In the comments on Du Fu and his poetry in the Song Dynasty, which are listed in the Cai Mengbi's ≪Du Gongbu Caotang Poetry Talks≫, as a general overview of Du Fu poetry, it was defined its characteristic as 'epitomization', 'poetry of historical significance', and 'being like Six Merdians'. There were comments about the poem and prose of Du Fu, Li Bai and Du Fu, Tao Yuanming and Du fu, and the reverence of posterity. Next to that, there was a comment on the main contents of Du Fu poetry about the worries of the king and the people, the current events, the Du Fu's life and emotions, and expressed opinions about the wording of the poem. In addition, as for Du Fu's artistic achievement, the discussion was about the origin of poetics, characters used, sentence structure, art of composition, antithesis, tonal pattern, rhyme use, allusion, expression, feature and style. And the textual research was done about Du fu and his poem.

Although mostly focused on blood line, the norms of ancient Chinese on revenge seems very settled. The examples of flabbergasted promises and actions of revenge is shown in many chronicles or literature. Ibelieve that the reason for excessive generosity on vengence is because the actions are based on Confucius beliefs such as fillial piety or loyalty. Therefore vengence is considered one of the virtues even for gentlemen of China who are considered to have the complete personality.
In many literature of ancient China, the characters are seen to revenge for their family or parents under the name of piety. Even the bastard sons who have never felt the love from their parents turn into god of vengence only because they are children. Even the tiniest bit of empathy or emotions of human is left aside.
It is because the reasons and causes of vengence is based upon the Confusius beliefs that are absolutely believed in ancient China. Therefore, although sometimes morality and reason can be a tool to hinder vengence, but in ancient China, those reason and morality can be the reason to revenge. The revision of Wuzixu(伍子胥), bastard son of GanJiang· Moye(干將莫耶), or Zhaoshiguer(趙氏孤兒) clearly shows that the Confucius conscience is dominant over personal emotions in deep subconscious of the Chinese. Furthermore, we can take one more step forward to human nature by looking back at their agony and conflicts hidden by their Confucius reasoning.

As for the formation of the BanShi(板式) metabolic Chinese opera, there are still many different opinions in academic circles. This article tries from the perspective of stylistic structure evolution, by investigating the relationship between the art of speaking and singing and the mature opera, the ritual drama and traditional Chinese opera, summarizes the evolution of the stylistic structure of BanShi(板式) metabolic Chinese opera. Puju is a representative kind of the BanShi(板式) metabolic Chinese opera, the Mixed drama is a famous ritual drama, and there's a clear historical inheritance relationship between them. Comparing theirscripts, we find that there are many similar themes, and even some plays have exactly the same words. In order to be more suitable for stage performance, Puju adds many new plots and female roles on the basis of the Mixed drama. Puju is singing and Mixed drama is reciting, but their musical mode is the same. The Mixed drama has retained many traces of the art of speaking and singing, and ultimately achieved theatrical performance. Therefore, Mixed drama is a transitional form between the art of speaking and singing and the mature opera, and it is on the basis of which the BanShi(板式) metabolic Chinese opera is formed. Through the study of such problems, I hope to provide a way of thinking and reference for the origin and development of Chinese opera and the evolution of the stylistic structure of drama scripts.

Su Shi(蘇軾, 1036~1101) was one of the most distinguished poets in the Northern Song(北宋) dynasty(960~1127). His poems were widely read by the poets of Koryo(高麗) dynasty(918~1392) and Chosun(朝鮮) dynasty(1392~1910) for about 900 years. But in the middle Chosun dynasty, admiration for Su Shi declined with the appearance of Korean neo-Confucianists. They criticized both Su Shi's academic theory and his literary character, but I found Choi Yip(崔岦, 1539~1612), one of the most distinguished writer and neo-Confucianists of Chosun, was influenced by Su Shi(蘇軾) quite a bit.
Choi Yip(崔岦) wrote some responding poems to Su Shi's(和蘇詩), in order to communicate with Su Shi(蘇軾) mentally, or to compete with Su Shi(蘇軾) and show off his ability. And he often used Su Shi's poetic words by metamorphosing into his own poems, he also mentioned Su Shi's episodes in his own poems.
These facts mean Choi Yip(崔岦) admired Su Shi, and they also show us his will to accept and study Su Shi's poetry.
Choi Yip(崔岦) was one of the most distinguished writers in the literary circle of the middle Chosun Dynasty, so we can suppose that his admiration to Su Shi deeply affected the other writers of those days.

Among all the four kinds of main about the poems responsory of Sin Sukju, a Korean official, and Niqian, the envoy of Ming dynasty, Niqian's “Interpreting Methods of Liaohai” and Sin sukju's “Collection of Baoxianzhai” are the best ones. The Rhyme is coordinated with the one in “Hong Wu Zheng Yun” with the flexibility and variety in both even lines or every line. The rhyme in Sin sukju' is rigorous and meaningful in exploring national language.

