A cognitively-sensitized stigma model of help-seeking inhibition in generalized anxiety disorder: A conceptual framework illustrated in the Chinese cultural context.

Amid the deep integration of global "dual carbon" goals (carbon peaking by 2030 and carbon neutrality by 2060) with China’s ecological civilization drive, the modern value of traditional Chinese ecological culture—centered on the notion of "harmony between humans and nature" — has been reawakened. The profound fusion of emerging technologies such as the digital economy and artificial intelligence with the real economy not only offers opportunities for technological empowerment and efficiency gains in regional low-carbon transitions but also gives rise to new challenges, including labor market restructuring, skill mismatches, and inadequate adaptability of the built environment. As a form of "cultural capital" endowed with both value-leading capacity and practical resilience, the synergistic empowerment of traditional Chinese ecological culture with emerging economic factors has emerged as a pivotal pathway to resolving contradictions in regional low-carbon development.Drawing on core literatures spanning philosophy, economics, geography, digital economy, and sustainable development, this study employs a literature review approach and logical deduction to construct a comprehensive analytical framework: "Cultural Connotations → Modern Transformation → Synergistic Empowerment → Regional Practice → Optimization Pathways." It systematically dissects the intrinsic logic, core mechanisms, and implementation models through which traditional Chinese ecological culture empowers regional low-carbon economies.Key findings are as follows: First, traditional Chinese ecological culture evolves into a form of cultural capital compatible with modern low-carbon development via a three-stage transformation — encompassing value ethics, institutional rules, and practical behaviors. Second, at the mechanism level, this cultural capital forms a "four-dimensional synergy" with digital technology, small and medium-sized enterprises (SMEs), and sustainable built environments. It propels regional low-carbon transitions through four pathways — "value constraint, technological drive, subject adaptation, and spatial guarantee" —across three tiers: micro-level enterprise transformation, meso-level industrial upgrading, and macro-level regional governance. Third, in regional practice, diverse implementation models have taken shape, namely "culture + education and communication," "culture + spatial governance," and "culture + policy integration." However, challenges persist, such as fragmented cultural cognition, insufficient regional coordination, and superficial integration between technology and culture.By clarifying the inherent links between culture, technology, economy, and space, this study provides a theoretically grounded and practically feasible framework for regional low-carbon economic development. It also offers an innovative "Chinese culture + technology synergy" solution to contribute to global sustainable development.

Jiangnan folk dance constitutes a vital component of traditional Chinese culture, embodying the aesthetic, cultural and socio-psychological functions of water-village communities. Represented by dances such as the Fish Basket Flower Drum Dance, these performances not only showcase artistic styles but also forge community identity through symbolic interactions. This study employs a systematic literature review combined with case analysis, utilising social identity theory and cultural schema frameworks to explore the core characteristics of Jiangnan folk dance and how it conveys artistic styles, cultural connotations and social functions. Analysis encompasses historical origins, regional ecology, movement design, musical systems, costume styles, and prop utilisation. Findings reveal that through movement, music, costume, props, and ritualised interaction, these dances integrate regional culture, social ethics, and folk beliefs into performance. Simultaneously, participatory rituals reinforce collective memory and intergenerational cultural transmission.The S-shaped movements in the Fish Basket Flower Drum Dance embody aesthetic expression while enhancing group cohesion and social identity through positive differentiation. The study indicates that the psychological significance of Jiangnan folk dance extends beyond artistic expression, serving as a vital mechanism for modern communities to maintain mental wellbeing, social cohesion, and cultural continuity. This research offers valuable insights for dance studies, intangible cultural heritage preservation, and community cultural development.

