1950 is a very special period for the development of feminism in both China and the West. The People’s Republic of China was just established and the West was experiencing the second wave of feminist. However, the feminism in these two areas developed in different ways, that Chinses feminism is the “state feminism” while the West is “liberal feminism”. This kind of difference results from the different social environment, especially the political policy in China and the West. The Communist Party of China took feminism as a tool to consolidate socialist construction, so it launched the feminist movement from top to bottom. The second feminism in the West is a bottom-up movement for women to fight for their own rights and interests, and they use magazines and other mass media as a means of struggle. By comparing the difference of the feminism in China and the West, the flaws of these two kinds of development of feminism could also be shown.

This article examines three of David Korins’ most successful works: Hamilton, Dear Evan Hansen, and Beetlejuice. By analyzing the set designs he made for these three shows, this article argues that Korins has a strong ability to find the solution to the specific design details that are linked closely to the plot, characters, and the author of the show to support the visual play and immersive environment. However, Korins’ designs sometimes can call too much attention to themselves, suggesting that the live performance is in service to the set rather than creating sets that are in service to the show. This risky characteristic becomes more and more prominent in his career.

Race and race-related issues are pervasive in the United States, causing detrimental consequences at individual and societal levels. Not only in the United states, racial conflict also exists in racially homogeneous countries, such as China, given the rising economic development and cultural communications between Chinese society and other nations. The present article aims to reveal the development of racial attitudes among Chinese adolescents and adults. We assessed implicit and explicit racial attitudes toward Black and White people among 60 Chinese participants (M age = 18.04; 34 female). Participants’ implicit racial attitudes were measured via an Implicit Association Test (IAT), and their explicit racial attitudes were measured via an explicit scale. We found that Chinese adolescents and adults displayed both implicit and explicit racial biases against black people; however, they did not show implicit or explicit racial biases against white people. We also found that participants’ implicit and explicit racial biases were not affected by their age or gender.

Taking the rural landscapes of ethnic minorities as the research object, this article analyzes the research status of Chinese ethnic minorities rural landscapes via the method of Citespace. The research results indicate the fragmentation and theorization of the domestic rural landscapes, which is due to the lack of rural landscape assessment system from the perspective of domestic heritage. Hence, it leads to the disjunction between the landscape theory and practice, as well as the insufficiency of landscape man-land consciousness. As a result, this article intends to start from the perspective of rural landscape heritage. Through the analysis of domestic and foreign landscape cases, it initially constructs an ethnic minority rural landscape evaluation system from the heritage perspective, so as to promote the further integration and improvement of theory and practice in domestic ethnic minority landscape.