The Party and state supervision system is the fundamental institutional guarantee for regulating the exercise of power. The period from 1978 to 2012 was a critical phase for the supervision system of China, marked by a transition from restoration and reconstruction to deepened development, and from policy-driven governance toward rule-of-law-based construction. From the three-dimensional perspective of ″Party-State-Society,″ the reforms during this period not only reshaped the relationship between the Communist Party of China (CPC) as the ruling party and other supervisory entities, but also profoundly reflected the institutional adaptation and incremental innovation of the Party-state system with Chinese characteristics in the realm of power supervision. Specifically, at the level of basic relationships, the supervisory institutions and functions demonstrated a dialectical unity of political authority and bureaucratic rationality under the dual leadership system, as well as a deep integration of intra-Party supervision and administrative supervision functions under the joint office model. At the level of evolutionary logic, these changes clearly embodied the logic of Party guidance, which upholds the Party's absolute leadership over supervisory work; the logic of state governance, which promotes the rule of law in supervisory power; and the logic of social interaction, which emphasizes the incorporation of public participation.

The construction of the discipline inspection and supervision cadre team during the early years of the People's Republic of China constituted a vital organizational practice undertaken by the Chinese Communist Party to consolidate its ruling status, address the trials of governance, curb the risks of corruption and degeneration arising from the rapid expansion of Party membership, and vigorously resolve the practical dilemma of insufficient numbers and weak professional quality among discipline inspection and supervision personnel. The exploration of this period can be delineated into two principal phases. The period from 1949 to 1951 represented the foundational and formative stage, during which the focus rested on establishing hierarchical discipline inspection and supervision organs to construct an organizational framework, instituting a system of vertical leadership under Party committees, clarifying authorized personnel quotas, and expanding the corps of full-time cadres, thereby laying the requisite organizational and institutional groundwork. The period from 1952 to 1956 subsequently entered a phase of development and consolidation, during which the emphasis shifted toward further strengthening institutional structures, refining regulatory norms, fortifying the political foundations of cadres, and conducting diverse forms of education and training. The coordinated advancement of these measures not only achieved the historic breakthrough of establishing China's discipline inspection and supervision cadre team from scratch, but also furnished a solid organizational foundation and personnel guarantee for the sustained progression of China's discipline inspection and supervision endeavors.

The digital transformation of grassroots supervision represents not only a technological iteration but also a profound reconfiguration of governance paradigms. Digital technology, acting as an underlying driving force rather than directly producing public value, operates through an indirect empowerment logical chain of mechanism construction, structural optimization, and practical empowerment. This process breaks the traditional enclosure and lag of supervisory models while reshaping the interaction arena for diverse actors. In this digital field, supervisory actors shift from unidirectional control to collaborative interaction, achieving a fundamental transition from instrumental power control to integrity value symbiosis. This transformation significantly enhances the precision of grassroots supervision and, more importantly, facilitates the collective creation of public integrity values through real-time information sharing and multi-actor participation along a progressive logic of conceptual consensus, collaborative action, and ecological diffusion. This research provides practical reference and theoretical insights for the transformation and innovation of public governance models in the digital era.

Based on role consistency theory, this paper explores the alignment between the images of discipline inspection and supervision commissions and public expectations, helping to address the inadequate attention to such institutional images in existing research. More than 50,000 posts published by provincial-level commissions between 2014 and 2025 are treated as concrete practices of image construction, with indicators such as views and likes used to capture the degree of public recognition. Three types of institutional images are identified—″educator″, ″supervisor″, and ″disciplinarian″, among which the latter two images show a higher degree of congruence with public expectations than the supervisory role. This situation is shaped by multiple mechanisms: the historical construction mechanism that frames the cognitive basis of role expectations, the emotional resonance mechanism that reflects situational and agentic public judgments, and the visibility differentiation mechanism that moderates the operation of the aforementioned mechanisms.

The arrival of the Anthropocene has forced the reconstruction of the value of humanities. There are three distinct and progressive dimensions in the narrative of the human world in contemporary Chinese ecological novels, namely, the narrative of ecological disasters that alert the world, the narrative of ecological trials that trace disasters, and the narrative of ecological protection that calls for conscience. This narrative of the Anthropocene responds to the current ecological crisis, attempting to break through the self talk of anthropocentrism and examine the value and limitations of human survival, development, and ultimate pursuit in the context of the Earth's ecological circle, thus establishing a new type of ecological narrative that is oriented towards the earth, all things, and material effectiveness. Therefore, this narrative of the human world has significant cultural significance for both contemporary Chinese novels and the future development of modern society.

