The universal ethical phenomenon in literary texts is a key concern in literary ethics criticism. Ethical issues in literary works are reflected in ethical line and ethical knot, and the two together weave the entire literary text. The ethical structure deeply reflects the ethical consciousness in the works. Among them, the ethical line shows the main ethical line of the work and the occurrence and development of leading ethical issues from a macro perspective；The ethical knot shows the basic ethical issues, contradictions and conflicts in the works, as well as the formation and resolution of ethical dilemmas from the microcosmic aspect. Therefore, this article selects the masterpieces of ancient strange novels in China and South Korea, LiaoZhaiZhiYi(聊斋志异) and TianNiLu(天倪录), to explore the ethical consciousness embodied in the works. The ethical structure and ethical connotation in the works are mainly analyzed from the two aspects of the ethical line in the artistic setting of the two works and the ethical knot in the ethical narrative.Including the embodiment of non-human images in the art setting and the author's self-evaluation on the ethical line, as well as the construction of the ethical knot by the genre narrative and the deconstruction of the ethical knot by the karma narrative.Using the analytical method of comparative research, explore the different levels of ethical consciousness and ethical connotation reflected in the two works, explain the ethical issues and ethical reasons under the background of different countries and times, and provide ethical inspiration.

The development of modern filming technology and the increasing spiritual needs of the market appeal for a modern inheritance of popular intellectual properties (IP) in the age-old classic Chinese literary works, mainly for their transmission in new media. Fengshen Yanyi, also known as The Investiture of the Gods, is one of the classic works with numerous modern adaptations. As a god-evil novel, it processes great potential for cultural re-creation, and thus generates multiple types of cultural products, such as movies, TV dramas, online novels, and animations. Some popular Chinese animation films in recent years, such as Nezha: Birth of the Demon Child, Legend of Deification, and New Gods: Yang Jian, are all adaptations on it, and the audience expect a “Fengshen Universe” like the world-famous “Marvel Universe”. Thus, this paper aims to explore and summarize a model of “Roads to the Gods” with the characteristics of Chinese myth, by comparing the above three Chinese animation films with Hollywood’s “Hero’s Journey” model and referring to data analysis and market feedbacks of the three.

Streaming media is an emerging mode of video playback. It compress a series of multimedia data and transmit the data in real time through the Internet. And It has become an important part of people's daily entertainment and leisure. These streaming media platforms(Including OTT platforms) are full of enormous Intellectual Property(IP). Although there are some original IP, most of them are derived from Chinese classical culture and refreshed vigorously. Owing to digitalization, paper publications gradually broken the restrictions of physical forms and evolved to multiple digital forms in the world. In the thriving contemporary cultural industry, the needs for traditional classics are gradually surpassing that for the pure humanistic value, and thus the culture industry value of them are focused on. Xiyouji is the crystallization of the collective wisdom and imagination of the ancient folk, which has been active in people's daily life with various forms of popular cultural products, such as speech and opera, since the ancient time. Therefore, Xixingji is selected in to this paper as the study object, so as to discuss how the original work is effectively untilized in Xixingji to create the magnificent script and storylines and how Christopher Vogler's narratological theory is adopted to analyze the storytelling and character in animation Xixingji, and also to investigate the market reaction of Xixingji in China and South Korea.

『수호전』의 양산박은 ‘헤테로토피아(Heterotopia)’적 공간으로서, 현실세계에 존재 하지만 다른 현실공간과는 절대적으로 다른 공간인 대항 공간으로 존재하고 있으며, 이것은 ‘이의제기의 공간’으로 생성되었으며 ‘한시적 공간’으로 소멸되었다고 볼 수 있다. 양산박의 생성과 소멸은 ‘헤테로토피아’의 원리를 보여주고 있다. 수호전에 함축된 다양한 의미를 파악하기 위해서는 다양한 시각을 통한 접근이 필요할 것으로 보인다. 작품에서 추구하는 이상세계가 어떠한 ‘공간’을 이루고 있으며 이 ‘공간’이 현실세계에 어떻게 구성되는지를 통해 그 장소가 지니는 함의를 분석해보는 것은 작 품의 본질을 파악하는 하나의 시각이 될 수 있을 것으로 보인다.

『경화연』은 18-19세기 이여진에 의해 창작된 것으로 신화적 상상력을 바탕으로 사회비판 의식과 혁신사상을 보여주는 청대의 소설이며, 중요한 유토피아 저작이다. 작품에서 소봉래산 으로 상징되는 선경 유토피아는 거시적 유토피아로, 신화세계(경화수월, 선녀)―선경―현실세 계(인연, 여자과거)의 구상을 드러내고 있으며, 해외 유토피아 섬나라들은 미시적 유토피아로 현실에 대한 비판과 이상향에 대한 갈망을 투영한 이상사회로서의 유토피아 구상을 보여준다. 『경화연』에서 다루고 있는 사회비판 의식과 혁신 사상은 여성 문제에 관한 인식, 현실정 치와 사회에 관한 인식, 과학문명에 대한 인식 등이 두드러진다. 혁신의 한계에 있어서는 소봉래산으로의 은일이라는 소극적 현실개혁의 유토피아를 제시하고 있으며, 유교사상을 바탕으로 태평성세의 대동사회 유토피아를 제시하며 복고에의 추구를 보여준다.