（原标题：想让孩子情绪稳定，内核越来越强大，要经常跟他说这6句话） "教育的目的，是让孩子学会掌控自己的情绪，并在风暴中找到方向。" 但很多孩子，内心脆弱，情绪不稳定，考试错几道题就崩溃大哭，被老师批评就自我否定，遇到一点挫 折就打退堂鼓。 如何养出一个内核强大的孩子呢？ 心理学研究表明： 父母的语言模式会直接影响孩子的大脑发育和情绪调节能力。 那些内核强大、情绪稳定的孩子背后，往往有一套来自父母的"语言养育系统"。 这并不是什么高深的技巧，只是几句简单的话，但却很有力量。 经常对孩子说这几句话，能帮孩子建立安全感，成为情绪稳、底气足的人。 01"你很棒，但没人是完美的，犯错是成长的一部分" 很多孩子写错字就撕本子，说自己'太笨了'，陷入自我否定。 儿童心理学中的"容错教育"指出： 孩子对"完美"的执念，本质是害怕不被认可。 父母经常对孩子说这句话，能帮孩子区分"行为失误"和"自我价值"，让他明白犯错不可怕，谁都会犯 错，能接纳自己的不完美才会更从容。 教育专家说： "允许孩子犯错，是给他成长的勇气。" 02"你不必什么都懂，但要勇敢问为什么" 很多孩子课堂上不敢举手提问，遇到不懂的知识点也藏着掖着，生怕被同 ...

Core Viewpoint - The release of Document No. 42 marks a significant regulatory shift in China's approach to digital assets, particularly focusing on the systematic regulation of Real World Asset (RWA) tokenization, coinciding with the launch of interest-bearing digital RMB 2.0 [1][2][3] Regulatory Framework - Document No. 42 clearly defines RWA tokenization as the conversion of asset ownership and income rights into tokens using cryptographic and distributed ledger technologies, expanding regulatory oversight from virtual currency speculation to the entire asset tokenization chain [2][3] - The document prohibits illegal financial activities related to RWA tokenization unless approved by relevant authorities, emphasizing the need for compliance with specific financial infrastructure [3][4] Comparison of Regulatory Approaches - In contrast to mainland China's "principle of prohibition," Hong Kong is accelerating RWA tokenization, with the government encouraging the tokenization of public assets and establishing a regulatory framework for stablecoins [4][5] - The regulatory strategies in mainland China and Hong Kong represent a "dual-track experiment," where mainland focuses on maintaining financial safety while Hong Kong aims to connect with global capital markets through compliance [4][5][6] Market Dynamics and Opportunities - The market is reassessing the viability of RWA tokenization from three dimensions: asset category selection, geographical strategy, and deeper monetary competition logic [7][8] - Standardized financial assets like money market funds and bonds are becoming the mainstream in global tokenization, while non-standard assets face liquidity challenges [7][8] - The regulatory environment is creating a competitive landscape where licensed institutions dominate, leading to a "survivor game" among players who can navigate both mainland and Hong Kong regulations [13][26] Compliance and Risk Management - The regulatory framework emphasizes the importance of compliance with asset ownership, information disclosure, and cross-border accountability, with specific guidelines for the issuance of RWA [19][26] - Key risks include the potential for illegal service provision to mainland entities from abroad, highlighting the need for strict adherence to regulatory requirements [25][26] Conclusion - Document No. 42 establishes clear regulatory boundaries, indicating that while technology can be utilized, it cannot be leveraged for activities resembling currency, securities, or cross-border channels without proper oversight [9][23]