Abstract Marxism is the fundamental guiding ideology upon which the Communist Party of China (CPC) and the country are founded and thrive. During the revolutionary period, the CPC successfully explored the path of integrating the basic tenets of Marxism with China’s specific realities (the “First Integration”), achieving the theoretical breakthrough of adapting Marxism to the Chinese context: Mao Zedong Thought. After the founding of the People’s Republic of China, the CPC led the people in embarking on the journey of socialist modernization. Since the reform and opening-up, the CPC has continued to advance this integration, constantly enriching and developing the theoretical system of socialism with Chinese characteristics in keeping with the times. Entering the New Era, General Secretary Xi Jinping creatively proposed the “Second Integration”—the integration of the basic tenets of Marxism with China’s fine traditional culture. Together with “the First Integration,” they constitute the “Two Integrations,” a significant theoretical innovation. These two are dialectically unified: the First Integration serves as the logical premise for the Second Integration, while the second completes this logic, elevating “integration” to a new height. As another form of mental emancipation, the Second Integration fosters confidence in China’s history, culture, and civilization. It defines the Chinese civilizational dimension of Xi Jinping Thought on Culture, transforming fine traditional Chinese culture into a valued, structural, and constructive force for the great rejuvenation of the Chinese nation. The Two Integrations, especially the Second Integration, represent an original contribution of Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era. It not only opens a new realm for adapting Marxism to the Chinese context and the needs of the times but also provides theoretical guidance for renewing the ancient Chinese civilization with a new mission and creating a new model for human advancement, demonstrating the Communist Party of China’s commitment to its civilizational responsibility for all humanity.

The Xuanfu theory of traditional Chinese medicine and the health preservation philosophy of Taoism are both important components of Chinese traditional culture, rooted in the cultural core of "unity of heaven and man" and "gasification popularity", and have a natural theoretical compatibility. Traditional Chinese Medicine Xuanfu focuses on the core of "promoting circulation and opening and closing", covering the multidimensional pathways of human body shape, qi, and spirit and intention; Taoist health preservation adheres to the principles of "Dao follows nature" and "dual cultivation of life and soul", pursuing harmony between form and spirit. This article starts from the foundation of traditional culture, sorts out the evolution and core connotation of the Xuanfu theory of traditional Chinese medicine, explains the core and practical methods of Taoist health preservation thought, analyzes the theoretical convergence points of the two in "Qi theory", "holistic view" and "form and spirit view", explores the three-dimensional integration path of "theoretical interpretation", "method complementarity" and "carrier integration", and reveals its practical value for contemporary health preservation and the significance of traditional cultural inheritance. Research has shown that the integration of the two is a return to the integrity of traditional culture and an innovative direction for the traditional Chinese medicine health preservation system, which can provide ideas for modern health management that combine cultural heritage and practical effectiveness.

In the wave of globalization, scattered writing has become an important way for cross-cultural dissemination of Chinese literature. Chinese female scattered authors with dual gender and cultural identities often face unique language and cultural challenges in their creations. This article takes the works of writers such as Yan Geling, Tang Tingting, and Celeste Ng as case studies, based on Homi Baba's "Third Space" theory and combined with Ng ũ g ĩ wa Thiong'o's core discourse on colonial language oppression, to clarify the dual problem of "language alienation" as the weakening of meaning in the mother tongue and the lack of cultural foundation in the second language. It clarifies that "cultural translation" is a creative practice of symbol reconstruction and narrative adjustment, and then focuses on the interactive relationship between the two to explore the process of Chinese female refugees coping with language fragmentation and cultural dislocation in cross contexts, completing cultural meaning transformation and identity dynamic reconstruction through writing. Research has found that language estrangement is not only reflected in the "lack of meaning in words" at the expression level, but also leads to uncertainty in identity cognition. Cultural translation can build a dialogue bridge between different cultures through the concretization of cultural symbols and the adjustment of narrative methods. This type of writing can not only alleviate the anxiety caused by language estrangement, provide fresh text samples for Chinese culture to go global, but also provide a new perspective for understanding the reconstruction of dispersed female identity.

Tourism TV programs have their own unique charm. They can fully explore tourism resources, humanities and historical culture, thereby establishing a city's tourism image and promoting the development of tourism. "Home Far Away" is a travel column focusing on "travel". It will use an "experiential" form to allow everyone to appreciate the beautiful scenery, touch the heritage of Chinese civilization, and experience the "truth" and "kindness" of ordinary people. The program, centered on real stories from ordinary people, showcases diverse geographical features and the unique charm of traditional culture. Its travels and narratives connect with broad and profound national sentiments, fostering a sense of identification with Chinese culture among the audience. Based on Lasswell's 5W communication model, this paper provides a detailed analysis of the program from the perspectives of communication subject, content, channels, audience, and effects. In this research, we linked the five levels of the 5Ws and combined them with relevant theories and the program's current situation to conduct a detailed study, forming a relatively complete research system. This system aims to identify the main factors that enabled "Home Away From Home" to achieve its breakthrough. Finally, the research results are summarized and a preliminary discussion is made on the project's improvement and development.

