Previous studies of facial representation have mainly focused on static faces, with one approach being the analysis of the power mechanisms underlying the shaping and production of facial images. Currently, the relationship between digital faces and real faces is becoming increasingly strained, and the faces of the vulnerable are at risk of disintegration. ″The faceless″ refers to individuals who have lost control over their faces. They are horrified to find that their faces are being appropriated, distorted, and obscured in the digital realm. The disintegration of faces in the digital age is a result of the pervasive visual regimes driven by digital media technologies. The various forms of resistance by ″the faceless″—expressing genuine emotions to reclaim their faces, suspending technological mediation to restore their faces, and wearing digital masks to conceal their faces—pose both a challenge and a critique to these visual regimes. The face signifies the individual's position of subjectivity in social relations and interactions. When the face is vibrant, visible, and autonomous, ″the faceless″ will regain their subjectivity and reclaim their freedom and dignity.

Through interactive narratives, AI literature reconstructs the creative paradigm of traditional literature, whose core value lies in transcending the anthropocentric model of literary production. In the era of digital intelligence, AI literature adopts the theoretical framework of ″silicon-based socialism″, redefining the symbiotic relationship between carbon-based intelligence and silicon-based intelligence, thus endowing literary creation with new characteristics driven by data logic. This innovative literary form not only surpasses traditional literature’s limitations in textualizing human experiences, but also dissolves the subject-object dichotomy inherent in conventional literary frameworks by constructing ″virtual entities″ and ″prosthetic constructs″. AI literature reshapes the egalitarian dynamics of human-machine interactions, and facilitates the emergence of a new type of human-machine community through an intersubjective communicative paradigm. This transformation involves not merely formal innovations within literature, but also profoundly interrogates existing boundaries of human subjectivity, cultural diversity, and social ethics.

BODY is a core concept that runs through various stages of the development of ecocriticism theory, and its changing connotations reflect the shifts in research focus. Ecofeminism and postcolonial ecocriticism focus on the political nature of the body, examining the complex relationship between the body and ecological crisis from the perspectives of essentialism, constructivism, and performativity, with an emphasis on analyzing the identity differences of the body and their causes. Material ecocriticism views the body as a trans-corporeal material with narrative capacity, positing that bodily diseases and environmental pollution have an isomorphic relationship, and reveals the close connection between humans and nature from a negative perspective. In the turn toward the non-human and the posthuman, the rights of non-humans are increasingly recognized, the autonomy of the human body is undermined, and technological objects and animals challenge and subvert the hierarchical order between humans and non-humans, leading to a diversified and differentiated view of the body. The evolution of the concept of the body is not a linear process but a rhizomatic one, characterized by de-territorialization and re-territorialization, forming a rich matrix of meanings.

The essence of interest expression on the Internet is characterized by dissemination. In different contexts of interest infringement, interest holders, guided by instrumental rationality, adopt differentiated dissemination strategies. When public interests are undermined, they tend to adopt a fragmented narrative mode to achieve group mobilization and action integration. When minority interests are undermined, they are more likely to resort to a narrative of suffering to achieve media mobilization through emotional resonance. The common goal of these strategies is to shape public opinion and thereby maximize the realization of their interests. An analysis of the psychological motivations and strategic interactions behind the dissemination mechanisms on the Internet provides theoretical support for media guidance and policy formulation, and has significant implications for advancing the modernization of national governance and fostering collaborative governance between the state and society.

In the 1930s, the Nanjing Nationalist Government, which had successfully completed the Northern Expedition, issued a series of regulations prohibiting the production and screening of dialect- based sound films in line with the political goal of ″unifying the national language″. However, due to de facto administrative autonomy, Cantonese-language films de facto administrative autonomy in the Guangdong and Guangxi regions of southern China for a long time. Consequently, the retention or abolition of Cantonese-language films gradually evolved into a complex game between the film industries in southern China and Shanghai, and the Kuomintang ″Central Film Censorship Committee″. Ultimately, with the intervention of high-level officials of the Nationalist government, the ″prohibition on Cantonese-language films″ was extended until 1940 and a ″Central Film Censorship Committee Office″ was established in Guangdong. However, this policy was left unsettled amid the Japanese military 's full-scale invasion of China. Drawing on the regulatory arbitrage theory used by Canadian sinologist Michael Szonyi in his historical research, this article analyzes the strategic interactions of the three parties strategic interactions, thus providing a fresh perspective on this period of history and deeply analyzing the underlying causes of regulatory arbitrage stemming from central-local tensions, why the film industry in southern China defended its vested interests in regulatory arbitrage, and the game psychology of the film industry in Shanghai as an anticipator of new regulatory arbitrage.

