Core Insights - The article discusses the historical and cultural evolution of Chengdu, highlighting its transformation from a peaceful haven to a city marked by social and political turmoil during the 20th century [2][3]. Group 1: Historical Context - Chengdu has been depicted as a prosperous and tranquil land in ancient poetry, but its image was significantly altered in the modern era, particularly during the 1920s and 1930s, when it was criticized for being backward and chaotic [2]. - The research by Professor Wang Di emphasizes the importance of ordinary people's daily lives in Chengdu, moving away from elite narratives to explore grassroots cultural practices [3]. Group 2: Cultural Dynamics - The book "Fact in Fiction" by Kristin Stapleton examines the social landscape of Chengdu in the 1920s through the lens of Ba Jin's novel "Family," blending literary fiction with historical reality to reconstruct the city's authentic character during the May Fourth Movement [5]. - Stapleton's work highlights the resilience and vitality of local culture amidst modernization, showcasing how public spaces like teahouses and the "Pao Ge" brotherhood played significant roles in community identity [3][5]. Group 3: Social Structures - The persistence of the maid system in Chengdu during the Republican era is explored, revealing the socio-economic factors that sustained this practice despite calls for reform [15][18]. - The "Pao Ge" organization emerged as a significant social force in Chengdu, filling the power vacuum left by the declining government authority and providing a form of social order amidst chaos [31][32]. Group 4: Modernization and Urban Development - The establishment of commercial spaces like the "Quanyechang" and "Chunxi Road" marked a shift towards modern consumer culture in Chengdu, reflecting broader trends of urbanization and economic development in the early 20th century [25][26]. - The introduction of modern transportation systems and commercial practices in Chengdu facilitated new economic opportunities for various social classes, including the lower strata of society [27][30]. Group 5: Intellectual Movements - The article discusses the duality of cultural movements in Chengdu during the Republican era, where traditional values coexisted with the emerging new ideas from the May Fourth Movement, leading to a complex social landscape [34][35]. - The new youth in Chengdu, influenced by the May Fourth Movement, sought to challenge traditional norms and explore modern identities, often facing societal backlash [36][40].

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]