







































 Humanities and Social Science Research; Vol. 8, No. 2; 2025 

ISSN 2576-3024   E-ISSN 2576-3032 

https://doi.org/10.30560/hssr.v8n2p1 

 1 Published by IDEAS SPREAD 

 

Exploration of the Human-Computer Synergy Paradigm for Literary 

Creation via the Lens of Digital Humanities 

Xiaonuo Ye1, Libin Huang1 & Zhifeng Wang1 

1 College of Humanities, Minjiang University, China 

Correspondence: Xiaonuo Ye, College of Humanities, Minjiang University, Fuzhou, 350108, China. Tel: 86-181-

5074-9815. E-mail: 2746584976  qq.com 

 

Received: February 8, 2025; Accepted: March 3, 2025; Published: March 4, 2025 

 

Abstract 

In order to study the human-computer collaboration paradigm of literary creation in the field of digital humanities, 

and to analyze the application and influence of human-computer collaboration technology in literary creation, this 

paper adopts the methods of literature analysis and case study to sort out the evolution of literary creation paradigm 

from “author-centered” to “reader-centered” to “digital interaction”. Using literature analysis and case study 

methods, this paper examines the evolution of the literary creation paradigm from “author-centered” to “reader-

centered” to “digital interaction”, and explores the application and impact of human-computer collaborative 

technology in literary creation. The study finds that the integration of human-computer collaborative technology 

promotes the diversification of creative subjects, methods and platforms, and promotes the development of cross-

media narrative and multimodal expression of texts; however, at the same time, AI creation faces the problems of 

insufficient expression of emotions and difficulties in defining originality, and the copyright attribution of the 

works and the subjectivity of the authors have triggered legal and ethical discussions. This paper enriches the 

theory of human-computer collaborative creation in the field of digital humanities, and provides a reference for 

the innovation of future literary creation paradigms. 

Keywords: digital humanities, Natural Language Processing, machine learning, Generative Art, interactive 

literature 

1. Introduction 

Under the background of the digital age, the research methods and scope of the humanities are undergoing 

unprecedented changes. Digital humanities, as an emerging field of study, uses technologies such as artificial 

intelligence, big data, and cloud computing to dig deeper and analyze cultural and social phenomena. Its origins 

date back to 1949, when, in the mid-twentieth century, Father Roberto Busa, in collaboration with International 

Business Machines Corporation (IBM), used computers to index the vocabulary of the Thomas Aquinas Collection, 

a practice that laid the foundation for the study of digital humanities. About 20 years ago, "humanities computing" 

gradually evolved into "digital humanities," marking the field's transition from preliminary exploration to mature 

discipline construction[1]. The first issue of "Digital Humanities" of Tsinghua University also pointed out that 

digital humanities is "humanities research with the help of computer and data science and other methods and means, 

and its nature is an interdisciplinary discipline, which applies digital technology to humanities interpretation, and 

is a transformation of knowledge production paradigm triggered by media transformation[2]."In this context, the 

literature creation paradigm in the digital humanities perspective has changed from "centralized" to "interactive" 

and then to "interdisciplinary man-machine collaboration", reducing the traditional mode's dependence on 

professional technology and human resources, and significantly enhancing the research potential of digital 

humanities. Although the existing research shows that digital humanities provides a new perspective for 

humanities research through "visualization" and other technical means, it has become a hot spot of academic 

attention. However, due to the lack of a unified paradigm in the methodology of different disciplines, technology 

integration faces challenges, which hinders the deep integration of digital technology and humanities[3]. 

Based on this, the purpose of this study is to explore the application of human-machine collaboration technology 

in literary creation and its impact and challenge on traditional literary creation mode. By analyzing practical 

applications of artificial intelligence in literary creation, this paper attempts to reveal how digital technology is 

changing the creative process and the possible impact of this transformation on the role of the writer and the reader 

experience. In order to explore these problems systematically, the paper adopts the method of literature analysis 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 2; 2025 

 2 Published by IDEAS SPREAD 

 

and case study. Literature analysis helps us understand the theoretical foundations and research trends in the field 

of digital humanities, while specific case studies demonstrate the specific application and effects of these theories 

in practice. 

