本論文針對韓國李元壽的《森林中國家》和中國張天翼的《大林和小林》進行比較分析。《森林中國家》和《大林和小林》, 這兩個童話是在韓國剛解放以后的1949年還有中國大革命失敗以后的1932年出現的現實主義奇幻童話。李元壽和張天翼都用奇幻形式讽刺當時社會的矛盾、壓迫, 而且描寫了他們希望出現的理想社會面貌。對李元壽來說, 奇幻形式是一種能克服當時政治壓抑的方法, 對張天翼來說, 奇幻形式是一種能克服當時啓蒙偏向的文學現象之方法。他們通過他們的作品, 給讀者看他們對"共生的平等社會"、"承認勞動价値的社會"、"互通團結的社會"的愿望。而且也祈禱實現能克服父母一代的兒童主體之誕生。

This essay analyzes a story of Wocheng(我城), written by famous writer Xixi(西 西). Xixi won a prize of World Chinese Literature Award and emphasized Hong Kong consciousness. Xixi expressed city life and culture well through her novels after 1970. This essay analyzes Hong Kong consciousness and main features in Xixi's Wocheng. This essay consists of 6 chapters. First chapter is introduction. This leads us to see Xixi's improvement in her writing story and creation of writing. The second chapter is the main story of this essay. It mainly describes Hong Kong peoples' consciousness regarding city life and culture. Wocheng represents Hong Kong peoples' mentality by well describing Hong Kong city. In addition, the story shows how Hong Kong has been developed through the protagonist, Aguo's view. The third chapter analyzes a children's point of view and writing style in this story. Looking at things from a children's point of view is very important in this novel. City culture and life is expressed from a children's point of view, especially through imagination and fantasy. Finally, we arrives several conclusions by analyzing this novel. First, Xixi's novel well contains economic development and civilization of Hong Kong after 70s. Second, this novel represents mentality and consciousness regarding Hong Kong city people. Third, the writer's consciousness of Hong Kong is represented. We hope to see continuous study on Hong Kong culture though novels in the future.

When The Swedish Academy awarded a chinese writer Moyen the Nobel prize, they referred the three points related with Moyen's style, each of them is "William Faulkner and Gabriel Garcia Marquez", "old Chinese literature and oral tradition" and "Hallucinatory realism". Considering those points, this paper analyzed the implication of hallucination which is an important feature of Moyen's literature through the observation of literary history. The analysis is divided into two parts, one is the close-range view, the other is the distant view of literary history. In the first part, described the event that the magic realism of latin world had been a hot issue in China, and the debate around "modernism" among chinese scholars and writers. All these events shows us the atmosphere of chinese intelligents around 1980's. They were searching a way toward a new modernity by referring and absorbing from the western humanities. They also needed a new format of literature and language which could make them get out of compulsive an stiff dogmatism of power. In the second part, mainly treated two topics, about the magic realism in latin literature and the old chinese fantasy literature. First, To clarify the reason why the magic realism had been accepted wholeheartedly in China, explained the background of fomation of magic realism in esthetics, social, and philosophical field, also summarized the color of latin culture. In addition, examined how the magic realism appears in Moyen's pieces. It’s been proved that the background of magic realism’s formation just applies to chinese intellectual’s needs. It’s also revealed similarities between Latin America and China with their position in global society, which caused them the similar cultural needs including language reformation and reverse of thinking mechanism against corrupt rationalism. But the more significant affection of magic realism to chinese writers has happened in the way of opening their eyes to cast a new attention on the power of countless traditional literatrue sources which mainly come down in oral ways by grass roots such as folk tales and myth. They are full of hallucination based with Taoism and Buddism. It was not rare in chinese history that those open minds full of flexibility are capable of overturning the hardened dogmatism. Additionally, multifarious esthetic value make them exit from the "agitation propaganda literature" contained with national ideologies. Ultimately it helped them to pose a problem on global inequality and to interact in getting a new vision of modernity. This must be the way for the postmodernity to progress. Moyen’s hallucination is supposed to be caught in this context.

