"Old Events in the Southern City" unfolds from the innocent and adorable perspective of Yingzi, depicting the folk life and female images of the early 20th century, recording the joys and sorrows of women during this era. This era coincided with the critical juncture of old-new transition in Chinese society. Although the 1911 Revolution had overthrown the imperial system, the remnants of feudal rites still lingered, and the fusion of Eastern and Western cultures gave birth to new ideological sprouts. The book portrays female representatives such as Xiuzhen, Lan Yiniang, and Song Ma. This article focuses on female characters as the main analytical subjects, delving into issues such as the survival predicaments of women under the dual oppression of patriarchy and traditional rites in the 1920s and 1930s, the budding of subjective consciousness, and the latent resistance. It reveals the deep connection between women's fate and the changes of the times. By depicting the fragmented fates of women, this article expresses the living conditions and spiritual demands of women in the current historical stage, providing an important textual reference for understanding the modern women's liberation and offering practical insights for advocating gender equality.

With the deepening of the concept of inclusive education, the application of social-emotional learning (SEL) in special education is becoming increasingly prominent. However, previous studies have shown that special needs are often marginalized in conventional sel intervention. This review aims to explore the latest technological breakthroughs and practical paths of SEL in special education through a systematic review of the recent three years (2023-2026) and some foundational literature (a total of 18). The research found that the current progress mainly focused on technology empowerment (such as robots and programming), culture-responsive teaching integration, interdisciplinary collaboration mode, and the improvement of teachers' efficacy. In view of the controversy of the existing research on the lack of IEP data, the lack of sample representativeness and the heterogeneity of intervention effect, this paper constructs a three-dimensional path model including "standardized assessment", "ecological intervention" and "full cycle support", to provide theoretical basis and practical strategies for the precision and inclusiveness of sel in special education.

Since 2008, China's food delivery industry has developed rapidly and become one of the country's largest labor markets. These platforms are characterized by algorithmic management to maximize efficiency. However, the highly standardized and time-sensitive nature of platform work as an outcome of algorithmic management has led to a loss of worker welfare, as it inhibits meaningful skill accumulation and upward professional mobility of workers. This essay investigates the specific mechanisms of labor reallocation and erosion of human capital under algorithmic management and the regulatory tradeoff between welfare and efficiency. Drawing on central and local regulations in the current framework, the analysis highlights that China has developed a hybrid model that recalibrates, rather than dismantles, platform efficiency by restricting its harm while retaining flexibility for employment arrangements. These findings contribute to the broader debates on labor reallocation in the rise of the platform economy and provide a reference for future regulation in other countries faced with the same tradeoff.

In recent half a century, studies on China's youth subculture have changed day by day under social transformation and development of medias, formation of research traditions with the themes of meaning construction and interactive process. Among these, the symbolic interaction theory was most commonly used and introduced in youth subculture research because of its emphasis on symbols, interactions, and identity recognition. A systematic review of theoretical evolution and method change in the research on youth subculture in China over the last 30 years shows that most studies have focused on the symbolic expression and meaning negotiation in youth subculture. But in the current digital media era, youth subculture practice will be showing new content characteristics centered on emotion, relationship building, and companionship. Rewritten content: Recent studies related to online dream girl culture, virtual emotional companion and human-machine intimate relationship show that now youth subculture is no longer just a sphere for meaning production, but an important emotional projection place and emotional settlement place. So based on this, this paper is determined to re-interpret symbolic interaction theory in emotional perspective by reviewing the relevant research framework and emphasizes that the incorporation of the emotional dimension and the analytical framework is a way to enrich our understanding of contemporary China's youth subculture forms and their research shift.

In the context of modernization, many ethnic minority cultures face disruptions in lived cultural transmission. As everyday practices weaken, film increasingly functions as a key medium through which cultural memory is preserved and circulated. Drawing on Jan Assmann's theory of cultural memory and recent memory studies, this paper examines how film participates in shaping Mongolian minority cultural memory. The study argues that film is not a neutral recording device, but a structured visual system that selects and reorganizes cultural practices through framing, sequencing, and aesthetic emphasis. Through this visual logic, certain practices are transformed into recognizable memory-images, while others remain marginal. As a result, film simultaneously stabilizes cultural visibility and reshapes cultural meaning.

Against the backdrop of the continuous integration of the platform economy and the digital entertainment industry, virtual idols have emerged as a crucial media form connecting cultural participation, digital labor, and capital operation. Drawing on theoretical frameworks such as participatory culture, playbour, and platform capitalism, this paper takes Hatsune Miku as a case study to analyze how its platform structure, intellectual property arrangements, and commercialization mechanisms organize the digital participation practices of fans and creators. The research finds that through layered governance and peer production mechanisms, Hatsune Miku has buffered the common risk of labor precarity in platformized production to a certain extent, preventing cultural participation from being fully transformed into exploited digital labor. This paper thus argues that the structural differences in institutional design among different virtual idol platforms are key factors shaping participation forms and labor relations.

The widespread application of generative artificial intelligence in news image production has not only transformed the production process of news visualization but also sparked academic concerns about how algorithms participate in the construction of visual meaning. Based on algorithmic media theory and visual communication theory, this study conducts a quantitative content analysis of 250 AI-generated news images released by mainstream media outlets such as Xinhua News Agency, The Paper, BBC, and CNN in 2025, exploring the patterns and characteristics of gender representation therein. The results reveal that male images occupy a significant proportion in the overall sample, particularly prevalent in political, economic, and social news, while female images are relatively concentrated in cultural and technological news. Moreover, the relationship between gender and role cues is modulated by emotional tone, exhibiting a clear "male leadership-female neutrality" structure in positive emotional contexts, which tends to disappear in negative contexts. And it further shows that AI-generated news images are not technology-neutral outputs; their representation logic is influenced by training data and algorithmic structure, reflecting the mediating role of algorithms in visual communication.

In recent years, the impact of education marketization on higher education has been widely concerned and discussed. In the field of international education, the negative effects of marketization are increasing. This study breaks through the traditional argument that "excessive marketization weakens the quality of education", and analyzes the actual performance of higher education in Britain and Australia in the post epidemic era, against the background of Education Marketization from a multi-agent perspective. Specifically, this study adopts a three-tiered framework of "institution-organization-individual" to analyze how the UK and Australia have transformed international students from "educational subjects" into "financial instruments". The study finds that relationships among the state (government), universities, and students are marked by imbalances in rights, gaps in responsibility, and a breakdown of reciprocity. The conclusion is that the international education crisis in the post-pandemic era is essentially a crisis of the global higher education development model. Therefore, this study proposes to establish a sustainable international education ecology with the core principles of "ethical care" and "mutually beneficial development". It also hopes that this research can provide a reference for relevant policies and practices.

Against the backdrop of the experience economy and the rise of emotional consumption, Jubensha (particularly those centered on emotional narratives) have emerged as a quintessential phenomenon of "paying for emotions". Drawing on media theory, emotional labor theory, and consumer society theory, this paper constructs a framework for the emotional commodification industrial chain by using the examples of Eternal Glory (LiuFang in Chinese) and The Seven-Thousand-Mile Homecoming (Gui Tu Qi Wan Li in Chinese). The study systematically elucidates the entire process of emotional commodification in Jubensha, spanning script design, production, venue operations, and symbolic consumption. Findings reveal that emotions are systematically commodified within the Jubensha industry, forming an efficient production and consumption chain. The study further highlights the risks of homogenization, instrumentalization, and diminished authenticity in existing works. This research offers new perspectives on the experience economy and emotional mediation in the digital age.