2. Retrospect on the Evolution of Literary Creation Paradigm 

2.1 Discussion on the Author's Death -- from "Writer Center" to "Reader Center" 

Before modern times, it was generally believed that the ownership of a work belonged to the author, who was 

regarded as the sole creative subject, while the reader only enjoyed the right to use the work. In traditional literary 

creation, the author is regarded as the sole creator, giving the text a fixed meaning. Under this concept, the work 

is regarded as a fixed and closed existence, and the role of the reader is reduced to a passive one, unable to have a 

real influence on the production of the text. Roland Barthes poses a subversive challenge to this traditional concept 

in The Death of the Author. He maintains that "readers are the creators of meaning" and puts the generation of 

meaning in the multiple interpretations of readers. He believes that the author is no longer the sole master of the 

text, but only a temporary voice in the text, and thus the reader replaces the author. Becoming the primary 

interpreter of the text can even be seen as the new "creator" or "God" of the text. This theory realizes the 

transformation from "author-centered theory" to "reader-centered theory". Since the theory that the author is dead 

was proposed, the role of the reader has changed significantly. Readers are no longer simply recipients, but 

gradually participate in the creative process and even become one of the important driving forces of text 

constructio[4]. 

Since the beginning of the 20th century, the development trend of literary criticism theory has been from the author 

centered mode, to the text as the core, and finally to the reader-centered critical view. By negating the author's 

dominant position and subverting the traditional structure of "author -- work -- reader", a reader-centered 

relationship model of "reader -- text -- author" is established, which completely deconstructs the author's central 

position in the traditional sense. It emphasizes the independence of the text itself and the subject position of the 

reader in the interpretation of the text, which reflects the shift of the literary center. The text itself has also gained 

more vitality, becoming a language game that gets rid of fixed meaning and operates freely, showing more 

powerful computing power[5]. Today, readers can directly influence the content and direction of a work through 

comments, voting, and other ways. For example, on online novel platforms, authors often adjust plot development 

based on readers' feedback and even incorporate ideas provided by readers in the creation process. This mode of 

interaction transforms readers from passive receivers to active participants, further blurring the boundaries between 

authors and readers. 

2.2 Interactive Literary Creation: From "Reader-centered" to "Digital Interaction" 

The immediacy and interactivity of the contemporary network have completely changed the traditional closed way 

of creation and facilitated a more complex cooperative relationship between the author and the reader. The 

interaction between author and reader not only changes the way literature is written and critiques, but also makes 

the text more participatory and offers the possibility of multiple perspectives. As Paul Levinson says, text on the 

web allows us to interact quickly. This interaction can not only take place in real time, but also unfold 

asynchronously, across time and space. Levinson further explained that the rhythm of asynchronous interaction in 

the network can be minutes, hours, or even days, rather than the traditional delay of days or months, and this 

asynchronous interaction further enhances the impact of communication through digital interaction[6]. 

Through "digital interaction", works are no longer the product of isolated creation by the author, and the text is 

not only dependent on the initial creation, but also constantly reconstructed through the participation of subsequent 

creators, reflecting its interaction and openness, beyond the one-way interpretation of traditional static texts. Many 

writers choose to publish their works on digital platforms, hoping to influence their creative direction through real-

time feedback from readers. For example, renowned Taiwanese poet Su Shao-lian, as a junior creator, has created 

more than 90 digital poems and posted them on his personal blog. When reading these works, readers enter the 

network text composed of various symbolic forms by clicking the link, and carry out the literary acceptance process 

in the traditional sense. In this process, Su Shaolian and readers jointly participated in the construction of text 

structure and aesthetic meaning, forming a highly interactive and fully communicated literary creation 

relationship[7]. Iser, the founder of reception aesthetics theory, once pointed out in his book The Act of Reading 

that "literary works are essentially a form of communication." The interactive cooperation in network creation 

further deepens this view. In the field of online literature, readers are not only passive recipients, they often start 

to intervene in the early stages of the text and even become actual collaborators. In this case, the "implied reader" 

mentioned by Iser is no longer an abstract concept, but gradually becomes the core force in the text creation. 

Gadamer's "the melting of the distance between the viewer and the performer" mentioned in the Reality of Beauty 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 2; 2025 

 3 Published by IDEAS SPREAD 

 

can also be used to explain this literary phenomenon. The deep integration between subjects has been well reflected 

in the "author-reader" interaction of network literature, which makes literary creation change from a single artistic 

output to a dynamic process of multi-party cooperation. Digital interactive literature not only deconstructs the 

traditional barriers between authors and readers, but also promotes the continuous generation and reproduction of 

texts with the participation of multiple subjects. 

