?īn，Tabja?， Catai， China： Chronological Evolution and Spatial Distribution of Foreign Names for China （Chapter One）

LI Baojia

（Center for Russian Language， Literature， and Culture Studies， Heilongjiang University， Harbin 150006; Center for Chinese Literature and History of the Borderlands， Yili Normal University， Yining， Xinjiang 835000）

Abstract： In Chinese history， the Chinese people had called their country Huaxia， Chixian Shenzhou，Zhonghua， Zhongyu， Zhongtu， and more， based on ethnicity or geography， yet there wasn't a constant，official name throughout the dynasties. Meanwhile， the historical names for China called by othercountries， regions， and ethnic groups had undergone changes. This article examines those names fromCentral Asian， Western Asian， Western European， Southwest Asian， Turkic and Mongolian countries.From 600 B.C. to the sixth century， countries like Persia， Greece， Rome， and India called China ?īn，??ini， Sêrica， and Cīna， names originated from the unique Chinese product—silk （sīr/ser in ancientChinese）. This article aims to provide further insights into the emergence and development of thesehistorical names for China in various regions and among different peoples， drawing on research byboth Chinese and foreign scholars.

Keywords： China; name for China in foreign languages; silk; ?īn; Cīna

Leviathan and Scapegoat： A Critique of "Dehistoricization" in Eagleton's Later Political Philosophy

LIN Yunke

（School of International Chinese Studies， East China Normal University， Shanghai 200062）

Abstract： In China， Terry Eagleton is often recognized as a literary theorist， which overlooks hisidentity as a left-wing thinker. In recent years， with the extensive translation and introduction ofhis later works in the humanities， Eagleton's profile as a political philosopher has become clearer.Eagleton's political philosophy exhibits a blend of imagery and a dialectical stance， reflecting typicalBritish empiricism and the anthropological tradition. Understanding his style and distinguishing itfrom European political philosophy is crucial for comprehending Eagleton's later writings.

Keywords： political philosophy; secularization; Hobbes; scapegoat; Eagleton

Formula and Rejection： Reexamining A. C. Bradley's Unity of Formula and Content， and More

CHEN Hao

（School of Humanities， Shenzhen University， Shenzhen 518060）

Abstract： In response to the discussion concerning the unity of artistic formula and content in A.C.Bradley's "Poetry for Poetry"， Peter Lamarque offers a more comprehensive and lucid explanation.He purposes that the unity of formula and content should be perceived as an interpretative frameworkimposed by readers onto poetry. In contrast， Modernist poetry contradicts Lamarque's assertion， as itsdistinctiveness resides precisely in the division between formula and content. The unity of formulaand content ought to be regarded as a cultural expectation placed upon poetry by readers， while theaesthetics of poetry can intentionally resist this expectation.

Keywords： A.C. Bradley; formula; content; unity Rethinking Francis Bacon's Triptych： Structural Anthropology and Deleuze's "Third Way"

ZHOU Houyi

（School of Philosophy， Fudan University， Shanghai 200433）

Abstract： British painter Francis Bacon advocated for the separation of the image from representationin painting. He attempted to create a new "image" through the triptych， thereby avoiding "illustration"and "narration"， confronting the reality of painting， and achieving the liberation of the image. InFrancis Bacon， logique de la sensation， Gilles Deleuze argued that Bacon ventured onto a "thirdway" between "abstraction" and "figuration" yet did not provide a detailed explanation of this "thirdway". Claude Lévi-Strauss' structural anthropology， which examined the organization and socialrelationships within American tribal communities， revealed a triadic perspective that challengeddualism. This perspective offers a fresh angle for understanding Bacon's painting.

Keywords： Francis Bacon; triptych; Deleuze; structural anthropology; Lévi-Strauss

On the Royal Qin Daizhao in the Sui and Tang Dynasties

ZHANG Huaying

（Musicology Department， Central Conservatory of Music， Beijing 100031）

Abstract： The Sui and Tang Dynasties inherited the Daizhao system from the Northern and SouthernDynasties. Emperor Xuanzong of Tang established the Imperial Academy， to which Qin Daizhaobelonged as part of the Hanlin Daizhao. Subsequently， the Daizhao of Qin， Qi， Calligraphy， Painting，and Medicine were separated from the Literary Daizhao. The appointment of members to the ImperialAcademy did not adhere to strict rules. Qin Daizhao was usually appointed by the emperor， throughrecommendation， or based on family inheritance. It did not hold an official rank， and therefore itsstatus should be inferred from that of other official positions. The Tang dynasty also had a rewardingmechanism known as the "clothes of glory"： red and purple attire symbolized the highest royalrecognition of an artist. For example， He Ruoyi was granted red attire by the emperor. Qin Daizhaorarely appears in historical documents. Recorded names include Xue Yijian， Lei Yan， Zhao Weijian，Song Ji， He Ruoyi， and Wang Jin'ao. The magnificent art of Qin during the Sui and Tang Dynasties isindicative of the spirit of the times.

