一般認爲，“了”以說話時間爲參照点時，它能表示動作完成或者情況出現的語法意義。不過，這種語法意義沒法證明“才字句”里不能出現“了”的原因，本文爲了解決這個問題，首先提出了“參照点”也可以根据客觀性和主觀性的標准來進行分類，所謂“客觀性參照点”是把說話時間設定爲參照点的，相反，所謂“主觀性參照点”是根据說話人的預測來設定的。 我們認爲“就”和“才”的共同的語義特征是表示實際偏離預期，“就”表示動作完成時間或者情況出現時間早于說話人所預期的時間，“才”則正好相反。這里所說的“說話人的預期”就是句子里包含的“主觀性參照点”，要是動作的完成或者情況出現的時間早于參照点時，“了”的出現就得到認可。這是通過句尾“了”能表示的另一種語法意義，則是它能表示某種動作完成時間或者情況出現的時点跟說話人所預測的時間不一致的語法意義。因此，副詞“就”能跟“了”共現，副詞“才”不能跟“了”共現。除此以外，本文還提出了副詞“才”不能跟“了”共現的原因，那就是“才”包含着“還沒說完”的語用意義，這跟表示“成句作用”的“了”在功能上發生了沖突而引起的。

Learners involved in the teaching of Chinese in Singapore fall into two groups in terms of their linguistic and cultural backgrounds: students from Chinese-speaking families and students from English-speaking families. With respect to the former group of learners, Chinese teaching should introduce semantic culture rather than structural culture and pragmatic culture. On the other hand, Chinese is a second language for learners from the latter group. It is, therefore, necessary to list out the cultural content needed by these students on the basis of their background knowledge of Chinese culture and the relevant findings in China’s research on teaching Chinese as a second language. The incorporation of cultural content into the teaching of Chinese for both groups of leaner has the following objectives: 1) to increase identity recognition of Chinese Singaporeans, 2) to enhance the racial unity in Singapore, 3) to establish positive attitude to life and 4) to develop benevolence and good taste.

韓國和中國隔海相望, 自古以來通過各種渠道, 中國文物移植到韓半島, 在韓半島受容而成爲與中國同工異曲的朝鮮文物。朝鮮詞也是如此, 雖與詩作相較, 其數量是天壤之別, 然朝鮮詞有它自己的花園, 据筆者的不完全統計, 高麗朝鮮詞作品在兩千首以上。 柳永是北宋詞壇的代表人物, 其詞‘天下詠之’而流傳到高麗及朝鮮。這里我們主要分析韓國歷代文人有關柳永的論述, 借此探討朝鮮知識分子對柳永的認知度, 從而進一步對柳永詞的移植與朝鮮文壇土壤的承接性加以了解。

爲了更加理解中國和中國人，應該硏究中國的文化現象。如果正確地理解中國和中國人，則更圓滿地與中國人交流，避免産生文化上的沖突。 中國的傳統文史哲著作是中國文化現象的寶庫，尤其歷史著作所記載的內容包括中國政治、經濟、社會等各方面的文化現象。 本文通過解釋歷史故事中所描寫的面子現象，來考察中國人的面子文化。其硏究范圍是以《戰國策》爲主要的，除此外探討有關面子現象的個別事例。本文分析有關面子現象的實例，首先探索中國人形成面子的具體方式，幷喪失其面子的具體原因，其次探索其面子的形成和喪失會給中國人的人際關系所産生的影響。 本文考察的主要內容如下幾点： 第一，中國人發揮自己的力量，或者依靠他人的幇助，來建立自己的自尊心，加强自己的面子。 第二，如果依靠他人的幇助，而形成自己的面子，則以報恩和報答的方式去報賞給對方，因此更加加强彼此之間的人際關系。 第三，如果自己沒有力量，或者被他人所欺負，未被他人所認定，則會傷及自尊心，導致喪失面子。 第四，如果被他人所欺負或未認定而喪失面子，則彼此會未必要意識彼此之間的關系，故造成互相反目或報復的結果，甚至會斷絶其人際關系。 本文的結論是中國人如果依靠他人的幇助而形成面子，則其人際關系是會更加堅固幷維持到很久，相反因他人而喪失其面子，則會斷絶其人際關系。幷且，決定于有无面子的心理机制是自尊，在有无面子的結果所産生的人際關系中起主要行爲机制是報賞和報復。此外，丢面子比得面子更屬于他律的，且給人際關系所産生的影響亦更加是否定的。