《家有兒女》是一部關於青少年教育和家庭題材的情景喜劇, 以幽默風趣、親切自然的特點深受各年齡段的中國觀眾的喜愛, 該劇的成功熱播開創了中國情景喜劇的新時代。本文選出《家有兒女》全集中的一集, 以“老媽的禮物”這一集為研究對象。該劇依據家庭情景喜劇的敘述構成——“家庭的現狀維持→違反習俗→接受習俗的教訓→家庭的現狀維持”展開故事。在計劃生育政策和改革開放政策的中國社會情況下, 該劇重點關注中國社會中存在的“青少年教育問題”和“家庭問題”, 如“青少年的身心健康成長問題”和“重組家庭中的敏感問題”等。通過“老媽的禮物”這一小故事, 該劇充分說明了兩個論據——“孩子應該重視父母的生日、懂得感恩”及“重組家庭的孩子該團結友愛”。 本文認為《家有兒女》采用了大量的修辭學技巧, 清楚明了地展開了故事, 說明教訓, 輕鬆幽默, 且通俗易懂。那麼, 從修辭學視角來看, 中國情景喜劇《家有兒女》中究竟運用了哪些修辭策略呢？本文將根據修辭學方法論的“聯想、排列、表現、發表”4個領域在情景喜劇中的運用, 探討其如何在《家有兒女》中產生說服力量, 并使該劇的教訓和解決方案在中國得到廣泛認同的。

In China, 《Zengguangxianwen》 has become one of the most popular traditional elementary textbooks because of it's influence to the order of whole society and the way of life. 《Zengguangxianwen》 as a popular traditional elementary textbook has lots of significances in linguistic and cultural respects. It is the textbook that was composed of both colloquial and written style materials. so it's feature is a sort of mixture of various linguistic character. Even though it is an old textbook, but practical value in daily life of present time. Chinese is well known as a language that has a big difference between colloquial style and written style. From this point, 《Zengguangxianwen》 would be an effective and useful textbook to the students who want to learn written style Chinese with the foundation of present colloquical Chinese.

“Style” is a comprehensive feature of language and overall evaluation and it plays a core role in Chinese Rhetoric. However, the idea of “Style” is not considered clear and systematic yet due to lack of precise explanation of its definition and origination of its types. Thus, this thesis has an attempt to define “Style” and find the types of it in order to pursue clarity. First, the analysis of scholar’s studies clarifies the idea of “Style”. Accordingly, the definition of “Style” is set as the combination of expressive features caused by various usages of language. Based on this definition, 5 features of “Style” have been brought out as differentiation, comprehensiveness, evaluation, relativity, complexity. This thesis sets the definition by solving the problems with the idea of “Style”, which sheds lights on clarification of the nature and concept. To find the definition of “Style”, analyzing the published studies and dividing the type elements into two categories. The one is “linguistic ones” with vocabulary, meaning, syntax, and rhetoric and the other is “non-linguistic ones” with nature and attitude of the speaker. As the result of it, 12 types of “Style” have been brought out, which are 'concise-complicated', 'lucid-connote', 'strict-unconstrained', 'simple-ornate', 'unrestrained-euphemistic', 'solemn-humorous'.

這篇文章的核心結論如下 : 我以爲“爲”不是接續詞(連詞)也不是前置詞(介詞)。 “爲”絶不是功能成分, 就是意義成分。所以不能把“爲”的功能分爲接續詞和前置詞。 大家從來分析接續詞和前置詞的機種功能, 可是根據句法結構來分析, 就可以知道不跟古代漢語的實際情況合致。 “爲”的整個意義都屬于動詞, 平聲和去聲各有一個共同意義。 個別文義的不同就是前後詞義和“爲”的義意結合和上下文造成的。 “爲+○”都是“謂賓(動賓)”結構。 只是後面伴隨詞組或分句時, 又表示假設或選擇的上下文關系, 又充當爲謂賓詞組的副詞語(狀語)而表示各種義意的修飾關系罷了。 特別要注意的依據是古代漢語基本上不使用表示接續關系的詞彙成分, 而且充當爲副詞語的成分沒有詞類和詞組形式的制約。