2.3 The Interdisciplinary Practice of Whitehead's Educational Philosophy -- from "disciplinary Isolation" to 

"Cross-domain Communication" 

In his book The Purpose of Education, Whitehead emphasized the integration of disciplines in education and 

believed that isolated disciplinary differentiation would limit students' cognition. Whitehead aimed to advocate 

"breaking disciplinary barriers" and advocated that various disciplines should penetrate each other. The research 

in the field of digital humanities is essentially an interdisciplinary exploration, involving linguistics, history, 

archaeology, computer science, statistics and other fields. The human-computer collaborative system can combine 

human understanding with machine processing power through data visualization, intelligent interpretation and 

other functions, so that the research of different disciplines can use various digital tools more naturally and 

intuitively. Understand each other's professional languages to be more competent and effective in dealing with 

interdisciplinary problems. Although in the field of digital humanities research, humanists usually do not have in-

depth programming ability or complex data processing skills, human-machine collaboration, as an important tool 

to achieve interdisciplinary integration, lowers the threshold of technology use through natural language interface 

and simple tools, and promotes new forms of literary creation in combination with literature, computer science, 

artificial intelligence and other fields. For example, some literary creators have cooperated with computer scientists 

to generate poems and novels using artificial intelligence algorithms, achieving a deep integration of technology 

and humanities, and carrying out quantitative and data-driven analysis research without over-reliance on computer 

science experts. This interdisciplinary cooperation is exactly the practice of Whithead's educational concept. In 

this way, information sharing and collaboration between various disciplines become more fluid and comfortable. 

In traditional research contexts, the humanities are often considered qualitative and subjective, while technology-

assisted scientific research is more focused on quantitative and precise research. As a result, data collection and 

analysis are often confined to a single discipline, which hinders data sharing and integration across disciplines. As 

an interdisciplinary research paradigm, digital humanities not only integrates the qualitative exploration of 

humanities with the quantitative analysis of computing technology, but also realizes the organic combination of 

the two through man-machine collaboration. Shanghai International Studies University has always been good at 

language and literature, and in recent years, it has added the first new interdisciplinary linguistics major in China, 

which combines traditional linguistics courses with modern courses such as neuphilology, cognitive neuroscience 

technology and Python programming, fully demonstrating the interdisciplinary talent training system that 

integrates arts and sciences, and gives interdisciplinary learning greater space for expansion. Specifically, digital 

humanities uses data mining, text analysis and other means, combined with quantitative tools, to promote the open 

and interdisciplinary sharing of databases by breaking the disciplinary barriers between computer science and 

humanities. 

2.4 Ai-Driven Revolution in Literary Creation - from "Technology Empowerment" to "Human-Machine Dance" 

At the beginning of 2024, the Ministry of Industry and Information Technology, together with six other 

departments, issued the Implementation Opinions on Promoting Future Industrial Innovation, which clearly 

proposed the application of cutting-edge technologies such as brain-like intelligence and large models to the 

development of future information industry[8]. In March of the same year, Professor Wang Feng's team from East 

China Normal University created the first intelligent novel in Chinese based on the domestic large language model. 

This achievement not only shows the potential of collaborative creation between artificial intelligence and human 

authors, but also marks the opening of a new era of man-machine collaborative writing in China. These policies 

and practices show that artificial intelligence is gradually becoming an important force in literary creation, driving 

the shift from "technology empowerment" to "human-machine dancing." In this context, the combination of 

human-machine collaboration and digital humanities, with the help of artificial intelligence, generative art, three-

dimensional imaging, and virtual and augmented reality (VR/AR) and other technologies, has injected a new 

driving force into literary creation. As Sun Ninghui said, intelligent computing has entered the fourth stage of 

"large model computing system". At this stage, intelligent computing not only has powerful computing power, but 

also gradually understands and reflects human values through the processing of massive training data, showing 

humanoid processing ability[9]. Driven by this technological evolution, research-driven Artificial Intelligence 

(AI4R) came into being. This model has shown extensive application potential in the fields of natural science, 

social science and humanities, and provides a new research perspective and method for the humanities. For 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 2; 2025 

 4 Published by IDEAS SPREAD 

 

example, generative AI builds systems through knowledge representation, uses data modeling to make predictions, 

and supports decision making and idea generation. In literary creation, generative AI can help writers optimize 

text structure, improve the accuracy of vocabulary and grammar, and provide suggestions for plot development by 

analyzing massive text data, thus significantly improving the efficiency and quality of creation. The application of 

these technologies shows that artificial intelligence is gradually transforming from an auxiliary tool to an actual 

participant in creation, driving profound changes in artistic creation in the digital age. At the same time, with the 

continuous development of virtual reality (VR) and augmented reality (AR) technologies, the art experience is 

shifting from passive reception to active, immersive interaction.The role of the audience has also changed from a 

static receiver to a dynamic participant, thus reshaping the interaction mode between art and audience and 

enhancing the multi-dimensional art experience. Nowadays, artists can fine-tune their works in the digital 

modeling stage and predict the final effect in advance, thus reducing mistakes and waste of resources in the creative 

process[10]. This data-driven approach not only enhances the user experience, but also makes literary creation 

more personalized, deepening the interaction and emotional connection between readers and works. 

