Popular science books are an important medium for science popularization, and quality popular science books can promote the dissemination and sharing of scientific knowledge. As a category of popular science books, translated works have great significance and value in the development of China's popular science initiatives. High-quality translations not only enrich China's popular science book market, but also provide readers with a popular science reading experience that is in line with the world. This article, in conjunction with the "four characteristics" of popular science books—scientific accuracy, literary quality, appeal, and accessibility—draws from the translation theory of "functional equivalence". By selecting cases from works that have won the 6th and 7th "China Science Writers Association Award for Outstanding Popular Science Works", the article discusses what translation methods should be adopted for English popular science books to meet the corresponding characteristics in Chinese, thereby preserving the "original flavor" of the translations and enhancing the readability and effective dissemination of popular science books that were introduced in English.

The study of the history of science, as a discipline exploring the developmental journey of scientific endeavors, holds paramount significance in understanding the essence of science and its historical evolution. However, often perceived as a highly specialized field, the popularization of science history is deemed less imperative, resulting in limited outreach. This article, employing the research approach of scientific knowledge geography, focuses on the book A Companion to the History of Science Ⅱ. It examines the theoretical framework and writing strategies employed within the realm of scientific knowledge geography. The conclusion posits that adopting the scientific knowledge geography approach in the writing of science history can enhance public awareness and interest, representing a beneficial endeavor to elevate public scientific literacy.

This article examines, analyzes, and compares four popular science books on traditional Chinese celestial knowledge:Decoding the Celestial Sphere, Roaming the Chinese Starry Sky, China's Starry Sky, and Starry Empire. These popular works draw extensively from earlier specialized literature, encompassing comprehensive histories of astronomy, comparative studies of Chinese and Western star nomenclature, research on the history of stellar observations, explorations of the social history of ancient Chinese astronomy, as well as integrated studies of ancient mythology, ethnicity, and archaeology. The evolution of these celestial-themed popular science books is marked by continuous refinement in both content creation and the graphical representation of constellations. Each book offers its own distinctive flavor, striving for a harmonious blend of science, humanity, and artistry. Collectively, they serve a dual purpose: to disseminate scientific knowledge and to promote the rich heritage of traditional Chinese culture.

Zhan Tianyou, a distinguished railway engineer in modern China, has been the subject of numerous biographical stories in the mass media since the 1930s. These stories depict his achievements, but they also contain some misinformation, which over time has incorporated more and more elements of "reasonable imagination." This paper focuses on these biographical stories in the mass media of the Republic of China period, analyzing the misinformation and exploring the portrayal of the engineer's image in popular science writing. The paper argues that timely absorption of scientific history research findings and striving for accuracy in basic facts and technical details are essential for accurate popular science writing about the history of science and technology, and that this is also conducive to conveying the spirit of engineers to the public.

In 1627, Kepler published the astronomical work Rudolphine Tables. The frontispiece, "The Temple of Urania, " designed personally by the author, embodies a unique narrative style in the history of science. This image can be regarded as an independent, comprehensive work of art and cultural significance in the history of science, akin to an "astronomical museum" showcasing the development of European astronomy before the seventeenth century. This paper takes this image as a case study, viewing it as a special form capable of disseminating and popularizing the history of science. It analyzes its creative mechanism and characteristics, aiming to enhance current discussions on the popularization of the history of science and provide inspiration for popular science creation in broader fields.

In 1979, taking advantage of the Reform and Opening-up policy, China's earliest science fiction magazine, Kexue Wenyi, was launched in Sichuan, marking the beginning of the era of Chinese science fiction magazines and a translation boom in science fiction literature. Throughout the 1980s, it held a significant position in both the domestic science fiction literature and translation fields. Taking the translated foreign science fiction novels published in this magazine from 1979 to 1988, this project explores the features of the original texts, the formation of their Chinese versions, and the reception and influence of these translations in China. Through a comprehensive study of the translation landscape during this period, the paper aims to reconstruct the translation production activities in science fiction and outline the developmental trajectory of science fiction literature in the 1980s, particularly in the context of Chinese indigenous science fiction magazines.

Li Yuan, an astronomical popular science writer, has produced a substantial and diverse body of popular science works. His works often employ a wealth of data to ensure precision, utilize numerous images to enhance expressiveness, and emphasize the exploration and presentation of the historical, cultural, and social implications of scientific content. These creative methods rely on extensive data support, a result of Li Yuan's decades-long commitment to accumulation, organization, and documentation. Li Yuan's unwavering focus and meticulous scholarly spirit are prominently manifested in his notable work Visiting the United States, providing valuable insights for those engaged in science popularization.

Global water scarcity is a significant challenge, and it is also a pressing issue in China's national water situation. Water conservation is a practical necessity to address water problems in China, and the new era demands high-quality efforts in water-saving theme popular science creation. Using the example of Water Saving Initiative (General Edition), this paper elucidates the vital significance of conducting popular science creation in animated form. It outlines three key creative requirements for water-saving popular science animations and delves into a comprehensive study and reflection on the creation methods for water-saving popular science animations. The research explores aspects such as the construction of the water-saving knowledge system, the extraction of essential water-saving knowledge elements, the organic integration of multidisciplinary knowledge, the design of narrative styles, the "translation" of water-saving knowledge into a visual format, and the balance between scientific and humanistic aspects in water-saving popular science interaction. This study aims to provide a theoretical foundation and reference guidance for science communicators to tailor popular science content, creating water-saving animations that captivate the public's interest and foster a widespread culture of water conservation.

In 2022, the creation of Chinese short science fiction stories continued to exhibit a commendable trend of diversified thematic development, presenting a plethora of invigorating novelties. The creative cohort predominantly consists of middle-aged and young writers, with the emerging force of young talents being particularly robust. Many exemplary works have been penned by university students and even high schoolers. In terms of thematic exploration, authors have delved deeply into secularism, disasters, and elements intrinsic to Chinese culture, exploring a wide array of subject genres and writing styles. There are masterpieces that depict the vast expanse of cosmic galaxies, as well as new attempts that reflect upon historical and contemporary human lives. While some emulate mythical worlds, others probe into the ethical dilemmas of future human-machine relationships. The spectrum ranges from solemn, weighty works rooted in disaster and realism to playful, light-hearted short pieces.

Huang Mingfen's theoretical resources in science fiction film studies primarily stem from his early work in art psychology, art communication, new media art theory, and the interdisciplinary rediscovery of new media literature and arts, particularly the "nine elements of communication" theory. Science fiction film theory has emerged as a "prominent field" in humanities scholarship since the new century, and Huang's academic endeavors in this area represent a bold self-transcendence and theoretical innovation, building upon his previous academic trajectory and methodological approaches. Huang employs an interdisciplinary methodology, integrating the strengths of natural, humanities, and social science approaches to construct a digital humanities research system that combines Chinese characteristics with an international perspective. Transitioning from art psychology and art communication, he ventures into new media creativity, post-human ethics, an evolving universe, and post-industrial aesthetic paradigms, establishing a multifaceted discursive system. This system not only encompasses an interplay between Eastern and Western academic theories but also highlights the modern scientific rationality of science fiction film criticism and interpretation. Huang's work significantly contributes to the transformation and variation of Chinese-style humanities and social science theoretical paradigms.