This study examines mental health services among college students at risk of suicide within Chinese collectivist culture, focusing on the subgroup heterogeneity of help-seeking willingness as outlined by Andersen's model. By incorporating social learning theory, it highlights the significant role of informal social networks in help-seeking decisions in this cultural context, thereby expanding Andersen's model applicability in suicide prevention and providing evidence for targeted campus psychological intervention strategies. A survey of 2,447 Chinese students applied Andersen's Model, using latent profile analysis to identify help-seeking patterns shaped by suicide risk, depression, suicide stigma, social support, and mental health service availability and accessibility. ANCOVA and PROCESS were used to analyze group differences in intentions and the role of others' positive experiences. Four help-seeking groups were identified: Moderate Risk-Resource Limited (19.2%), High-Risk Isolated (4.9%), Low Risk-Stable (55.4%), and Resource Advantage (20.6%). Help-seeking intentions varied significantly (F = 79.16, p < 0.001, partial η² = 0.089), increasing progressively from the High-Risk Isolated to the Resource Advantage Group (ps < 0.01). The perception of others' positive help-seeking experiences significantly boosted intentions, with varying effects across groups. The High-Risk Isolated Group had the lowest intentions, while the Resource Advantage Group had the highest. Under low exposure to positive experiences, the Moderate Risk-Resource Limited Group showed significantly higher intentions than the Low Risk-Stable Group; however, no significant difference was found between these groups in high exposure. Suicidal college students show diverse traits in predisposing, enabling, and need factors under Andersen's model, with help-seeking intentions varying significantly across groups and affected by others' positive experiences. The findings underscore the necessity for targeted, layered interventions to improve campus mental health services while also highlighting the importance of fostering a supportive environment and encouraging colleges to facilitate the sharing of help-seeking experiences to enhance students' willingness to seek help. Not applicable.

The aim of the research is to identify the directions and forms of adaptation of the “socialist city” concept in Chinese urban construction during the 1950s. The article analyzes the influence of Soviet-Chinese cooperation in the field of architecture on the urban planning policy of the People’s Republic of China in the 1950s. The scientific novelty of the study lies in the fact that the construction of socialist cities in China during the First Five-Year Plan, the participation of Soviet specialists in these processes, and the problems of adapting the Soviet construction model to Chinese conditions have not been previously addressed in Russian historiography. As a result of the study, it was established that the adaptation of the Soviet socialist city model took into account the politico-economic conditions of 1950s China as well as the specific characteristics of traditional Chinese culture. The cooperation between Soviet and Chinese specialists enabled the creation of new cities that integrated organically into the Chinese social and cultural context and became part of China’s historical and cultural heritage.

This research focuses on the current application status of Chinese bronze animal patterns in cultural and creative design. Firstly, it defines the concept as the decorative patterns centered on animals on the surface of bronze wares from the Xia, Shang, Zhou to the Qin and Han dynasties. Through stylized refinement, abstract deformation and symbolic expression, they carry religious beliefs, social hierarchy and aesthetic concepts, and are the core visual symbols of Chinese bronze culture. Currently, their cultural and creative applications have formed a pattern of "traditional carriers as the main body, digital carriers as the auxiliary, and practical functions as the orientation", accounting for 38% of the total sales of cultural and creative products in Chinese museums. They cover three scenarios: collection and decoration, daily use, and interactive experience, and the audience is significantly stratified. The cultural collection group prefers high-fidelity modeling cultural and creative products, the 18-35-year-old group favors cost-effective pattern extraction cultural and creative products, and children and teenagers tend to prefer interactive experience cultural and creative products. The specific application paths include: modeling replication type centered on the restoration of the original object, suitable for high-end collection; pattern extraction type that disassembles local visual elements and is suitable for various daily carriers, accounting for more than 60%, covering scenarios such as stationery, clothing, and home furnishings; and interactive experience type that relies on AR/VR technology to enhance the sense of participation. However, the industry development faces three bottlenecks: shallow cultural transformation, with 75% of products lacking interpretation of pattern connotations; innovation homogenization, with three types of elements such as the eyes of the beast face pattern accounting for more than 80%; and unbalanced resource allocation, with a technological resource gap between large museums and small and medium-sized institutions, and the market share of North China and East China accounting for 70%. Currently, the cultural and creative products of bronze animal patterns present the characteristics of "coexistence of scale growth and quality lag, coexistence of leading innovation and tail imitation". In the future, it is necessary to promote high-quality development through technological empowerment of cultural interpretation, IP operation to break homogenization, and regional coordination to narrow the gap.