The continued development of the digital humanities further highlights the importance of data as a core factor of 

production. The wide application of data not only accelerates the deep integration of art and technology, but also 

promotes cross-cultural innovation and interaction, showing its increasingly important position in modern art and 

cultural creation. At the same time, online platforms have provided more opportunities for collaboration and 

dialogue between creators from different cultural backgrounds, giving birth to the continuous emergence and 

prosperity of new literary forms. These changes show that digital technology is reshaping the ecology of artistic 

creation and opening up a broader space for future cultural development. 

3. New Characteristics of Literary Creation under the Paradigm of Man-Machine Collaboration 

3.1 Progress of Digital Technology and Evolution of Creative Methods 

In the early stage of the development of digital humanities, human-computer dialogue and interaction can only 

rely on readers to type natural language, based on a fixed sequence of catalogs. The reader must interact by telling 

or asking in a specific order, with low autonomy. With the development of deep learning and natural language 

processing technology, artificial intelligence is playing an increasingly important role in literary creation. By 

simulating the cognitive processes of the human brain, deep learning is able to analyze and generate complex text. 

Natural language processing technology enables machines to understand and generate natural language, which 

provides a technical basis for human-computer collaborative creation. Artificial intelligence can generate creative 

poems or stories according to a given theme or style, help writers explore new creative directions, and show the 

ability to imitate the style of masters such as Shakespeare and Jane Austen by analyzing a large number of classic 

works, help writers explore different styles in a multicultural background, and promote the replication and 

innovation of literary styles. Shows the potential to redefine literary traditions. Natural Language Processing (NLP) 

intertwines linguistics, artificial intelligence and computational science, covering the two core areas of natural 

language understanding (NLU) and generation (NLG) : NLU converts human language into machine-processed 

symbols for in-depth analysis; NLG analyzes the output language text and transforms it into an understandable 

form to enhance human-machine interaction.With the help of this technology, virtual dialogue can show 

authenticity, and readers can achieve a freer and more authentic interaction with the work. It is no longer used as 

an auxiliary tool, but through complex algorithms and powerful generation capabilities, participate in the creative 

process. For example, in 2016, a novel assisted by NLP technology was shortlisted for the Japanese Hoshi Shinichi 

Literature Prize. This indicates that AI is no longer at the stage of imitation in creation, but is gradually possessing 

the ability of creativity and emotional expression[11]. The large language model is based on the Transformer 

architecture, which can capture the subtle relationships in the language and understand the complex connections 

between words, so as to generate both coherent and creative text, with powerful functions of large-scale production, 

multi-modal interaction, and long text reading. Some of the more representative language models include GPT-4, 

BERT, XLNet, and T5. OpenAI's GPT-4 model, for example, can be trained on large amounts of text data to 

produce high-quality articles indistinguishable from human creators. 

From one-way "creation - reading" to two-way "co-creation - interactive reading", under the characteristics of 

strong interactive literature, man-machine collaborative creation mainly presents two modes: Navigational 

writing" In other words, humans act as the leader, guide AI to make specific creations through clear instructions, 

and control the narrative direction and quality, similar to the captain at the helm while AI is responsible for power 

output; "Two is" Exploratory writing" It breaks the traditional master-slave relationship, regards creation as an 

equal dialogue between man and machine, expands the creative boundary through mutual inspiration, and 

discovers new narrative possibilities. These two modes have their own characteristics: navigational writing 

emphasizes efficiency and control, exploratory writing focuses on innovation and breakthrough, and together 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 2; 2025 

 5 Published by IDEAS SPREAD 

 

constitute a new paradigm of creation in the AI era, which not only improves the efficiency and quality of creation, 

but also implies that future creation will be a more open and interactive process, requiring creators to explore and 

practice with an inclusive and open mind. 

