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This article is about the tone of disyllabic Mandarin words that can be read as either stressed or unstressed tones. We based our data on the list of “either stressed or unstressed tone” disyllabic words in “A Practical Manual of Tone Patterns and Forms of Stressed and Unstressed Syllables in Mandarin Words for the Application of Teaching Chinese to the Speakers of Other Languages( 『汉语国 际教育用音节词语声调组合及轻重音格式使用手册』)” and “The outline from Putonghua Shuiping Ceshi(PSC)(『普通话水平测试大纲』)”. From a synchronic angle, we analyzed the current status of textbooks and dictionaries with regard to the tonal notation of “either stressed or unstressed tone.” Results show that there is currently a situation where the tonal notation is not unified and is confusing, and this might prevent learners from acquiring the correct tonal notation. Finally, we discuss the normality of words that are either stressed or unstressed and suggest a direction for Chinese language education as a foreign language.

This article classified the auxiliary verbs from the angle of the modality and analyzed the distributional characteristics of the co-occurrence. Based on the existing discussion of modalities, this article selected 10 representative auxiliary verbs indicating epistemic modality, deontic modality, and dynamic modality, and analyzed how they are actually co-occurred in terms of corpus. In doing this, an approximate distribution of the actually co-occurred auxiliary verb combinations could be identified. The significance of this study ultimately lies in the fact that compared to previous studies relying on intuition to discuss the same issue, it could definitely present the actual possibility of co-occurrence of auxiliary verbs by demonstrating empirical figures and their distribution patterns through a large-scale illustrative analysis. These figures are expected to be also useful in the future regarding pedagogy.

The objective of this thesis is to analyze the situation of acquiring Chinese compound-directional complements ‘xialai’ and ‘xiaqu’ targeting Korean learners. The compound-directional complement is not only having complicated meaning, usage, and grammar rules, but also one of the grammatical items that are tough to prescribe a single corresponding form in Korean. Thus, as the research subjects, this study selected the compound-directional complements ‘xialai’ and ‘xiaqu’ with high frequency of use and error in Korean learners. First, after reviewing the relevant literature, total 323 correct sentences and 107 error sentences were collected from HSK Dynamic Composition Corpus of Beijing Language and Culture University. After that, the causes for errors were analyzed by classifying the types of errors, and then the relevant educational suggestions were presented. Hopefully, this study could be helpful for the education related to Chinese complements in the future.

In order to satisfy the demand of students with different motivations and wishes for undergraduate interpretation education, the goals and contents of the education will be different from graduate schools, and the teaching method should also reflect the reality of the undergraduate course as much as possible. Based on the achievements of existing research, this paper intends to conduct discussions related to the design of interpretation textbooks suitable for undergraduate interpretation education. First of all, we will look at the goals and contents of undergraduate interpretation education and set the contents and scope of Korean-Chinese interpretation education in textbooks. And then discuss the appropriately reflection of necessary pre-prepared training in translation education and necessary interpretation functional training in the textbooks to the level of undergraduate interpretation.

The popularity of Confucianism and Taoism on the Korean Peninsula makes it easier for scholars on the Korean Peninsula to accept the figure of Fan Li. This paper analyzes the Korean Peninsula acceptance of Fan Li’s inner word, like his belief and personality, so I'm going to explain the fact that the Korean Peninsula examine the historical figure in terms of the values and context of their particular society. In quoting and re-creating Fan Li's story, the literati of the Korean Peninsula showed their unique regional characteristics in terms of their knowledge and evaluation of Fan Li's "virtuous officials," "hidden men" and "merchants" in Chinese. First, Fan Li's image as a loyal official in China has won the support and affirmation of the literati on the Korean Peninsula. Secondly, Fan Li's courage to abandon his official career in business has won the praise and admiration of the literati on the Korean Peninsula. Finally, Fan Li's image as a fairy and a god of wealth disappeared from literature and folklore on the Korean Peninsula. It has to be proved that scholars on the Korean peninsula do not receive Chinese culture from all sides, and that they have chosen to be tolerant according to their own needs, so that they can better serve their own ethical, ethical and values, and thus better arouse people's sympathy and sympathy.

