This essay is written to promote effective vocabulary teaching for Chinese English teachers. Vocabulary is an important part of English learning in primary school, and it is also important for students to focus on memorizing during the learning process. This essay begins with a review of existing literature that summarizes main theories of vocabulary and different teaching approaches. Then, it suggests which aspects of English vocabulary should be taught and the suitability of different teaching methods for learners based on the characteristics of Chinese primary school students learning English. Finally, it provides suggestions for improving teachers' effective teaching and young learners' interest in vocabulary learning.

This article traces the historical emergence and development of the concept of ugliness in Western classical art, focusing on its evolution from ancient Greece to the 20th century. Initially, beauty was revered above all else, with ugliness deemed impure and sinful. However, thinkers like Augustine introduced the idea of relative ugliness, highlighting its role as a contrast to beauty. In the 18th century, Baumgarten defined aesthetics, exploring the notion of ugliness as the opposite of beauty. Rosenkranz further categorized ugliness into natural, spiritual, and artistic forms, laying the foundation for modern ugliness studies. The tumultuous social backdrop of the 19th and 20th centuries, including the World Wars and economic disparities, saw a resurgence of interest in ugliness as a means of artistic expression. This trend manifested notably in expressionist music, exemplified by Arnold Schoenberg's adoption of the twelve-tone technique. Schoenberg's "Prelude" is analyzed to demonstrate how he utilized rhythm, meter, dynamics, and melodic direction to embody the principles of ugliness studies. The article concludes by emphasizing the significance of ugliness studies in modern and contemporary art, challenging traditional aesthetic principles and contributing to a broader understanding of artistic movements beyond beauty.

In previous studies of the Evenki ethnic group, different perspectives have been presented regarding the research on Evenki language culture in various historical contexts and research periods: researchers from each era exhibit differences in research directions, angles, and awareness of issues. These differences are closely related to research objectives, external backgrounds, power relations, and the development of disciplines in different eras. This article suggests that an analysis of the Evenki language not only helps us understand the changes in ethnic language forms over different periods but also allows us to observe people's psychological states and practical needs against the backdrop of the times. In the context of today's era, this can effectively enhance our adaptability to linguistic and cultural transformation, and desktop research is a rapid method of reading literature and collecting language information categorization. The article demonstrates that the desktop learning research method proposed surpasses current typical language learning methods, helping us better adapt to the intelligent society and the era of big data.

Whether it’s mainland China’s Hao Fang or Taiwan’s Zhang Tiezhi, they are both committed to constructing a “resistance” narrative to describe the rise and development of rock music. [1] Zhang Tiezhi believes that the emergence of rock music in mainland China has already “carried the banner of enlightenment.” [2] He also mentioned that rock music, together with poetry, films, the documentary “River Elegy,” and the book series “Toward the Future,” collectively constituted the “enlightenment power of the chaotic era.” [2] However, as part of the cultural mosaic of mainland China in the 1980s, how was rock music shaped, reconstructed, and utilized in the power system of commerce, culture, and politics? How does rock music interact and create tension with other cultural phenomena? With the tremendous changes in Chinese society in the 21st century, facing different historical contexts, has Chinese rock music also undergone changes? Unfortunately, Zhang did not delve into these questions seriously, and at the same time, mainland Chinese rock musicians have not included these questions in their thinking. This paper selects Cui Jian and the Second Hand Rose band as representatives of Chinese rock music in different periods. Through the theoretical perspectives of political philosophy, sociology, and history, it analyzes their lyrical texts and historical backgrounds, delving into Cui Jian’s unique understanding of “revolution” and “capitalism” as a rock superstar of the 1980s, and how this understanding has shaped the unique “sensory structure” of Chinese rock musicians. At the same time, this paper aims to provide some insights for the future development of Chinese rock music.