The essence of human nature is the totality of social relations. The study of“relations”forms the foundation of all research in humanities and social sciences, a commonality shared by both Eastern and Western traditions. Theories such as Relational Power Theory, Actor-network Theory, and Social Capital Theory have directly or indirectly addressed the nature, structure, and function of“relations,”suggesting that relations invariably point towards special interests and are closely intertwined with power, resources, and capital. In recent times, however, the context of“relations”has gradually become more China-centric, often being replaced by the concept of“Chinese-style Relations,”particularly in overseas China Studies. Viewing Chinese society through the lens of“relations”reveals their pervasive influence on social hierarchies and realworld political interactions, giving rise to a form of“relational politics.”Nevertheless, a closer examination of Western societies shows that“relations”are equally ubiquitous in both international and domestic politics, with “relational politics”serving as a crucial analytical tool.
In Economic and Philosophical Manuscripts of 1844, Marx elucidates his theory of alienated labor through the lens of private property, viewing communism as the positive abolition of self-alienation. In subsequent works such as The German Ideology, Capital, and its manuscripts, Marx shifts his focus to the historical evolution of labor’s objective and subjective conditions within the division of labor and work processes. By examining the historical relationship between labor and ownership, he further deepens and develops his early theory of alienation. Progressing from ownership systems to property rights, Marx ultimately reveals alienated labor as a product of the complete separation of labor and ownership under the capitalist wage labor system. He indicates that the path to eliminating alienated labor in future social development lies in reconstructing the unity of labor and ownership on the foundation of individual ownership based on social principles.
In the digital age, interconnected narratives based on original stories are becoming increasingly prevalent. Film and television production teams build upon those original stories that have gained audience acclaim by engaging in various forms of interconnected storytelling, such as sequels, interwoven narratives, and cross-media adaptations.“Linked domain”serves as the connection point between the new story and the original, representing the overlapping segments of both stories. This manifests in three primary ways: firstly, the continued use of characters from the original story; secondly, the temporal expansion of an event from the original story; and thirdly, the repeated use of the story’s spatial setting. A purely ethical dimension cannot form a“linked domain.”The multifaceted ethical orientation of interconnected works is primarily governed by the dual forces of audience interest and narrative subject orientation. Interconnected
Abstract：The aesthetic practice of early Shanghai cinema was primarily manifested in its localization strategies. Firstly, after the introduction of film technology from the West, early Shanghai filmmakers engaged in unique formal explorations and aesthetic practice through material selection, production, and screening. The overall construction and aesthetic orientation were imbued with the essence of traditional culture. Secondly, in the contest with the portrayal of the“other”in Western imagery, the early Shanghai directors consciously assumed the responsibility of constructing autonomous images and successfully created a series of new representations, such as those of farmers, petty urbanites, and women. Lastly, during the transition from hybrid spaces like teahouses to specialized cinemas, the early Shanghai cinema reflected the characteristics of the nation, society, and people in terms of culture, social structure, and psychological state during that unique period. These aspects constitute the three dimensions for examining the aesthetic practice of early Shanghai cinema: distinct localization, autonomy, and spatiality.
The foreign-related rule of law system is an important component of the socialist legal systemwith Chinese characteristics. As the bridge and link between domestic rule of law and international rule of law,the foreign-related rule of law is based on the specific practice of building a rule of law in China and is also related to the stability and development of international rule of law. The foreign-related rule of law system encompasses a complete set of foreign-related laws and regulations, an efficient implementation system for foreign-related rule of law, a well-established system of legal services for foreign-related matters, and an open system for integrating foreign-related rule of law. The system embodies extensive involvement and strong interconnectivity in the work of foreign-related rule of law, which are its basic characteristics. The construction of the foreign-related rule of law system requires effective safeguard mechanisms, enhanced development of a specialized talent training system, and the building of an independent knowledge and discourse system supported by international law. These are the driving forces for constructing and improving the foreign-related
rule of law system.
An important guiding principle of the revision of the Arbitration Law of the People’s Republic of China is to coordinate the advancement of both domestic and foreign-related rule of law. A pressing issue is how to continually optimize the business environment and create international arbitration centers and first-class arbitration institutions through legislative amendments. Compared with the New York Convention on the Recognition and Enforcement of Foreign Arbitral Awards and the UNCITRAL Model Law on International Commercial Arbitration, the Arbitration Law of the People’s Republic of China still has institutional
shortcomings in areas such as the seat of arbitration and ad hoc arbitration. The unclear positioning of arbitral institutions further hinders the improvement of China’s arbitration system. Additionally, the indeterminate interim measures and judicial review standards weaken the international competitiveness of Chinese arbitration. Therefore, the revision of the Arbitration Law of the People’s Republic of China should not only align with international standards to accelerate institutional improvement, but also clarify the legal status of arbitration
institutions and loosen restrictions on their development. Moreover, it should be based on China’s actual situation to improve the standards for interim measures and arbitration enforcement under the bifurcated
system, thereby assisting in the construction of foreign-related rule of law.