Cai Yinglong was a dramatist in the Yongzheng period of Qing Dynasty. His Ziyu Ji is a legendary work of "mending hatred" supplemented by Tang Xianzu's Zixiao Ji in Ming Dynasty. Living in the early and middle of the Qing Dynasty, Cai Yinglong was born in the Cai family of the imperial examination family in Deqing. His adherence to "loyalty, filial piety and righteousness" was internalized in his Chuanqi creation. His early Pipa Chongguang Ji is to make up for "loyalty and filial piety", and later Ziyu Ji is to make up for "righteousness". At the same time, because of his family disaster and long-term illness, it not only affected his aesthetic pursuit of the happy ending, but also affected his concern for the non main characters in his works. "Reference" is Cai Yinglong's way of "mending hatred" which is different from other writers. It reflects his attention to the character, plot logic and historical truth. This paper introduces Cai Yinglong and his thought of "mending hatred" from three aspects. The first chapter introduces Cai Yinglong's experience and the conditions of his thought formation. The second chapter is based on the text of Ziyu Ji, analyzing its content, structure, deletion and final effect. The third chapter explains the meaning of "mending hatred" and the way of "reference" from the external environment, the author and the relationship between works.

This paper focuses its analysis on the dream related poems included in Wild Grass (Yecao), Lu Xun’s prose poem anthology. To start with, it studies Lu Xun’s purposes and reasons for choosing the medium called “dream” when composing poems in Wild Grass by scrutinizing the similarities between dreams and poems, and the effects that can be derived when Lu Xun’s ideas are conveyed through the form of dreams. On top of this, this paper also interprets the content of Wild Grass’ dreams and the meanings of symbols and images inside them by referring to psychological dream theories. Although literary reading on these poems may only lead to finding the superficial messages contained in Lu Xun’s dreams, such as Lu Xun’s criticism on hostile forces and the sordid social aspect or human images of that time, it is possible to discover Lu Xun’s self-examination, his sense of guilt, and his resolution for atonement, which are the key ideas of Lu Xun’s writings, based on dream theories. To be specific, due to government’s oppression of free speech, and his concern over the shock readers might get after understanding the reality of the Chinese society via reading his works, Lu Xun was obliged to tell lies in his writings. He felt guilty for this behavior and also for succeeding the feudal traditions and cultures of China. Therefore, he wandered and struggled while suffering from his guilt feeling. Eventually, he decided to expiate his guilt by vanishing with the old society and power that prevented China from being reformed. However, it was also shown from his poems that his resolution was not determined enough, that his hesitation and struggle were still not over, that he wanted to relieve himself of his heavy responsibility. Nevertheless, this inconsistent attitude of Lu Xun was merely a natural result of Lu Xun’s essence: “chaos” and “contradiction”, and it also explained why Lu Xun picked the form of dream, whose basic feature was disorder, to deliver his thoughts. As such, this study not only proves that psychological examination of Wild Grass’ dream related poems helps readers detect crucial concepts like “self-reflection,” “convincement,” and “penance” that define Lu Xun, but also proves that it is feasible and meaningful to carry out interdisciplinary or transdisciplinary research on Lu Xun’s writings.

There is a complex phenomenon of mutual infiltration between Zang Kejia’s new poetry and old-style poetry, which is both ‘mutual learning’ and ‘mutual integration’. ‘Mutual learning’ is mainly reflected in the fact that the new poetry absorbs the characteristics of the old style poetry, which is concise and implicit. The old style poetry also learns the advatages of the new poetry, which is colloquial and clear. ‘Mutual intertation’ is mainly manifested in the identity and convergence of them writing and image selection between new poetry and old style poetry, as well as the consistency of their inner spirit. It is of great significance in literary history to study this special phenomenon. On the one hand, it enables us to have a more comprehensive and profound understanding of Zang Kejia's poetic ideas and explore its multiple poetic values. On the other hand, this phenomenon shows that Chinese literature in the 20th century is the key period for the replacement of new literature and old literature. The new and old literature in this period resisted and integrated with each other. Therefore, the study of this sector can promote the mutual penetration and integration of Chinese New Literature and Old-style Literature in the 20th century.

