Since the turn of the 21st century，the imagination of alternative history in Chinese science fiction has been grounded in technological imagination，continually re-examining the enlightenment ideals of democracy and science while exploring a distinctly Chinese sci-fi aesthetic. This is reflected in three aspects: first，the construction of a holistic，cyclic，and unified Eastern philosophy of technology，highlighting the poetic beauty of traditional Chinese craftsmanship; second，the infusion of characters with the Confucian concept of“Yi”，representing righteousness and humanitarian concern，promoting the Chinese ethical spirit of upholding righteousness and embracing innovation; third，the carnivalization of science fiction“New Tales”，filled with wit，humor，and ironic aesthetics，which display postmodern cultural features such as the retreat from historicity and the fragmentation of subjectivity. These explorations demonstrate writers’aspirations to transcend the epistemological framework and cultural aesthetics of Western modernity，to explore and elevate traditional Chinese humanism and rational thought on science and technology，while also capturing the characteristics of postmodernism and expressing concerns for contemporary realities.

Contemporary popular science works exhibit diverse narrative forms，marked by the emergence of new paradigms such as“popularizing scientific writing”and“infusing everyday life with scientific concepts”. Firstly，these new approaches enhance public participation and trust in science，mitigating prejudices within the scientific community and promoting the democratization and popularization of scientific knowledge. Secondly，they render abstract scientific concepts concrete and practical. Finally，they provide psychological support to those facing similar challenges and cultivate a sense of mutual aid. By enhancing the vividness and approachability of popular science writing，these new paradigms effectively promote the dissemination and utilization of scientific knowledge，thereby holding significant social and practical value.

In the context of new media science communication，scientists，while holding positions of authority and being key contributors to high-quality popular science content，also face challenges in both creation and dissemination. This paper uses the case of Dr. Wang Liming，a scientist in the life sciences，to explore strategies for scientists' participation in popular science communication within new media environments. It examines how scientists can balance their professional roles with their responsibilities as science communicators，and how they can effectively select topics and develop communication strategies. The study suggests that scientists collaborate with professional science communicators，while recognizing their social responsibility in public communication. When creating content，scientists should align their topics with contemporary societal needs and anxieties，use a conversational tone，and emphasize the historical development of science. In communication，Dr. Wang’s use of personal science communication branding demonstrates how to construct an effective communication matrix，transition popular science content between books and online knowledge platforms，leverage key events to enhance brand influence，and prioritize audience feedback and interaction. The paper concludes that in the new media era，scientists need to update their science communication concepts，explore suitable creation and dissemination models，and strengthen their skills in producing and sharing popular science content.

Western science fiction films serve as a battleground for competing discourses on the posthuman body. The imagination of the posthuman body reflects the philosophical debates surrounding the essence of human being in the technological context. Within these debates，transhumanism，extending the humanist tradition，envisions posthuman cyborgs as embodiments of a liberated subjectivity，seeking to enhance human agency and will through technology. Moreover，critical posthumanism advocates for a decentralized culture that challenges anthropocentric views of the body. Therefore，the body narratives in Western posthuman science fiction films portray both the utopian vision of a technologically enhanced future，where technology merges with organic life，and the dystopian fear of the loss of Enlightenment humanism，as manifested in grotesque and uncontrollable body images resulting from technological corruption. Meanwhile，the plasticity of posthuman bodies challenges the essentialist assumptions of human identity，thereby deconstructing traditional biopolitical categories such as gender and race.