Despite their popularity globally, the works of Chinese artists remain underexplored. This is due to the differences and unique characteristics of culture. This article explores current issues in the study of Chinese artists' heritage within the thematic range of "mountains and water." The aim of this study is to explore ways and means of comprehending the cognitive meanings of painting that reflect the unique characteristics of Chinese culture. Drawing on a linguacultural approach, this article analyzes the process of visually embodying images and creating "second nature" products to reveal their inherent hermeneutic code. The concept of the interaction between poetry and painting allows for the correlation of the external features of a painting's subject with the artist's inner state. This uncovers shared cognitive meanings that reflect the artist's history, culture, and personality, their unique style, and their unique perspective when interpreting and manipulating visual, spatially structured diagrams. A comparative analysis of these artists' creative heritage allows us to identify the spiritual values inherent in Chinese culture and identify approaches that lead to a deeper understanding.

As an important part of excellent Chinese civilization, Mount Tai culture is a key link in “telling Chinese stories well” in international communication. Based on Lasswell’s model, this research group takes the communication of Mount Tai culture on international platforms as the core research content, with tweets about Mount Tai culture on the international social platform TikTok as the main research object. It explores the current situation of Mount Tai culture in international communication, analyzes its advantages and disadvantages, and proposes feasible paths according to specific circumstances, so as to promote the international communication of Mount Tai culture and facilitate the export of excellent Chinese culture.

The Study of the Meaning of Life is a book by Chinese philosopher Zhengyu Sun, which uses his distinctive ‘critique of meaning’ philosophical method to the fundamental issue of the meaning of life behind the relationship between thought and being. In this book, language, consciousness, death and self-realization are all themes closely related to meaning, and the discussions centred around these themes have also become the most distinctive content. Regarding language, he holds that language is an intermediary between man and the world, preserving human history and culture; Regarding death, he suggests that it prompts people to reflect on life; Regarding self-realization, he argues that man achieve transcendental self-realization by fulfilling their aesthetic needs through practical activities. Sun’s philosophy connects Karl Marx and Martin Heidegger while developing an understanding of meaning in the context of Chinese culture.

&amp;ldquo;Home&amp;rdquo; merits a special niche in Asian/Chinese American mother-daughter narrative, wherein Asian/Chinese American women writers consistently represent mother-daughter dyads in the context of &amp;ldquo;home&amp;rdquo;, investing it with multifaceted significance. This paper examines the shifting connotations of &amp;ldquo;home&amp;rdquo; in mother-daughter narrative in post-1990s Chinese American fiction. Through a comparative reading of three post-1990s works and two pre-1990s counterparts, it charts the transformation of &amp;ldquo;home&amp;rdquo; and contextualizes it in relation to the American social-political circumstances as well as the authors&amp;rsquo; experiential realities. It argues that whereas &amp;ldquo;home&amp;rdquo; functions predominantly as a symbol of traditional Chinese culture in pre-1990s works, it embodies emergent paradigms of diversity, de-racialization, and universality in post-1990s texts. Such shifts are intrinsically linked to the broader transitions in American social and demographic landscape, the ever-changing lived experiences of the Chinese American community, particularly Chinese American women in the new era.

