This thesis will deal with the Korean drama `Tokkaebi`, which was broadcasted at the beginning of 2017, to prove the principle behind the traditional Korean·Chinese horror narratives inherent in the drama. This paper suggests that the drama `Tokkaebi` is based on the principle of traditional Korean·Chinese horror narratives for the following reasons. First, this drama is based on the principle of `Rengui`s love story (人鬼戀愛)` and the grammar of `Caizijiaren(才子佳人)`. The drama `Tokkaebi` is related to the traditional narrative of `Rengui(人鬼)`s love story` as it used the love story between a female human and a male Tokkaebi as the main motif. Also, there is a mutual understanding with `Caizijiaren` narratives in terms of the love story between a talented man of high class, and a beautiful underprivileged lady. Second, the set up of the drama`s main male and female characters follow the principle of the traditional Korean·Chinese horror narratives which has been passed down since Tang Chuanqi(唐傳奇). Chracters has been established by male writers of the traditional East Asian horror narratives which reflects their Lolita Complex. Despite the fact that the writer of this drama is a female, the story still follows the familiar principle of traditional Korean·Chinese horror narratives by arranging the main female character to be young. Third, the traditional horror narratives used the method of fantasy in order to avoid the unethical situation. Accordingly, this drama established the main male character as `Tokkaebi`, a fantastic existence, to contradict the unethical situation. This drama used technique of narrative, what we called, Familiarization and Defamiliarization. Moreover it contains important features including characters like Samsin an old grandma from Korean fables and the transformation of the previous life and life after death of Buddism. The drama `Tokkaebi` receives fervent appreciation and response from the viewers of Chinese amidst the `Xianhanling(限韓令)` circumstances. This is because the drama is based on the principle of traditional horror narratives which was shared with between East Asians. And this drama constructed a new narrative format where the original drama product a novel, opposing the general format where a drama is made from an original novel. Furthermore, the settings of the drama became a tourist attraction presenting its value for practical use. These phenomenons can be said to be the evidence of the value of currency in traditional Korean·Chinese horror narratives.

《西游記》是中國古典四大名著之一, 成書于16世紀明朝中葉, 主要描寫了唐僧、孫悟空、猪八戒、沙悟淨師徒四人去西天取經, 歷經九九八十一難的故事. 《西游記》不僅內容極其豊富, 故事情節完整嚴謹, 而且人物塑造鮮活、豊滿, 想象多姿多彩。更爲重要的是, 《西游記》在思想境界和藝術境界上都達到了前所未有的高度, 可謂集大成者. 《西遊記》所講述的主題意識, 就是與 《般若心經》有相當密切的關係. 《摩訶般若波羅密多心經》卽是《大般若經》的心髓, 全部般若的精義皆設於此經, 故名爲《心經》. 本論文主要闡釋唐代歷史人物玄?、《般若心經》、《西遊記》三者的因緣關係. 然後再分析《般若心經》和《西遊記》之主題意識的關係和特點. 本論文主要內容以下: 第Ⅱ章主要是分析《般若心經》和《西遊記》的成書過程和因緣. 這又以兩個部分來進行分析: 第一節是在西天取經過程中的《般若心經》所占有的位置和重要性. 第二節是在《西遊記》成書過程當中《般若心經》起的作用. 第Ⅲ章用《般若心經》的主題意識來分析《西遊記》的思想結構. 具體的內容有三個部分組成: 第一節是摩訶般若波羅蜜多心經所具有的思想內容. 第二節是`空`和`緣起`的思想內容. 第三節是觀音思想.

<同光名伶十三絶>是中國京劇史上重要的戱劇圖畵史料. 圖中人物由晩淸著名人物畵家沈蓉圃所繪, 爲淸同治光緖年間在京劇舞臺上膾炙人口的十三位名伶(生行6人, 旦行5人, 丑行2人). 本論文以<同光名伶十三絶>中三位生行老生演員(張勝奎, 盧勝奎, 楊月樓)作爲硏究對象, 考察他們在當時演出活動, 竝對他們的評價以評述. 生行是京劇形成發展過程中最爲興盛的一行, `十三絶`中也是生行中老生演員最盛. 張勝奎(生卒年不詳), 是以演做功老生戱見長的老生演員. 莫成是他飾演的最位神容竝肖之人, 故有`活莫成`之稱. 他在畵中位於前排左起第一位,扮演<一捧雪>之莫成. 盧勝奎(1822-1889), 是讀書人出身, 落第後加入三慶班的老生演員, 也是最早的京劇編劇作家. 他熟讀史書, 對歷史劇的理解和感悟超於他人, 是以能在劇中隨性加入唱詞. 他在畵中位於前排右起第二位, 扮演<空城計>之諸葛孔明. 楊月樓(1844-1899), 是同光時期劇壇上以老生兼演武生的少有傑出人才. 出科後在上海演出諸多文武佳劇, 舞臺上的扮相漂亮英俊, 允文允武, 登場卽獲盛贊. 更引得觀衆趨之若鶩的是他扮演的孫悟空. 他在畵中位於後排右起第一人, 扮演<四郞探母>之楊延輝.