3.2 Creation Subject and Platform Transformation 

The research paradigm of digital humanities is changing from static data analysis to dynamic intervention and 

shaping of future literary creation, directly serving the creative process of writers. This kind of collaborative 

creation is leading to the structural transformation of literary creation, especially in the transformation of creative 

subjects and creative platforms.  

With the wide application of generative artificial intelligence tools, literary writing is full of unprecedented vitality, 

and the structure of creative power is also undergoing profound changes. In the man-machine collaborative 

creation mode, the introduction of artificial intelligence has gradually shifted from the traditional creation mode 

dominated by elite writers and grassroots writers to the diversified creation subject with artificial intelligence as 

the core. The main body of creation has expanded from a single human author to human-machine collaboration, 

and even pure machine creation. Microsoft's Xiaoice, for example, has maintained a steady pace of creation every 

year since the publication of his poetry collection "Sunshine Lost the Window" in 2017, and all of his works have 

been copyrighted, which shows that artificial intelligence has a certain independence and creativity in literary 

creation. With the development of technology, new creative platforms continue to emerge, promoting the 

decentralization of literary production. For example, Zhihu and other platforms access the large language model 

"Wenxinyi", providing users with artificial intelligence-based creation tools. These platforms have not only 

changed the way literature is created and distributed, but also deepened the interaction between authors and readers. 

In this process, digital technologies have played a crucial role, accelerating the pace of innovation in literary forms 

and cultural dissemination. The rise of such platforms not only provides a new form of display for literary works, 

but also a complete record of each stage of creation, showing the dynamic characteristics of online literature. It 

can be seen that the combination of digital humanities and artificial intelligence is profoundly reshaping the 

ecology of literary creation, opening up new possibilities for the future development of literature. 

3.3 The Rise of Cross-Media Narrative 

Cross-media narration refers to the joint telling of a story through a variety of media forms (such as text, image, 

sound, video, etc.), breaking the limitation of the single medium of traditional literature. This kind of narrative 

expands the means of expression in literature and enables readers to participate in the work with a richer sensory 

experience. Marie-Laure Ryan proposes that the logical framework of digital narrative is based on the binary 

opposition between textual structure and interactive mode. She divides digital storytelling into five main forms: 

interactive fiction, hypertext, online storytelling, interactive drama, and narrative games. The diversity of media 

forms further expands the possibilities of literature, and digital narration provides a new opportunity for novel 

narration, poetic creation and text presentation. The intervention of digital technology also makes nonlinear 

narrative become a reality, and the traditional linear narrative is gradually deconstructed, and cross-media narrative 

emerges[12]. The form, sound and meaning of language can be creatively recombined through digital technology, 

and cross-media text derivation is thus a natural result. 

Creative writing across genres and media is a typical product of highly technical creative practice in the new media 

era because of its non-linear, visual and multi-media creation, dissemination and reception. This practice takes text 

as the main carrier of production value, which reflects the profound influence of digital technology on literary 

creation. In the experience of cross-media narrative, readers can not only feel the interactivity of the story, but also 

put forward their own creativity on this basis, and actively participate in the creation and extension of the content. 

This open creation mode breaks the closed structure of traditional reading, and makes content creation more open, 

diversified and creative, so as to realize the co-creation of content value. For example, Pottermore builds a 

community of loyal readers through interactive cross-media modules, using different narrative modes to create 

individual story fragments, and ultimately forming a unique overall narrative space. The platform encourages 

readers to actively participate in content creation, making them both audiences, creators and disseminators, thus 

promoting the extension of cross-media narrative space. 

3.4 The Multimodal Expression of Text and the Reconstruction of the Relationship between Literary Elements 

In the existing research, "multimodal" is usually regarded as an important attribute of information resources in the 

digital age, that is, the expression of literary works gradually transitions from a single mode to a variety of modes 

such as text, image, audio, video, etc., and achieves deep integration between modes. Since the 21st century, with 

the deep involvement of digital technology and Internet technology, digital literature and digital text have been 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 2; 2025 

 6 Published by IDEAS SPREAD 

 

developing rapidly. "New genres" such as hypertext, multimedia text, interactive text and machine text have 

gradually become the main forms of database writing, and network literature has therefore become the mainstream 

of contemporary man-machine collaborative creation[13]. Hypertext novels based on hyperlink technology have 

significantly changed the creation paradigm and reading mode of traditional literature. The introduction of 

hyperlink and multimedia function has broken the linear structure and stability of traditional text, and transformed 

the literature form from a single and flat mode dominated by linear text to a complex situation of multi-modal 

coexistence and human-computer interaction. In this context, readers' reading experience has also been upgraded 

from the traditional single-sensory participation to the multi-sensory immersion experience. In Michael Joyce's 

hypertext novel Twelve Intersecting Roads, the hyperlink technology allows readers to choose different link paths 

and experience different storylines. This multi-modal literary form not only breaks through the reading barriers 

brought by language and cultural background, but also provides a more open and shared reading experience for 

global readers. 