Keywords： Sui and Tang dynasties; Qin; Imperial Academy; Daizhao

Exploring Zhu Zaiyu's Theory of Caoman

LIU Chenyang， Gu Jie

（Musicology Department， Wuhan Conservatory of Music， Wuhan 430000）

Abstract： Zhu Zaiyu inherited and developed his theory of Caoman through his family education.After his father， Zhu Houwan， resumed his post， the father and son collaborated on writing music scores，including Caoman and Xuangong， which were compiled into Caoman： Scores of Qin. In his Essentialsof Music， Zhu Zaiyu proposed Caoman as a series of musical theories and practices encompassingstrings， tones， rhythms， fingerings， mnemonics， and music scores. He advocated for Caoman to be thefoundational point of music education， as well as the moral aspiration of a literati. Caoman continuesto provide inspiration for subsequent music education， musicology， and modern practices.

Keywords： Zhu Zaiman; Caoman; Qin; string

The Science of Laughter and Its Inspiration for Stage Performance

HE Huibin

（School of Foreign Languages， Zhejiang University， Hangzhou 310058）

Abstract： Laughter can be categorized into three types： laughter of joy， social laughter， and humorouslaughter. Laughter of joy is rare and characterized by the movement of the orbicularis oculi muscle，driven by true happiness， making it the difficult to perform. Humorous laughter arises from the senseof disharmony and can be artificial， sharing neural mechanisms and facial muscle movements similarto laughter of joy. Humorous laughter is the essence of comedic laughter， and as long as actors cangrasp humor naturally， they can perform humorous laughter. Social laughter does not require activationof the orbicularis oculi muscle and is a component of communication， unrelated to happiness， posinglittle difficulty in performance. In reality， those who make jokes often hold higher social status， whilethose who listen tend to "self-deprecate" and appear awkward， becoming “targets of laughter”. In thetheater， although actors are the speakers， they become the targets of laughter， leading them to "selfdeprecate"and appear awkward， while the audience experiences a sense of superiority.

Keywords： laughter; neural mechanism; facial muscle; verbal expression and vocalization; gender;social status

Scenic Narrative and Empathetic Communication of Museum Spaces in the Context of the Technical Iteration of Metaverse

JIANG Ling， ZHANG Yuhan

（School of Media and Communication， Shanghai Jiao Tong University， Shanghai 200240）

Abstract： Metaverse， as a process of technical integration and sensory creation， not only enhancesscenic narrative but also extends the sensory experience of individuals， bridging the gap betweenphysical space and the audience's mindswhen applied in museum spaces. With the support of themetaverse， museum scenes transform into "embedding communication in narrative"， presentingscenic narrative and empathetic communication as an integrated "encoding-decoding" process. In the"encoding" phase of the metaverse， factors such as spatial design， exhibit arrangement， interactiveexperiences， real-time status， and visitors' backgrounds can be taken into consideration， making thescene narrative more effective. In the "decoding" phase， the immersive experiential scenes createdby the metaverse can engage the embodied， sensory participation of individuals， stimulating theirempathetic potential. However， whether the blurring between the virtual world and reality diminishes the aura of culture and people's perception of it needs further examination.

Keywords： metaverse; museum space; scenic narrative; encoding-decoding; empathetic communication

A Comparative Study of Traditional Chinese and Japanese Pastry Mold Patterns

WANG Xin

（Department of Visual Communication Design， China Academy of Art， Hangzhou 310002）

Abstract： China and Japan， as two representatives of Asian culture， share cultural traits yet exhibitdifferences in values， craft styles， aesthetics， and expressions in traditional pastry molds. Influencedby historical， geographical， and social factors， the Chinese appreciation for beauty， joy， harmony， andeternity， and the Japanese preference for yugen， aware， wabi-sabi， and iki， are reflected in traditionalpastry molds. These molds showcase the distinct characteristics and features of Chinese and Japanesetraditional pastry cultures， highlighting the diversity， mutual influence， and coexistence within Asianculture. This paper conducts a comparative study of pastry molds from the late Qing Dynasty to theRepublic of China and from the Meiji era to the Showa era. It analyzes the similarities and differencesin pastry patterns' themes， forms， craftsmanship， aesthetics， and semantics in both countries during thesame period， providing insights into the changes and developments of modern Asian aesthetics andreflecting on the significance of traditional Asian pastry patterns on a global scale.

Keywords： Chinese pastry wooden molds; wagashi molds; Asian pattern aesthetics