The controversy surrounding BTS is a case in which several problems that have accumulated over the past 30 years since Korea and China signed diplomatic relations in 1992 have been plainly expressed. This paper analyzes the problems regarding the BTS controversy and the discourses underlying the matter, focusing on posts and comments on Weibo of China and articles and online comments of Korean, diagnoses the current status of cultural exchanges between Korea and China, and predicts exchanges in coming days. Both Korea and China have misunderstanding and prejudice to the extent that there are words that they despise each other, and the causes can be largely divided into three. Firstly, there is a difference in political ideology. Secondly, there is the conflict between the two countries over the historical issues. Thirdly, in terms of economics, the interests of the two countries are sharply opposed. The discourse underlying the cultural conflict between Korea and China can be summarized in three ways. First, the dynamics of cultural capitalism is inherent. Second, the logic of cultural hegemony/imperialism is latent. Third, the ideology of patriotism and cultural nationalism is immanent. If the two countries cannot reduce the gap in the causes that have formed negative perceptions against each other in politics, history, economy, etc., and alleviate the discourses inherent in the conflict over cultural exchange, cultural exchange between the two countries will be literally 'a house of cards.' It is only a matter of time before the collapse.

This study analyzes the codes of communication and empathy in the Taiwanese game content <返校: Detention>(2017) and the derivative content movie <Detention>(2019). The game <返校: Detention> is a 2D side-scrolling game released on January 13, 2017, the 30th anniversary of the lifting of Taiwanese martial law. <返校: Detention> ranked No. 1 in Taiwan sales on Steam in one day of official release, and ranked No. 7 in global bestsellers in three days. Since then, the popularity of the <返校: Detention> game has expanded to various genres such as movies, exhibitions, and dramas, serving as a medium for returning historical memories to Taiwanese and a platform for foreign players to understand and experience Taiwan's history. The film <Detention>, based on the game, informs the history of Taiwan in the political and social realities of Taiwan and conveys a message of reflection for a new future. Unlike games that symbolize the era of terror, movies deliver comfort and hope to individuals who have been sacrificed in history across the age of violence. This study analyzes the process of planning, production, distribution, and acceptance of <返校: Detention> contents from the perspective of communication. The research method utilizes media communication analysis. Media communication analysis is a research method that comprehensively examines the context and context surrounding the content, the content, subject and experience of use, and the distribution and enjoyment method. Through this, we examine the sympathetic elements and historical implications of <返校: Detention> contents.

This study, from the diachronic perspective, based on the field surveys and some interviews, verifies the present geographic names of the places which were passed by the Joseon(朝鮮) envoys, especially around the west boundary of Ye County(掖縣 西界) to the Xinhepu(新河鋪) of Changyi County(昌邑縣) of Laizhou(萊州府) in Ming(明) Dynasty. It will help to confirm and reconstruct the shipping routes of the Joseon(朝鮮) envoys in Laizhou(萊州府) during the alternation of Ming(明) and Qing(靑) Dynasties. According to the analysis and field surveys, the names of the places passed by the Joseon envoys from the west boundary of Ye County(掖縣 西界) to the Xinhe Station(新河鋪) of Changyi County(昌邑縣) in Laizhou(萊州府) are reconstructed as follows: ① Huifu Station(灰阜驛, 灰阜馹, 灰阜, 灰埠, 灰埠馹 , 灰埠里）, the Prime Minister Village(宰相里, 壯元宰相里, 壯元鄉, 宋 龍圖閣學士 蔡齊故里, 宋 蔡齊 舊里）② the west boundary of Pingdu(平度州 西界), the east boundary of Changyi County(昌邑 東界, 昌邑縣 東界）③ Dufu River(獨埠河, 杜阜河）④ Xinhe Station(新河店, 深河店）⑤ Shen River(深河, 新河））

