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In this study, I discussed the aspect of development of vowel assimilation between literary reading and colloquial reading in Old Mandarin(OM, henceforth) within the framework of Optimality Theory(OT, henceforth) by introducing phonetic features from a functionalist view to functional motivations. This paper develops as follow: In chapter Ⅱ, data concerning vowel assimilation between literary reading and colloquial reading in OM are presented. Through this, I found that vowel assimilation between literary reading and colloquial reading in OM is closely related by the coda of rusheng(入聲). And chapter Ⅱ also critically reviews previous approaches to have been focused to reveal order of phonological rules between literary reading and colloquial reading in OM. Chapter Ⅲ analyzes vowel assimilation between literary reading and colloquial reading from a functional approach of OT, which explains phonological phenomenon in terms of phonetic motivations. Comparing with previous analysis based by rule theory, this analysis can be explained the aspect of development of vowel assimilation between literary reading and colloquial reading in OM as a few major constraints and adjustment of ranking on the basis of diachronic phonological changes. Chapter Ⅳ is a concluding summary.

Chinese is one of the most divergent languages in the world. After a long period of evolution, Chinese has divided into different dialects. Phonetics is one of the main criteria for dividing Chinese dialects. To classify dialects, an objective and unified dialect distinction standard is required, and at the same time, there must be a certain degree of flexibility. Accurate dialect zoning is conducive to determining the attribution of dialects, and it is also conducive to the comparative study of synchronic relations between dialects and clues of diachronic changes. This article mainly discusses the attribution of Baotang subgroup of Jilu Mandarin in Chengde area dialect based on field investigation.. Both Xinglong County and Kuancheng Manchu Autonomous County belong to Chengde City, Hebei Province, and are located in the south and southeast of Chengde. At present, the two regional dialects belong to the Baotang subgroup of Jilu Mandarin. In recent years, there have been heated discussions on the division of Mandarin dialects. In particular, the discussion on the relationship between Baotang subgroup of Jilu Mandarin and Beijing Mandarin has different opinions. Li Rong (1985) used the pronunciation of MC entering tone in the synchronic phonetic system for the division of Mandarin.The characteristic of Beijing Mandarin is that the entering tone with voiceless initials are articulated as four tones，while the characteristic of the Jilu Mandarin is that the entering tone with voiceless initials are articulated as yinping（阴平）. Therefore, according to the zoning standard of " the entering tone with voiceless initials are articulated as yinping（阴平）, yangping（阳平）, shangsheng（上声）, qusheng（去声）", this article believes that Baotang subgroup of Jilu Mandarin in Chengde area should be adjusted to a dialect of Beijing Mandarin area.

Dictionaries like 《Xiandai Hanyu Cidian》, 《Xuesheng Xiandai Hanyu Cidian》 do not include the term "Youhai", on the contrary other dictionaries like 《Jinming Zhonghan Dacidian》, 《Zhongchao Cidian》 take on the word "Youhai". 《Jinming Zhonghan Dacidian》 argues that "Youhai" is a verb, but 《Zhongchao Cidian》 describes that "Youhai" is an adjective. So I think that it is worthing to study the word classification of the "Youhai". "Youhai" is consisted of the morphemes of "You" and "Hai". So I need to consult with the similar constructure "Youyi". According to a lot of dictionaries published in China, "Youyi" is an adjective. And in Modern Chinese the structure of the "You+abstract noun" has the meaning of an adjective, though it is the structure of "Verb+Noun", so "Youyi", "Youli", "Youxiao" and so on are adjectives. So I argue that "Youhai" is also an adjective. The adjective "Youhai" can be followed by the function word "Yu", and the structure of "Youhaiyu" roles as a predicate and takes an object. But now the morpheme "Yu" of the "Youhaiyu" can be easily dropped, and the result, "Youhai" can take objects directly. So I argue that in this case, "Youhai" has the word classification of a transitive verb.

In this paper, two types of "Top Ten Network Buzzwords" selected by the official media and portal websites in 2020 are studied as research objects. Firstly, an investigation of network buzzwords is conducted from the perspective of linguistics, and the linguistic causes, classification and characteristics of the popularity of network buzzwords are discussed. Then from the sociological Angle of view to the two types of network buzzwords are classified according to content orientation, compared to the official media selection of network buzzwords and network community similarities and differences between the selection of network catchword by netizens, finally discusses the differences of two kinds of network catchword transmission mode, trying to study of the 2020 network buzzwords from various angles, It provides some reference for the further research in this field.

