From Jin to Qing Dynasty of China, there are a large number of novels depicting human-ghost romance. In this literature, female images, femininity and gender relationship patterns reflect the patriarchal values of a specific historical period. Previous research on ancient Chinese female ghost novels often focused on their romantic story with a male human and the awakening consciousness of female, but the research on Character depiction of female ghost was very few. Therefore, this paper aims to investigate the relationship between the image shaping of female ghosts and the values of contemporary Chinese ancient patriarchal society, existing in the stories of the ancient Chinese romances novels of Song, Yuan and Ming dynasty. Studies have suggested that the female ghosts in ancient Chinese "human-ghost romance" novels are essentially projections of the male author's ideals, reflecting the phallocentrism of ancient Chinese ghost fiction.

China's Education Minister recently called for educating teenagers to be "masculine" by highlighting the "crisis of masculinity." This paper intends to examine the causes and impact of this initiative by exploring the cultural and societal factors. Drawing on academic literature, media reports, and government policy documents, the paper identifies the main causes of anxiety in China about masculinity from two perspectives: 1) The increasing participation of Chinese women in the workplace and 2) The trend of feminization and its relationship to collectivism. Finally, the paper discusses the negative consequences of overemphasizing the "crisis of masculinity" in China, particularly on mental health issues, domestic violence, and gender stereotypes. This paper offers insights into promoting a more diverse and inclusive gender-equal society.

Eco-consciousness is abundantly reflected in Shen Dacheng's short stories, and the use of ecocriticism to interpret Shen's works is an important window for studying Shen Dacheng. The use of eco-critical theory in literary texts has achieved certain results in China and abroad. Shen Dacheng's short stories comprehensively reflect the thinking on the relationship between humans and nature, animal studies, spiritual ecological issues, and thinking on the way out, and creatively show the view that nature also needs human beings.

The #Metoo movement, an anti-sexual harassment campaign, has been among the most effective campaigns in the past five years. To show how the #MeToo movement has the potential to change public perceptions of and responses to sexual harassment and assault, the paper will compare and contrast two cases, Anita Hill v. Clarence Thomas and Christine Blasey Ford v. Brett Kavanaugh. Additionally, this essay used Baker's theory to show that there are typically multiple forms of harassment present but that women may feel ashamed of sexual violence and are hesitant to speak out about it. Another issue is that in a society where men predominate, few victims of harassment by influential people dare to come out. The #MeToo movement is thriving, according to this essay's argument, because it encourages people to share their experiences in a safe setting and puts pressure on institutions to deal with sexual misconduct. Additionally, it increases public awareness of sexual assault and harassment. An essential and powerful viewpoint on women's awakening may be found in #Metoo.

In the post-internet age, Core aesthetics emerges as an artistic response to the evolving societal values and challenges inherent in the human experience. This essay explores the essence and significance of Core aesthetics, focusing on its attributes of fear and nostalgia. Core aesthetics utilizes elements such as amateur editing, low-quality imagery, and thematic compositions to evoke resonance among viewers, blurring the boundaries between self and the external world. It delves into the production background, highlighting the impact of the post-internet era, centralized internet management, and the formation of virtual communities. The essay examines the psychological and societal factors driving individuals towards self-indulgence and escapism within the confines of reality, resulting in weariness and a struggle for meaning. It also explores the influence of the internet as a production medium, democratizing art creation and challenging traditional notions of authorship and subjectivity. Looking ahead, Core aesthetics is expected to evolve and adapt to technological advancements and cultural shifts, empowering individuals to express themselves authentically and challenging established norms. However, questions surrounding authorship, personal agency, and the impact of digital influence on identity will persist. In the future, Core aesthetics will reflect and navigate the complexities of the times, offering a lens through which we can explore and understand profound changes and challenges. It has the potential to inspire dialogue, foster connection, and provoke introspection, contributing to a richer understanding of our shared human experience in an increasingly complex and interconnected world.