With the popularity of the Internet technology, China’s Interest users rapidly increased, and is ranked and has the world’s largest users. The development of the internet in China, has bringed new nationalism: ‘Internet Nationalism’. This Nationalism has been combined with the Neo-nationalism and the Internet. Internet Nationalism requires the Chinese Government make a strong foreign policy, and they allow and support. Because the Government is now necessary to create a new legitimacy and ideology in order to maintain the regime. This paper is divided into five chapters, first, researched literature reviews and the discourse of internet nationalism, Second, focused on the Case Study: “强國論壇” and governmnet’s internet policy. third, researched the how internet nationalism impact on Chinese strong foreign policy. Now Chinese government is controlling the internet in various ways: closures, warnings and delete, even the arrest and detention. However, Chinese Government allow internet nationalism and use this for strong foreign policy. Internet nationalism has irrational and provocative character and threat to other countries.

After economic reform and open-door policy in 1978, China has been showing rapid economy growth, but there are many concerns about regional inequalities. In this study, we discuss the regional development policies and estimate the trends of regional income disparity, using Gini Index and regional income data(per capita GDP) of the National Statistical Bureau of China from 2000 to 2009. This paper shows that the regional disparity in China has been in relative decline trends since the beginning of the 2000s. However, The Center and North-east region showed an increasing trend according to the analysis of weighed coefficient of variation among different provinces, while The East region being a decreased tendency after slight increase in 2003. This result indicates although the regional balance development policies has been taken, China is still in regional inequalities state. We also find that the fact of the decline trends of regional disparity in the 2000s is agreed with other research. More further researches are needed to generalize the evolution of regional income disparities and hypothesis.

身爲黨國元老也是現任立法院長的胡漢民，被國民政府主席蔣介石拘留的所謂湯山事件，是可能引發全面內戰的重大政治事件．幸好南京中央與廣州爲中心的反蔣陣營間，沒有立卽發生激烈的衝突．考其原因，雙方都不願以强硬的手段解決事件，爲了以和平的方法解決事件，雙方不斷進行接觸．其間蔣介石爲拉籠廣東的實力派人物陳濟棠與陳銘樞，盡了最大的努力．其目的就是瓦解反蔣陣營可能的武力後屯．結果雖然失敗爭取陳濟棠，而成功的收買陳銘樞與十九路軍，是蔣介石能主導湯山事件後政局的關鍵所在． 南京與廣東兩個陣營都願意以和平的方法解決事件，然終於産生非常會議以及廣州國民政府，中華民國境內再次出現兩個政府互爭正統的局面．不但如此，廣州國民政府不顧正在進行中的剿匪軍事活動，動員兩廣軍隊進行北伐．這是中國政府和人民的不幸．廣州國民政府的北伐，是反蔣陣營內部主戰派和主和派妥協的結果．再次的內戰如火如荼進行的時候發生九一八事變，終熄內爭共赴國難的聲浪衝天，雙方終於進行所謂和平會議，爲建立新的統治重心交換意見，爲求抵禦外侮的有效方法共同努力．