This study analyzes the discourse function of the modern Chinese response word "zhidaole(知道了)". When using "zhidaole", the relationship between the speaker and the listener needs to be considered. It applies to the elders to the juniors, the boss to the subordinates, and occasionally the response between the peers, but it applies to the responses of the subordinates to the boss and the juniors to the elders. In addition, it can not only express a simple response function, but also mean "the listener has fully understood the facts, and the speaker does not need to explain too much", and it also has the function of discourse termination. The speaker does not want to do too much discussion about the topic the other party is talking about, forcibly end the topic, or change the topic. The Korean words "알겠습니다" and "알았어요" also express multiple discourse functions. There is no correspondence between the Chinese "zhidaole" and the Korean "알겠습니다". The Korean "알겠습니다" expresses a respectful attitude, a respectful way of acting in accordance with the request or instructions of the other party. The meaning of "알았어요" in Korean is closer to the Chinese "zhidaole". Both have the function of ending discourse. Therefore, when Korean students are learning Chinese, they should avoid corresponding "알겠습니다" to "zhidaole" to avoid language misunderstanding and impolite manners.

This study probes into the complexity of three types of change-of-state events from the expansion of resultative compounds in Chinese. Through diachronic analysis of quantitative data, it is found that the continuum ‘durative change of state – punctual change of state – gradient change of state’ features incremental complexity levels, reflected in the expanded use of resultative compounds. Durative change of state is virtually always expressed by individual characters, but the expression of gradient change of state must resort to resultative compounds since Early Mandarin. This complexity continuum is not only reflected in Chinese, but also universally instantiated in other languages. This finding supports the prediction of the principle of iconicity that a larger chunk of information will be given a larger chunk of code.

The continuous development of cyberspace allows various cultures to collide at a faster speed, and things happening all over the world are also developing and fermenting in cyberspace. This has also created a hotbed for the creation of various new words and expressions. This also contains a lot of popular appellations. The birth of these popular online appellations embodies unique cultural connotations, and at the same time reflects the changes in people's thoughts and concepts, and is a manifestation of national conditions, public sentiments, and people's sentiments. Research on popular appellations on the Internet can better grasp these contents. At the same time, integrating these emerging contents into teaching will also help Chinese learners understand the current Chinese culture and master relevant knowledge. For international students, it is more conducive to their study and life in China. Based on previous investigations of symmetrical predicates and self-directed teaching experience, this article analyzes the reasons for the use of symmetrical predicates and finds that it is mainly due to the negative transfer of mother tongue; lack of understanding of cultural background; and insufficient teaching content of appellations. produced. Therefore, it is necessary to increase the teaching content of Internet popular appellation terms. This article selects four popular Internet appellations that are widely used by the general public, most popular nowadays, and best reflect the development and changes of current Chinese society, and analyze their causes, cultural connotations behind them, and usage scenarios. Through the analysis of these popular online appellations, we can see the fusion of present-day Chinese culture and other countries’ culture; the Chinese people’s spirit of self-improvement and courage; the birth of the worship of the strong and the affirmation of themselves, based on these analyses and the latest The grading standard of "International Chinese Language Teaching Level Standard" gives suggestions on the teaching grade of this term. After understanding the relevant characteristics of popular online appellations, this article explains how to teach Chinese as a foreign language popular online appellations. The content of the textbook should be explained thoroughly; attention should be paid to the division of content and levels; appropriate teaching should be selected. Methods, in teaching, we should pay attention to the three suggestions of learners' practical application and practical ability.

This paper focuses its analysis on the Song Dynasty poet Lu You's climbing poems. To start with, it studies the geographic meanings of the space where buildings that Lu You climbed were located in by analyzing the images Lu You depicts in his climbing poems. Then it also examines how these meanings effectively deliver the main messages of Lu You's climbing poems, such as longing for hermitage, aspiration for redeeming lost territory, and awareness of misfortunes. On top of that, this paper also interprets the semiotic meanings of the structure itself as space. In order to do that, it introduces the key concepts: middle zone, wandering, and ambivalence. These concepts show how Lu You, who struggles all his life and develops contradictory feelings due to dualistic notions and dilemmas he confronts, applies the innate nature of the structure as a middle zone to vividly express his own thoughts and feelings.

All kinds of Chinese literature and art are related to each other, so are poetry and painting. There are many discussions on the relationship between poetry and painting, but the relationship between Ci and painting is relatively rarely mentioned by predecessors. Taking Liu Yong's Ci as an object, this paper studies how the painting methods used in Liu Yong's Ci integrate with the method of Ci writing and add various lyric effects, so as to see the similarities between Ci and painting. First of all, Liu Yong's Ci sets off objects and brings aesthetic feeling by setting colors, and uses colors to express feelings and create emotional appeal. Secondly, Liu Yong's Ci interweaves emotion language and scenery language through point dyeing, so as to express emotion implicitly and leave endless aftertaste. Finally, Liu Yong's Ci expresses his deep feelings by outlining the context. Both Ci and painting belong to the category of art and have certain commonalities. Ci poets often integrate the painting into the creation of Ci, thus deepening the Ci poetry mood.

