Confucianism, Buddhism and Taoism are the main ideas of ancient Chinese society. They have a great influence on ancient Chinese intellectuals. There have been many famous literary works that are compatible with Confucianism, Buddhism and Taoism. Chinese drama has a long history and rich content. It can be divided into ornamental drama and ceremonial drama. The performance venue of ceremonial drama is located in the countryside. The participating groups are all farmers and are true vulgar literature. Taking an ancient folk ritual drama from the south of Shanxi province as the object of investigation, this paper has collected and collated 50 kinds of precious folk scripts, the oldest of which is 235 years old. Analyzing the Confucian, Buddhist and Taoist thoughts in the script, we can find that these thoughts are more clearly presented in the subject matter, plot setting, drama language and character setting. Confucianism is mainly manifested in Script lines and characters. The script has shaped the image of many wise kings, loyal ministers, faithful wife,and filial sons. A large number of Taoist terms and characters are used in the plays. In terms of characters and plots, Taoist thoughts are also vividly reflected. Buddhist thoughts are more reflected in karma and reincarnation in the folk script. They show that the general public uses religion to comfort the soul, try to endure the suffering of the world, and do more good deeds in exchange for happiness in the afterlife. By comparing with ornamental drama, we can find that the Taoist drama works created by intellectuals emphasize different ideological tendencies of preaching, seclusion, and expressing life as a dream. The Taoist thoughts in the folk script are more peculiar to fairy spells, and the Taoist characters have extensive divination and good fortune, forecasting the future. It shows the tendency of the people to pay more attention to practicality. Whether it is the literary creation of The Exhortation of Goodness or the folk script The White Pelican Open Road, it shows the tendency of Confucianism, Buddhism, and Taoism to coexist, infiltrate, and merge with each other. It proves that the basic ideological pattern of the ancient Chinese society is dominated by Confucianism, supplemented by Buddhism and Taoism, and the unity of the three religions.

The thesis views the placeness of ZhuantaHutong(磚塔胡同) and Bensi Hutong(本司胡同) in the history of Chinese performing art. It proposes urban planning of Beijing in a larger sense, preservation and excavation of precious historical remains as space of Topophilia in a smaller sense.
Sense of place in ZhuantaHutong can be found as Zaju(雜劇) street, the performance stage for Zaju before the marks of modern writers such as Lu Xun(魯迅) and Zhang Henhui(張恨水).
Being the only Hutong that preserves the original name of Beijing and deriving from the records and situational evidences mentioned earlier, ZhuantaHutong reveals its sense of place as Zaju street.
Accordingly, the discovery of identity of ZhuantaHutong henceforth should be commenced by confirming its sense of place of being Zaju street.
BensiHutong from Ming(明) and Qing(淸) dynasty is also a significant place for Chinese art history. It was the center of various performing arts centered with Jiaofansi(敎坊司) and its traces remain in the present in many forms.
Including two Hutongs previously mentioned, many Hutongs in Beijing have changed over time, consciously and unconsciously, fading its significance of context and meaning in the sense of place.
Cultural valuation should be minimal. The priority is to confirm the sense of place based on historical facts, and then to restore and remember.
Redevelopment of the city is 'death' of the place. If facing inconvenience, alternative solution would be urban regeneration with a preservation of the sense of place.

“Xiang duo le(想多了)” in Chinese usually means having an unnecessary or superfluous idea. In recent years, a new linguistic phenomenon has emerged in the spoken Chinese language and even the official media, indicating that there is an indirect negation of “xiang duo le(想多了)”. “xiang duo le(想多了)”how to express indirect negation in context, what kind of negative meaning it can express, what kind of characteristics it has, and what the generation mechanism and motivation of such indirect negation are are the main issues discussed in this paper. Based on the phenomenon of “xiang duo le(想多了)” to express indirect negation, this paper analyzes the deep meaning of “xiang duo le(想多了)” and finds that it can express the negative meaning of opposition, rejection, denial and impossibility, which constitute the negative way of “xiang duo le (想多了)”. When it expresses negation, there are no negative words in the language table, non-propositional content of the negative object, disappearance of the propositional meaning and prominent features of the modality. “xiang duo le(想多了)” expresses negation as a reflection of human cognition, which is affected by evaluation and subjectivity, politeness strategy, metacognitive monitoring and idealized cognitive model. The phenomenon of “xiang duo le(想多了)” form negation reflects that indirect negation is a language strategy under the influence of human cognitive mechanism.

