Popular zoology played a significant role in Russian and Soviet science popularization from the 19th to the 20th century. This science popularization tradition originated from the 19th-century Russian academic practice of teaching local fauna. In the first half of the 20th century, the state-led "Young Naturalists" movement exerted a widespread and profound influence on the youth. Yevgeny Spangenberg and Aleksandr Formozov were representative popular zoologists of this period. Their works transcended the mere transmission of objective knowledge, developing a distinctively literary narrative style originating from the natural history tradition. By integrating personal experiences, reflections on hunting, and the interpretation of animal tracks, these works vividly portrayed the complex, contextualized relationships between humans and animals, emphasizing the importance of emotional connection and immersive observation.

With the continuous advancement of ecological civilization, popular natural history books have become an important medium connecting readers with nature. Taking the "Nature Series" published by the Commercial Press as a case study, this research systematically examines its publishing motivations, topic selection strategies, and content characteristics, revealing how the series responds to readers' "nature deficit" and need for spiritual healing amid the process of urbanization by introducing "Arcadian" natural history works that combine scientific rigor with literary merit. Further analysis of OpenBook sales data and Douban reader comments indicates that the author's writing quality, the innovation of the narrative perspective, the logical coherence of the content, and the translation quality are key factors influencing the dissemination of these books. Furthermore, in terms of creative perspective, editorial mechanisms, and marketing strategies, the "Nature Series" offers valuable insights for the creation and publication of Arcadian popular natural history books.

In the film Oppenheimer, the narrative thread of scientific history revolving around the "Bohr-Einstein debate" is frequently overlooked by critics. A comparison of the original biography, the adapted screenplay, and the final film reveals that director Christopher Nolan prominently features the uncertainty principle championed by Bohr and the principle of causality upheld by Einstein. These two opposing views converge within the film's narrative in the form of "wave-particle duality". Under the influence of Bohr's scientific philosophical thoughts, Oppenheimer's paradoxical decision of inventing the atomic bomb first and advocating for nuclear containment afterwards are challenged by the causality of the real world. However, this also illustrates an ethics of responsibility, wherein humanity, faced with a dilemma, chooses to act while striving to control the consequences of those actions. Through the interplay of science and philosophy, the film explores how scientists ought to fulfill their dual responsibility to both science and humanity.

In recent years, China's sci-fi industry has shown strong developmental momentum. As a vital component of this industry, sci-fi online literature, which emerged in the early 21st century, has undergone a transformation from a marginalized subgenre into a mainstream cultural product following over 20 years of technological iteration, literary self-regulation, and industrial synergy. In the process of integrating into mainstream culture, by virtue of their deep engagement with real-world techno-scientific experiences, sci-fi online literature is increasingly recognized as an aesthetic response to the Chinese path to modernization and an ideological vehicle for narrating "Chinese Stories". Recently, bolstered by multiple social forces, an industrial chain encompassing the "creation, adaptation, and derivative works" of Chinese sci-fi online literature has taken shape, emerging as a significant sector of contemporary cultural consumption. This not only represents the industrialization practice of its cultural production but also foreshadows crises lurking within the industry.

In recent years, the integration of science popularization and aesthetic education has gained increasing attention. This paper addresses the shortcomings inherent in traditional science popularization, including its overemphasis on one-way knowledge transmission, lack of aesthetic experience, and limited formative role. Informed by the perspective of aesthetic education and grounded in specific case studies, the study summarizes five typical paths for creating popular science works:narrative and dialogue, visual narratives, performative translation, spatial experience, and nature-context orientation. Promoting the integration of aesthetic education and science popularization serves as an effective approach to enriching the forms of popular science works and facilitating the high-quality development of science popularization in the new era.