『三字經』自古和『百家姓』、『千字文』合稱爲“三、百、千”, 是至今深受中國人喜愛的啓蒙敎材。作者一般認爲是宋代的王應麟。 『三字經』全部是356句1, 068字, 但除去重復的字, 則由512字所構成。『三字經』是每句三字、四句一組的形式, 可使兒童如歌唱般地隨着節拍輕易背诵。其內容不但包含初步的經、史、子、集及道德常識、禮節、仁義、勸學、楷模人物及其相關故事, 還包括中國的歷史、學術、民俗、地理、思想等內容。 當今在中國和華文圈展開的“經典敎育”也愛采用『三字經』, 對我國的初步漢文敎育及道德涵養敎育, 『三字經』是値得考慮的敎材。

This paper focuses on folk culture portrayed in Chinese modern novels. Among the work of chinese modern novels, the representative pieces of Xiao Hong and Shen Congwen were chosen for analysis. This paper takes on a comparative cultural approach to review the aspects and meaning of folk culture shown in their literature. Through analysing folk culture in Chinese modern novels, this paper shows each novelist portray different tradition and folk culture by writers' own thematic consciousness. In Xiao Hong's novel she mostly introduce traditional custom of childhood hometown ‘Hulan river’, and critically examine the custom of 'a girl who is brought' and shaman. At the same time she serenely describes world of fairy-tale and criticizes conventional thinking of people at the time. In Shen Congwen's novel, he mainly describes Dano, Chuseok, New Year's Day among traditional custom in the background which is a small village in Hunan. On the background of Dano day, the tragic love story between Cuicui and two men, Tianbao, and Nuosong is depicted, and through which it shows woman's life in feudal society and beautiful nature and character. Through this study of folk culture in Chinese modern literature, we can understand cultural identity of Chinese people and also it can be a opportunity to consider our own culture by reviewing other culture. In conclusion, the comparative study on Chinese folk culture of Chinese modern literature is the research of main problems of folklore and the review of traditional culture, also is humanities that seek for a harmonious coexistence between man and nature. Through comparative study of literature and folklore we might newly understand Chinese culture and find identity of Chinese ethnic culture.

The objects of analyses in this paper, < The Myth of Lady White Snake > by Li-Rui, < The Myth of HouYi and ChangE > by Ye-Zhaoyan, < The Myth of Meng Jiang Nu > by Su-Tong, and < The Song of King Gesar > by A-Lai are the re-written novels in which the subjects of myths and sagas are re-told in much more abundance, and the metaphors, symbols, mystics, and fantasies naturally accumulated in the mind of the chinese for the long history were met with the authors' distinctive imaginations. These works are in common that they inherited the motive of 'Brother-Sister Got Married in Flood Myth' in terms of acceptance of the handed-down stories, and directed themselves to literary variations through the anti-heroic narrative strategy in terms of 're-writing'. One of the reasons of mystical beings birth is that in an absurd society where power has dominance and violation is rampant, people desire heroes who would make them escape from the pains and threats in reality. The primitive desires brought births of the mythical beings like White Snake, Yi, Meng Jiang Nu, or Gesar. They are the pre-cursors of the main characters of the four works. The four works went along the narrative structure with the flood(water)-survival of the siblings(man and woman with forbidden lusts) - test(crises and trials) - success(marriage and great achievement) - conclusion(catastrophe/harmonization), and the plots and the mythical beings were newly tranformed(re-written). The heroes of the stories re-written by the four authors were all the 'true human-being', who tried to approach to people but were excluded by the people, being ended in poor mythical-legendary beings. They were the lone beings who possessed the destiny and necessity and were supposed to be sacrificed for people. They revealed their characteristic deficits such as simplicity and immatureness such as being fallen to blind lusts. Meanwhile, they were all altruistic philanthropists, optimists without desire for power, and liberalists practicing love. The four authors throw the question of 'who are the real human-beings?', by revealing the 'anti-heroism' of the mythical beings in a paradoxical way. Lady White Snake, HouYi, BiNu, and Gesar, re-created by the four authors, were futuristic true human-beings with open minds who wanted to practice love and make society of co-existences. They wanted to live as human-beings in the world of human-beings. Nevertheless, the violence and exclusiveness of the majority not to accept different and other species caused the characters' tragic ends.