The mental health of students in higher vocational institutions has become a critical concern, with traditional Chinese culture potentially offering solutions through its positive psychological influences. This study investigates the relationship between traditional Chinese culture and the mental health of vocational students. A random sampling approach was employed to select 432 participants from eight classes of the 2022 and 2023 cohorts at Shunde Polytechnic, representing diverse disciplines such as literature, engineering, and science. Data were collected via an online survey using the platform Questionnaire Star, complemented by interviews for quality assurance. The Beck Depression Inventory (BDI-13) was used to assess mental health status. Results revealed that most students had only a superficial understanding of traditional culture, partly due to monotonous teaching content. Mental health assessments revealed a high prevalence of psychological distress among students, including symptoms of depression and pessimism. Further analysis demonstrated an inverse relationship between positive cultural identity and lower levels of psychological distress, while active engagement with culture was linked to better mental health. A multivariate linear regression analysis indicated that participation in cultural activities, such as drama, was associated negatively with depressive symptoms, and that engagement with classical literature was linked to a mitigation of pessimistic attitudes and other psychological concern. This cross-sectional study demonstrates that positive cultural identity and active cultural engagement are significantly associated with better mental health outcomes among students. Specifically, participation in cultural activities such as drama and engagement with classical literature show consistent negative associations with depressive symptoms and pessimistic attitudes. These observed relationships highlight cultural engagement as a potential area for future longitudinal or interventional research to explore its protective role in student mental health.

With the deepening of global cultural exchanges, the international dissemination of Chinese architectural culture has become increasingly important. The English translation of culturally loaded terms in Chinese architectural aesthetics, as the key carrier of this culture, faces challenges such as semantic loss, cultural misreading, and aesthetic dilution. This study, grounded in the theoretical framework of cultural translation, systematically sorts and analyzes the culturally loaded terms in Chinese architectural aesthetics. Through a combination of case analysis and comparative research, it explores the applicability and effects of different translation strategies (such as transliteration, literal translation, liberal translation, annotation, and transliteration + literal translation) for different types of terms. The research finds that the choice of translation strategy should follow the principles of "culture as the foundation, communication as the purpose, and audience as the guide," forming a dynamic and multi-level strategy system. For core philosophical and aesthetic concepts (e.g. Qiyun, Yijing), a strategy combining transliteration and annotation is recommended to preserve cultural identity; for technical and morphological terms with corresponding objects (e.g., Dougong, Sunmao), literal translation or transliteration + literal translation can be used to ensure accuracy; for terms describing styles and sensations (e.g., Feidong, Chenwen), liberal translation is more conducive to conveying aesthetic feelings. This study aims to provide theoretical reference and practical guidance for the translation of Chinese architectural texts, cross-cultural communication of architecture, and the compilation of relevant dictionaries, thereby promoting the global understanding and recognition of the profoundness of Chinese architectural culture.

Chinese architectural aesthetics, imbued with profound philosophical thought, cultural connotations, and artistic spirit, sees its English translation as a vital component of China's "going global" strategy for culture. However, the significant disparities between Chinese and Western thinking patterns, aesthetic systems, and linguistic structures pose a core challenge: how to accurately convey the aesthetic essence and unique style of the original text in the translation. This paper aims to systematically investigate the issue of style reproduction in the English translation of texts on Chinese architectural aesthetics. It focuses on the stylistic features of such texts at the lexical, syntactic, rhetorical, and textual levels, and the challenges encountered during cross-cultural transfer. By constructing an integrated analytical framework encompassing "Linguistic," "Cultural," and "Aesthetic" dimensions, this study selects English translations of classical and contemporary architectural texts, such as The Craft of Gardens and Chinese Architecture: Art and Artisanship, for detailed comparative case analysis. The findings reveal a trend in style reproduction strategies, shifting from a dominance of "domestication" towards a balance between "foreignization" and "compensation." Successful translations manage to preserve the poetic quality, ambiguity, and philosophical depth of the original texts within the acceptability limits of the target readers, through creative use of English lexicon and syntax, flexible handling of culture-specific terms, and skillful transplantation of rhetorical imagery. The study concludes that the reproduction of style in translating Chinese architectural aesthetics is a dynamic and creative process of "rewriting," whose ultimate goal is to achieve cultural fidelity and aesthetic equivalence, rather than mechanical word-for-word correspondence. This research holds theoretical and practical significance for enhancing the quality of translating Chinese architectural culture and deepening the dialogue between Chinese and Western architectural aesthetics.

