This study looks at how artificial intelligence works with cultural heritage experience design. It takes the ancient city of Pompeii as a study example. The results show that AI technologies are very important for rebuilding old scenes and giving personal guided tours. But AI can work well only when heritage information is digitized fully and correctly. It also needs to follow basic design rules. These rules include putting protection first, keeping the experience real, and using proper technology. The main new point of this study is building a complete framework. This framework includes "heritage information–AI technology–user experience". The study also makes smart experience plans based on real situations. These plans link the past and the present in a lively way. There are still some problems now. For example, technology costs a lot, data is not complete enough, and privacy is hard to protect. But future studies can make immersive experiences better by using multimodal interaction. These methods can also be used in more cultural heritage places. This will help cultural heritage become active again with smart technology and be passed on well for a long time.

This article takes Yi Wen Lei Ju in the early Tang Dynasty and Tai Ping Yu Lan in the early Song Dynasty as the reading texts, and combines the category theory of cognitive linguistics and the "naming-predicate" framework of discourse analysis to investigate the language representation and evolution of the concept of Man Yi in the classification system of encyclopedias in the Tang and Song Dynasties. The study found that Yi Wen Lei Ju does not set up the "Si Yi Division" and disperses the related information of different ethnic groups into the physical category. The naming strategy with "object" as the central word reflects a cognitive approach of "de-categorization"; The Tai Ping Yu Lan added the "Si Yi Division", and 62.5 % of the overlapping sections were reclassified into this division. The name of the section was changed from the physical name system to the ethnic name, and the cognitive transformation from "physical classification" to "ethnic categorization" was realized. This change of language categorization reflects the ideological evolution from the Tianxiaism of "Hua-Yi One Family" to the concept of "Huaxia Standard" with orthodox consciousness as the core in the Tang and Song Dynasties.

This study explores how four behavioral factors shape users' behaviors across three distinct social situations on the platform Rednote. The four factors in this study are the fear of encountering opposing opinions, the perceived time and energy required, feelings of incapability, and the loss of anonymity. To collect empirical evidence, the group sent a survey to 122 users (n=122). The results indicate that the three psychological factors and privacy considerations put notable influences on users' willingness to act in different social situations on Rednote. Each scenario has its primary hindering factor. When it comes to the situation of commenting on news items, "the feelings of incapability" acts as the main barrier; responding to help requests is hindered by both the factors "fear of opposing opinions" and "loss of anonymity"; and "fear of anonymity" strongly discourage people's willingness to share sensitive personal experiences. Furthermore, in this study, the group found that anonymity impacts user behaviors through three key channels: the identifiability of one's account, the level of difference from one's real-life identity, and the concealment of geographical details. Also, the findings verify the Privacy Calculus Theory, indicating that a higher level of perceived anonymity effectively promotes users' online expression, sharing and prosocial behaviors by reducing the perceived risk of identity exposure and privacy-related costs. To sum up, this study highlights that these inhibitory factors interact in distinct ways, shaping user behaviors across different platform scenarios.

This article takes the Korean TV drama When Life Gives You Tangerines as an example to explore the relationship among three generations of mothers and daughters in Korean society. This study selected two scenes from the film as examples for visual text analysis. By focusing on the research of the film's lighting design, I demonstrated the different value systems and emotional connections between women of different generations in terms of family and work. This study combines film theory with feminist theory to explore the hidden needs and desires of women within the family. Based on the experiences of three women from different eras, Gwang-rye Jeon, Ae-sun Oh, and Geum-myeong Yang, combined with the 30 years of changes of the women's movement in South Korea, I reflect on the visibility of mother-daughter relationships and the subjectivity of women in the family. This essay also provides new visual and textual interpretations of the mother-daughter relationship in feminism in cinema studies.

Indian American writer Bharati Mukherjee is a prominent figure in immigrant writing. Her works offer penetrating explorations of female agency, the vicissitudes of immigrant existence, cross-cultural tensions, interethnic relations, and postcolonial dynamics. In light of Mukherjee's immigration experiences at different stages of her life, the topographical space, discourse space and humanistic space intertwine in her novels, which reflects the dynamics of identity positioning, recognition and deconstruction for exiles, expatriates and immigrants. Her narrative practice demonstrates a layered intellectual complexity, encompassing both the expansive geographical and psychological journeys of her characters and the subtle transformations of their lived experiences. The theoretical framework of the "Third Space," by dismantling binary oppositions, creates a conceptual locus that accommodates contradiction, heterogeneity, and otherness, which is highly illuminating for revealing the matrix of ethnic American literature. Through the aesthetic interpretation of the space theory, this article aims to provide reference for the identity exploration of the marginalized, contributing to broader discussions of displacement, belonging, and transcultural poetics.

This research draws on Xinjiang-related writing as its background, responds to the daily experiences of women that are easily obscured by macro narratives in existing discussions, and puts forward the research theme of "how space generates experience". The article chooses Eighty-eight Cavalry, Centennial Blood, and Winter Ranch as the core text. It employs careful reading and comparative analysis of the text. Starting from the action details and physical feelings in the narrative, it examines how the living environment and community order specifically stipulate the boundaries of liveable, feasible, and bearable. The research results show that all three works write space as a condition for continuous pressure, so that the experience is gradually formed in the process of maintaining livelihood, travelling through migration and responding to discipline, and presenting the temporary order generated by night road deflection, survival maintenance, and boundary review in the context of disaster, and nomadic life respectively. The position change and language deformation brought about by "entering". From this, the study further concludes that Xinjiang women's frontier experience does not come from the thematic a priori generalisation, but is generated in the interaction between spatial conditions and daily practice. Therefore, "negotiation" has become a key entrance to understanding women's frontier writing.

In the current era, where extended reality (XR) technology is prevalent, museums and visitors have experienced a huge breakthrough from passive viewing of "static objects" to active interaction with "living objects". Museums that utilize XR technology to create immersive exhibitions have received considerable attention. However, many technical issues have arisen, such as the adaptability of virtual content and the level of participation in the visitor interaction. To understand the immersive experience created by XR technology and its impact on visitors, this paper will analyze recent museum exhibitions that integrate XR technology with other theories to construct a framework. The paper ultimately concluded that the flow effect is the key to shaping immersive experience with XR technology, enabling visitors to achieve a high-dimensional immersive experience. Based on this conclusion, this paper argues that XR technology serving people should match with interaction and narration to shape immersive experience, and awaken people's emotions and cognition, as the primary focus.