pain of the artist. The poet 's eyes become a camera lens, which illuminates the suffering of an artist hidden behind a brilliant performance. This shows that the poet has been worried about the nature of man through the Yuewushi. The Tang Dynasty Yuewushi is characterized by a new perspective, a more humanistic point of view, than the previous one. The basic gaze of the poets of Tang dynasty was centered on human beings and tended to be interested in human inner problems. The poet was able to express a warm humanistic view of the life of the artist and to express the result of speculation and reflection from the humanistic perspective. The most important thing in a humanistic approach will always be human life. Therefore, it seems to be enough to use it as a humanistic text. If we consider human life as the center of thought and to be interested in the problems of human life is the basis of humanistic reflection, Tang Dynasty Yuewushi has many humanistic characteristics unlike previous times.

This paper first investigates the era when the separately developed New Culture movement and May Fourth movement in Taiwan and mainland China met around the 1920s, and then analyzes the historical recognition of the intellectual class in the two places, and the propagation of May Fourth movement toward Taiwan, based on two novels published in Taiwan People News. There are three main objects in this paper. First: discussing about how the intellectual class in Taiwan and mainland China fused May Fourth movement and New Culture movement with their political demand and cultural enlightenment, according to their view of variations of international trends after the end of World War I. Second: in the epoch of Taiwan People News, New literature was a part of New Culture movement. Because of the revival of sinology and the confirmation of the direction of Chinese literature reformation, abundant literature in vernacular language was imported. Also, that vernacular literature affected the development of New literature by their themes and contents. Based on this background knowledge, this paper selected two novels -- Grief history of Taiwanese women, Sorrowful story of a shepherd – from authors in Taiwan and mainland China, in order to analyze the topics focused by New literature and May Fourth movement. Moreover, this paper analyzed the common recognition of the history of that era, while Korea was serving as a medium in those topics. Then, this paper discusses how the early intellectual class built their understanding field of modern East Asia based on the interrelationship among China, Korea and Taiwan. Third: Due to the influence by May Fourth movement, Taiwanese New literature was limited. For example, the strict article review system and the colonial background both restrained the vernacular literature from efficient propagation and promotion. Despite that, the cultural enlightenment and political demand of intellectual class in Taiwan and mainland China around the 1920s still fitted the expectation of people in that era, and also reflected the common features of modern East Asia in the 20th century.