The object of interpretation is the text. Textual interpretation is the basic method of the humanities, and a large part of literary interpretation is conducted in this way. ″Positive interpretation″ and ″negative interpretation″ are two theoretical perspectives of literary interpretation. The frequent adoption of ″positive interpretation″ is not only due to the turn of modern hermeneutics, but also closely related to the impetus of theory. The reason why literature has become the most active area of ″positive interpretation″ is largely because of the asymmetry between the rational language of interpretation and the sensual experience. Abandoning the concept of the organic whole of the text, ″active interpretation″ often transcends the constraints of aesthetic pleasure and creates various new topics. How to understand the problem of relativism in interpretation? The ″historical context″ is both the basis for changes in interpretation and the basis for its stability and continuity. Most of the ″ positive interpretations″ fade away as failed thought experiments, while a few ″positive interpretations″ may serve as the pioneers of some cultural revolution.

Since the 20th century, many new theoretical concepts have been broadly used in the field of literary interpretation, which has continuously created a huge theoretical shock. The rise of cul tural studies has not only posed a great theoretical challenge to literary hermeneutics, but also won a broad interpretive vision and ideological energy for its development. The multiple interpretation concepts and methods of cultural studies have also induced the problems of ″overinterpretation″ and ″forced inter pretation″. For example, is cultural studies a kind of ″forced interpretation″ or an effective extension of interpretation? Obviously, cultural studies cannot be simply equated with ″forced interpretation″, and it is of great significance to treat the relationship between them dialectically. Cultural studies shows that the strong interpretive ability has created beneficial enlightenment for the theoretical update and discourse re construction of contemporary Chinese literary hermeneutics, showing unprecedented vitality. On the one hand, cultural studies not only promotes the critical reflection of the contemporary academic circle on lit erary hermeneutics. On the other hand, cultural studies urges us to examine the problem of meaning and literary hermeneutics in a broader spectrum of knowledge, and then promotes the construction of the dis course system of contemporary Chinese literary hermeneutics.

Since the 20th century, many new theoretical concepts have been broadly used in the field of literary interpretation, which has continuously created a huge theoretical shock. The rise of cultural studies has not only posed a great theoretical challenge to literary hermeneutics, but also won a broad interpretive vision and ideological energy for its development. The multiple interpretation concepts and methods of cultural studies have also induced the problems of ″overinterpretation″ and ″forced interpretation″. For example, is cultural studies a kind of ″forced interpretation″ or an effective extension of interpretation? Obviously, cultural studies cannot be simply equated with ″forced interpretation″, and it is of great significance to treat the relationship between them dialectically. Cultural studies shows that the strong interpretive ability has created beneficial enlightenment for the theoretical update and discourse reconstruction of contemporary Chinese literary hermeneutics, showing unprecedented vitality. On the one hand, cultural studies not only promotes the critical reflection of the contemporary academic circle on literary hermeneutics. On the other hand, cultural studies urges us to examine the problem of meaning and literary hermeneutics in a broader spectrum of knowledge, and then promotes the construction of the discourse system of contemporary Chinese literary hermeneutics.

The author-oriented romantic hermeneutics of the 19th century and the interpretation-oriented ontological hermeneutics of the 20th century focused on meaning and truth rather than text analysis. The text theory of the 20th century emphasized text analysis but rejected the interpretation of meaning. Paul Ricoeur′s argued that the previous tendency of interpretative theory constituted an ″impasse″ in hermeneutics. Ricoeur′s critically integrated the insights of hermeneutics and text theory, believing that the autonomy of text and the referentiality of text organically constituted the world of text, and proposing to move towards a hermeneutics of text, which was an important contribution of Ricoeur′s hermeneutic re-orientation. However, Ricoeur′s view of returning to the world of text and reconstructing the meaning of the text failed to fully explore the complexity of the recontextualization of hermeneutic self-appropriation, limiting the initiative and creativity of the interpretive subject, thus closing the larger and richer possibility space that the hermeneutics of text should have. Ricoeur′s hermeneutics of text is of great significance for the study of hermeneutics of Chinese literature today, and the problems of his hermeneutics also deserve rational discussions.

