As a breakthrough work in recent domestic martial arts films,Blades of the Guardians:Wind Rises in the Desert takes the chaotic era at the end of the Sui Dynasty as its narrative backdrop.Through the intertwined elements of chivalrous taste,sentiment,and heart,it achieves a powerful reinven-tion of Chinese Wuxia spirit.Firstly,the film,guided by chivalrous taste,completes an aesthetic reconstruc-tion of martial arts spectacle through the interweaving of real and imagined geographical wonders and hard-edged action spectacles.Secondly,with chivalrous sentiment as the key,it interprets the authentic adher-ence to martial arts sentiments through the adherence to survival and integrity,and the coexistence of warmth and righteousness.Finally,based on chivalrous heart,it promotes the continuous inheritance of the martial arts spirit through the"de-heroic"character setting and craftsmanship tribute to martial arts'collective memory,painting a magnificent epic of the martial arts world at the end of the Sui Dynasty.
Scare Out,released in the 2026 Spring Festival film season,is Zhang Yimou's first attempt to focus on the contemporary national security battlefield.As a spy movie,it achieves collaborative innova-tions in suspense mechanisms,character portrayal and visual expression on the basis of inheriting the tradi-tional genre paradigm.In terms of suspense construction,through an interwoven dual narrative structure of overt and covert narrative threads,the film transforms the external suspense of traditional spy films,which relies on plot reversals,into psychological suspense centered on characters'inner conflicts.In character building,the film focuses on depicting the indeterminate state of Huang Kai,a liminal figure,and presents the complex psychological process he undergoes in the course of being coerced into betrayal.In visual expres-sion,the film constructs a sense of being surveilled in the technological era via drone shots,surveillance foot-age and follow-shot techniques,forming a metaphorical aesthetics with temporal and symbolic implications.Despite the functional portrayal of secondary characters,it still provides a new narrative paradigm and aes-thetic experience for the creation of contemporary national security-themed spy movies.
Based on a case study of the English translations of The Story of Yingying,this comparative analysis reveals how Arthur Waley and Lin Yutang reshaped the image of Cui Yingying across cultures.As a cross-cultural communicator dedicated to promoting traditional Chinese culture,Lin Yutang filtered Chinese culture through a Western lens.By adding details and making revisions,he portrayed Yingying as a woman with modern,independent consciousness.In contrast,Arthur Waley,aiming for cultural representation,selected and reinforced the feudal ethical elements in the original text,deepening the image of Yingying as a submissive female figure within the patriarchal Chinese society.The differentiated approaches of the two translators suggest that translators of classic literary works actually act as cultural mediators rather than as literal conveyors of the original text in the traditional sense.Based on their distinct translation purposes and considerations of reader reception,they negotiate the culture represented in the source text and make corresponding cultural adaptations.
Since the 21st century,India has successively published three Hindi versions of Wild Grass,marking a new phase in the translation of Lu Xun's works in India.Among these,the directly translated version Wild Grass and the indirectly translated version Wild Grass:Lu Xun's Poems represent two types in con-temporary Hindi translation practices of Lu Xun's works:direct translation by scholar-translators and indirect translation by writer-translators.These two versions exhibit significant differences in their treatment of culture-loaded terms,choice of genre,and interpretation of content,which represent two prevailing trends in current Lu Xun's works translation practices in India.Through examining the characteristics and limitations of these two types of translation practices of Lu Xun's works,this study not only provides an understanding of the current reception of Lu Xun's works in India but also offers constructive thoughts for the translation of Chinese modern literature.
人工智能正以前所未有的速度重塑教育生态,从高等教育到基础教育,从素养培育到思维塑造,AI技术的深度嵌入既带来机遇,也提出挑战.如何立足本土实践、回应学段差异、构建系统路径,成为当前教育研究亟需回应的核心议题.
>墓志多以散文形式记叙死者姓氏、籍贯、历官等，作为一种实用文体在唐代盛行。自宋代以来，墓志收集为时人所重视，出现了欧阳修《集古录》、赵明诚《金石录》等著作，至清代则形成为专门的金石之学。近现代以降，王静安提倡“地下之实物与纸上之文献”相互释证，出土文献与文学研究得到部分学者重视。二十世纪以来，甲骨、简牍、墓志石刻等新史料的出现，为中国文史研究提供了新鲜材料和新颖视角，受到了学术界极大关注，其中出土墓志占了很大比重，墓志与文学研究渐成显学。
>在中华优秀传统文化的创造性转化与创新性发展进程中，文艺美学研究肩负着理论建构与文化传承的重要使命，其理论演进呈现双重维度——文艺实践层面的理论创新和哲学本体层面的美学建构。这一双重进路深刻体现了中华文化的核心智慧，即在文与道、审美与伦理等关系中寻求动态平衡；既彰显了中华美学思想的辩证特质，也体现了其实践导向的价值追求。因此，文艺美学研究者应当深入挖掘中华美学精神的深厚底蕴，为构建具有中国特色的文艺美学话语体系奠定坚实的学理基础。
The Minsk Group,established by the Organization for Security and Co-operation in Europe(OSCE),is a multilateral mediation mechanism tasked with resolving the sovereignty dispute between Armenia and Azerbaijan over the Nagorno-Karabakh region.Since its creation in the 1990s,the Group has made sustained efforts to promote dialogue but failed to facilitate a lasting peace agreement.This paper argues the Group's limited effectiveness resulted from three main factors.First,major powers within the mechanism had divergent strategic interests,and the Group lacked enforcement capacity,making it difficult to advance negotiated solutions.Second,strong nationalist sentiment in both countries led to widespread public opposition to compromise,leaving decision-makers with little political space to act.Third,historical animosities and offensive strategic cultures on both sides have entrenched a perception of war as inevitable,reducing the possibility of achieving peace through compromise.These factors together reveal the structural challenges international mediation mechanisms face when dealing with high-intensity sovereignty-based conflicts.
