In this paper, we extracted and analyzed the calligraphy works of Monk Calligrapher Bianguang(䛒光), who made a reputation by working in Late Tang Dynasty, and the poems of the time when he commented or sang the calligraphy of Bianguang and the evaluations of the past writers after Tang. Although Tang Dynastic achieved fame as Monk Calligrapher and Huaisu(懷素) and Gaoxian(高閑) are representative monks who still have a reputation today, the poems of contemporary writers who recited the calligraphy of Bianguang have been handed down in large quantities to this day after Huaisu.
As the life of Bianguang overlaps with the chaotic end of Late Tang Dynasty, it is difficult to grasp the true face of his poetry and calligraphy, with his collection of poems and the collection of poems and calligraphic writings extolling the Bianguang calligraphy now leaving no trace until today. However, I summed up Bianguang's Cursive Style of Writing through the seven existing poems reciting the calligraphy of Monk Calligrapher Bianguang contained in Quantangshi (≪全唐詩≫). Successive to Monk Calligrapher Huaisu's styles, his calligraphy was natural without restraint, and it can be seen that he had never been shabby or paranoid because of his pliant and grandeur. This was also confirmed in the post Tang Dynasty assessments of Bianguang's calligraphy.

This paper started by raising objections to treating Hua-jian-ci and Liu-yong-ci as one category, classifying the main Ci-ti among scholars studying the Ci-ti. This is because Hua-jian-ci and Liu-yong-ci were thought to be ci-ti that showed clear differences in many ways.
First of all, their differences could be found in terms of the musical aspects represented by the Ci-diao. Hua-jian-ci used a lot of traditional Jiao-fang songs and not many new songs were taken at the time. Also, there were many works per Ci-diao, so they tended to create familiar songs over and over again rather than new songs. On the other hand, Liu-yong-ci used a lot of new music of Song dynasty rather than the previous period, and the number of works per Ci-diao was relatively small. Based on this, Hua-jian-ci shows a tendency to be conservative in terms of music, and Liu-yong-ci shows a progressive aspect.
Next, in terms of the structure of the work, Hua-jian-ci is mostly a Xiao-ling of short-length, and is excellent at quickly changing scenes, focusing on scene descriptions. Liu-yong-ci, however, has a large number of long types, and is excellent at expressing emotions using the method of Pu-xu. Therefore, Hua-jian-ci and Liu-yong-ci show almost the opposite characteristics in the structure of the work. In this regard, Hua-jian-ci and Liu-yong-ci are clearly Ci-ti's with unique personalities. Therefore, it seems inappropriate to discuss the two as a single Ci-ti. As the body changed from Hua-jian-ci to Liu-yong-ci, Tang-song-ci was able to stand tall as a literary style that could represent an era. In addition, the various expressions they developed had a good influence on future poet.

Huang Tingjian passed the Wutai Poetry Case, after about ten years of banishment, the writing of poetry and literature has changed a lot.
At that time, Su Shi and Su Men were worried that their own poems would become a problem again, did not want to write poetry, and Huang Tingjian also strictly restrained himself from creating poetry. From The first year of Shao Sheng to four years of Shao Sheng, until his death, we can see that Ci Writing were more active than poetry. This article is based on Huang tingjian's relegation Ci, research the creative characteristic of relegation Ci.
First of all, if you look at the sanctions and the nature of the content, After he was banished, he used a variety of topics from Bashu. Using the famous specialties of Bashu, tea, lychee, folk culture, and other distinctive features of the area as sanctions, Not only did the work expand the scope of its contents, it also produced works of historical value that made people see the life of the time.
Huang Tingjian also writes the relegation Ci in the way of Chang He(唱和) Ji Ju(集句) and Yin Kuo(檃括). These forms of writing Ci all begin with poetry, slowly use this way to writing Ci. Su Shi and his disciples were at the center of the beginning and development of this creative mode. He was also accept the creative attitude of “Taking poetry as Ci(以詩爲詞)” of Su Shi.
Huang Tingjian recognized original value of Ci and was faithful to original creative function and style of Ci. As a result, after he was eventually demoted, he wrote Yan Ci by graceful and restrained genre, it's about a variety of topics.
Huang Tingjian's relegation Ci coexists with the creative characteristics of Shi Hua(詩化) and Ci Hua(詞化). These features allowed him to look at a side called “Bie Shi Yi Jia(別是一家)”, it could confirm his important position once again at the changing and developing period of the Northern Song Dynasty.

The pattern theory of poetics is the mainstream andauthentic in the the Ming Dynasty. Thepoetry school of restoration which is led by the 'Ming Qizi' refuted the Song poetry extremely. Hu Yinglin followes the The patterntheory of poetics' style and continues the theoryof 'Ming Qizi', but his overall evaluation ofSong poetry was not good. In Hu Yinglin's poetics pedigree, “MirableImages and Romantic Charms” of Tang poetry is the model of his pursuit. Based on the concept of “style to replace change”, he emphasizes theevolutionary consciousness of “one generation has one generation ofliterature”. He believes that song poetry imitates Tang poetry, pursuesskills without new changes, “style to replace decline”, and itsquality and style decline, so it is replaced by Song poetry. Hu Yinglin takesthe concept of “physical inferiority” as the mirror image, whichnaturally reflects many problems of Jiangxi poetic school, Suhuang and Yuan's poetry. They negative the value of the domain and they are also lost in the “outside” of his poetic history pedigree based on Tang poetry.In some agree, his active exploration of Suhuang,Jiangxi poetry school and Song poetry's characteristics deepenedpeople's understanding of Song poetry objectively, and opened the trend of the “GongAn” school to respect Song Dynasty.