“Shijian” and “Shihou” are Primary common nouns in the General Course Outline of International Chinese Teaching.
“Shihou” is the first level word and “Shijian” is the second level word. But in authoritative Chinese dictionaries and textbooks, there is no difference between the interpretation of these two words, including foreign notes, which often leads to errors in using these two words.
Scholars mostly discuss the semantic and functional differences of the two words when they are restricted by different attributives. However, there is little discussion on the semantic and functional differences of the structural forms of the two words when they appear after the same verb. These are the Chinese structural forms that are often encountered in Chinese learning.
By means of comparison and description, this paper investigates a large number of examples in BCC corpus and CCL corpus, analyses and discusses “Shijian” and “Shihou” after four verbs-“You”, “Shi”, “Dao”, “Kan”(also commonly used verbs), and explores their semantic and functional differences.
All in all, “Shijian” represents the category of time, Beyond that ,it often expresses time quantity and “agreed time”. “Shihou” can imply momentum and express “the right time point” in many tables. The noun features of “Shijian” are more obvious than “Shihou”, and “Shihou” can be regarded as an atypical special noun.
“Shijian” after four verbs is a verb-object phrase with relatively loose structure, while the “Shihou” after these verbs is relatively solidified, or be a word or can be regarded as a word. The verb is followed by “Shihou”, which has been lexicalized, or is being lexicalized.

The purpose of this study is to develop a design thinking-based Chinese culture class prototype whose field suitability is validated and to secure its discourse validity, based on the direction to select educational contents and the principles to design Chinese culture class in the previous study. According to Smith and Ragan model, a prototype design was developed in three stages - analysis, strategy development, and evaluation. First, this study considered how to experience the diversity of Chinese culture and what to enable students to experience based on the attitudes and background knowledge on Chinese culture understood through a learner analysis, and finally, developed a prototype about 'Exploring the Chinese Five Senses,' 'Creating Chinese Persona,' 'Idea Sketch,' and 'Sharing a Story.' This study revised the prototype through the 1st and 2nd formative evaluations with subject matter experts, and presented a 15-week lecture plan. The culture class presented by this study is meaningful because it suggests a process-oriented class, which focuses on 'the Process of Finding a Solution', instead of the result-oriented class, which defines culture-related matters and finds a solution simply from an academic approach. It also has significance as it provides a way to improve intercultural sensitivity by learning human-centered problem-solving methods.

The original concept of Righteousness(義) was born in the Western Zhou Dynasty. The words related to religious rituals gradually developed into the core concept of moral ethics with the change of social environment. In the Western Zhou Dynasty, and it is one of the important duties at that time. Its significance has expanded into a moral paradigm in the Spring and Autumn Period. In this sense that it contains the nature of moral requirements, it is the criterion for stipulating human behavior. The expansion of meaning is closely related to religious and social changes at the time. The primitive religion of the Shang Dynasty developed into an ethical religion during the Western Zhou Dynasty, and the religious nature began to change with the words related to the ritual. Political and social changes also affect the evolution of meaning. The Western Zhou Dynasty is a society in which the decimals ruled the Shang Dynasty immigrants and other nationalities. Because of the need to have a 'destiny' concept in the rule, Virtue(德) is an important principle for maintaining the dynasty. The impermanence's thought emphasizes individual cultivation and virtue, and 'righteousness' is the premise and basis of 'Virtue'.

This paper analyzes the cognitive process of the formation of meaning and image of the moon from the perspective of cognitive linguistics. This paper analyzes the cognitive process of the formation of meaning and image of the moon from the perspective of cognitive linguistics. The language structure of Moon is the poet's intuitive expression of natural landscape, that is, the image in the image of the moon in Tang poetry. The poet's description of the moon adopts the expression of personification, simulacrum and spatialization, which is a cognitive metaphor. In addition, the poet also refers to the moon or other things by other means, which is a cognitive metonymic expression. The meaning in the image of the moon in Tang poetry refers to the thoughts and feelings expressed by the poet through the image of the moon. To experience meaning in poetry, we need to rise from the language structure of Moon to the text level. From the perspective of cognitive metaphor, the basic image of the moon is that the moon has a circle, the moon is Yin, and the moon is water, which is also the basis of other derived images. From the perspective of cognitive metonymy, on the one hand, the linguistic structure of image can produce meaning transfer in poetry; on the other hand, the poet uses poetic language to refer to deeper regular common sense, illocutionary meaning, inferential conclusion, etc.

