Some scholars argue that after the Yuan and Ming dynasties, the function of the character "Dai"(埭) gradually diminished in real life, and the character itself slowly faded from people's view. In modern life, people may occasionally encounter the character "Dai"(埭) in some ancient place names or modern place names that inherit ancient traditions. Others suggest that the use of "Dai" (埭) in place names in Wenzhou, Zhejiang Province, is influenced by the Min dialect. However, this paper holds a different view. In fact, in the provinces and cities south of the Yangtze River, including Zhejiang, Shanghai, Jiangsu, Anhui, and Fujian, the character "Dai"(埭) is very common as a place name, with a higher frequency of use compared to its function as a water conservancy facility. It is by no means "occasional." As a frequently used place name, including in Fujian, it has not faded from people's view at all. Through diachronic examination, it is found that the character "Dai"(埭) has been used as a place name at least since before the Tang Dynasty and has never been (埭) interrupted. It was not only used as a place name after the Yuan and Ming dynasties. The toponymic use of 'Dai' (埭) across Zhejiang, Shanghai, Jiangsu, Anhui, and Fujian can be regarded as a vestige of ancient Chinese linguistic heritage. Many dictionaries, including some well-known ones, have not included the meaning of "place name character" for "Dai," which seems inappropriate. These dictionaries have included the dialectal usage of "Dai"(埭) as a measure word but have overlooked its dialectal place name usage, which is a case of "focusing on one thing while neglecting another."

This study investigates the cultural imagery vocabulary and symbolic meanings embedded within 85 Recommended Texts issued by Hong Kong Education Bureau. These texts, drawn from classical Chinese literature, are rich in cultural symbolism and literary aesthetics, offering valuable resources for language and literary education. Through semantic analysis and diachronic comparison, the study identifies primary cultural imagery categories—such as the moon, plants, animals, and human actions—and traces their historical evolution and symbolic transformation. Findings reveal that these vocabulary items convey traditional Chinese values, modes of emotional expression, and philosophical thought. Rather than evaluating educational outcomes, this study aims to construct a theoretical framework to support vocabulary and cultural instruction, thereby enhancing students’ cultural literacy and textual interpretation skills. Building upon this framework, concrete teaching strategies are proposed, including the development of thematic vocabulary columns and cultural archetypes, to facilitate the systematic integration of cultural imagery into curriculum design. By articulating the dialectical relationship between cultural inheritance and innovation, this study offers insights for exploring effective pedagogical approaches to classical imagery within contemporary educational contexts.

This study experimentally compares the efficacy of Situational Language Teaching (SLT) versus traditional methods in Comprehensive Chinese Language Courses (CCLC). Using an independent samples t-test for data analysis, the study confirms SLT's superior efficacy in enhancing grammatical competence and productive skills over traditional methods. The findings highlight SLT's effectiveness in creating authentic communicative contexts, fostering practical language application, and supporting skill integration. The study provides empirical evidence for adopting SLT in CCLC, particularly for grammar instruction and productive skill development, while emphasizing the importance of contextually grounded teaching practices in Chinese language education.

齐 is a simplified form of 齊. This thesis examines the evolutionary process and usage patterns of the character 齐, concluding that it exhibits both orthographic and popular forms. These two variants coexisted in ancient documents, though their frequency of use varied significantly. Moreover, the dominant glyph of 齐 differed across dynasties. From the Qing Dynasty through the Republic of China era to the Peoples Republic of China, the official standardisation of 齐 underwent a developmental trajectory from 齊 to 齐, which can be categorised into three distinct phases: the incipient period, the exploratory period, and the finalisation period.