五胡十六國時期移居中原的匈奴族獨孤部, 大體承襲了鐵弗部的活動地區和相當數量的部衆, 却沒有鐵弗部那麽活躍, 但經過拓跋部的代國復國和苻堅的前秦統治等一連的關鍵性過程而發展了。與此同時, 他們利用跟周圍的拓跋部的親善友好及競爭對立關係, 不僅在北魏、北朝, 直至隋唐, 形成了中國貴族之一員, 在歷史上留下了獨特而較好的面貌。 獨孤部的主要內容整理歸納如下： 第一, 劉庫仁父劉路孤率部落投附拓跋部, 拓跋鬱律妻之以女以來, 拓跋部與獨孤部劉氏之間淵源長久的密切關係。特別, 劉庫仁與其父親兩代, 都與拓跋部有婚姻關係。而且不僅於此, 當前秦軍隊攻擊拓跋部時, 劉庫仁當時站在拓跋部一方, 受到拓跋部領袖拓跋什翼犍的信任和依賴。 第二, 在384年劉庫仁被殺之後, 他弟弟劉眷繼承其統領獨孤部和整個部落聯盟。劉眷與拓跋珪的關係也十分親近。綜而言之, 拓跋珪得到獨孤部領袖劉庫仁、劉眷兄弟的照顧, 拓跋部民也受到撫納。此爲拓跋部的復興和北魏的建立打下了最初的基礎, 影響不可謂不大。 第三, 劉庫仁的兒子劉顯殺了劉眷, 代之成爲領袖, 獨孤部與拓跋部的關係也發生了巨大的轉變。劉顯計劃殺害拓跋珪, 其原因大槪一則可能膽心拓跋珪將成爲未來的競爭對手, 另一則可能對拓跋珪懷有舊怨。在劉顯與拓跋珪的競爭當中, 引起了拓跋珪的最後勝利, 可說爲他進一步從事對外競爭消除了障碍, 奠下了基礎。 第四, 除了劉奴眞以外, 劉犍、劉去斤均與拓跋部關係不好。反正, 他對拓跋珪的善待, 使得拓跋部的復興, 有了較爲順利的開始。而劉顯、劉犍、劉去斤對拓跋珪的敵視, 嚴重威脅到拓跋珪的領導權。但是, 在後燕慕容垂的支持下, 拓跋珪擊敗了他們, 拓跋部凌駕了獨孤部, 就爲拓跋珪進一步發展, 創建北魏王朝奠定了基礎。就北魏王朝創建歷史而言, 獨孤部劉氏是不可或缺的重要角色。

Sixth Generation is a concept of time which succeeds the Fifth Generation and a very special word which characterizes contemporary Chinese cinema. The Sixth Generation means not only cinema directors following the Fifth Generation but also cinemas which maintain the Fifth Generation’s Avant Garde characteristics and carry very different diagram from the Fifth Generation. The characteristics of 6th Generation movies are as follows. First, They resist the socialist China. This is similar to the revolutionary 5th Generation who tried to look different from 1st to 4th Generation. However 6G is different from 5G in that they are present-oriented. While 5G describes about China based on old China, 6G about new China. Second, 6G uses wild aesthetics like piece by piece or incompleted narrations to talk about present China. This is because 6G try to remove the subjective view of 5G directors. They are trying to have an access to an objectivity by getting rid of any judgement or dramatic composition. This is why 6G cinemas are more like prose or poem rather than story. Third, even if 6G movies carry a form of documentary or fiction, they deal with non-fiction subject. They reflect personal lives in China which transforms themselves socialist people to general public as well as current Chinese reality in which capitalist space replaces socialist one. 6G movies are movies after 1990s. containing all those objective truth. 6G cinema is meaningful in that it succeed the 5G tradition and its Avant Garde characteristic which resist precedents in Chinese cinema.

Ancient Chinese literature was not only literature, but also philosophy, history, music, and play. Moreover, ancient Chinese literature did not only belong to Chinese people, but also belong to Korean, Mongolian, and even Japanese people. Nevertheless, many people including scholars and researchers still regard ancient Chinese literature as only Chinese literature, apart from ancient Korean, Mongolian, and Japanese literature. However, everything changes like river flows incessantly. So does Chinese literature. That is why we have to look ancient Chinese literature as East Asian studies. From this point of view, Chinese myths such as Pangu盤古 myth and Magu麻姑 myth have been shared among East Asian people througout thousands of years. Likewise, Confucian scriptures like 『Yi Jing 易經』, 『Shi Jing 詩經』, 『Shu Jing 書經』, 『Li Ji 禮記』have been important classical books among East Asian intellectuals. Besides, Changwen唱文, a sort of voice performance as well as Jiyuewu伎樂舞, a type of traditional mask play have been enjoyed by East Asian people. Therefore, we should regard ancient Chinese literature as East Asian studies.