In the Tang Dynasty, there were many monks who had knowledge and cultural literacy: monk poets(Shi seng) who wrote poems well; monk painters(Hua seng) who painted pictures well; and monk calligraphers(Shu seng) who were excellent in calligraphy. There are countless monks of the Tang Dynasty who were well known as monk calligraphers. Among them, Huai Su and Gao Xian are the representative monk calligraphers of the Tang Dynasty. As a second review on the monk calligraphers of the Tang Dynasty, this study, first, briefly introduces Gao Xian's life and calligraphy. Next, this study analyzes the literary works of the Tang Dynasty that sang and evaluated Gao Xian's calligraphy and the poems of the Tang Dynasty, as well as the evaluations of Gao Xian's calligraphy by the literary men since the Tang Dynasty.
Some discriminating features in the evaluations of Gao Xian's calligraphy are as follows: Extreme praises and criticisms exist at the same time; the praises and criticisms of Gao Xian's calligraphy are compared with those of Zhang Xu's and Huai Su's; the evaluations since the Tang Dynasty were very much mediated by Han Yu's Farewell speech for monk Gao Xian. Although, unlike Zhang Xu and Huai Su, extreme praises and criticisms exist for Gao Xian's cursive script, the fact that Gao Xian is compared with Zhang Xu or Huai Su, who were representative cursive script calligraphers in the Tang Dynasty, demonstrates the excellence of Gao Xian's cursive script, who was the representative cursive script calligrapher in the Late Tang period.

'Wateriness[Pingdan]' originally was an important concept of Chinese philosophy in Pre-Qin period, and in the Jin Dynasty and the Southern and Northern Dynasties, 'The theory of Wateriness[Pingdan] began to enter the field of literature. In the Song dynasty, 'The theory of Pingdan' became the main problem of poetry's creation, criticism and appreciation. In this study, we investigated the discussion of Pingdan in the Song Dynasty, including the view of Hu Su, Mei Yaochen, Ouyang Xiu, Su Shi, Huang Tingjian in Northern Song Dynasty, and Ge Lifang, Zhu Xi in Southern Song Dynasty. Discussion of Pingdan in Song Dynasty emphasized the 'Pingdan', and paid attention to the relationship between the Pingdan and refinement, sentiment and taste, and the nature at the same time. The discussion of Pingdan became the most representative and key content of Poetics in Song Dynasty.

Feng Yansi's Ci plays an important role in the history of Ci, and influences the development of Ci at that time and later generations. The most representative of Feng Yansi's achievements in Ci writing is his “Quetazhi(鹊踏枝)” Ci. In the “Quetazhi(鹊踏枝)” Ci, the poet melts his feelings into the scene and describes a real and perceptible picture. In the process of description, some contents endowed with deep meaning by the poet are highlighted and become figures. These figures activate the conceptual system of the reader's cognition. In the process of reading, the reader visualizes and reason these concepts, and finally complete the understanding of Ci. It can be seen that the creation process of poets and the reading process of readers are inseparable from the psychological cognitive process, so it is feasible and effective to use the figure-ground theory to analyze the “Quetazhi(鹊踏枝)” Ci.
Previous studies on Feng Yansi's Ci mainly focused on the artistic style, historical position and life experience of the poet, but they have not been studied from the perspective of the figure-ground theory, and previous studies on the “Quetazhi(鹊踏枝)” Ci are mostly focused on several of them, the rest are lack of specific analysis and research.
This paper intends to make a tentative analysis of the “Quetazhi(鹊踏枝)” Ci by using the figure-ground theory, and find out its internal cognitive motivation, so as to provide a new perspective for the analysis and interpretation of Feng Yansi's Ci. This paper first uses the figure-ground theory to make a deep understanding of the text of each poem in the “Quetazhi(鹊踏枝)” Ci, and then sums up the expressions of figure and ground.In the “Quetazhi (鹊踏枝)” Ci, some images with their own independent characteristics are mostly constructed into figures to highlight the emotion of Ci writers. In addition, the figure-ground relationship is mainly reflected through the way of location words, figurative rhetoric, time relations and marked sentence patterns. Applying the figure-ground theory to the internal analysis of the “Quetazhi(鹊踏枝)” Ci can transform the abstract language into a vivid and perceptible picture, which enables readers to recognize and experience as if they were in the picture, so as to perceive the charm of a word from a new perspective.