This article studies the Development Process and Characteristics of Macau's modern chinese poetry, mainly exploring the locality, diaspora, and globality of Macau's modern chinese poetry. Macau is a Portuguese colony that has long been colonized and has a special history and culture adjacent to Hong Kong. Following the development of Macau's modern poetry, he analyzed the works of Chinese poets representing Macau from the 1920s until recently. This study shows the characteristics of diaspora and global characteristics as well as the mainland and regional characteristics in Macau's modern new poetry. Macau's poetry world, like Taiwan and Hong Kong, has also shown a tendency to create both modern and postmodern quotations, reflecting unique historical, social, and realistic characteristics of China's May Four New modern poetry tradition. Looking at these poets' works, we could see that Macau poets tended to interact with poets from Taiwan, Hong Kong, and Singapore more than with contemporary China. Furthermore, the poet Han-Mu and Tao-Li of Macao later moved to Canada, Singapore, and Hong Kong to create many works to express their homesick nostalgia and longing for Macau. From this point of view, Macau's poetry world should be considered further in its integration with the world literature, beyond its regional and mainland literary tendencies. Further discovering the unique characteristics inherent in their literature, it is necessary to revisit the characteristics of diaspora that expand into the Overseas Chinese literature of the world.

This paper intends to examine the characteristics and identities of the literature of female writers of Manchukuo era. To create context for that, this study starts with analysis of the lives and social perceptions of female characters appearing in the literature of female writers in Manchukuo, and continues to explore the literary identity of the creative activities of those Manchukuo female writers. In that context, this paper finally examines how the discovery of the tragic daily life of women described by them creates a rift in the prevailing research trend that looks Manchukuo literature with 'anti-Japanese or pro-Japanese' perspective, and discusses various cultural meaning which are inherent in Manchukuo female literature.

Mao Dun’s literary practice was a complex state of "criticism," "creation," and "controversy." If a graph needs to be made, 'criticism' should be between 'creation' and 'argument'. If we further investigate Mao Dun's literary practice in connection with the construction and application of the theory, we may be able to draw such a conclusion: "theoretical travel". In fact, "theory" and "travel" have a genetic meaning intertwined in etymology. The earliest theoretical concept is the primitive commentary and prototype image of travel. The word theory comes from the Greek word theoria, meaning “perspective” and “view”. The verb root of theoriia is theoreein, and the original meaning is “watch” and “observation”. In ancient Greece, “theory” originally referred to travel and observation activities; the specific behavior was that the city-state sent a special person to another A city-state to observes religious celebration rituals. The original image refers to leaving and returning in space, emphasizing the distance and transformation caused by differences in different spaces.” Therefore, Mao Dun’s literary practice: professional critic → writer → writer critic. In a certain sense, it can also be regarded as the "leaving home and returning" of a "travel". It is difficult to avoid “accidents” and the subsequent “tests” accompanied by “travel”. Especially in the 1920~1930s when waves of “controversy” emerged from time to time, this special “situation” had a significant impact on Mao Dun’s entire “theoretical travel”.

Not only did Wang Meng create a large number of women's images in his works, but his themes were also thoughtful of women's problems in society at that time. Wang Meng's interest in female groups such as schoolgirls and intellectual women, as well as her interest in family, and her new image of women also reflect the changes in the thinking of 20th century Chinese society. Under the influence of his personal experience and the times, Wang Meng had his own unique views on the women of his time. On the one hand, he cherishes the hard-won liberation process of women and encourages them to pursue social construction. On the other hand, she reflected on the individualistic trend and overall westernization brought about by the May 4th Movement. Wang Meng wrote about women with distinct characteristics of the times. She created a new group of women with traditional gentle, virtuous virtues and self-esteem. Wang Meng also recognized the specific existential difficulties of suppressing and sacrificing the individual consciousness of the new woman. and began to advocate the idea of gender equality in the family, They are also wary of Western eyes that materialize and solidify traditional Chinese female characteristics. As a result, he enriched and enriched his view of women, showing the progress and limitations of his view of women.

This study examines the intrinsic meaning of the text through the narrative analysis of the film Hi, Mom. The film constitutes a narrative moving from the present to the past as the daughter goes back to her mother's youth through a time slip. In other words, it depicts the process of the same character experiencing new events in different time and space. This study explores the superficial or deep causes of these events. To this end, the ‘narrative of desire’ is analyzed focusing on Gremas’s Actantial Model and Semiotic Square. Also, through the problem of reproduction of character identity, the meaning of the text is constructed through the psychological problem of the character. In addition, this film seems to have played a role in conveying the feeling of longing for parents and hometown in a situation where many Chinese were unable to return home during the Spring Festival due to the recent COVID-19 pandemic. The universal social and cultural meaning of China and the way Chinese cultural psychology forms sympathy with this film are also discussed.