任何具有解释力的社会理论模型，皆非凭空产生，而是深植于学术传统与思想脉络的再创造。αβγδ社会 动力理论模型的提出，正是试图在现代社会复杂性日益凸显的背景下，对两大经典社会理论传统——马 克思的历史唯物主义社会矛盾论与孔德的实证主义社会动力学——进行批判性继承与整合性超越。本模 型不仅回归并重构了马克思主义关于社会形态构成与矛盾运动的基本原理，更在方法论上吸纳了孔德对 社会进行动态系统化研究的视角，同时融合现代系统科学、复杂性理论，旨在形成一种兼具哲学深度与 操作性的分析工具。本文旨在系统阐述这一模型的理论渊源、核心构念及其对经典理论的扬弃与创新。 一、 理论基石：对马克思"社会基本矛盾"的结构性展开与孔德动态视角的扬弃 （原标题：αβγδ社会动力学模型：基于经典命题的整合性重构与扬弃） 引言：在思想交汇处构建分析框架 模型的理论根基深植于对马克思与孔德两种动力范式的综合考量。 1. 对马克思理论的深化与操作化 模型的直接灵感与根本框架，源于马克思主义历史唯物主义对社会结构及其矛盾运动的经典论述。马克 思主义认为，生产力与生产关系的矛盾、经济基础与上层建筑的矛盾，是推动社会发展的基本动力。 αβγδ模型将这一 ...

穹顶之间：信仰的对话 邮轮驶入土耳其金角湾，晨曦正从亚洲一侧的山脊挣脱出来，将博斯普鲁斯海峡染成了一片流动的金 箔。当那道横跨天际的灰蓝色海岸线从波光里缓缓隆起时，我知道，伊斯坦布尔到了。 这是世界上唯一跨欧亚两大洲的城市，而连接这两片大陆的是狭长的博斯普鲁斯海峡，它是黑海与地中 海之间唯一的通道，也是无数帝国梦寐以求的咽喉。海峡"西侧是欧洲，东侧是亚洲。"欧洲一侧的山坡 上，红瓦屋顶如鱼鳞般密集，耸立着数不清的尖塔。亚洲一侧则较为平缓，绿意更浓。 船靠岸时，码头上已是人声喧腾。卖烤玉米的小贩推着冒着白烟的推车，空气中弥漫着炭火与香料混合 的独特气息。穿着制服的海关人员懒散地倚在岗亭旁，对蜂拥而下的游客投来见怪不怪的目光。这座城 市每日吞吐成千上万的过客，我们的到来不过是它千年脉搏中一次轻微的跳动。 伊斯坦布尔港（欧阳霞 摄） （原标题：伊斯坦布尔：是的，它只是美） 与蓝色清真寺仅一广场之隔的是另一座建筑史上的奇迹——圣索菲亚大教堂。 从码头步行不过二十分钟，便到了苏丹艾哈迈德广场。一种复杂的蓝色猝然撞入我的视野，天空的蓝是 通透的，海水的蓝是深邃的，而伊斯坦布尔的蓝是层叠的、流动的、有质感的。这种独特的蓝色 ...

（原标题："几乎包括整个宇宙的动物园"） 博尔赫斯对幻想文学和幻想动物的热衷，源于他视力上的障碍。现实，对于他来说是一个模模糊糊的世 界，不如头脑中的幻想来得真切自然。 博尔赫斯从小视力不好，这是家族遗传的结果。他的父亲、祖母和曾祖父都因视力问题而双目失明。到 1955年他成为阿根廷国家图书馆馆长时，博尔赫斯已经看不清书上的字了，而那时候，他只有56岁。 现实和镜子一样令他恐惧，因为现实和镜子都令人口增殖。尽管在他写作的晚期，他已经厌倦了他迷恋 的迷宫、老虎、梦境和镜子。1966年，他对他的朋友费尔南德斯·莫雷诺说："现在，让他们（指他的追 随者们）去尝试，去扭曲自己吧。" 他声称他真正想要走近的，是现实主义。那恐怕只是他失明之后，试图反抗黑暗的一种手段。那时候， 他已是风烛残年，一个弥尔顿或荷马似的盲诗人，号称要触摸现实，但拥抱他的，却是神话。 1951年左右，他爱上了舞蹈家玛加丽塔·格雷罗。格雷罗对玄秘之物的兴趣和他如出一辙。她喜欢去逛 圣塔菲大街上专门出售此类图书的凯尔书店，博尔赫斯就陪着她去，他们一起心满意足地浏览占星、命 理、相术的书籍。1953年，他们一起合写了《关于<马丁·菲耶罗>》之后，博尔赫 ...