The Han dynasty was an imperial dynasty in Chinese history that had been interacted with the Xiongnu (匈奴), a nomadic tribal confederation which was mainly active in the northwest region near Han’s boundaries in Eurasian continent, for four hundred years. Han Shu (汉书) is a historical record that comprehensively documents Han history, and Han Shu's recordings of the Xiongnu have been an essential source for Xiongnu studies. However, though there are concise and concrete facts and descriptions in the text of Han Shu, given the nationality of the author, Ban Gu (班固), bias that come from the imagination of Xiongnu that Han had and the reality of Han Dynasty inevitably exists in the text. Therefore, a deeper understanding of Xiongnu might be required for Han because of interactions and corporations happened between those two opposing nations. This paper will discuss the reasons for the existence of bias based on the text of Han Shu and attribute the bias to the imagination that Han people had of Xiongnu due to the geographical separation created by natural mountains and villages, and to the reality that Han interacted with Xiongnu in both peaceful and unpeaceful ways which led to complex feelings.

Numerous scholars often overlook the disparities in ethical perspectives between Plato and his student Aristotle. This research critically examines whether and how Aristotle's ethical ideas diverge from Plato’s. Contemporary ethicists and pre-modernist ethics generally classify both philosophers as virtue ethicists, whose focus lies primarily on character traits. However, significant differences emerge between Plato's and Aristotle's ethical positions, rooted in their fundamentally distinct metaphysical stances concerning the unity of existence. Aristotle explores this concept in the sixth chapter of the Nicomachean Ethics, where he applies the doctrine to his ethical framework. Plato, in contrast, asserts that all knowledge originates from awareness of a Form, an abstract universal or category in which individuals or species partake. The feasibility of a Philosopher King relies on the existence of a single Form (Being itself) that encompasses all other forms. Consequently, one who possesses knowledge of this Form includes the supreme science that consists of all other forms of knowledge. Aristotle, however, views the universality of existence differently from other abstract universals, rendering it incapable of being the subject of a supreme science, unlike Plato's depiction in the Republic. Comprehending these disparities illuminates the connection between philosophy and everyday life.

Women characters are pivotal to Peking Opera. On a Peking Opera stage, these female characters are often played by men. Some argue that one could often see a miniature of the society during a point in history through its art. In Peking Opera, the changing ideals of gender are conveyed through its changing practices as the political and socio-economic ideas are altered throughout ancient China. In parallel to those practices in ancient China, feminist aestheticians today are more and more drawn to topics like cross-dressing, gender fluidity, and the empowerment of women in art. Although many scholars have examined the practice of cross-dressing in Ancient Rome, Shakespearean theatre, and other forms of cross-dressing performances in history, this practice in Peking Opera does not have enough attention from gender studies scholars. Through this paper, the author hopes to address the appeal towards feminist aesthetics within the cross-dressing of Peking Opera. Some of these ancient Chinese ideals are much more progressive in comparison to those observed in China today; this not only addresses the regressive changes in China but also suggests that many traditional gender ideals weren’t traditional or natural at the beginning. This paper will provide more insight towards both feminist aesthetics and art which pushes progressive gender ideals. In addition, the author hopes this paper will draw more attention towards the implications of cross-dressing in other ancient cultures towards gender-fluidity and crossdressing today.

This paper explores and unpacks the connections between humanities, fine arts education, and happiness. The domain is within China. When doing this, the relevant definitions, interpretations, and origins must be revealed. So representative researchers’ previous works are referred to for better understanding and accuracy. Level by level, it manifests that humanities education has excellent value for one’s happiness which cannot be easily ignored. And from the relevant academic works, fine arts education, as one form of arts education (the other ones will not be discussed in this paper), is supposed to be a very effective way to deliver humanities education. But in many cases in China, acceptable arts courses didn’t perform perfectly regarding this particular issue. Aesthetics abilities are highlighted in discussions on Chinese acceptable arts courses. However, educators or researchers use this phrase without deep insight or comprehensive understanding. The paper also tackles this one and builds the bridge from aesthetics to human happiness.

This paper explores the Sogdian communication system, religious, cultural distinctions and adaptations, and the role of women that shaped their commercial interactions along the ancient Silk Road. The Sogdians, a mercantile empire residing in Central Asia between the 2nd and 10th centuries, relied on a well-developed communication system rooted in family kinship ties, religious and cultural distinctions, including Zoroastrianism and unique burial practices, and active engagement of women in this long-lived diaspora.