最近几年国内外陆续发现朝鲜后期及日帝强占时期所发行的汉语会话书。这些文献里含有不少有关汉语声母的教学内容及发音方法等记载。这些记载跟当时汉语发音教学状况、研究程度有着极为密切的关系。本文以 『关话畧抄』(1850以后)、『华音撮要』(1877)、『你呢贵姓』(1864-1906)、『中华正音』(?)、『汉语独学』(1911)、『支那语集成』(1921)、『中语大全』(1932)、『支那语大海』(1938)等8种汉语会话书作为分析对象, 针对有关汉语声母的记载、标音上的特点及演变情况, 探讨20世纪前后国内汉语声母发音教学的研究程度。研究结果表明, 当时的研究成果当然也有不足之处, 但大体上说绝不亚于现代与传统的研究水准了。

In Chinese comparative construction 'bi', there is synonymous sentence. However, we are curious about how two different forms can present the same meaning; if it is possible, why are we using different forms? When translating '張三跑得比李四快'and ' 張三比李四跑得快' into other languages, the output of translation is same: 'Zhangsan runs faster than Lisi'. That is why many students think these are synonymous sentences. In fact, '張三跑得比李四快' is the answer to 'How about Zhangsan's running?'; but '張三比李四跑得快' is the answer to 'When it comes to comparing Zhangsan and Lisi, who runs faster?'. Therefore, when we concern about their function, even both of translation are same, but these two sentences are not synonymous sentence. According to the aim of speecher, a speecher can express a different meaning with a different syntax form. It means that a speecher can select 'restricted scope'(immediate scope) from 'maximal scope'. Overall, when we teach Chinese comparative construction, we should consider that why a speecher choose this form of comparative construction. In this article, syntax, semantics, and pragmatics are applied for analysing synonymous sentence on comparative construction.

本文首先對于道義情態助動詞的肯定形式和否定形式的不對稱現象的前人硏究和主張“强義務”情態助動詞的否定形式爲“免除”、“禁止”、“不許”的學界的不同看法以及它們之間的相互關聯性進行探討, 然后通過對于中古漢語時期的4種代表文獻（東漢：《史記·列傳》、《論衡》 / 魏晋南北朝：《世說新語》、《齊民要術》）里出現的“强義務”情態助動詞的否定形式（‘不(无)用、不(未)鬚、不必、不待、不要’）進行了窮盡性分析和考察, 揭示它們的使用和演變情況。考察結果如下： 第一、“免除”和“禁止”的出現頻率如下：禁止(57次/55.9%) > 免除(45次/44.1%) 第二、7種否定形式所表示的意思如下： · 表示免除：不用、无用、不鬚、不必、不待 · 表示禁止：不用、不鬚、未鬚、不要 値得注意的是“不用”和“不鬚”旣可表示“免除”也可表示“禁止”, 而且這兩種形式的出現頻率也很高, 可以看做是中古漢語時期“强義務”情態助動詞的代表性否定形式。 第三、7種否定形式的出現頻率如下： 不(未)鬚(38次/37.2%) > 不(无)用(36次/35.3%) > 不必(21次/20.6%) > 不待(6次/5.9%) > 不要(1次/1%) 在“强義務”情態助動詞的否定形式中, “不(未)鬚”的出現頻率最高, 還有“不(未)鬚”經常作爲“禁止”的意思使用。這是因爲在上古漢語時期“鬚”是代表性道義情態助動詞, 因此在中古漢語時期“鬚”的否定形式也經常使用。 第四、四種文獻里“强義務”情態助動詞否定形式的出現頻率如下： 《齊民要術》(70次/68.6%) > 《論衡》(15次/14.7%) > 《世說新語》(10次/9.8%) > 《史記·列傳》(7次/6.9%) “强義務”情態助動詞的否定形式在《齊民要術》里出現頻率最高(68.6%), 特別是表示“禁止”的句子在《齊民要術》里出現頻率極高(98.2%), 這是因爲一部綜合性農學著作《齊民要術》介紹和說明農事時經常使用“勸告”和“禁止”的語體。 第五、“强義務”情態助動詞的否定形式“不待”和“不要”在中古漢語時期幾乎沒有出現, 可見它們在中古漢語時期還不是“强義務”情態助動詞的主要否定形式。