Core Viewpoint - The recent performance of "Shiyuzhuo·Famen Temple" by Shanghai Jingju Theatre has garnered significant attention online, showcasing the potential for traditional Chinese opera to innovate and attract younger audiences through modern interpretations and creative expressions [1][4]. Group 1: Policy and Support - The "Three-Year Action Plan for Drama Revitalization (2026-2028)" was jointly issued by several government departments, emphasizing policy support for theater troupes and the need for a sustainable development mechanism [1][2]. - The plan encourages local departments to recognize the importance of drama revitalization, coordinate efforts, and integrate these initiatives into broader economic and social development strategies [2]. Group 2: Challenges in Traditional Opera - Traditional opera faces structural challenges, including high survival pressure on troupes, limited marketization capabilities, and a reliance on government funding, particularly among local troupes [3]. - There is a disconnect between creative output and contemporary audience preferences, with many troupes focusing on traditional adaptations rather than original works that resonate with modern themes [3]. - A significant talent gap exists, with young artists often leaving for more lucrative opportunities in film and television, compounded by rigid internal promotion and evaluation systems within troupes [3]. Group 3: Successful Innovations - Successful adaptations, such as the youth version of "Peony Pavilion," demonstrate how traditional opera can be modernized to appeal to younger audiences, combining contemporary aesthetics with classic elements [4]. - The innovative performances by Shanghai Jingju Theatre reflect a broader trend of integrating traditional art forms with modern cultural expressions, helping to bridge the gap between heritage and contemporary tastes [4][5].

（原标题：天津看展：荣耀之冠—18世纪意大利萨沃伊王朝宫廷珍宝展） 天津博物馆从2月10日起举办"荣耀之冠——18世纪意大利萨沃伊王朝宫廷珍宝展"，这是天津博物馆在 其四楼展厅推出的新春特展。 该展览聚焦18世纪意大利萨沃伊王朝宫廷艺术与生活，由四大意大利博物馆联合呈现120余件绘画、雕 塑、服饰等珍品、展览通过七大单元，既展现都灵巴洛克建筑、尤瓦拉设计的宫殿陈设及皮费蒂乌木镶 嵌技艺，也呈现宫廷对东方物品的迷恋、法式时尚服饰、里吉奥剧院文化盛景，以及王室狩猎与乡间生 活，全方位勾勒王朝辉煌的宫廷文明。 展名 荣耀之冠——18世纪意大利萨沃伊王朝宫廷珍宝展 开展时间 2026年2月10日 展览地点 天津博物馆四楼 地址：天津市河西区平江道62号 ...

Core Viewpoint - The recent policy of not disclosing specific exam scores in Sichuan's primary and secondary schools has sparked concerns among parents about understanding their children's academic performance, as they only receive grade evaluations without numerical scores [1][2]. Group 1: Policy Implementation and Parental Concerns - Parents are calling for the publication of specific exam scores to better understand their children's learning situations, as the current system only provides grade evaluations [1]. - The policy aims to alleviate anxiety and reduce competition by avoiding a focus on numerical scores, but parents question its effectiveness, especially regarding high-stakes exams like the high school entrance examination [2]. Group 2: Educational Anxiety and Societal Reflection - The anxiety surrounding education is not solely an educational issue but reflects broader societal pressures, where parents extend their competitive anxieties onto their children's education [2]. - The current educational system's focus on scores may lead to a disconnect when students transition to high-stakes exams, potentially causing gaps in their academic preparedness [2]. Group 3: The Role of Scores in Education - Scores serve as a neutral metric for assessing learning outcomes, and students have the right to know their scores to evaluate their knowledge mastery [3]. - The real pressure comes from external judgments associated with scores, rather than the scores themselves, highlighting the need for a shift in how scores are perceived and interpreted [3][4]. Group 4: Balancing Evaluation Methods - A nuanced approach to handling exam results is necessary, with different strategies for various educational stages, such as descriptive evaluations for younger students and gradually increasing score transparency in higher grades [4]. - The ultimate goal is to redefine success in a broader context, allowing for a more relaxed educational environment that does not carry the burdens of excessive competition [4].