In June 1920, the murder of Wang Lianying, a famous prostitute, by Yan Ruisheng, an unemployed young man in Shanghai, triggered a wave of cross-media cultural production in early 20th-century China. Initially, as a piece of social news, the case sparked urban panic. Subsequently, led by tabloid writers, it was reinterpreted through popular literary forms such as drama, Yuan-Yang Butterfly novels, and films, quickly becoming a popular cultural consumer product in Shanghai. Surrounding the film ″Yan Ruisheng,″ nationalist sentiments and concerns about its negative social impact rapidly fermented in the public opinion, leading to a suppressive and resistant dynamic in the media discourse. This further sparked disputes between Chinese and foreign authorities over the banning of the film, reflecting micro-level power game between Chinese and foreign administrations. The process of media production and dissemination of the ″Lianying Case″ demonstrates the logic of media capital production, the disciplinary process of media ethics under the influence of political forces, and also revealed the complex power relations between the Chinese and foreign administrations in Shanghai and mass media consumption.

The question of how Chinese Aesthetics is possible, raised by Professor Li Qingben, and the subsequent discussions on Chinese Aesthetics have promoted the consciousness in both disciplinary awareness and local cultural awareness in the study of Chinese aesthetics. They also reflect the particular anxiety of researchers in this field regarding the local cultural attributes of Chinese aesthetics research. Li's article proposes a solution to the question—″to be both Chinese and aesthetic.″ While this solution provides a strong argument for the disciplinary nature of Chinese Aesthetics, it also causes unnecessary confusion in the study of Chinese Aesthetics. ″″Aesthetic″ is a higher-level specification for the universal disciplinary attribute of Chinese Aesthetics, while ″Chinese″ is a lower-level definition for the unique disciplinary attribute of Chinese Aesthetics. Their logical positions cannot be described as parallel. Li's concern about the ″non-Chineseness″ in the study of Chinese Aesthetics is unnecessary. Any research that focuses on traditional and contemporary aesthetic activities and concepts in China, using the approach of philosophical analysis and generalization, can be qualified as ″Chinese Aesthetics.″ Li's article restricts ″Chinese Aesthetics″ to the ″discourse″ level, limiting the universal academic and intellectual values in the study of Chinese Aesthetics. It is neither ″to be both Chinese and aesthetic″ nor the particular perspective that tries to showcase the individuality of Chinese aesthetic and cultural identity in the world. Rather, the universal perspective of studying the common problems of human aesthetics with specific materials from Chinese aesthetics, and exploring the shared academic and intellectual values, is a better approach to addressing the question of how Chinese Aesthetics is possible.

Modern technology has transformed pre-modern linear time into accelerated or rapid time, making the speed dimension and dynamic mechanism of time important aspects of modernity. Drawing on phenomenology, Rosa replaces abstract time with perceptible time and identifies the essence of modern society as acceleration in the temporal aspect. He addresses various aesthetic issues in the age of acceleration from the perspective of changes in the perceptual relationship between humans and the world. The new acceleration model disrupts the original depiction of the perceptual connection between the subject and the world as portrayed by phenomenology, thereby altering the subject's experience of existence in the world. Faced with perceptual alienation and the de-temporalization of life caused by acceleration, Rosa proposes sensory resonance based on phenomenological embodiment, offering a potential aesthetic solution to the issues arising from social acceleration.

Zhu Guangqian's early thought formed a philosophical view of the ″organic personality theory,″ characterized by three elements: ″organic, holistic, and creative evolution,″ and integrating three aspects: ″art, life, and the universe.″ From this basic standpoint, Zhu Guangqian's ″aestheticization of life″ refers to revealing the authentic understanding of the self and the universe through aesthetic contemplation. Zhu Guangqian shifted from the study of scientific psychology to the study of literary psychology and from following the formalist aesthetic ″mechanical view″ to forming his own ″organic, holistic, and creative evolution″ philosophical view, constituting two intellectual turns. It was during the latter turn that Zhu Guangqian, based on the long-term intellectual fermentation, absorbed Croce's concept of ″intuition as lyrical expression,″ Bergson's concept of ″life as the creative evolution of personality,″ and Nietzsche's concept of ″redemption through form.″ He integrated these concepts into his philosophy of ″organic personality theory″ on the basis of traditional Chinese philosophical views of ″Tian-Ren″ (Heaven-Human), ″Knowledge-Action,″ and ″Dahua″ (Great Change).

