外语教学评价存在"评价即测量"的固有观念,评价内容无法完全对标课程目标,且现有评价模式无法使学生获得及时有效的反馈.生成式人工智能的迅速发展为外语教学评价的根本性变革带来重要契机,能够大幅提升教学评价的效率、创新评价模式、提高评价的个性化水平.然而,人工智能在赋能外语教学评价的同时也存在一定局限性,这主要体现在:生成内容的准确性和客观性有待验证、"智能生成"造成教学评价不公、"智能评价"导致评价主体不明.因此,应通过转变评价理念、智能生成高质量测评资源、构建多元教学评价模式、严格审核评价各个环节、强化学术诚信理念,规避人工智能赋能外语教学评价的局限性,使人工智能有效赋能外语教学评价.; Foreign language teaching assessment has long been constrained by the entrenched notion that"assessment equals measurement."As a result,assessment content often fails to fully align with curricular objectives,and existing assessment mod-els are unable to provide students with timely and effective feedback.The rapid development of generative artificial intelligence(GAI)presents a significant opportunity for the fundamental transformation in foreign language teaching assessment,and GAI can substantially enhance the efficiency for the,innovate its models,and enhance its personalization.However,while empower-ing foreign language teaching assessment,GAI also exhibits certain limitations.These are mainly manifested in the unconfirmed accuracy and objectivity of generated content,the potential for"intelligent generation"to lead to inequities in assessment out-comes,and the ambiguity of assessment agency resulting from"intelligent evaluation."Accordingly,it is necessary to mitigate these limitations by transforming assessment philosophies,leveraging intelligent technologies to generate high-quality assessment resources,constructing diversified assessment models,rigorously reviewing each stage of the evaluation process,and strengthen-ing the principle of academic integrity.Through these measures,GAI can be effectively integrated into foreign language teaching assessment to optimize its overall effectiveness.

兴献王朱祐杬死后的身份被其子朱厚熜不断重塑,这直接影响到朱祐杬实录名称的变化.初,兴献王升格为"兴献帝",后又在帝上加"皇"字,同时送上一个新的谥号"恭穆".最后,又追上庙号"睿宗".早在上庙号之前,世宗就迫不及待地为乃父修纂实录,导致该实录与明代所有实录称"祖""宗"不同,而仅为称"谥"实录,即"恭穆献皇帝实录".然而,后世并未严格遵循始修时所用的名称,而是各有叫法,且多有感情偏向:称全称"恭穆献皇帝实录"比较正式;称"献皇帝实录"比较普遍;称"献皇实录"比较亲切;称"献帝实录"则相对冷漠;称"睿宗实录",则是事后追称,是按实录称"祖""宗"之例的通俗称呼.这种现象,反映了该实录性质的特殊性和认知的复杂性,以及政治环境变化所导致的史书多名并称的状态.; The posthumous status of Zhu Youyuan,Prince Xingxian,was continuously reshaped by his son Zhu Houcong,which directly affected the changes in the title of Zhu Youyuan's Veritable Records.Initially,Prince Xing was elevated to the title of"Emperor Xingxian";subsequently,the character"Huang"(Imperial)was appended to his imperial title,along with the new post-humous epithet"Gongmu".Eventually,he was conferred the temple name"Ruizong".Even before the temple name was granted,Emperor Shizong hastily ordered the compilation of the Veritable Records for his father.As a result,unlike all other Veritable Re-cords of the Ming Dynasty,which were named after temple names with"Zu"or"Zong,"this Veritable Records was titled solely by its posthumous title:Veritable Records of Emperor Gongmu Xian.Later generations,however,did not strictly observe its orig-inal compiled title;instead,various forms were used,often reflecting different attitudes:the full title Veritable Records of Emper-or Gongmu Xian is formal;Veritable Records of Emperor Xian is common;Veritable Records of Xian,the Emperor is intimate;Veritable Records of the Emperor Xian is relatively impersonal;and Veritable Records of Ruizong is a retrospective designation,following the common practice of naming Veritable Records after the temple names.This phenomenon reflects the unique nature and complicated perception of this Veritable Records,as well as the coexistence of multiple historical titles caused by shifts in the political environment.

