The feminist movement has driven the reinterpretation of classical texts such as Homer’s epics, with Margaret Atwood’s works exemplifying this trend. Atwood has created poetry and novels rooted in the tradition of feminist rewriting, utilizing mythological female figures like Helen and Penelope to explore their inner worlds and unveil the long-concealed mechanisms of patriarchal power. Employing techniques such as multiple perspectives and nonlinear narratives, she disrupts the constraints of a singular authoritative discourse. By merging the ancient with the modern, Atwood highlights the shared experiences of women while portraying the awakening of female consciousness. She transforms the stereotypical images of the “whore” and the “virtuous wife” into complex, autonomous individuals, challenging traditional gender role definitions. Atwood’s rewritings are not merely retellings of the original stories but also explorations of the deeper structures of gender power. She weaves a rich cultural network of women, opening new frontiers for “literature of their own.”

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Quentin Tarantino's Kill Bill was released in North America in 2003. The storyline is relatively simple, revolving around Beatrix, a former professional assassin in the underworld, who, upon discovering her pregnancy, decides to abandon her past life of violence and bloodshed and settle down as the owner of a video store. Bill, her former lover and boss, dissatisfied with Beatrix's silent withdrawal from the "Vipers" organization, leads his criminal associates to massacre the wedding rehearsal, leaving no one alive except the protagonist. After miraculously surviving and lying in a hospital for four years, Beatrix embarks on a journey to exact revenge on her enemies. Undoubtedly, Kill Bill is often labeled as a revenge-driven and violent Hollywood film. However, beyond its violent exterior, the film reveals deeper feminist perspectives: it challenges traditional male authority, reflects women's resistance to the constraints on personal and emotional freedom, and highlights the awakening of modern female consciousness.

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The discourse mark "wo gei ni shuo" is very important in natural dialogue. This study explores the position, pragmatic function and formation of the discourse mark "wo gei ni shuo". Discourse mark "wo gei ni shuo" has three kinds of position in sentences, among which the highest frequency of use found in middle of sentences, and the semantic meaning is mostly directed to the following information unit; The discourse mark "wo gei ni shuo" has four pragmatic functions of emphasizing information, subjective cognition, suggestion evaluation and imperative. The formation of discourse markers is the result of both lexicalization and grammaticalization. Studying the use position, pragmatic function and formation of discourse marker "wo gei ni shuo" is helpful to the development of text teaching and international Chinese teaching.

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The naming factors of the representative infectious diseases in Treatise on Cold Pathogenic and Miscellaneous Diseases are various, mainly according to the cause, time and symptoms of the disease. From the perspective of cognitive linguistics, these names are mostly named by metaphor and metonymy. The types of metaphors are mainly abiotic metaphors, plant metaphors and animal metaphors, while metonymy highlights the key features. This reflects the wisdom of the ancients to transform abstract pathological phenomena into concrete perceptions. This naming principle not only highlights the essence of TCM culture, but also promotes the inheritance and development of TCM theories.

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