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 Insights - The article emphasizes the balance between tradition and innovation in Beijing's cultural scene, particularly in the performing arts, highlighting the importance of maintaining cultural identity while adapting to contemporary contexts [1][2]. Group 1: Cultural Innovation - Beijing hosts over 150 performances daily, attracting more than 12.8 million audience members last year, marking a historical high [1]. - The Beijing People's Art Theatre (Beijing Renyi) is focusing on innovative expressions of traditional Beijing culture, as seen in the adaptation of "Zhenghong Qixiang" where traditional settings were modernized [2]. - The integration of AI characters in contemporary plays like "Yiri Dingliu" reflects the evolving nature of Beijing's cultural expressions, appealing to younger audiences [3]. Group 2: Cultural Heritage and Education - The revival of classic works, such as "Camel Xiangzi," involved younger actors learning traditional performance styles, ensuring the transmission of cultural heritage [3]. - The need for a robust training system for new talent is emphasized, as the Beijing People's Art Theatre faces a generational transition with many veteran actors retiring [6]. - The importance of creating a conducive environment for artistic creation is highlighted, suggesting that policies should support long-term artistic development [6]. Group 3: Internationalization of Beijing Culture - The international success of Beijing's theatrical productions, such as "Zhang Juzheng" in Russia, demonstrates the global appeal of Chinese stories when presented with an emphasis on Eastern aesthetics [7][8]. - The article suggests that Beijing should not only export its own works but also invite international classics to perform, fostering a cultural exchange that enhances its status as a "performing arts capital" [8].

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].

Group 1 - The article explores the life trajectory of Lao She, highlighting his early years in Xicheng District and later years in Dongcheng District of Beijing [1][3] - It details significant locations associated with Lao She, including his birthplace, schools, and residences, emphasizing his connection to various cultural figures and institutions [1][3][4] - The narrative includes the establishment of the Beijing People's Art Theatre (Beijing Renyi) and its relationship with Lao She, particularly his contributions to the theatre's early works [8][9][16] Group 2 - The article mentions the historical significance of the Shijia Hutong area, where many cultural figures, including Lao She, resided and collaborated [3][4][6] - It describes the Beijing Renyi dormitory complex, which served as a hub for artists and actors, and highlights the impact of Lao She's works on the theatre [6][8] - The piece also notes the transformation of locations in Beijing, such as the former residences and performance spaces, reflecting the cultural evolution of the city [10][14][16]

Core Viewpoint - The book "舍不掉的予：老舍与中国现代文化" by Kong Qingdong explores the multifaceted cultural world presented through Lao She's works, emphasizing his unique perspective on Beijing culture and its characteristics [5][10]. Group 1: Cultural Perspectives - Lao She is portrayed as a "multi-functional camera" reflecting various aspects of reality, with a strong emphasis on his identity as a "Beijinger" [5][6]. - The book examines Beijing culture through various lenses, including class, race, religion, region, and gender, highlighting the regional characteristics in Lao She's narratives [5][6]. Group 2: Noble Spirit in Common Life - Kong Qingdong identifies a "noble spirit" within Beijing culture, which contrasts with the common perception of it being purely "popular literature" [6][7]. - This "noble spirit" is evident in the lives of ordinary people who, despite material poverty, pursue cultural elegance and refinement [6][7]. Group 3: Inclusivity of Beijing Culture - The works of Lao She reflect the inclusivity of Beijing culture, which integrates diverse cultural elements from various origins, showcasing a rich tapestry of multiculturalism [7][9]. - The portrayal of the Manchu culture in Lao She's works illustrates the blending of different cultural identities within the broader context of Chinese nationalism [7][9]. Group 4: Aesthetic of Joy - The concept of "乐感文化" (joyful culture) is highlighted as a distinctive feature of Beijing culture, manifesting in Lao She's works as a unique aesthetic of life [8][9]. - Characters in Lao She's narratives often embody a carefree attitude towards life, reflecting a deeper appreciation for beauty and enjoyment despite their circumstances [8][9]. Group 5: Methodology in Cultural Research - Kong Qingdong emphasizes the importance of combining historical materials with contemporary life to deepen the understanding of regional culture [9][10]. - He proposes a "ten-sided ambush method" for cultural research, advocating for immersive experiences in the local culture to gain a comprehensive understanding [9][10].

Core Perspective - The book "舍不掉的予：老舍与中国现代文化" by Kong Qingdong explores the multifaceted cultural world presented by Lao She, emphasizing his unique perspective on Beijing culture and its characteristics [5][10]. Group 1: Cultural Characteristics - Lao She's works reflect a rich cultural tapestry of Beijing, showcasing both "common people's literature" and a distinct "nobility" that emerges from everyday life [6][7]. - The concept of "nobility" in Beijing literature is illustrated through characters who, despite their poverty, maintain a pursuit of elegance and cultural refinement [6][7]. - Beijing culture is characterized by its inclusivity and diversity, blending various cultural elements from both domestic and foreign influences [7][9]. Group 2: Aesthetic Elements - The notion of "乐感文化" (joyful culture) is a significant aspect of Beijing culture, as seen in Lao She's portrayal of characters who embody a positive outlook on life despite their circumstances [8]. - Lao She's characters often exhibit a unique lifestyle aesthetic, reflecting a leisurely and refined approach to life, which contrasts with the fast-paced modern world [8]. Group 3: Research Methodology - Kong Qingdong emphasizes the importance of combining historical context with contemporary experiences in studying regional culture, proposing a comprehensive approach to understanding Beijing culture [9]. - The methodology includes immersive experiences such as exploring the city, engaging with its people, and appreciating its culinary and social customs [9].

Core Viewpoint - The article highlights the significance of 92-year-old You Benchang's decision to join the Communist Party of China, emphasizing the enduring commitment of artists to their beliefs and the cultural mission of serving the people [2][15][18]. Group 1: You Benchang's Journey - You Benchang expressed his desire to join the Communist Party after receiving encouragement from President Xi Jinping, which deepened his commitment to the Party and its cultural goals [3][15]. - His artistic career spans over 70 years, during which he has consistently demonstrated dedication to his craft and the values of the Party, culminating in his recent admission as a probationary member [4][17]. Group 2: Cultural and Artistic Responsibility - The article underscores the role of artists in conveying the spirit of the times and the importance of creating works that resonate with the people, as articulated by Xi Jinping [6][10]. - It emphasizes that true artistry is rooted in a commitment to the people, with examples of other artists who have similarly dedicated their lives to their craft and the Party [7][12]. Group 3: Legacy and Inspiration - The legacy of older artists like You Benchang serves as an inspiration for younger generations, illustrating that faith and dedication to art can transcend age [8][13]. - The article calls for a continuation of this legacy, encouraging new artists to embrace the values of faith, dedication, and service to the people in their work [18][21].