刘知幾《史通》的《疑古》《惑经》篇因其对儒家经典的质疑,长期被视为"妄诬圣哲"之作,而随着近代"科学"观念的风靡以及西方史学理论的输入,《疑古》《惑经》呈现出饱含怀疑和批判的科学精神以及与西方考证暗合的形象,之后,近现代史学的发展确立了其作为"学科典范"以及"蕴含多元价值的史学经典"的学术地位.这一历史形象变迁过程不仅映射出中国传统史学的现代化路径,亦可为当下传统史学遗产的创造性转化提供借鉴.; The chapters"Yi Gu"and"Huo Jing"in Liu Zhiji's Shitong have long been regarded as works that"blaspheme against the sage scholars"due to their questioning of Confucian classics.However,with the rise of the modern concept of"science"and the introduction of Western historiographical theories,these chapters are interpreted as exemplifying a scientific spirit of skep-ticism and criticism,in line with Western textual criticism.Subsequently,the development of modern and contemporary histori-ography established these works as"disciplinary paradigms"and"historiographical classics containing pluralistic values".This transformation of their historical image not only reflects the modernization path of traditional Chinese historiography,but also offers insights for the creative transformation of traditional historiographical heritage today.

在大力发展数字经济的背景下,我国的金融科技公司在数量和规模方面不断扩张,成为减少金融排斥、推动新质生产力形成的重要力量.然而金融科技公司的运行始终面临着金融与科技的交织,产生了金融安全、垄断、消费者保护等多方面的法律问题.近年来我国依据"相同业务,相同风险,相同监管"的功能监管理念颁布了多项规制金融科技的法律规范.但单纯依据功能监管理念规制金融科技公司难以应对大型金融科技公司可能产生的系统性风险,不利于垄断问题的规制,难以实现对消费者的特殊保护.因此应引入金融科技公司的类型化规制路径,即依据金融科技公司风险的程度将金融科技公司进行分类监管,这是提高金融科技公司监管有效性、促进我国数字经济发展整体安全的有效路径.; Under the background of vigorous development of the digital economy,fintech companies in China have been expand-ing continuously in number and scale,becoming an important force in reducing financial exclusion and promoting the formation of new quality productive forces.However,the operation of fintech companies is always characterized by the integration of fi-nance and technology,giving rise to various legal issues concerning financial security,monopoly,consumer protection.In recent years,China has enacted a number of laws and regulations governing fintech based on the functional supervision principle of"same business,same risk,same regulation".Nevertheless,relying solely on the functional supervision principle is inadequate for addressing the systemic risks of large fintech companies,curbing monopolistic behavior,or ensuring sufficient consumer pro-tection.Therefore,a typified regulation path for fintech companies should be introduced,namely classified supervision of fintech companies according to their risk level.This approach will enhance the effectiveness of regulation and ensure the overall security of China's digital economy.

在学院派知识分子返乡文章及"返乡体"创作退潮之后,出身农村的大学生接力开展了返乡书写.在乡村振兴的实践力量推动下,大学生返乡书写的独特之处在于他们更多地接纳了自己是有文化的乡民而非城市"伪精英"的身份,对乡村问题的暴露分析也更趋于理性、客观与平衡,进而还表现出用乡村答案回击城市问题的反凝视意识.他们不仅进行了建设性的创作实践,也在用亲身劳动、情感联结、社群融入等方式尝试"再嵌入"乡村社会.他们的返乡书写文本在叙事上变卑微为自信,化极端为日常.大学生的返乡书写在接纳确认"吾乡与吾民"的同时,也存在着文本弱化与传播失流的问题,需要文学性真实、新闻专业主义、调查研究学术规范等范式力量加以匡正.; After the decline of writings by academic intellectuals returning to their native places and the ebb of the"homecoming writing genre",college students from rural backgrounds have taken up the baton of homecoming writing.Driven by the practi-cal force of rural revitalization,the uniqueness of college students'homecoming writing lies in their greater acceptance of their identity as cultivated rural natives rather than urban"pseudo-elites".Their exposure and analysis of rural issues have become more rational,objective and balanced,further demonstrating a counter-gaze consciousness that responds to urban problems with rural solutions.They have not only carried out constructive creative practices,but also attempt to"re-embed"themselves in rural society through personal labor,emotional connection and community integration.Narratively,their homecoming texts have trans-formed humility into confidence and extremism into daily life.While accepting and affirming"my hometown and my people",college students'homecoming writing also has problems such as textual weakening and communication drain,which need to be rectified by normative forces such as literary authenticity,journalistic professionalism and academic norms of investigation and research.

