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https://doi.org/10.65281/660554 Author:First author:Liu Ru , Ph.D.graduate, School of Marxism, Qufu Normal University, the research direction of youth ideological and political,Rizhao 273165,Shandong,China.Email:LR2027@qfnu.edu.cn Second author: Huimin Zhang, Female, Master Candidate, School of Marxism, Changchun University of Chinese Medicine, Changchun, Jilin 130000 China *Corresponding author:Jingjie Pang，associate professor，School of Marxism，Anhui Medical University, Master degree in Ideological and Political Education, specializes in ideological and political education and medical humanities. Email：pangjingjie@ahmu.edu.cn Acknowledgments: Research Funds: 1. “Institutionalization of Free Targeted Medical Education in Rural Areas: An Empirical Study on the Four-Dimensional Synergy Model for Ideological and Belief Education” (Project ID: 2023AH050533), a 2023 Key Scientific Research Project in Anhui Province’s Higher Education Sector (Philosophy and Social Sciences); 2. “Empowering Rural Free Targeted Medical Students’ Labor Education with New Quality Productivity: A ‘Four Beauties’ Practice Education Model” (Project ID: 2024jyxm0796), a 2024 Key Teaching and Research Project under Anhui Province’s Quality Engineering Initiative. ABSTRACT Bilibili’s bullet-screen comments (弹幕) show the viewpoint of young Chinese users about ideology. In this paper, a total of 15847danmu from the popular video-sharing siteBilibili over the time of 2022 – 2024 is analyzed from the viewpoint of DuBois’s Stance Triangle(2007) and Appraisal theory(Martin & White, 2005). We found out there are 4 main strategies, when it comes to what kind of words young people use: the same emotions, which we also call affective alignment; how they talk about their feelings as young people; showing you are in a group, with “you all” or by speaking to each other; and sarcasm and irony. In the data, affective expression rather than explicitly ideological statements predominates as the patriotism content, and an ironic, humorous stance-taking is more commonly used for social commentary. These are indicative of a type of ideological speech act which is both playfully and seriously engaged with, through the real-time, ephemeral nature of danmu. We are saying that the way you take the stand is following some bigger changes on how younger people say something on the internet. Keywords: stance-taking; danmu; youth discourse; Bilibili; appraisal; pragmatics 1. INTRODUCTION Anyone who’s seen videos on Bilibili knows how it works: text rolling past the screen and people reacting in the moment (or at least feeling as though they are reacting in the moment) to the same parts. This bullet-screen comment system, called danmu is now central to how young Chinese viewers watch and engage with videos. with more than 336 million monthly active users and close to 86% of them under 35 years old (Bilibili 2024), the bilibili platform turns into a meeting point for youth culture, new forms of speech and ideology. What we are interested in here are the stances that users take in these brief comments. The audience who type out ‘破防了'(defense broken)after seeing a documentary on the veterans or ‘YYDS’after seeing an Olympic event is not simply leaving a comment, but also positioning themselves and evaluating, as well as aligning or disaligning with the others. This is stance-taking in Du Bois’s (2007) sense, a public act of evaluation, positioning, and calibration with respect to others. However, the study of stance-taking in Chinese digital contexts is still patchy. The most work has been on Weibo or WeChat, platforms with other affordances and users (Herring, Stein, and Virtanen 2013 for CMC pragmatics more generally). And Danmu is quite different: comments are fleeting, over the top of what’s visible, and create this strange sensation of being in the same place, even if it has been days or years. How people will show what their thoughts are about certain things. In terms of the current study of stance-taking of Bilibili danmu is mainly concentrated on how young users cope with ideological land. We have asked the three questions: •What strategies are used by the users when taking positions on ideological matters in danmu? •How do these differ across content type (patriotic, social commentary, cultural). • How much do youth specific linguistic resources play a part in this process? Let us note from the outset what this study is unable to achieve. We can’t know what a person actually believes or intends—only the public performances of those beliefs and intentions that they give in discourse. And we cannot claim representativeness to all Chinese youth, the users of Bilibili tend to be young, well-educated, and from cities. We can offer a close-up of language use in a corpus of 15,847 comments using the theories of stance and appraisal. 2. BACKGROUND AND PREVIOUS RESEARCH 2.1 Stance in Interaction There is a long history of discussing stance in linguistics, but Du Bois’s (2007) is especially productive. He argues that stances are constituted of three things going on at the same time: an evaluation (of some object, along some value dimension), a positioning (of oneself as a kind of social actor), and an alignment (with other people). Three of them make his so called “stance triangle” That is what captures some that a more simple view of attitudes, opinions and so do not. Positions are dialogical by definition. When a Bilibili user posts “这格局太大了”(“this vision is too big”), he or she does not only appreciate the video content, but also claim the identity of a person who can recognize and value such qualities, and they are implicitly aligned with (or invite other viewers to align with) people who share such appreciation. Martin and White’s (2005) appraisal theory can be used to complement the means by which stance is encoded linguistically. Their framework distinguishes three systems: the affective one (attitude), the judgmental one (judgment), and the appreciative one (appreciation), on the one hand, and how speakers engage dialogically (engagement) in the other. And finally, they also talk about graduation, which is about how evaluative meanings get scaled up and down. It has been used with different genres, but not so much on CMC in Chinese. 2.2 Pragmatic Identity in Discourse Chen Xinren (2014, 2018)’s works on pragmatic identity could serve as another valuable perspective. Identities for Chen are not attributes but are the resources speakers create and use to interact.