With the continuous expansion and change of writing application scenarios, the balance of elements of traditional 

literary creation is gradually broken, and this change redefines the relationship between authors, works and readers. 

Writing is no longer just the exclusive domain of literary creators, but has become a universal form of labor in 

cultural production. In the process, the identity of creators has also become more diverse. They may be artists 

skilled in new media technologies, engineers with programming skills, or other professionals capable of creating 

with new technologies, or they may come from traditional humanities or interdisciplinary fields. Anyone can 

generate text content that conforms to their personal preferences by entering the corresponding instructions. The 

role of the creator changes from a single author to all the readers, and the readers further become the producers of 

media content, actively participate in the construction of the text, and become "writing readers". The enhancement 

of interactivity and initiative makes the relationship between readers and authors closer, and at the same time, 

through the creative sharing and interaction between readers, a constantly improving story world system is 

gradually constructed. 

4. The Challenge and Response of Man-Machine Collaborative Paradigm in Literary Creation from the 

Perspective of Digital Humanities 

4.1 The Main Challenges of Human-Machine Collaborative Creation 

4.1.1 The Main Challenges of Human-Machine Collaborative Creation 

In the 1950s, Alan Turing proposed the question "Can machines think?" This issue has led to discussions about 

the differences between artificial intelligence and human emotions. Emotion is the core of human literature 

creation, and the reason why classical works can move people's hearts is precisely because of its profound 

expression of emotion. Although human-machine collaborative technology makes up for the lack of human 

creation ability through text mining function, artificial intelligence usually relies on existing data and algorithms 

in emotional expression, resulting in the lack of emotional delicacy and uniqueness of creation, showing the depth 

of mechanization and lack of humanity. This puts the inherent emotional value of artistic creation at risk of dilution. 

The emotional expression generated by machines is difficult to reach the emotional resonance of human creators. 

Parisi and Petrosino pointed out that without autonomous motivation, a robot would not have emotions[14]. Writer 

Nan Fan also said, for example, artificial intelligence has a powerful memory function, but it does not recall, it is 

impossible to suddenly recall how a programmer wrote a key instruction in a sad afternoon, there is no moving 

scene blend into the touch of creation[15]. 

4.1.2 Originality and Copyright Attribution 

With the rise of man-machine collaborative creation, the ownership of works becomes complicated. As a creative 

subject, how do the works produced by artificial intelligence define originality? How to define the subjectivity of 

the author? At the legal level, traditional copyright law emphasizes the spiritual rights of human creators, and 

works generated by artificial intelligence are often difficult to be protected by law due to the lack of human 

subjective creativity, which has triggered legal and ethical discussions on the originality of works and the 

subjectivity of authors. On February 14, 2022, the Copyright Review Board of the United States Copyright Office 

once again denied a request for reconsideration of the copyright registration of the AI-created work "Entrance to 

Heaven" submitted by Stephen Thaler, represented by Mr. Abbott, reaffirming that under the provisions of the 

United States Copyright Act, Requires works to include a human authorship. Therefore, the work "a recententrance 

to paradise" created by artificial intelligence cannot be licensed. It can be considered that the originality standard 

built on the basis of "personality values" is the product of "anthropocentrism" and has the essence of the will of 

the work and the subjectivity of the author[16]. 

 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 2; 2025 

 7 Published by IDEAS SPREAD 

 

4.1.3 Creation Homogenization and Excessive Entertainment 

The "decentralized" creation mode makes the author and the reader gradually shift from a single linear reception 

mode to a more complex two-way feedback mechanism, and the reader is not only the recipient of the text, but 

also deeply involved in the interaction of literature production. For example, in the field of online literature, the 

number of clicks and reading data directly affect the transmission path and audience response of works through 

platform feedback. On the one hand, this interactive mode allows creators to adjust the direction of creation under 

the pressure of catering to readers' tastes, and on the other hand, it also blurs the boundary between creators and 

readers, prompting them to participate in the generation of text meaning. French scholar Giulia Kristeva first 

proposed the concept of "intertextuality" on the basis of absorbing Bakhtin's dialogue theory. She pointed out that 