As an important part of quality education in ordinary colleges and universities, public art education plays a very important role in promoting the overall development of college students. In recent years, as the Ministry of Education of China has promulgated a series of policies to promote the development of public art education, the status of public art education courses in the Chinese higher education system has become increasingly prominent and has achieved rapid development. However, although the current research on public art education curriculum in China is gradually increasing, the analysis of the problems in the development of public art education curriculum is still insufficient. In this regard, the author combines the relevant literature research, starting with the four elements of the curriculum, that is, the four dimensions of curriculum objectives, curriculum content, curriculum implementation and teaching evaluation, and conducts a questionnaire survey on the status quo of public art education courses in ordinary universities. The results of the survey found that Chinese colleges and universities have insufficient understanding of the importance of public art education courses and the curriculum objectives; the characteristics of the curriculum content are not obvious, and the education content is relatively out of touch with student needs; the teaching methods are not diversified enough to meet the learning needs of students; There are many problems such as single evaluation method and insufficient evaluation mechanism. Based on the survey results, this article gives relevant suggestions and countermeasures to the problems existing in the current development of public art education courses in Chinese universities, in order to promote the development of public art education courses in Chinese universities.

The Chinese domestic science-fiction blockbuster <Wandering Earth> hit the jackpot among many family movies as a black horse in the Chinese New Year film in 2019. According to the statistics of the China box office website, the total box office during the release period exceeded 4.6 billion. In this way, with its high popularity and word of mouth, it became the box office champion of the Chinese New Year film list. The hot discussion and topic of <Wandering Earth> have aroused Chinese people's cheers and expectations for the arrival of "the first year of Chinese science-fiction movie". Major mainstream media have reported and reprinted "Open a new path for creating Chinese SF movies (XINHUANET)", "The beginning of Chinese science fiction movie (SOHU)", "Highest-grossing movie in the box office reflects the Cultural Identity (CNR News)", and industry evaluations have affirmed the artistic value of the film. The impact of <Wandering Earth> on the Chinese film industry may have gone surpassed the film itself. It has become a phenomenon-level cultural event, has triggered relevant discussions on science and technology, human nature, ethics, national ideology, and Chinese cultural characteristics. As the foundation of China's ‘hard science-fiction’ movie, the novel adaptation of the film <Wandering Earth> will present a grand scene with Chinese elements and Chinese spirit on the big screen with realistic special effects. Even CCTV's <FOCUS REPORT> program also arranged a special report of about 14 minutes to introduce the behind-the-scenes of the film and the attitude of the audience, which affirmed the Chinese spiritual imagination carried by the film. However, such a movie genre of Chinese-style ideological theme that has reached a considerable artistic level seems to have a "Cultural Cognition" barrier in the eyes of overseas audiences, so the response is mediocre. In particular, the Chinese-style rescue plan in which the ending of the film is treated as collectivism has also aroused extensive discussion at home and abroad. This article takes <Wandering Earth> as an example to explore how shows Chinese elements, what cultural barriers and understanding obstacles encountered when Chinese films are promoted in overseas markets, and how to better communicate in cross-cultural communication in the future tell Chinese stories and spread Chinese cultural awareness.

Since the beginning of the 21st century, images of Manchus have frequently appeared in Korean historical films, and most of these images of Manchus have similar characteristics, that is, ugly and barbaric appearance and combative and brutal character. Further research found that the reappearance of Manchu images in movies is not an isolated phenomenon. Looking back on the history of Korean literature, there are many similar narrative texts of Manchu images in Korean oral literature and classical literature. In other words, this type of Manchus Images are vertical and consistent in the Korean narrative tradition. From the perspective of archetype theory, this kind of image of Manchus from the same line is a concrete manifestation of the Korean people's collective cognition of Manchus. This article will take four representative historical films as examples to analyze the image characteristics of the Manchus in the films, and trace the origins of the Manchus in the Korean narrative tradition, try to use archetype theory to explore the archetypes of the Manchus and further demonstrate South Korea. The literary works in the context and the Manchu images in the film and television creations are the displacement and deformation of the prototype in the artistic creation of different periods.