Core Insights - The commercial landscape of the 2026 Spring Festival Gala is becoming clearer, with major players in sponsorship and collaboration identified, highlighting the event's significance as a cultural and emotional touchstone for audiences across demographics and regions [1][2] Group 1: Changes in Sponsorship Dynamics - Unlike previous years, the 2026 Spring Festival Gala is witnessing a structural shift in commercial forces, with AI applications, technology platforms, and content-based social platforms emerging as the most aggressive players in the sponsorship landscape [2] - Traditional sponsors such as liquor brands and household appliances remain prominent, but AI products and platforms are increasingly appearing, indicating a blend of old and new sponsorship strategies [3][4] - AI applications are not just seeking exposure but are aiming for user education and product recognition during a peak attention period, marking a strategic shift in how brands engage with audiences [5][11] Group 2: Role of Major Platforms - CCTV's Spring Festival Gala remains a strategic high ground for brands, with significant partnerships formed, such as Bilibili becoming the exclusive bullet screen video platform, enhancing interactive experiences [8] - Other platforms like Xiaohongshu and Douyin are also integrating the Spring Festival into their ecosystems, transforming the event into a social experience rather than just a viewing event [9][10] - The collaboration with ByteDance's Volcano Engine as the exclusive AI cloud partner signifies a focus on technical capabilities and real-time interaction, positioning the Spring Festival as a testing ground for AI applications [10] Group 3: AI as a Central Theme - The 2026 Spring Festival is set to be a pivotal year for consumer-level AI, with significant investments in cash red envelopes from companies like Baidu and Tencent, indicating a shift in marketing logic from mere participation to active engagement [12][13][15] - The integration of traditional content with cutting-edge technology aims to reshape how audiences interact with the Spring Festival, moving from passive consumption to active participation [14][19] - The event serves as a critical platform for demonstrating the capabilities of AI applications across various scenarios, reinforcing the importance of the Spring Festival as a comprehensive engagement opportunity for brands [15][18]

（原标题：孩子压力大的7种表现！当父母的你看出来了吗？） 通常孩子哭泣是由于饥饿或疲劳，但哭泣也是减轻压力的一种自然方式。 1、哭泣 "孩子试着将所有见到的一切装进心里，试着理解这个世界，这对他来讲有点不堪重负。" 发展心理学家阿利瑟·所特这样认为，她著有《流眼泪与发脾气》一书。 "哭泣是一种自然愈合机制"，当孩子受到太强的刺激，不知如何放松时，他们就垮了下来，然后大声啼 哭，这就是为什么在生日聚会上总会有很多哭成泪人的孩子。 随着儿童年龄的增长，眼泪仍然是他们在情绪激动时释放压力的一种方式。 所以不应该阻止孩子哭泣，也不要忽视他们的哭泣，应该充满爱意，心平气和地对待，如是婴儿啼哭， 可抱着他们摇一摇，直到他们恢复平静。 研究表明孩子被抱着的时间越长，他们哭泣的次数就越少。即使年龄大一些的孩子，抱着他们也可使其 恢复平静。 2、不安的睡眠 夜晚对孩子来讲是很难度过的，把婴儿或咿呀学语的孩子和他们的父母分开，他们会很自然地感到焦 虑。 在想象力丰富的学龄儿童脑子里，壁橱可能是妖魔鬼怪的藏身之所，如果说你的孩子长期失眠，那一定 是有什么事情在困扰着他们。 宾州的乔伊·凯斯在上6年级时就开始经受长期失眠的折磨。 那 ...