' Telling China's story well ' is a major strategic issue facing China in the new era. It is of great significance to break the monopoly of Western discourse, promote the Chinese culture to go out and build a community with a shared future for mankind. However, the differences in culture and values, the limitations of communication channels and platforms, the problems of language and translation, and the lack of content innovation and attraction in the current international communication practice have seriously restricted the communication effect. Based on the unique perspective of Marxist social science methodology, this paper systematically explains the four basic principles of the methodology : objectivity, subjectivity, integrity and concreteness, as well as the connotation of the three core methods : contradiction analysis, class analysis and social system analysis, and puts forward some countermeasures, such as cultivating communication talents, innovating communication carriers and optimizing translation system, in order to provide theoretical reference and practical path for constructing the international communication system of Chinese stories and enhancing the international discourse power.

This article examines how Chinese culture is represented in leading Russian media from 2019 to 2025. The study focuses on discrepancies in cultural framing strategies found in media texts from three publications: Rossiyskaya Gazeta, Kommersant, and Komsomolskaya Pravda. The analysis shows that official and business media construct an institutionalized and modernized image of China, integrating cultural elements into narratives of diplomacy, global governance, economic cooperation, and technological development. Such framing positions China as a strategic partner and an influential global actor. In contrast, the entertainment press emphasizes festive, everyday, and partially exoticized cultural aspects, adapting representations to the preferences of mass audiences and highlighting visual appeal, traditional practices, and cultural routines. These differences illustrate the multilayered nature of Russian media discourse and demonstrate that China’s image is shaped by each outlet’s genre and target readership. Methodologically, the study employs a comprehensive approach combining corpus linguistic analysis, statistical procedures, and comparative discourse analysis of media texts. The research’s novelty lies in its integrative examination of how various segments of the Russian media sphere construct Chinese cultural imagery, blending elements of tradition, modernization, and diplomatic positioning. The findings reveal that official and business media prioritize institutional and globally oriented cultural narratives, while entertainment media foreground accessible, aesthetically engaging, and everyday cultural motifs. Chinese culture thus functions in Russian discourse both as an instrument of soft power for elite audiences and as a mass-market cultural product. The study’s practical significance consists in demonstrating the need to diversify cultural coverage in Russian media and to promote hybrid forms of cultural diplomacy that connect traditional heritage with contemporary cultural and political contexts.

The subject of the study is the process of cross-cultural communication and adaptation of the mythological Chinese archetype of the White Snake in foreign screen adaptations (movies, television series, anime, opera). The authors of the article analyze philosophical and cultural meanings, the issue of preserving the demonic nature of the character and the loss of human nature through the prism of various media and civilizational interpretations. The intercultural adaptation of myth is presented in the article as a high-level form of cultural reception, an important research model of intercultural communication (using the example of the Western, Japanese and Thai models). The purpose of this study is to propose effective strategic solutions to overcome the problems associated with the passive perception of media interpretations by audiences in different countries, thereby contributing to the development of a more efficient and autonomous system for exporting Chinese culture to the international level. The research methodology is comprehensive: the article compares and analyzes the adaptation options of the image of the White Snake, a traditional Chinese mythological archetype, in other civilizations of the East and West. The authors of the article carry out an attribution analysis and clarify the structural boundaries of intercultural understanding and the problem of passive perception at the strategic level. The relevance of the presented research lies in the cultural strategy and sovereignty of the export of Chinese culture (the form of cultural conflict and dialogue as a process of cross-cultural adaptation is analyzed). The study is relevant for China and other countries seeking to effectively and equitably represent their cultural heritage on the world stage, bypassing exoticism and orientalism. The article also explores the way in which mythological archetypes are perceived through audiovisual media, and the transformation of the modern media landscape. The scientific novelty of the study is to identify more of the negative aspects of the issue under consideration than the positive ones. This approach reveals the semantic barriers of intercultural communication contained in the fundamental difference between cultural code and ontology. The mythological archetype is considered in the article as a communicative cultural strategy, a comparative and semiotic analysis of the visual image of various civilizational areas is carried out. The authors draw conclusions about the need for inter-civilizational dialogue through the strengthening of cultural symbols, empathy of narrative, localization of archetypes.