巴金（1904.11.25-2005.10.17） 古诗词中的成都，向来是一个物阜民丰与自然安逸并存的乐土。唐代诗人张籍的《成都曲》便勾勒出这般景致："锦江近西烟水绿，新雨山头荔枝 熟。万里桥边多酒家，游人爱向谁家宿？"南宋末年，宫廷琴师汪元量在临安陷落后辗转至成都，吟出"锦城满目是烟花，处处红楼卖酒家"之句， 仿佛无论中原如何动荡，从安史之乱到宋元鼎革，偏安西部的成都总能幸免于难，成为抚慰中原士人身心的一方净土。然而及至近代，成都的恬 静形象被彻底颠覆。二十世纪二三十年代，不少旅居外省的四川人却将家乡视为国中之"异乡"，批评其"僻处西陲，思想落后，反动分子，较为嚣 张。内讧连年，糜烂甲于全国"（王东杰：《国中的"异乡"：二十世纪二三十年代旅外川人认知中的全国与四川》，《历史研究》2002年第三 期）。 关于成都及四川的近代史研究，王笛教授的著作无疑具有代表性。他的研究摒弃了以精英为中心的宏大叙事，将视角投向普通人的日常生活，通 过对街头文化、茶馆和袍哥组织等"公共空间"或"微观单位"进行民族志般的深描，从茶馆里摆龙门阵，到袍哥仪式中的"三把半香"（即桃园三结 义、水浒梁山、羊角哀和左伯桃各为"一把香"，瓦岗 ...

Core Perspective - The article discusses the evolution of the social image of the elderly in China from 1900 to 2025, highlighting the transformation from traditional views to a more diverse and active perception of the elderly in contemporary society [1][34]. Phase Summaries Phase 1: Traditional and Turbulent "Respectable" and "Obsolete" (1900-1949) - The elderly were viewed through a dual lens: as "respectable" figures rooted in Confucian culture and as "obsolete" individuals amidst societal upheaval [2]. - Traditional family structures placed elderly men in positions of power, symbolizing authority and moral guidance [2]. - The collapse of traditional values led to the emergence of the "obsolete" image, where some elderly were criticized as outdated and irrelevant [5]. Phase 2: Collectivism and "Revolutionary Elders" (1949-1979) - Post-1949, the elderly's value shifted to their political identity and revolutionary contributions, with "old revolutionaries" gaining respect [9][10]. - Elderly women transitioned from traditional roles to "revolutionary mothers," reflecting the changing gender dynamics [10]. - The Cultural Revolution polarized elderly images, with some being revered and others vilified based on their political stance [14]. Phase 3: Transition and Reflection "Lost" and "Watchers" (1980-1999) - The reform era emphasized economic development, yet traditional family values persisted, with elderly often seen as family heads [16]. - Literature and film began to reflect on the historical experiences of the elderly, portraying them as witnesses to national history [17]. - The rise of market economy led to a decline in the traditional authority of the elderly, with many feeling marginalized and disconnected from societal changes [19]. Phase 4: Deep Aging and the Diverse Image of the Elderly (2000-2025) - By 2000, China officially entered an aging society, with projections indicating that by 2024, over 22% of the population will be aged 60 and above [21]. - The elderly's image has become increasingly negative, often framed as a societal burden due to issues like pension gaps and healthcare challenges [21][22]. - The concept of "silver economy" has emerged, recognizing the elderly as consumers rather than just dependents, leading to a rise in industries catering to their needs [24][26]. - Urban and rural elderly face different challenges, with urban seniors benefiting from social security while rural seniors often experience neglect [27]. - The emergence of "active elderly" and "new elderly" reflects a shift towards a more empowered and engaged image of the elderly, emphasizing lifelong learning and personal fulfillment [30][34]. Future Outlook - By 2050, the elderly population is expected to reach 500 million, necessitating a redefined image that emphasizes their contributions and diversity [34]. - The future elderly image should transition from "passive recipients" to "active contributors," recognizing their potential as valuable societal resources [34][35]. - Acknowledging the internal diversity of the elderly population is crucial, promoting a multifaceted representation that includes various lifestyles and contributions [35]. - Emphasizing lifelong learning and adaptation to technological advancements will be essential for integrating the elderly into modern society [36]. - A shift in focus from mere survival to a holistic approach that values the dignity and quality of life for the elderly is necessary for societal progress [36].

Core Insights - The 31st Beijing International Book Fair concluded with over 1,700 exhibitors from 80 countries and regions, showcasing 220,000 types of books and achieving 2,826 international copyright trade agreements [1] Group 1: Exhibition Highlights - The fair featured a prominent display of quality publications, including themed books and ancient texts, with over 2,400 titles showcased in six major sections [2] - Shanghai organized nearly 30 publishers to exhibit over 2,000 titles, highlighting red culture and award-winning publications, demonstrating the city's achievements in copyright export [3] Group 2: International Cooperation - A signing ceremony for the "China-Azerbaijan Classic Works Translation" project took place, granting rights for translating and publishing significant Chinese literary works in Azerbaijani [4] - Beijing's exhibition area displayed over 3,500 titles and established over 350 output intentions with nearly 40 foreign publishing institutions [5] Group 3: Copyright Trade Agreements - The fair resulted in 2,826 international copyright trade agreements, with 1,955 related to copyright output and 753 for imports, indicating significant progress in promoting Chinese literature abroad [7] - Shanghai's initiatives to support copyright export have led to over 200 projects funded since 2013, with financial support exceeding 8 million yuan [7] Group 4: Literary Promotion - The China Writers Association has been actively promoting copyright output, signing over 160 translation projects covering 29 languages, enhancing the global reach of Chinese literature [8] - Notable author Mai Jia participated in a dialogue with international scholars and publishers, emphasizing the importance of literary communication in bridging cultural gaps [8]