Abstract：By focusing on three key aspects—ghostly media, dialectical images, and the phantasmagoric mechanism—this discussion proposes a“new discourse”on the phantasmagoria of“old media”from the perspectives of media archaeology, image epistemology, and optical mechanism. As a dispositif of“images and bodies”without a specific media form, phantasmagoria has deep roots in media archaeology and numerous contemporary manifestations. In the evolving landscape of new media, the phantasmagoric optical mechanism unique to phantasmagoria has not been given sufficient attention. It is precisely this unconscious optical mechanism that defamiliarizes spatial forms and embodiment issues, thereby disrupting existing media classifications and forms of artistic representation. Moreover, it introduces dialectical inspiration from various aspects, including spiritual metaphors, sensory stimulation and manipulation, image epistemology, and the integration of realism and imagination, thereby enriching the discourse system of image typology and image dispositif.
“Public sentiment”is a core concept in national governance. Understanding its dimensions and generative mechanism constitutes a necessary framework for comprehending China’s governance. By reviewing the traditional political cultural roots of“public sentiment”and modern political thought, this article presents an operational definition of“public sentiment,”its measurements based on a“problem-phenomenon” approach, and a theoretical model of“policy-conception-communication”generated by these measurements. Analysis of 4,203 questionnaires reveals that“public sentiment”encompasses five dimensions: satisfaction with national governance, party recognition, ethical government, fulfillment of material needs, and fulfillment of safety needs. It is highly correlated with the evaluation of the legitimacy and effectiveness of national governance, as well as with government trust, and has a significant functional effect on national governance behavior. The generation of“public sentiment”is significantly positively influenced by traditional political culture, national identity, sense of policy benefit, political thinking, consciousness of the Chinese national community, spirit of sacrifice, prosocial ideas, confidence, government information, and trust in government information. Conversely, it is significantly negatively influenced by the ultimate view in Confucianism, materialism, awareness of equality, and scientific attitudes. Notably, factors such as the sense of policy benefit, sources of government information, and trust in government information produce notable moderating effects.
For Internet user accounts with strong property rights attributes, entering the market for trading and circulation is essential given their robust market demand and potential value for market development. Based on an examination of current market transaction disorders and judicial practice challenges, this paper provides an in-depth analysis of the market transactions of network accounts in terms of necessity and feasibility, normative status quo, judicial dispute, and implementation mechanism. It summarizes the institutional approaches to regulatory improvement and the construction path to judicial mechanisms in response to the institutional appeals from the main body on the standardization of network account market transactions. Hence, the rule of law will provide a better legal guarantee for the moderate marketization of network accounts, thereby aiding in the advancement of the marketization of data elements.
It is imperative to construct a theoretical foundation and regulatory framework for data rights that meets the developmental requirements of the data factor market. According to domestic and international literature, the knowledge graph of data rights reveals a trend of integration between data governance technologies and rights regulations. The essence of the“relational theory”of data rights is more suited to the incentivizing and cooperative traits of the data element market. Given that relational rights are inherently self- generative and the content of rights is necessarily held within the factual relationships of the subjects involved, it is essential to consider the actual state of control over data, avoid the“law of the jungle”where controllers always gain benefits, and open up part of the rights content to the market through a decentralized allocation entity system model. This approach aims to achieve the“anchoring effect”of facilitating data element circulation through institutional regulation. Still more importantly, a systematic procedural framework is needed to reserve space for the self-recognized rights content of the market and address issues of“residual control rights”that entity allocation systems may not reach. Among other things, it is essential to form a self-recognition rights mechanism for the data element market through procedural elements such as the negotiation of rights subjects, reference to data elements, realization of data rights value, impact of data rights risks, and the soft law norms of technical standards, so as to foster a sound regulatory ecosystem for the circulation of data elements.
Although some significant contributions to early filmmaking production and exhibition involve strong entrepreneurial female figures, very few women’s names appear in the histories of Balkan cinemas. Based on original archival research and press of the time, this article foregrounds the filmmaking activities of the Romanian theatre director and actress Marioara Voiculescu (1885–1976) and the role of her star persona and theatrical experience in the making of early fiction films produced by Leon M. Popescu’s Filmul de Artă company. Voiculescu achieved considerable success during her lifetime, a prolific stage career, founding her own theatre company in 1912, and playing a key role in the production of early films in 1913, yet she has received scant attention in film scholarship thus far. By shifting the focus to Voiculescu’s contribution to early cinema in Romania, I reflect more broadly on the spaces and roles that women occupied in popular culture within the ongoing process of modernisation of Romanian society.