https://doi.org/10.65281/639847 Corresponding Author Liu Yong Chun, Associate professor at Fuyang Normal University, Member of the Asian Animation Association, and the Heilongjiang Provincial Artists Association. jeniferyoyolee@163.com Li Juan, Lecturer (internally appointed associate professor) at Fuyang Normal University, Member of the Asian Animation Association. 13084029612@163.com Statements And Declarations Funding This research received no specific grant from any funding agency in the public, commercial, or not-for-profit sectors. Declaration of Conflicting Interests The authors declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article. Data Availability No datasets were generated or analyzed during the current study. Ethical Approval This article does not contain any studies involving human participants or animals performed by any of the authors. Author Contributions All authors contributed equally to the conception, writing, and Abstract This article examines the implications of the use of holographic technologies on changing the nature of spectatorship, embodiment, and curatorial authorship in the museum environment. Positioning the museum as a location of mediated visual experience, the paper addresses the functioning of holography as not only a display instrument, but a disrupting aesthetic apparatus that reassembles the viewers attitude to space, time, and history. Based on case studies of Chinese museums and touching on the theories of affect, materiality of the media, and post-representational curatorship, this work questions the way in which digital visuality generates new forms of presence and immersion. The research identifies the emotional and epistemological changes occasioned by holographic aesthetics via qualitative approaches, such as the observation of visitors, interviews with curators, and visual analysis. This article also contributes to wider debates in visual culture regarding the politics of display, technologization of the visual field, and the affective arrangements of seeing that prevailed in the digital era by critically addressing how audiences negotiate digital embodiment and mediated intimacy. Keywords Holography, Digital spectatorship, Museum aesthetics, Visual culture, Mediated presence INTRODUCTION 1.1. Reframing the Museum Gaze in an age of Holography In a world that is progressively structured by processes of digital mediation, the museum is no longer a place of display of objects but an active domain of reconfiguration of perceptual relations. The ability of holographic art to convey three-dimensional shapes floating in space raises questions about long-term ideas of materiality, genuineness, and gazing. In contrast to a traditional exhibition where an object has been displayed statically (with no apparent life), holography creates a visual phenomenon appearing to have life but no substance, which invites fascination as well as an intuition of uncertainty with respect to the epistemology of visual perception. In this paper, holographic art is contextualized as a field of visual culture and media theory in which recent technologies of perception are studied in terms of the mediation of vision, displacement of the curator, and refracted notions of the spectator. Based on his theory of the aura, or the one-of-a-kind presence of the original object at time and space, the proposed study stipulates that holography breaks the aura because, through the imitation of presence, it destroys tangibility. In the process, it infuses a fresh manner of digital spectatorship in which vision is no longer an optical but an experiential, immersive, and highly emotional activity. Traditionally, Museums have been the keepers of the real world, but they are currently being repackaged as mediated experiences. This move forces us to consider how technologies such as holography remodel the politics of visibility, embodiment, and engagement. By examining, through qualitative research of museum professionals, museum visitor experience, and curatorial work in Chinese institutions, the ways in which holography becomes not only a tool of improvement but also an aesthetic and ideological machine that reorganizes the visual system of the museum in itself, the present study will address the phenomenon of the new use of holography in the Chinese museum.   1.2. Research Problem As museums increasingly adopt holographic art and digital media, their traditional curatorial practices and audience-engagement strategies are evolving. Although holographic art offers immersive and interactive experiences, its impact on museum curation and visitor perception remains an area that requires further exploration. Some museums struggle to integrate digital media effectively, and there is limited research on how these technologies affect audience engagement, interpretation, and the overall museum experience. This study seeks to address the following key issues. How does holographic art transform the way museums curate and present exhibits? To what extent does digital media influence curatorial decision-making? How do audiences perceive and engage with holographic exhibits compared to traditional displays? Research Questions Holographic Art and Museum Curation How is holographic art being used in modern museums? What challenges and opportunities do curators face when integrating holography into exhibitions? How does holographic art impact the storytelling and narrative structure of exhibitions? Impact of Digital Media on Curatorial Practices How has digital media changed the role of museum curators? What are the advantages and limitations of using digital media in exhibitions? How do museums balance traditional curation with technological innovations? Audience Perception and Engagement How do visitors interpret and engage with holographic exhibits compared to traditional museum displays? Does holographic art enhance visitor learning and retention? What factors influence audience perception of immersion, authenticity, and emotional connection in digital exhibitions? 1.3. Objectives of the Study This study explores the impact of holographic art and digital media on museum curation and audience perception. These objectives of the study include: Examine the use of holographic art in museums, including its role in storytelling and artistic expression. Assess the impact of digital media on curatorial practices, focusing on challenges, opportunities, and exhibit design. Evaluate audience perception, comparing engagement and interpretation of holographic and traditional exhibits. Explore the future potential of holographic art, identifying trends and recommendations for museum innovation. 1.4. Significance of Study This study is significant as it explores the transformative role of holographic art and digital media in modern museums. It provides insights for curators, museum professionals, and researchers on how these technologies impact exhibit design, storytelling, and audience engagement. Key Contributions: Enhancing Museum Curation – Helps curators understand how