This study examines the process of creating a new cultural meaning and its path of acceptance, translation characteristics with the Translation which are published in from 1934 year to 1937 year. This magazine is the first literary magazine to translate only foreign literature in China, so it is very meaningful not only for Chinese magazine development but also in China's history of translation. At the beginning of the foundation, Lu Xun was in charge of editing, and then this work was handed over to Huang Yuan from No.3. The magazine was published on September 16, 1935, Vol.2, No.6, and after five months of suspension, it was reissued on March 16, 1936.
The Translation intensively translated and introduced to literature of the weak and small nations that was similar to the situation of China under the invasion of imperialist powers, and the Russian and Soviet literature and criticism. Among the writers of Western powers such as France, Britain and the United States, the magazine just introduced the progressive and revolutionary writers who, on the basis of democratic thought and humanitarianism, have depicted the darkness and sin of capitalism, for example the works by Charles Dickens, Jack London, Bernard Shaw, Merime, Flaubert, Andre Gide, Roman Roland, François Coppee, Upton Sinclair, Emil Zola and Alexander Berkman. It is worth noting that the criticism of Russian and Soviet critics on these writers was intensively introduced.
The magazine was engrossed in introducing Western realism traditions and translated various types such as critical realism, satirical realism, grotesque realism, and proletarian realism. It highly valued the artist who exposed the contradictions and dark images of feudal society and capitalist powers. The magazine supported realism literature that truly depicts the daily lives of the people who lived in the transition from feudal times to modern times. In their practice of translation, they thought about how the artist could contribute to describing people's lives and improving them.

In the emerging “是時候VP” sentence, “是時候” has a tendency of adverbialization, which can be classified as a moral modality in terms of the situation it reflects. “是VP的時候”is based on the enhancement of subjectivity, which is formed by context absorption and pre-emption. “是時候” is reanalyzed as an adverb in “是時候VP”, a non-standard structure at the beginning, which also reflects the self-adjustment of the language system.

Chinese idioms are historical vocabularies which have been inherited for a long time, but the meaning of the word has changed in the course of its oral history. However, dictionaries often do not contain all of these changed meanings. Therefore, it is difficult for foreigners who understand vocabularies and acquire languages through dictionaries to understand the changes in the meaning of idioms.
To overcome these difficulties, this study makes 'Bu yi le hu' the first target of study in polysemy idioms of Chinese. 'Bu yi le hu' is an idiom which comes from the first part of chapter 1 of 'The Analects of Confucius.' This study, first classified the meaning of 'Bu yi le hu', is based on examples which extracted from the corpus and statistically produced figures. This study also analyzes the examples of corpus syntactically and examines the semantic relationship in terms of cognitive linguistics.
As a result, this study confirms that the Chinese idiom 'Bu yi le hu' has other meanings that are not specified in the dictionary and that the relationship between the separation of meanings is represented in accordance with the rules of cognitive linguistics. Through this study, I could see that Chinese idioms like other ordinary vocabularies appear semantic changing through the process of semantic bleaching with semanticization and grammaticalization.

Coordination construction, as a cross-linguistic category, refers to the connection of two grammatical units by means of the equal relationship of juxtaposition. Since there are different coding forms of parallel structures in different languages, this paper aims to make a comparative study of the juxtaposition structures between Chinese and Korean, parallel phrases at the phrasal level as the main research subjects. Firstly, the author divides juxtaposition structures into different types according to different classification criteria, namely “equal standing type”, “turning type” and “selective type” based on senses, and “noun-noun juxtaposition structure”, “verb-verb juxtaposition structure”, “adjective juxtaposition structure” based on the part of speech of the juxtaposition. Secondly, the paper studies and analyses the syntactic functions of Chinese and Korean juxtaposition structures, mainly focusing on four aspects: the marking degree of juxtaposition structure, the syntactic position distribution of juxtaposition structure, the position of conjunctions, and the possibility of heterogeneous juxtaposition, in addition to the attempt to explain the similarities and differences between Chinese and Korean juxtaposition structures in combination with the language types and relevant theories in Chinese and Korean.

The basic Chinese vocabulary of secondary curriculum in Korea is 880 items and is smaller than general vocabulary list. This is the result of a number of researchers' efforts to achieve two goals which are 'beginner-level learning vocabulary coverage' and 'curriculum content adequacy', and this is rather contradictory. However, it is somewhat questionable whether 880 items will be enough for beginner level learning vocabulary.
The purpose of this study was to examine whether the basic vocabulary of the secondary curriculum is appropriate to the elementary level learning vocabulary. Ten graded readers were selected and the lexical coverage in the basic vocabulary of secondary curriculum from each books were examined. For comparison, 1,342 items with high frequency among the first grade vocabulary from the ≪等級劃分≫ were used.
Although the high difficulty of the text, it did not reach 95%, which is a reasonable level of understanding, but it was found that it was quite high despite of the small vocabulary amount. However, there are many words in the secondary curriculum that are considered to be included even if they are not listed. The difference in the coverage of these words depending on whether they are included is considerably large at around 7%.