20世纪20年代，是中国史学史学科兴起的重要阶段。1921年，梁启超基于建设"理想的中国史"，初次表达撰写中国史学史之意。其后，他系统提出了中国史学史的"专史"构想。在历史教育领域，北京大学史学系率先开设中国史学史课程，由朱希祖编写了相关教学讲义。其后，陈功甫依据时代先后进行编写，呈现了中国史学史讲义的不同面貌。徐敬修的《史学常识》和柳诒徵的《史学概论讲义》，对梳理中国史学发展历程和普及中国史学史知识也有积极贡献。而郑鹤声的《汉隋间之史学》一文，作为两汉至隋代史学的专门著述，亦是一项重要的中国史学史专史的早期成果。这一时期中国史学史撰写的构想与尝试，侧面反映了其学科的自主建设之路，可为当下的研究和撰写提供一定的参考与借鉴。

“燕京八绝”并非自古有之的称谓，而是基于八项宫廷技艺文化同源性与当代传承需求，对元明清宫廷中八种代表性技艺共同体“追认”的集合性概念。元明清三代宫廷通过空间重叠、制度贯连、审美统摄，使八种技艺形成了特定的“耦合”关系，解决了技艺共同体如何长期稳定凝聚的问题。技艺间的跨门类对话与纹饰样式的内部衍生，则以“互文”的方式解决了稳定结构下共同体内部如何保有生命力、创造力的问题。而当代“燕京八绝”的“非遗”集群传承正是基于其作为顶级工艺技艺集群的真实动力，力图借助其内部和外部机制，通过品牌整合、跨工艺创新等集体性保护策略实现更好的发展。“燕京八绝”作为“非遗”集群的生成与延续逻辑，也为传统工艺美术类“非遗”集群的整体性保护提供了理论依据。

社会参与作为一种具有实践可塑性的积极老龄化方式，可能对延缓老年人认知衰退产生重要影响。通过分析中国健康与养老追踪调查（CHARLS）2011—2018年四期面板数据以及12位社区老年人的访谈资料，可以发现，熟人社交、志愿服务和消遣娱乐均能够有效延缓老年人认知衰退。从作用机制来看，社会参与主要通过情感支持、社会角色延续与认知刺激等机制发挥作用。基于此，应进一步优化社区熟人社交支持体系，规范老年志愿服务，丰富社区文娱与兴趣学习活动，持续提升老年人社会参与水平，促进老年人认知健康。

在教育数字化快速发展的背景下，大数据、云计算、人工智能等数智技术可以推动高校思政课向多元互动、精准育人、沉浸体验的新型教学范式转型。从内在机理上，数智技术可以构建靶向式互动教学逻辑、完善多样化互动教学形式、构筑一体化互动教学基座、深化沉浸式互动教学效果，但也存在内容失真与价值导向偏差、内容空心化与教学实效弱化、情感互动降温与人文关怀弱化、数据信息安全与管理保障缺位等风险。对此，需要进一步强化价值引领、深化融合应用、回归教师主导、健全管理保障，推动思政课教学改革创新。

《哪吒之魔童闹海》是一部神话题材的国产动画电影.它并非重述传统神话,而是采取新神话主义的策略对传统神话进行了创造性重构,塑造出符合当代审美与价值观念的人物形象,并通过易被年轻人接受的一系列叙事方式与融合古典美学的技术升级,呈现出一个具有当代价值内核的新哪吒神话.影片突破传统的父权叙事,强调代际和解与对正义世界的集体探寻,借助春节档期引发不同年龄观众的共鸣.在电影本身的新神话主义建构之外,影片在上映过程中还在多方助力下成为一个罗兰·巴特语境中的"今日神话",承载了"中国电影的骄傲"这样的外在意涵.而正是由于这种双重的神话建构,《哪吒之魔童闹海》才创造了票房神话.; Ne Zha 2 is a domestic animated film themed around mythology.Rather than retelling traditional myths,it adopts a neo-mythologistical strategy to creatively reconstruct them.It shapes character images that align with contemporary aesthetics and values,and through a series of narrative methods easily accepted by young people as well as technological upgrades integrat-ed with classical aesthetics,it presents a new Ne Zha myth with a core of contemporary values.The film breaks through the tra-ditional patriarchal narration,emphasizes intergenerational reconciliation and the collective pursuit of a just world,and resonates with audiences of different age groups by virtue of its release during the Spring Festival holiday period.Beyond the neo-mytho-logical construction of the film itself,during its screening,the film also became a"Myth Today"in the context of Roland Barthes with the support of multiple parties,carrying external connotations such as"the pride of Chinese cinema".It is precisely because of this dual myth construction that Ne Zha 2 has created a box office myth.