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The author reviews the historical context for women in recent Chinese history, and applies ideas of several contemporary psychoanalysts to examine the female element in development, as well as the implications for the clinical situation. She particularly examines the mother–daughter element and aspects of primary identification in the female element of development.

As the term diaspora can also be used to think through the intrusion of the colonialism, Michelle de Kretser's The Hamilton Case is divided into three parts due to the characters' attitudes towards the West. Sam's positive reflection on colonialism is revealed in his hope to move to the West and struggle to embrace his dream of western metropolis by complying with the British criteria. Jaya's resistant stance motivates him to initiate the country's political independence and ethnic strife to combat colonialism. Shiva resists colonialism in Sri Lanka, but he caters to the taste of local readers by making use of exoticism after his migration to the West.

The redevelopment of popular music in mainland China had gone through the transformation from banned 'porno music' in the early 1980s to officially acknowledged ' Tongsu' music in 1986 to commercialized popular music since 1992. This transformation triggered the constant negotiation between politics and economy, ideology and market, propaganda and entertainment. The government compromized for market and economy, but this did not suggest that the government was willing to give up control over popular music. On the contrary, the government aimed to establish double hegemony over market and ideology control. As the mouthpiece of the government, CCTV (China Central Television) had played a vital role in structuring and solidifying this double hegemony, which allowed CCTV to influence the conversion between different types of capital. CCTV demonstrated its tremendous power by transforming 'the Same Song' ( Tongyi Shou Ge) from a song in 1990 into a money-maker concert/show in 2000, and rearticulated its social significance from sports, the reunification of China, domestic stability to a society in harmony. When this hegemony was eventually resisted, and challenged by various social forces in 2009, CCTV stopped 'the Same Song' concert/show as a democratic gesture, but immediately introduced other similar concert/shows to maintain its double hegemony.

Two hundred and thirteen Chinese adolescents (103 females; mean age = 12.18 years) completed a survey one year before (Wave 1) and five months after the COVID‐19 outbreak (Wave 2). Path analysis revealed that after controlling for adolescents' emotional maladjustment at Wave 1, perceived parental supportive reactions to adolescents' negative emotions at Wave 1 predicted adolescents' greater use of approach coping and less use of avoidance coping at Wave 2, which in turn, was associated with less emotional maladjustment at Wave 2; conversely, perceived parental nonsupportive reactions at Wave 1 predicted adolescents' greater use of avoidance coping at Wave 2, which in turn, was associated with greater emotional maladjustment at Wave 2. The findings were similar for mothers and fathers.

AbstractWe examine the peer effects in financial decisions of Chinese listed companies for the period of 1998–2016 as well as around Split Share Structure Reform (SSSR). Consistent with the information‐based theory of learning, Chinese firms do adjust their capital structure in response to the changes in their peers' market leverage ratios. The industries that are more competitive, with more young firms, and high leverage volatility tend to exhibit stronger peer effects. Within industries, the firms with lower market share and profits, paying no dividends, and being financially constrained mimic their peers more strongly than their counterparts. The evidence around the SSSR reveals that firms tend to follow their industry peers and leaders more closely in making financial decisions after the reform. Finally, the mimicking behavior in financial decisions enhances firm value in the long run and this finding is more evident after the reform.

Abstract
City branding brings immense benefits for megacities to gain international prestige in an increasingly competitive global arena. City publicity films, as an effective method for selling the city through online dissemination, could reach and influence a wider audience. However, the deployment of different semiotic resources in the branding discourse in city publicity films remains under-explored, and in particular, the role of cultural attributes in the construction of meaning in the discourse of city branding through linguistic and nonverbal modalities remains unknown. This paper, drawing on theories of systemic functional grammar and visual grammar, examines the multimodal discourse of publicity films of Beijing and London in terms of representational and interactive meanings achieved through various semiotic resources. It is found that, in verbal and visual discourse, both films share similarities regarding enhancing persuasiveness via emotional branding but exhibit differences regarding how to achieve persuasiveness through different semiotic resources that co-construct meaning. The Beijing publicity film blends functional and emotional values while the London publicity film is prone to being more functional. In addition, possible reasons for the differences observed are discussed.