In China, detective novels were first accepted through Shi Wu Bao in the late 19th century. The acceptance of the detective novel in China was clearly under the Enlightenment and utilitarian intention. Although many modern intellectuals in China criticized detective novels, but some intellectuals still appreciated the value of detective novels. Cheng Xiao-Qing was the most famous detective novelist in China in the 1920s and 1930s, and his `Huo Sang` character became popular among Chinese detective novel readers. He is a person who imitates Conan Doyle`s `Sherlock Holmes`, considers scientific evidence and rational reasoning very seriously. Unlike Sherlock Holmes, however, Huo Sang did not rely on the technique of reasoning to solve the case, but was portrayed as a patriotic, moral Chivalrous fighter(俠客). This reflects the limitations of Cheng Xiao-Qing`s novel technique of detective novels, and enlightenment and utilitarian literary view.

本論文着眼于《火山島》和《看得見得鬼》這兩部小說，結合濟州和台灣的歷史，描寫了在不可抗拒的强大外部勢力的支配下，濟州和台灣的本國居民被“移植”到濟州和台灣后所經歷的殖民化過程。通過探討殖民化過程和作品中提出的去殖民化戰略，探索濟州和台灣未來發展的新机遇，構建一個讓濟州和台灣更緊密聯系在一起的契机，這就是撰寫本論文的目的. 通過對《火山島》這部小說的探討，我們有了新的發現，也就是這部小說的主人公李芳根達到了自身和濟州合一的境界，小說結尾處他的一番行爲我們可以解讀爲他想徹底地去殖民化，從根本上復原濟州原來的面貌。《看得見的鬼》是一部把台灣歷史槪括成殖民史的一部作品。在這部作品中，外來的移民們把台灣作爲定居地，作爲他們新的開始，幷且逐漸定居了下來。他們重新書寫了台灣的歷史，這使得他們的眼界開闊了，思想上覺醒了，達到了一種超脫的境界。這和把“從悲哀、抵抗和激情中擺脫出來從而具有高瞻遠?的眼光”作爲創作觀的作家的目標一致，也可以從這個角度解析?的去殖民理論。

Quantifier is one characteristic of Chinese and Sino-Tibetan. Its basic syntactic function is to categorize nouns, but some research shows its classification function is very weak in Chinese. This paper takes the individual classifiers without shape characteristics as study subjects. the study, through quantitative analysis, tends to do a comprehensive study of some representative classifiers (such as “MEI(枚)”、“PI(匹)”、“ZHI(隻)”、“JIAN(件)”) used in this period of time synchronically and diachronically, and based on this, the scope and usage of the classifier without shape characteristics are discussed.

Ambiguity is an issue that receives attention in the Chinese linguistic academia, and causes difficulty for Korean students learning Chinese. This study analyzes the causes of the sentence “Shei ye yingbuliao” to have two different meanings, and examines the process in which such ambiguity is resolved in the usual process of conversation. Studies on ambiguity have so far been conducted at the levels of vocabulary, phrase and sentence, but this method has limitations. Accordingly, this study intends to analyze sentences at the levels of vocabulary, syntax and pragmatics, and provide explanations using specific examples. The results of the analysis show that the sentence “Shei ye yingbuliao” has two meanings due to the reference ambiguity of “誰 (Shei),” its predicate governing the agent with the trait [+animate]) and patient argument and the marked distribution of its patient argument. Despite its inconvenience arising in a communication process, this sentence is used by virtue of its information structure and pragmatic usage (function). Furthermore, it is used for humorous and satirical purposes. In the actual process of conversation, the ambiguity of such sentences that can be interpreted in different ways can be resolved by making inference based on the content of texts and the context outside conversation, which leads to a successful communication between the speaker and listener.

This thesis discusses criteria setting for grading prototypical “causation”. First, after examining precedent research, “prototypical causative structure” should set the criteria for grading prototypical “causation” through selection. Second, conceptual category extension model is used to explain the correlation between conceptual category extension of “causative structure” and “causation” grade. Third, prototypical “causation” grade criteria is set considering the immediacy and intentionality of “causer”, the impact of “causal force”, the control of “caused”, the level of dynamic and static “result of causation” in “prototypical causative structure”, and the organic relationship between semantic elements of “prototypical causative structure” furthermore, semantic properties is explained as script for causal chain framework.

日帝殖民地時期中（1910~1945）韓國內不但進行了漢語敎育，而且出版了漢語會話敎材。其原因主要有三個時代背景。其一，爲了個人成功的漢語敎育；其二，爲了日本帝國侵略中國的漢語敎育；其三，爲了抗日獨立運動的漢語敎育。但是先行硏究只關注其一、二原因，而到目前爲止沒有對其三原因進行具體硏究。衆所周知，日帝殖民地時期，韓國有不少人移到中國積極參與抗日獨立運動，他們以一種武器學會漢語是理所當然的。那?，漢語敎育與抗日獨立運動之間眞有關係?？ 本文爲了査明漢語敎育與抗日獨立運動之間的關系，要以《中語大全》著者李祖憲的生涯、周圍人及其在國內外所參與的活動組織爲中心，對他的人生觀、漢語敎育觀進行了解，進而對其漢語敎育、《中語大全》編纂的原因進行考察。尤其是本文利用李祖憲親族所藏的書面史料、他們的口述史料等還沒公開過的新資料來修正現有內容中的有誤之處，補充新的內容。由此，我們可以證明當時漢語敎育的時代背景中除了其一、二原因以外，還有其三原因。