From 1928 to 1935, China experienced a ″Tolstoy″ craze, which was not only a commemorative ritual but also entered the left-wing literary debates as a literary term. The tension between Tolstoy's religious thoughts and artistic achievements became a focal point for left-wing theorists. From revolutionary literary debates to discussions on artistic freedom, Tolstoy's image evolved from a ″vile preacher″ to a ″comrade-in-arms,″ while the meaning of the term ″Tolstoy″ exhibited a polyphonic complexity, shifting from the Creation Society style to the Lu Xun style, and addressing practical issues such as the relationship between China's revolution and literature, as well as mass literature and artistic authenticity. In the evolution of terminology, Soviet theorists′ discourse on Tolstoy became an important discursive resource and was adapted to Chinese contexts by left-wing theorists to varying degrees, forming multiple ″Tolstoy″ frameworks focused on Chinese literature. ″Tolstoy″ not only served as a barometer for reflecting on the revolutionary context and a cognitive tool for reevaluating revolutionary literary construction but also provided methods for constructing and enriching the terminological system of Chinese literature.

The dramatic transformation of the Ming Dynasty literary was marked by the rise of the archaist trend. Yet this trend was by no means confined merely to the literary sphere, which advocated in poetic art that ″poetry must emulate the High Tang″ and ″prose must emulate the Qin and Han dynasties″. Rather, it swept across the entire traditional framework of Ming Dyasty academic history. Among them, the revivalist (musical) trend in the field of classical studies was particularly crucial, serving as the core driving force of this transformation. From the Chenghua and Hongzhi reign periods onwards, under the guidance of the revivalist movement in music studies, the rise of Quxue (musicology)—rooted in the Jin and Yuan dynasties and flourished in the late Ming and early Qing periods—represented precisely the process by which qu studies detached themselves from classical studies and poetics to become an independent field.Correspondingly, this was also the process through which Northern Qu of the Yuan and Ming dynasties and Southern Qu underwent successive transformations, and through which Ci (lyric poetry) and Qu developed into distinct literary forms.The independence of Quxue thus became a notable feature of the dramatic changes in late Ming literature and in the traditional academic structure based on the fourfold classification system.The transition ″from Yuexue to Quxue″ not only reveals the fundamental path through which classical Qu studies achieved autonomy but also serves as a critical lens to rethink the profound literary transformations driven by the revivalist trend of the Yuan and Ming dynasties.

The Mahākalā statue of the Yuan Dynasty in Wushan, Hangzhou, is unique in both theme and style, but did not attract the attention of literati during Yuan and Ming dynasties. After Li E visited the ancient site, he wrote the poem “Mahākāla Buddha”, bringing it into the view of the literati community. Subsequently, Wang Shihan, Qian Daxin and others visited the site and collectively contributed to the composition of poetry about the Mahākāla statue. Most of these poems originated from the poets’ interest in epigraphy, but the experience of ugliness triggered by the statues caused the poetry to transcend the scope of epigraphy. The experience of ugliness stemmed from the statues’ depiction of death and violence and their deviation from traditional ethics, and the writing of these poems may have been influenced by the poetic style of Han Yu and Meng Jiao and the poetry since the Southern Song Dynasty. Li E’ s choice of the Mahākāla statue as the subject of his poetry is closely related to his personal experiences, the oppressive policies towards literati in Jiangsu and Zhejiang during the Yongzheng reign, the cultural memory of Song and Yuan historical events, and the anxious mindset faced with alien cultures. Li E initiated the tradition of writing poetry about the Mahākalā statue, and the subsequent creations by others reflect a similar cultural mindset.

″Ästhetischer Schein″ (aesthetic appearance) is a key concept in Schiller's aesthetics. For a long time in the Chinese academia, this concept has been translated into “审美假象” (aesthetic illusion) or “审美幻象”(aesthetic semblance) and so on, but these translations fail to capture its precise meaning. Following Kant's doctrine of disinterestedness, Schiller argues that pleasure in appearance implies pleasure in form. However, ″Schein″ does not denote the so-called ″illusion″ or ″deception″. Schiller regards art as the appearance of beauty and develops a historical philosophy of ″aesthetic appearance″, suggesting that interest in aesthetic appearance constitutes a decisive step in human history. Aesthetic appearance, as a creation and manifestation of human freedom, is further reinforced by the proposition that ″beauty as freedom in appearance.″ Schiller's concept of appearance not only influenced Schelling's philosophy of art, but also became the source of Nietzsche's concept of the Apollonian. In the Schiller studies since the 20th century, Heidegger, through his thematic discussion of Letters on the Aesthetic Education of Man, reaffirmed the importance of ″Schein″ as the ″appearance″ in Schiller's thought: appearance not only signifies the shining of existence but also marks the aesthetic-historical boundary.It is precisely in the sense of creating appearances of freedom that art becomes the projection of existence and the practice of freedom.

In the context of advocating aesthetic autonomy in modernity, the concept of aesthetic negation can promote people to taste beauty autonomously. Aesthetic negation, in Christoph Menke's view, is a stringent autonomous aesthetic process based on the concept of negation. It adheres to the law of art for appreciation and evaluation, which is beneficial for people to exert their autonomous aesthetic ability and create the meaning of the text. Aesthetic negation focuses on the immanent criticism of art itself, and the truth it obtains is full of authenticity and can be shared by non-aesthetic fields. Aesthetic negation demonstrates the individual's autonomous judgment and configurative ability, delays the fixation of textual meaning, and promotes the development of art. The experience of aesthetic negation is also the internal force of a good life, providing us with creativity as well as the potential for reflection and emancipation in our shared life.