the text of any work is constituted like the Mosaic of many texts, and any text is the absorption and transformation 

of other texts[17]. In this mode, interactive literary creation faces two challenges: On the one hand, in order to 

attract readers and pursue traffic, some writers pay more attention to the entertainment of their works, but ignore 

the due ideological depth and connotation. On the other hand, the creation style is becoming more and more 

homogenous, and the popular works on the network platform are imitated and copied in large numbers, which 

makes some creations lose their original uniqueness and personality expression. For example, under the influence 

of the "rice circle culture", fans' excessive rewards and comments gradually deviate from their attention to the 

works themselves, becoming more like an emotional transaction driven by capital, and even triggering public 

opinion. This kind of capital logic has a profound and complex impact on cultural consumption and literary ecology. 

4.2 The Coping Strategy of Man-Machine Collaborative Creation Challenge 

4.2.1 Integrate into the perceptual model, break through the emotional trap 

In the face of the shortcomings of artificial intelligence in emotional expression, breakthroughs need to be made 

in key technologies such as deep learning. Through the introduction of affective computing, affective generation 

model and other methods, artificial intelligence to enhance the perception and expression of human emotions. In 

addition, the combination of multi-modal data to simulate human emotional experience makes the works created 

by artificial intelligence more emotional depth and appeal. Through the integration of emotion recognition 

technology, it helps machines to better analyze the emotional fluctuations in human works, so as to achieve more 

delicate emotional expression in creation. Deepmoji is a deep learning-based model whose core lies in the learning 

of large-scale emoji corpora and the construction of an emotion perception system that can achieve top 

performance on multiple emotion-related text modeling tasks . Deepmoji analyzes large-scale text data through 

deep learning to predict and simulate complex emotional attitudes. Applying this technology to literary creation 

allows machines to produce texts that are not only grammatically correct, but also emotionally engaging, and thus 

closer to the emotional experience of humans. 

4.2.2 We will improve laws and regulations and clarify the ownership of copyright 

The intelligent creation of the "machine author" not only contains the "consent" of the human creator's intention, 

but also shows the "co-creation" characteristic of the machine accepting the guidance of human beings. Under the 

man-machine collaborative creation mode, the process of generating literary works by artificial intelligence 

depends on the design of programming language and the formulation of specific information processing rules. The 

literary works generated according to the "feeding" of human information and the pre-training of big data have 

more or less "reference" parts, but there is also the integration of innovative elements of human brain. Although it 

is difficult for the existing copyright system to fully explain the legal identity of the machine author, it is necessary 

to reconstruct the originality theory in jurisprudence in the face of the originality of the works generated by 

artificial intelligence and the subjectivity of the author. We can consider man-machine collaborative creation as a 

new creation mode and establish the evaluation standard of relative separation of subject and object. At the legal 

level, relevant regulations should be improved to clarify the copyright ownership of works generated by artificial 

intelligence, and provide institutional protection for man-machine collaborative creation. With the continuous 

advancement of machine learning, deep learning and natural language processing technologies, human-computer 

interaction systems are gradually adapting to complex and changeable application situations, effectively enhancing 

the ability of creation and regeneration, and its originality is yet to be explored. In addition, strengthening 

international cooperation and formulating unified international legal standards can help better deal with the 

copyright issues arising from cross-border human-machine collaborative creation. 

4.2.3 Guide the direction of creation and enhance the connotation of works 

In order to avoid excessive entertainment and homogenization of literary creation, it is necessary to introduce 

moral and social responsibility consciousness in the creation process. At the societal level, literary funds and 

innovation awards can be set up to encourage creators and developers to explore more diverse and deeper forms 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 2; 2025 

 8 Published by IDEAS SPREAD 

 

of literary expression; Education departments can set up specialized courses and seminars to appropriately guide 

young creators on how to innovate literary form and content while maintaining literary depth and cultural value in 

collaborative creation with machines. In these ways, creators can not only improve the quality of their works, but 

also use technology as a link to better express their creativity and emotions, and ultimately promote the 

development and diversity of literature and art. At the same time, the creator should also balance innovation and 

rationality, pay attention to the ideological depth and cultural value of the work. In the creation of artificial 

intelligence, deep learning algorithms can be used to conduct sentiment analysis and trend prediction on public 

opinion information to avoid generating content that may cause negative social impacts. 