Under the background of new globalization,Chinese science and technology brands representing new quality productivity are collectively sailing to the sea.In the face of the diverse global market,Chinese brands need to think deeply about how to build effective communication power to cross cultural barriers.Overseas dominant social media provides a suitable communication platform for this purpose.Based on the YouTube reviews of China's five major technology brands,this study observes the shared reality created by overseas consumers in community communication from the perspective of brand identity.The study found that stakeholders(mainly overseas consumers)have established fantasy types about the product power,brand power and friction of Chinese science and technology brands,thus shaping the rhetorical vision of"internationalization of Chinese science and technology brands"with the characteristics of the times.The cognitive schema,emotional elements and social media itself emerging from the interaction and communication of overseas consumers show that it is feasible to promote the global communication of the concept of"new productivity"and"high-quality development"with the overseas marketing communication of Chinese science and technology brands,but there is still much room for improvement in breadth and depth.
Legends,as a form of cultural resource,metaphorically reflect the real life of the people.How a legend is constructed and expressed reflects the rich cultural connotations of village folk societies.In Longtian Village and Hougou Village in the Yuci District of Jinzhong City,Shanxi Province,the Dragon King Marriage legend is widely circulated.As traditional villages gradually develop into tourist destinations,villagers have rebuilt the Dragon King Temple and revived the"Zou Shen Qin"ritual.The relationships between villages are integrated through rain-praying rituals in villages.This not only revitalizes the cultural identity of villages,but also constructs a symbolic identity of village society through the tourist vitality showcased by folk rituals.
How to unleash the vitality of the digital economy to improve regional inclusive growth is an important issue that needs to be solved.Based on the theory of the techno-economic paradigm,the internal mechanism of digitally empowered regional inclusive growth is deeply analyzed with prefecture-level cities as cases.The study finds that digital inclusive infrastructure development,market scale,talent cultivation,financial development,government support,and technological innovation have the apparent characteristics of different paths and multiple paths concurrently,and individual variables are not the necessary conditions to promote inclusive growth;"network-talent-technology driven"and"market-finance driven"groupings result in high inclusive economic growth;"technology deficit"and"market-finance deficit"groupings inhibit inclusive growth.It is proposed that attention should be paid to the in-depth integration of the elements of the techno-economic paradigm,that the synergistic advantages of digital inclusive infrastructure Eons,talent training,and technological innovation should be fully utilized,that investment and financing modes should be optimized to tap and unleash the potential of the market;and that the development of technological innovation capacity should be placed in a strategically important position to avoid an imbalance in the development dynamics of inclusive growth.
Building on prior practical experience,dramatists of the Yuan Dynasty advanced the theoreti-cal construction of traditional Chinese opera.Hu Zhiyu proposed the stylistic characteristics of"Za"in Zaju and the"Nine Types of Beauty"in performance.Zhou Deqing's Zhongyuan Yinyun inherited Yan Gong-nan's principles for"Yuefu"to achieve literary artistry,emphasizing"system"and"style",detailing the"ten methods"of composition,and establishing stylistic norms for Beiqu.Xia Tingzhi defined the stylistic connotations of various stages,including Chuanqi,Xiwen,Yuanben and Zaju.Tao Zongyi explored the ori-gins and evolution of traditional Chinese opera styles,focusing on their narrative features.Zhong Sicheng's Lu Gui Bu elevated playwrights and literary styles of Yuan Dynasty with clarity and reverence,asserting the genre's independence.These discussions initially formed a systematic concept of genre of traditional Chinese opera,addressing its characteristics,norms,styles,and development.This foundational work propelled Yuan Zaju into a recognized"literature of the generation",influencing subsequent theories and practices in traditional Chinese opera.