This study explored the unique marriage custom of ancient China through the Chinese characters related to marriage such as "姓, 后, 姑, 舅, 媾, 婚, 娶, 嫁, 妾, 娣 and 姪". During the time of ‘group marriage within a clan’, the social status of a female must have been higher than the social status of a male. This characteristic of a matriarchal society is projected to ‘姓’ and ‘后’ as it is. During the time of group marriage with another clan, an elder female is one’s husband’s mother and a paternal aunt at the same time from the viewpoint of a female and an elder female is a one’s wife’s mother and a paternal aunt from the viewpoint of a male. Therefore, it is possible to say that the custom of group marriage with another clan in the form of exchange marriage between the people of about the same age in different clans was projected to ‘姑’ and ‘舅’. The marriage between the different clans in a matriarchal society was the group marriage by exchanging multiple males and females; therefore, the case of bigamy naturally occurred. It is possible to say that the bigamy in the history is the remains of such group marriage with another clan custom and this marriage custom was projected to ‘媾’. At the time, conquest war was common and a female was also a looted goods when she became a prisoner of war; therefore, ‘女’ was joined with ‘取’, meaning capture and take, to become ‘娶’. It is also possible to say that the custom of having wedding ceremony at twilight time was the remains of the marriage by looting. Therefore, it is possible to say that the custom of the marriage by looting, which was the transitional marriage form during the patriarchal society in which a wife was taken by looting or as a prisoner of war, is projected to ‘婚’ and ‘娶’. In a marriage by sell and buy, getting a wife by sell and buy was natural; therefore, it is possible to say that ‘嫁’, ‘賣’ and ‘賈’ were commonly used and this marriage custom was projected to ‘嫁’. 妾, meaning a concubine, was the object of sell and buy as a slave; therefore, a concubine could not take the status of a wife in the feudal society. It is possible to say that the status of female related to this custom of a marriage by sell and buy is projected to ‘妾’. In ancient China, there was a custom of marrying the females who have same family name together. At the time, a younger sister and a niece with same family name were the main ‘accompanying concubine’; therefore, the custom of ‘姪娣從之’ was projected to ‘媵’. Therefore, it is possible to say that the custom of ‘marriage of accompanying concubine’ is projected to ‘娣’ and ‘姪’.

Zen poetry is the fusion of buddhist zen and poetry, there are zen poetry of a monk and zen poetry of a general poet. Tang dynasty has many poet monks, a representative of poet monks are Wangfanzhi(王梵志) of early Tang dynasty, Jiaoran(皎然) of middle Tang dynasty and Qiji(齊己) of late tang dynasty. Their zen poetry can be classified into a zen poetry with a very strong Buddhist colors and a zen poetry of blending Buddhist elements. On Buddhism color very strong zen poetry, zen poetry of Wangfanzhi(王梵志) very strongly had Buddhism color, but because he mainly expressed instructive contents, his zen poetry did not contain profound buddhist thought. But zen poetry of Jiaoran(皎然) and Qiji(齊己) profoundly expressed teachings of buddhist. On a zen poetry of blending Buddhist elements, Wangfanzhi(王梵志) very little had elements of a zen poetry, but Jiaoran(皎然) and Qiji(齊己) very many had elements of a zen poetry. Moreover, zen poetry of Jiaoran(皎然) and Qiji(齊己) very expertly expressed their spiritual enlightenment. In conclusion, a zen poetry of Jiaoran(皎然) and Qiji(齊己) not only liven up the creative activity of a zen poetry but also raised the level of zen poetry writing, and then had a big influence on the zen poetry writing of general poets.