5. Conclusion 

From the perspective of digital humanities, this paper discusses the application and evolution of man-machine 

collaborative paradigm in literary creation. By reviewing the development of literary creation from "author-

centered" to "reader-centered" to "digital interaction", this paper analyzes the influence of Whitehead's educational 

concept in interdisciplinary practice and the transformation of literary creation driven by artificial intelligence. 

The research shows that the integration of human-machine collaboration technology not only enriches the subject, 

mode and platform of literary creation, but also promotes the rise of cross-media narration and the development 

of multi-modal expression of text, and reconstructs the relationship between the elements of literary creation. 

However, at present, man-machine collaborative creation still faces challenges such as lack of emotion and 

difficulty in defining originality. Future research should focus on improving the emotional expression ability of 

artificial intelligence, improving relevant laws and regulations, as well as strengthening interdisciplinary 

cooperation, promoting the deep integration of technology and humanities, and promoting the continuous 

innovation of literary creation paradigm. Through continuous technical improvement and theoretical exploration, 

it is expected to achieve greater breakthroughs in man-machine collaborative creation in the future, and inject new 

vitality into the development of literature and art. 

References 

[1] Salerno, E. (2024). Digital humanities: Mission accomplished? An analysis of scholarly literature. Cultures of 

Science, 7(1), 34–48. 

[2] Hao, Y. (2024). An analysis on the practice path of digital humanistic service in university libraries. Shenhua, 

(19), 131–133. 

[3] Pierre-Luc, G. (2018). SABINA LEONELLI, Data-centric biology: A philosophical study, Chicago: The 

University of Chicago Press, 2016, 275 pp., $35/24.5. History and Philosophy of the Life Sciences, 40(3), 57. 

[4] Barthes, R. (2004). The death of the author. In Y. Zhao (Ed.), Collection of semiotic literature (pp. xx–xx). 

Tianjin: Baihua Literature and Art Publishing House. 

[5] Bi, R., & Song, S. (2020). Thoughts on the problem of "author" in artificial intelligence literary writing. Writing, 

(03), 69–75. 

[6] Levinson, P. (2001). Digital McLuhan. Beijing: Social Sciences Academic Press. 

[7] Shan, X. (2018). "Writer-centered," "reader-centered," "digital interaction": Media literature and art analysis 

of literary writing styles in the new media era. Learning and Exploration, (8), 156–162. 

[8] Central Government of the People's Republic of China. (2024, January 18). Implementation Opinions of 

Ministry of Industry and Information Technology and other seven departments on promoting future industrial 

innovation and development [EB/OL]. Retrieved October 9, 2024, from 

https://www.gov.cn/zhengce/zhengceku/202401/content_6929021.htm?s_trans=1927466135_&s_channel=4 

[9] Sun, N. H. (2024, April 30). Development of artificial intelligence and intelligent computing [EB/OL]. 

Retrieved October 9, 2024, from http://www.npc.gov.cn/c2/c30834/202404/t20240430_436915.html 

[10] Li, B. (2023). New literary features of digital literature under the background of media transformation. Hubei 

Social Sciences, (05), 101–108. 

[11] Parisi, D., & Petrosino, G. (2010). Robots that have emotions. Adaptive Behavior, xx(xx), xx–xx. 

[12] He, Y. (2023). From symbol, device to production mechanism: The change and limit of writing in network 

literature database. Modern Chinese Literature Research Series, (07), 242–260. 

[13] Yang, S., & Wang, S. (2020). Human emotion and machine emotion: Emotion research in the field of artificial 

intelligence. Art Museum, (03), 63–71. 

[14] Wang, D. (2022). When art meets AI. Innovation World Weekly, (09), 110–111. 



hssr.ideasspread.org   Humanities and Social Science Research Vol. 8, No. 2; 2025 

 9 Published by IDEAS SPREAD 

 

[15] Wu, H. (2019). Questions about the copyright law of works generated by artificial intelligence. Chinese and 

Foreign Law, 32(3), 653–673. 

[16] Zhang, F. (2021). Analysis of adaptation strategies from network novels to domestic network animation. 

Southeast Communication, (01), 108–112. 

[17] Kristeva, J. (1980). Desire in language: A semiotic approach to literature and art (L. S. Roudiez, Ed.; T. Gora, 

A. Jardine, & L. S. Roudiez, Trans.). Columbia University Press. 

 

Copyrights 

Copyright for this article is retained by the author(s), with first publication rights granted to the journal. 

This is an open-access article distributed under the terms and conditions of the Creative Commons Attribution 

license (http://creativecommons.org/licenses/by/4.0/). 