In the early years of the People's Republic of China,writers'participating in overseas group visits undertook a national mission for cultural exchange,with their travel writings expected to contribute to shaping China's national identity.During this period,Ai Qing's overseas writings reflect the unique charac-teristics of the time.His lyrical style transformed from melancholy to joy,and his focus shifted from depict-ing the hardships of the Chinese people to expressing humanitarian sympathy for Black communities.Foreign landscapes and social atmospheres inspired new emotional responses in the poet,influencing his poetic asso-ciations,emotional expressions,object reflections,and imagery use.This evolution created a more authen-tic and profound poetic voice,echoing a return to his early artistic ideals.As a leading poet of travel writ-ing,Ai Qing skillfully balanced major themes of the"Seventeen Years"period,such as"change"versus"constancy","reality"versus"art",and"public"versus"private"concerns.
Jin bronze chimes are a significant carrier of the pre-Qin ritual and musical culture,and the patterns on these bells are essential for understanding the"Three Jin Cultures".Peirce's triadic model in semiotics plays an important role in studying the patterns of Jin bronze chime.Firstly,it reveals the cultural values of totem worship and political aspirations embedded in the symbolic patterns of these bells.Secondly,it identifies the unique expression of alienation—primarily through abstraction and repetitive arrangements—rooted in the creativity of the Jin ancestors.Finally,incorporating artificial intelligence in the study of pat-tern shapes,craftsmanship and display innovations can breathe new life into the art of bronze culture in the modern era.
Chinese love animated films originated during the period of Chinese Meishu films and formed narrative conventions such as drawing materials from the love stories of ethnic minorities or folk tales,adopt-ing the storytelling type of"love across social classes",using a single plot lines in the name of love,and innovating narrative language.In the first fifteen of the 21st century,Chinese love animated films have seen new developments in terms of genre narrative,but they mainly follow the narrative mode of Chinese Meishu films about love,and their artistic achievements are not prominent.In the recent decade,Chinese love ani-mated films have inherited and innovated the narrative mode of Chinese Meishu films about love,drawing on the narrative experience of love animated films from Japan,the United States and other countries.In the pro-cess of genre transformation,new narrative models such as character binding narrative,time and space inter-laced narrative with love as the theme,and"love+reality"genre fusion narrative have emerged,achieving good results and providing important support for the revival of Chinese animated films.
In the internet era,generation Z is the most active group.Due to their high sensitivity to the online ecosystem,they represent the core audience and consumer group for variety shows.Who's the Murderer,as China's first online variety show focused on crime-solving,is deeply rooted in internet media for both its broadcasting and promotion,attracting significant attention from the generation Z.The integrated marketing paths of Who's the Murderer are successful.Firstly,it conducts an in-depth analysis of the internet ecosystem and its core audience,targeting the pain points of audience needs for precise marketing;Secondly,marketing materials are used differently according to the characteristics of different online platforms,making them more suitable for the online ecosystem;Finally,its success has attracted media and individual reports,indirectly turning these reports into a powerful marketing tool for the show.
Taihang Women's National Salvation Association,abbreviated as Women's Salvation Asso-ciation,is an organization that emerged from the anti-Japanese war behind the enemy lines and it has its own way of operating.The Taihang Women's Salvation Association provided support for the anti-Japanese resis-tance at multiple levels.They actively engaged in anti-Japanese propaganda and mobilization,organized donation and comfort activities,and established military support centers to aid the front lines.Additionally,they formed women's self-defense teams to carry out military activities,trained women cadres to participate in political work,and set up literacy classes to improve the cultural level of women and the general public.With its unique organizational nature and operational mode,the Taihang Women's Salvation Society has boosted the morale of the army and the people,raised the fighting effectiveness of the army,improved the relations between the army and the people,and solved the worries of the soldiers to continue the red gene.It made a significant contribution to China's efforts to resist Japan and save the nation.
The socially integrated governance model has become the dominant logic of China's current grassroots governance reform and practice.The generation of socially integrated governance stems from the state's efforts to promote the adjustment of governance models based on changes in grassroots society to maintain an organic balance between order and vitality.Different from overall domination and technical gover-nance,socially integrated governance shows obvious timeliness and development in the four dimensions of governance scenarios,driving forces,structural forms and construction methods.With complex governance scenarios as the field,holistic organizational coordination as the support,systematic element integration as the appeal and maximizing governance efficiency as the goal,the four together constitute the basic frame-work of socially integrated governance operations.
While the cyberspace empowers social expression,it is easy to become an amplifier for extreme nationalist sentiments.Based on the social amplification theory of risk,this study takes the stabbing incident in Suzhou as a sample and deconstructs the generation mechanism and diffusion path of public opin-ion risk through case analysis and multi-case comparison.The research finds that the official's positive and direct praise,the media's detailed and objective reporting,the platform's strong and timely crackdown,and the connection with the public can exert a strong deterrent effect on online extreme nationalists,thereby maintaining a clear cyberspace and safeguarding the public's sense of social morality and conscience,and resolving the public opinion risks of online extreme nationalism.