The moral virtue Fu Fù You Bié is premised on the moral virtue Nán Nu You Bié(男女有別)́. The moral virtue Nán Nu You Bié means that man and women should keep a distance from each other in order to prevent illicit connection. The moral virtue Fu Fù You Bié means that husband and wife should keep a distance from each other in order to treat each other with due respect. In modern society, due to the high tendency of sexual liberation and prevailing evasion of responsibility, mail or female, married or unmarried start relationship more easily. This kind of easy and liberal relationship causes an equivalent easy breaking up, forming a vicious cycle of heatless relationship. As a result, it becomes harder to have a stable family in which both man and woman are responsile for and dependent on each other. Among young people, there is a strong tendency to evade marriage, trying not to have many children, even no children at all. This naturally results in low birth rate and we are losing the most important social value, that of a family, the basic social unit. To solve this kind of relationship problem, single men and women should be prudent about their relationship and unity with due respect. Likewise married people should be polite to their spouse, respecting each other. The most practical principle of husband-wife relationship should come from the ethic that they are loyal to each other. The same rule should apply to single men and women. The original virtue of Fu Fù You Bié that husband should contribute to the welfare of society outside home, while wife should manage things inside home is also useful in modern family and society. However, in modern society both men and women work outside home, where they should play different roles and realm according to their personality and preference above all with respect and cooperation. In fact, as one of the main Confucian moral disciplines San Gang Wu Lún(三綱五倫), Fu Fù You Bié should be practiced based on the absolute love of self-sacrifice which has been taught through the phrase of Wèilínggong Lúnyu - saying "Achieve love through your sacrifice.(殺身成仁.)" Without that kind of love and respect, it is impossible to treat each other with due respect full heartedly. In short, the ethical virtue of Nán Nu You Bié and Fu Fù You Bié has the universal virtuous value which can be used to solve the relational problems between man and woman or husband and wife.

In learning a foreign language, vocabulary is a basic for the communication. Selecting vocabulary is important enough to show person’s language ability and it is particularly significant in learning Chinese as a Second language. Modern Chinese vocabulary is categorized into monosyllable, disyllable, and polysyllable or into simple and compound words. If the word contains one morpheme, it becomes a simple word which also includes monosyllable as well as disyllable and polysyllable, but it has only one meaning regardless of the forms. That is, each syllable of disyllable and polysyllable has no meaning, but it has the meaning when they are combined. Therefore, learners of Chinese as a foreign language can learn and use monosyllable with a little effort. The problem is that Chinese has compound words. Compound words are composed of ‘root + root’ combining method and the combining methods are divided into several ways. They are similar to Chinese characters classification 「YUK-SO(六書)」which explains word-formation principles of Chinese characters. If there were only 「SANG-HYONG(象形)」 and 「JI-SA(指事)」 in principles of word-formation, Chinese characters would not be that difficult to learn, but there are also「SANG-HYONG(象形)」, 「WHAE-UI(會意)」, 「JON-JU(轉注)」, and 「GA-CHA(假借)」which make Chinese characters difficult to learn. In this study, the relationship between morphemes in compound word is coordinative and they have opposite meanings. Due to the special combining method, antonymous compound words are in a small portion, but these words play an important role in Modern Chinese vocabulary. This study defines antonymous compound words by selecting antonymous morpheme compound words from 『XIANDAIHANYUCIDIAN』. Also, this study researches morphemes that form compound words in terms of grammatical character and function and analyzes semantic change phenomenon and types of morphemes that form compound words .

