Female narratives in films reflect filmmakers' in-depth exploration and critical reflection on women's living dilemmas, spiritual pursuits, social roles, and their marginalized status within the context of patriarchy. As representative works of theatricalized films spanning over the past two decades, Dogville (2003) and Prima Facie (2024) both adopt highly stylized dramatic structures, stage-like scene designs, and concentrated dramatic conflicts. While sharing similar experimental traits, the two films differ in narrative focus. Grounded in a shared rebellious core, they have each developed a distinctive and innovative cinematic style in female narration. The former reveals the evil of human nature and the dual oppression of women by patriarchy through an allegorical town, while the latter exposes pervasive gender injustice within legal discourse via a singular personal story. Employing diverse approaches and perspectives to construct female narrative, the two films establish unique visual languages and narrative strategies, combining storytelling quality, avant-garde spirit, and artistic merit.

Bilingual teaching serves as a pivotal instructional approach in Key English Test (KET) preparation courses for adolescent learners, balancing academic content delivery and second language proficiency development. This study adopts a mixed research method combining classroom observation, teacher interviews and student questionnaires to investigate the current application of bilingual teaching in KET preparation classrooms in a training institution in Nanjing, China. The study analyzes the data mainly through a large language model (DeepSeek) and SPSSAU. By exploring the frequency, links and strategies of bilingual use, analyzing existing problems from both teacher and student perspectives, and proposing targeted optimization strategies, the research aims to fill the empirical research gap of bilingual teaching in adolescent KET preparation scenarios, which is rarely involved in previous studies focusing on higher education. The findings reveal that bilingual teaching is widely applied in KET classrooms but with obvious randomness and lack of systematic planning; the main problems include the absence of bilingual use standards and the mismatch between student needs and teacher supply. Based on the research results, differentiated bilingual use strategies, targeted teacher training, and supporting teaching resources are proposed to optimize bilingual teaching practice. This study expands the scenario boundary of bilingual teaching research and provides empirical evidence for KET teachers to optimize classroom language use.

As a key concept of the measurement of L2 oral fluency, utterance fluency has gain more attention gradually. However, the current studies generally put emphasis on monologue fluency,few focused on Theoretical framework and empirical facts of dialogue fluency. Dialogue is a basic framework of speech production and has a frequent turn-taking, which holds a significant place in L2 learning. On this basis, this paper makes a critical review upon the present research of L2 dialogue fluency. Above all, this paper summaries present indicators of within-turn fluency and between-turn fluency in dialogue. Moreover, it pays attention to other languages except English (especially Chinese), since previous investigations always prioritized the importance of utterance fluency when L2 is English. Last but not least, it indicates the research gaps and propose some valuable directions of future studies, in the hope of prompting the theoretical construction of L2 utterance fluency, making it possible for the research of utterance fluency to adapt the multilingual world.

Xin Qiji frequently referred to himself as "Laozi"—literally, "this old man"—a self-designation that appears sixteen times in his ci poetry. This form of address runs through his later creative career and carries multiple emotional inflections, including self-mockery, arrogance, indignation, and heroic unconstraint. It functions not only as a linguistic strategy through which he withdraws from the dominant framework of socio-political judgment and affirms the self-sufficiency of his own subjectivity, but also as an externalization of his Confucian commitment to serving the world and his affinity with Lao-Zhuang thought under particular life circumstances. At the artistic level, this self-designation became a linguistic foundation of the bold and unconstrained ci style, helping to establish the technical transformation associated with "using prose methods in ci composition" and adding a distinct note of humor to the genre. Xin Qiji's use of "Laozi" as a self-appellation exerted a significant influence on the Xin school of ci poets in the Southern Song, as well as on later writers such as Lu You, Yuan Haowen, and Chen Weisong. It expanded the social and communicative functions of ci, established a new paradigm for the bold and unconstrained school, and became an important marker of the literati transformation of the ci genre.