In the 1990s Chinese fictions, narratives of masculinity are summarized in three aspects. Firstly, male egos manifest masculinity which aspires to be dominative. the pursuit to hegemonic masculinity accompanies self objectification and loss of his identity. Secondly, hegemonic masculinity is ambilateral. The successful male lacks relationship, only to prove that the practice of hegemonic masculinity is in discord with masculinity which has been provided by patriarchism. Finally, the heterogenized heroic masculinity has been created. It simultaneously embraces positive qualifications of traditionally heroic male identity and the commercialistic trait that goes with the consumeristic society. Meanwhile, the masculinity featuring elimination of everything non masculine reveals nervousness and anxiety for its weakening. Hereby, male narratives in the 1990s Chinese fictions expose precariousness of masculinity with two features. The hegemonic masculinity causes precariousness because it disagrees with the masculinity that is required to practice gender roles granted by the patriarchal system. Also, masculinity becomes precarious because it claims to be powerful. The request for powerful masculinity reminds it of masculinity that leads to control and power. Since the powerful masculinity is built on eliminations of non masculine traits, it contains dangers of isolation and discord. Then it becomes a major precariousness conceived in the strong masculinity.

This study aims to discuss the Zhi from the perspective of crosslinguistics by seeing Zhi as a type of a complementizer that appears in the inner structure of subject-predicate. In the first place, it examines the universality of a complementizer through the examples of Korean and English. Based on this, the particularity of 之 as a complementizer in ancient Chinese will be discussed in this study. Second of all, it examines the correspondence relations and conditions of the complementizers of three languages by comparing the examples of complementizer '之' with English and Korean translation, used in the book titled Mengzi, which is the representative literature in the pre-qin period. Lastly, it investigates the origin and cause of extinction of a complementizer, '之' from the typological perspective.

In Chinese, '給' belongs to a vocabulary with high frequency of use and has various syntactic distributions and meanings, and also represents various grammatical functions. This paper considered '給' as an investigation used in 把-text.
When using '把……給V' formula, it is often used in spoken language and serves to reveal or emphasize negative emotional colors. Emphasis can be said to involve the subjectivity of the speaker. However, not all '把' advice can be used, and this paper looked at the case where '給' can be used for '把' advice and its limitations.
First of all, we looked at the verbs used in the '把……給V' formula and found that they were commonly used in verbs representing motion, and that they often had negative meanings such as removal, loss, loss, extinction, eviction, and separation damage.
From the perspective of grammaticalization, the survey '給' can be seen as a change in the preposition '給' and is also related to the grammatical use of the preposition '給', and it can be interpreted that the word '給' is omitted after the object or '給' can be interpreted as the meaning of '給'.

This paper was intended to analyze the functional change of the Chinese numeral '一(yi)' from a diachronic and synchronic perspective, which is a typical polysemy of the Chinese language. From a diachronic perspective, five representative literature of the period of Ancient, Middle ancient and Modern times were selected to examine the distribution of the function of '一(yi)' used in the literature and the process of its changing, and also attempt to discover the organic correlation between the development of classifiers and 'numeral+classifier' form and the functional change of '一(yi)'. In the synchronic perspective, we tried to examine Chinese numeral '一(yi)' has any universality and individuality, through prepare it with functional changes of the 'one' of the cross-language. Lastly, we attempt find out which functional change step the Chinese numeral '一(yi)' is currently in, and to infer the process of its future changes.

As a pair of Synonymous Monosyllabic-verb and Disyllabic-verb with the Same Morpheme “Xue” and “Xuexi” that often appear in the initial stage of Chinese teaching, they seem to have the same meaning and simple usages, but after careful inspection, we found that they have different divisions of functions in modern Chinese and responsibilities are different, and there are obviously different. The main reasons for these differences are the difference in the action of the monosyllabic-verb “Xue” and disyllabic-verb “Xuexi”, and the precision of their meaning, the styles, and the extended meaning.

Based on the cohesion and coherence theory of Halliday & Hassan, as well as the supplementary theory of Zhang Delu & Liu Rushan. This assay analyses the cohesion and coherence characters by contrasting the same type of official text in Chinese and Korean language, and describes the correlation between cohesion and cohesion, and describes the related analysis frame. Analysis is conducted from two aspects, structural cohesion and non-structural cohesion. By analyzing 22 official texts from China's and Korea's government websites, based on statistic data, this assay draws the conclusion of differences in both structural and non-structural cohesion, for the discrepancy of Chinese and Korean's language format.