本文運用定性分析和統計分析的方法對宋代兩種文獻『朱子語類』, 『近代漢語語法硏究資料匯編』(宋代卷)中的平比句進行了分析, 其結果如下： 第一、宋代平比句的比較標記1和比較標記₂(W_{比較標記2}包括在內)各由“若、如、似、象、與”和“然、一般、相似、一樣”充當。充當比較標記1的詞匯當中, “若、如、似”是從古代漢語以來就有的表示平比的詞匯, 可以說這些詞匯是原有的比較標記。而“象、與”是進入宋代才出現的表示平比的詞匯, 可以說這些詞匯是新出現的比較標記。在宋代充當比較標記₁的基本上是原有的比較標記。新出現的比較標記“象”只有在模倣古代的風格、藝術形式里才出現而新出現的比較標記“與”在比較結果項位于比較基准后的平比句結構中才較爲多見。 充當比較標記₂的詞匯當中, “然、一般、相似”等算是原有的比較標記, 而“一樣”算是新出現的比較標記, 這兩種標記都表示程度。“一般、相似”除了充當比較標記₂以外, 還能出現在W_{比較標記2}的位置上, 因此“一般、相似”的出現頻率顯得高一些。“然”的出現的頻率相對于其他原有的比較標記似乎很少。新出現的比較標記“一樣”在宋代才出現, 所以使用頻率極少。 第二、宋代平比句共有三種形式, 卽單用比較標記₁的形式、雙共用比較標記₁和比較標記₂的形式、單用比較標記₂的形式。這三種形式根据其出現頻率整理統計, 列爲下表。 通過以上的分析和統計可以得出宋代平比句的以下幾個特征： 第一、從出現頻率來看, 在宋代三種形式的平比句中, 單用比較標記1的形式共出現1194次(98.6%), 出現頻率極高。其中“A+比較標記₁+B+W_{比較標記2}”形式共出現790次(65.24%), 占第一位。 第二、雙用比較標記₁和比較標記₂的形式共出現5次(0.41%), 這跟現代漢語平比句的使用情況差距很大。在現代漢語平比句里, 雙用比較標記₁和比較標記₂的形式爲常用形式。這意味着宋代的平比句還處于發展的初級階段。 第三、在現代漢語中早已不存在的單用比較標記₂的形式共出現12次(0.99%)。在比較標記₁和比較標記₂當中, 比較標記的主要功能在于比較標記₁。省略比較標記1而單用比較標記₂的這一形式較爲特殊。出現這種形式的主要原因可能有以下兩点：一、用使用頻率極高的單用單個比較標記的形式來類推, 二、只有在比較標記₂表示完全等同的時候可以省略比較標記₁, 這就表示使用于完全等同的詞匯相對來說語法化程度比較高。隨着這種情況的增多, 比較標記₁的功能有可能轉移到比較標記₂。不過在這一形式中, 由于平比句的主要標記被省略掉了, 所以在發展過程中可能被自然而然地淘汰。

『隷辨』是一本收集東漢碑文隸書的隸書字典。它不僅收錄豊富的隸書字形, 而且以偏旁爲中心分析隸書異體字。文章的重点在于以偏旁爲中心考察以下三点。第一, 通過『隷辨』的比較分析, 描寫『隷辨』卷第六的著述流程。第二, 通過分析『隷辨』的體制與內容, 探討『隷辨』偏旁硏究成果的特点。第三, 從現在的異體俗字硏究的觀点考察『隷辨』的實用性价値。本硏究得出以下結論。 第一, 『隷辨』卷第六的體例。先把隸書字形解開爲偏旁, 然后分析偏旁的變形情況, 最后按照變形情況排列偏旁異體。 第二, 『隷辨』偏旁變形硏究有幾個特点:認識到變形的逐漸性;部分偏旁具有位置變異;一些混用偏旁是變形的結果。 第三, 『隷辨』价値如下:提供豊富的混用偏旁例子;提供偏旁合幷的例子;提供常用異體偏旁。

This paper analyzes the relations between the culture and the regional economic growth in China. The cultural industry is for the purpose of profit, and the cultural work is for the purpose of public welfare. The cultural industry is developing by national level in China. And the China government provides the financial allocation by every year. This paper analyzes the affection of the cultural industry and the cultural work to the regional economic growth in China. The empirical study uses the regional panel data, use 31 region’s data. The period sets from 2005 to 2013. The 31 region’s result finds that the cultural work more affect to the regional economic growth than the cultural industry. And the four region’s result finds that the coefficient of the eastern region’s cultural industry has significance, and the cultural work still more significant than the cultural industry. In the middle region, the western region, the north-eastern region, the significances of the cultural industry are low, and the cultural work are relatively high.