The Western philosophical / poetic tradition, with Plato as the precursor, has created an epistemological philosophy / poetic paradigm based on the perspective of the knower. The linguistic foundation of this paradigm, namely the ″theory of mimesis″, embodies conceptual confusion and referential displacement. Artistic ″mimesis″ is not a mirror-like reflection but a creative action. The misrecognition of the ″theory of mimesis″ obscures the action attribute of existence and the creative attribute of literature. Action means the continuous construction and reconstruction of ″relationships, ″ and implies the continuous occurrence of ″relationships. ″ Since ″relationships″ encompass everything, action inevitably manifests as a monistic process and a dualistic link. Action is the entanglement of unity and duality, and the interweaving of language and time. In literary action, the world is presented as a system of intertextuality with displaced differences, the subject is shaped into a multi-subject with ″thousands of millions of relationships, ″ and history is constructed as a layered accumulation of paradigmatic order / disorder. All of these provide clues and possibilities for a new philosophical / poetic paradigm or a civilizational imagination.

As the three main branches of post-human theory, ecological criticism, animal research and speculative realism do not completely leave the human factor, and put forward the question of what common way the post-human subject is formed. The subject is always engaged in the power of action in reality, so in the field of literature, the post-human subject takes action poetics as the previous history. The traditional and contemporary action theories generally regard the subject as an entity that defines the direction of action and the process of action from the front. When they have to restore the various variable factors, these theories have fallen into the dilemma of strengthening the presupposition of identity and totality to varying degrees. It is necessary to fundamentally change the thinking point of view, change the boundary between the previous and subsequent actions from the materialized state to the virtual state, dispel the relevant position of the boundary consciousness, and reconstruct the action into the event that the substantive subject overflows the virtual body in the repetition of difference. Only in this way can we run through the various research paths of contemporary theories around iterability and difference, and lead to the post-human subject.

Deconstruction as an ″action″, is essentially a powerful act of reading and writing, while pursuing absolute freedom in text interpretation and impulsive rebellion against the author′s intentions. The action effect of deconstruction was fully reflected in the ″deconstruction paradigm″ of Lu Xun criticism in the English world from the 1980s to the 1990s. Firstly, in terms of theoretical stance, it challenged or dispelled the revolutionary and enlightening significance of literature by questioning Lu Xun′s writing intentions. Secondly, at the level of textual interpretation, it rigorously scrutinized the class position of″LuXun / Narrator″, and even intentionally ″creates″ a class distance between Lu Xun and the people, and revealed the self-doubt, negation, and ″incompetence″ in action of the enlighteners in Lu Xun′s works. Last but not least, we need to reflect on the ethical misconduct of Lu Xun′ s criticism in the English world. We need to avoid the preconceived and binary oppositional critical stance, and instead, start from the Chinese context, and a dialogic and holistic standpoint to re-examine Lu Xun′ s writing. What we need to consider is how to reestablish a stable and reliable critical perspective for Lu Xun′s works on the basis of affirming the value of enlightenment.

The theme of Neil Stephenson′s science fiction novel Snow Crash is to defend the Babel / Information Apocalypse event. The Babel / Information Apocalypse event refers to God′s confusion of human languages. The humanistic crisis in the digital age manifests in three aspects: ontology, epistemology, and linguistics. The first two aspects can be summarized as the last one. Today, on the one hand, humans dominate science through ideal (artificial) language, especially mathematical language, while on the other hand, they pursue the unification of daily (natural) language. The digital age has accelerated the process of human language unification, and the reconstruction of the Tower of Babel has become a fixed trend. The key to defending humanistic knowledge lies in defending everyday language. Defending the diversity of language means defending the diversity of ideas and cultures. This is the inspiration given to us by the incident of the so-called Babel / Information Apocalypse event.

China Miéville, a British author, is one of the most important writers of the “ New Weird Tales” of contemporary science fiction. In Miéville′s works such as King Rat, Un Lun Dun, and The Last Days of New Paris, he imagines non-human groups like the rat tribe of London, depicts the ″pseudoLondon″ composed of discarded objects, and showcases ″monsters″ from ″surrealist art″ coming to life in Paris. Through these narratives, Miéville presents a grotesque and terrifying urban landscape, revealing ″ monstrous others″ that exist beyond human cognition yet are omnipresent. This breaks the notion of human exclusive possession of the city and its rejection of multiplicity, forcing people to face and acknowledge the intrinsic others. At the same time, Miéville legitimizes this diverse and hybrid metropolis, granting life to the monsters catalyzed by science and art— monsters often fighting against the real ″evil″. In this way, Miéville provides a novel aesthetic experience of the multifaceted urban visage and rejects the escapist ″comforting″ means found in Tolkien’ s works, emphasizing the writing of ″multifaceted world″ and ″monstrous others″ to observe and even change reality and achieve a certain utopian ideal.