The perception that Chinese characters are difficult to learn is widespread within the international Chinese language teaching community, and Chinese character input has been a persistent challenge in Chinese language research. In the context of the digital and intelligent era, there remain perceptual and application issues in the field of international Chinese education concerning how to view the role and impact of Chinese character input. Findings from a survey of 358 international students indicate that Chinese character input methods are gaining popularity within the international student community. The surveyed students exhibit a tendency to rely primarily on pinyin input with handwriting as a supplementary method, demonstrating an attitude of ″preferring digital writing while acknowledging the value of handwriting″ in learning Chinese characters. There are differences in the acceptance of different input methods at different stages of Chinese language learning. Nationality distribution, linguistic background, and ethnic Chinese identity have marked influences on the preferences of international students in selecting Chinese character input methods. Chinese character input methods have a positive and constructive impact on the Chinese language learning of international students, with pinyin input offering more advantages than handwriting. A preference for pinyin input helps students with their Chinese pronunciation, vocabulary, and reading, leading to positive learning perceptions that increase with the duration of study. A tendency to use handwriting input can reduce the interference of stroke order and character components in Chinese character learning for international students, helping them with their writing. We should attach importance to the opportunities and challenges brought by Chinese character input methods in the digital and intelligent era and formulate corresponding strategies in multiple areas, including the development of international Chinese education resources, updating Chinese character teaching programs, researching Chinese character input, and expanding the language industry, to promote the effective integration of Chinese character input methods with international Chinese education.

In modern Yue dialects, the common interrogative pronouns for questioning people are ″biange″ (边个), ″mieshui″ (乜谁), and ″mieren″ (乜人). Their geographical distribution is characterized as follows: ″biange″ has the widest distribution range and is concentrated in the Pearl River Delta of Guangdong and along the Xijiang River in Guangxi; ″mieshui″ is relatively common in coastal areas of Guangdong and is sporadically distributed in the central and northern parts of Guangdong and eastern Guangxi; ″mieren″ is mainly distributed in southeastern Guangxi and sporadically found in western Guangdong. Their diachronic evolution in Cantonese is roughly as follows: ″mieshui″ appeared as early as the early Qing Dynasty, was the dominant term from the early 19th century to the 1880s, and was replaced by ″biange″ from the late 19th century to the early 20th century; ″mieren″ has been in a secondary role since its appearance in the mid-19th century. The geographical distribution pattern of interrogative pronouns in modern Yue dialects corresponds to their diachronic evolution in Cantonese. The commonly used terms ″mieshui″ and ″biange″ are derived from ancient Chinese and include innovations within the dialects themselves. One important reason why ″biange″ replaced ″mieshui″ is the influence of the regional linguistic environment. It is likely that the earliest interrogative pronoun in Cantonese was shui (谁).

The various risks arising from acute urban events and the chronic impacts of ″big city diseases″ have significantly increased the pressure on communities on the front line of modern urban risk governance, compelling urban communities to seek more effective response measures. The application of digital intelligence technology expands the perception capabilities, application scenarios, and practice modes of community risk and resilience governance, and demonstrates effects such as simulation, scale, turbine-like, emergence, and correlation. In the digital intelligence era, from both practical and theoretical perspectives, the decision-makers, administrators, and participants of community risk governance urgently need to grasp the overall framework of digital intelligence empowerment for urban community risk resilience governance based on internal and external driving mechanisms, emergency operation mechanisms, capability enhancement mechanisms, and resource guarantee mechanisms. The focus should be on building an integrated community risk prevention and control system, expanding multi-dimensional community emergency response applications, fostering a multi-dimensional community security resilience ecosystem, and enhancing comprehensive community risk intelligence capabilities.

The stable supply of meat is crucial for social welfare and livelihood protection as well as for economic stability and smooth operation. As a strategic resource for responding to major emergencies, the reserve meat supply chain faces challenges such as weak resilience and limited emergency supply capabilities. With the frequent occurrence of emergencies and the evolving interplay among risk types, traditional classifications of emergency types are no longer sufficient to fully reflect the complexity of risk propagation and impact mechanisms. Under emergency conditions, the reserve meat supply chain exhibits distinct response characteristics, such as short-chain characteristics and bottom-line support functions. The risk formation mechanism can be systematically analyzed through a supply chain deformation model based on ″points of action—direction of action—magnitude of action.″ The study shows that the resilience of the reserve meat supply chain can be summarized into 14 key factors, covering four capability dimensions: prevention, response, recovery, and learning. This forms a practical and operational resilience assessment framework. In the process of systemic resilience building, supply chain visibility, coordination efficiency, and response flexibility serve as critical elements. Promoting the transition of the reserve meat supply chain from passive risk management to systemic resilience building is an essential pathway for enhancing national food reserve governance and improving emergency response capabilities.