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This thesis takes Greenblatt's critical view of cultural poetics from the perspective of New Historicism as a case study, combines his concrete critical practice activities, and gradually deduces the ins and outs and essence of his critical thoughts by focusing on analyzing his classic judgments and representative works, with the purpose of clarifying the source of his theory. Grasp the academic ideas and practical trends of cultural poetics criticism, and reveal the cultural character, historical context and political connotation of its multiple intertextual criticism categories such as "cultural subjectivity" and "culture of subjectivity", "historical textualization" and "text historicization", "power discourse" and "discourse power". At the same time, reassessing and reconstructing the development context and theoretical framework of New Historicism and the critical school of cultural poetics, and clarifying its theoretical value and historical limitations openly and realistically, will undoubtedly have important epistemological enlightenment value and historical reflection value for the contemporary interpretation and subject reconstruction of Chinese cultural poetics critical theory. We have ample reasons and evidence to believe that once the New Historicist cultural poetics criticism theory is rooted in China's "native" literary criticism ecology, it will certainly help expand the territory of its own critical practice and improve its theory, and consolidate the "awareness of standpoint and theoretical consciousness". On the basis of the ideological basis of "and value introspection", it will also strongly pull Chinese literary creation and criticism closer to the ideal of "ecological criticism" of harmonious symbiosis and shared beauty, thereby maintaining a critical situation of preserving tradition and absorbing new knowledge, "the falling clouds and the solitary owl flying together".