The positive significance of the Anthropocene concept exists in clarifying that climate change has become an imminent reality. As a literary response to the events of climate change in the Anthropocene era, climate fiction is gradually growing into an independent genre. Dystopia is a common mode for writers to create climate fiction. Many dystopian novels describing climate change have validated Tom Moylan′ s understanding of the ″ critical dystopia″ and constructed an important ideal typological framework for contemporary climate fiction. Paolo Bacigalupi′s climate novels embody the typical characteristics of ″critical dystopia″. By constructing a dystopian future world, the “ critical dystopia” shows how the climate crisis changes human production and lifestyle, exacerbating the manipulation of capital and power over the lower class, and giving rise to more serious ecological, social and economic problems. At the same time, the ″critical dystopia″ adopts an open narrative strategy, which stimulates pluralistic opposition and leads readers to think about the possibility of utopia in a changed world.

The technological transformation of the brain and the digitalization of the world driven by the current metaverse dynamics, will bring about an infinite extension of the physical, mental and aesthetic experience of human beings. However, in addition to the power of technology, the continuous approach of the metaverse also has its cultural and psychological pavement, in which the ever-extending flow of human consciousness through digital networks has something in common with Bergson′s idea of duration. That is, in the temporalized world, where the digital switching of the human brain is indistinguishable from the digital form of the world, the boundary between the human and the world will not be easy to be distinguished, and the compound of the world that human beings immerse in will be embodied in the encounter of the universal Life, namely, the world is the life. At the same time, the Metaverse, as a gravitational field driving the integration and symbiosis of human beings and all things in the universe, will promote human beings to redraw the global space, with the closest correlation to Gaia concept, which sees the Earth as a ″living″ organism. As a by-product of astronomical research, the Gaia hypothesis, like the Metaverse, not only highlights the increasing holistic interconnectedness between all humans, and between humans and the Earth, but also reinforces the human perception of life as an extension of itself into the environment. From Gaia to Metaverse, and from ecological connection to digital connection, duration serves as the philosophical root bridging the two and will together advance the construction of a post-human philosophical view of the universal life.

In the context of the global environmental crisis, and under the guidance of Xi Jinping′s ecological civilization thought, and based on the in-depth collaboration between ecological aesthetics, ecological criticism and art theory, the work of constructing ecological art has started. The research scope of ecological art research encompasses contemporary ecological art activities, including creation, appreciation, criticism, curation, and theory. To construct the theoretical system of ecological art, it is necessary to clarify the connection and difference between ecological art and ecological aesthetics, ecological literature and art and ecological criticism, and refine and improve the basic literature database of ecological art. Regarding the principles of construction and research, ecological art should return to the construction of art theory disciplines, return to the history of contemporary Chinese art, return to art works, return to the subject of artistic practice, return to the art appreciation group, return to the local art discourse and the characteristics of the contemporary Chinese society, and return to community art and social aesthetic education. Ultimately, it is essential to rigorously define the connotations and extensions of ecological art and the research objects and scope of ecological art studies, thereby establishing a comprehensive and well-rounded system framework for the discipline of ecological art.

With the continuous deepening of ecological civilization construction, the contemporary Chinese dance community has produced many works that care about ecological crisis and pursue the harmonious coexistence of human and nature, and gradually formed the concept of ″ecological dance″. The emergence of this concept is a new phenomenon in China′s dance art amidst its modernization, but it has not yet been clearly defined and fully explained in theory. As an important part of the increasingly emerging ecological art, ″ecological dance″ should be examined within the framework of ecological art studies, and defined as an ″art in which the creators consciously care about the ecological crisis and the prospects of human civilization, use dance to express ecological awareness and ideas, and pursue the harmonious coexistence of man and nature″. It differs significantly from concepts like ″natural dance, ″ ″primitive ecological dance, ″ and ″dance ecology″. In addition, there are some dances that do not subjectively and consciously care about ecological crisis and express ecological ideas, but potentially inspire people to live in harmony with nature. The former can be regarded as ″explicit ecological dance″, which is the main body of ecological dance, and the latter can be regarded as ″implicit ecological dance″, which is the expansion of the former and its beneficial supplement in form.

\