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This paper employs the theoretical framework of Neo-Mythologism to examine the mechanisms and cultural significance of Shan Hai Jing in contemporary animated adaptations. The study first identifies the text’s fragmented genealogy and non-linear spatial structure as a rich reservoir of motifs for modern media. Animated adaptations, however, are not faithful restorations of the original, but translations achieved through three key mechanisms: (1) the collage and reorganization of mythological fragments to construct new visual symbol systems; (2) narrative rewriting and emotional re-inscription that transform catalogued knowledge into character-driven stories, endowing mythic symbols with psychological and affective functions; and (3) spatial reconstruction that reinterprets heterotopian cosmography as a stage for order and identity. Together, these mechanisms shift the function of mythology from explaining the world to consoling individuals and shaping cultural identities.

On the level of cross-cultural communication, the animated Shan Hai Jing demonstrates three forms of “intermediacy”: discursive, which sustains the tension and continuity of ancient Chinese cosmology in global contexts; subjective, which foregrounds audience interaction and re-creation; and situational, which embeds mythological imagery in festivals, digital platforms, and market systems. Its value lies not in packaging Chinese stories but in regenerating cultural genes within contemporary media and global exchange, thereby extending the scope of Neo-Mythologism and underscoring its dual role as cultural memory and cross-cultural meaning production.

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기사명 저자명 페이지 원문 목차
『장자』 내편과 외⋅잡편의 어휘 비교 = Comparison of vocabulary between the inner chapters and outer and miscellaneous chapters of Zhuangzi : focusing on the characters ‘化’ (Hua) and ‘變’ (Bian) : ‘化’ 字와 ‘變’ 字를 중심으로 고지영 p. 1-23
여성고딕과 장아이링(張愛玲) = Female gothic and Eileen Chang 김연수 p. 25-43
八大山人의 山水畵에서 仿古의 의미 = The meaning of Fanggu(imitating antiquity) in Bada Shanren's landscape painting : focusing on the inscribed poems after the 1690s : 1690년대 이후 題畫詩를 중심으로 김연주 p. 45-72
꿈의 주체와 해몽의 권위 = The subject of dreams and the authority of interpretation : changes and differentiation in ancient China : 殷代에서 戰國時代까지의 꿈 해석 권위의 변화와 분화 류원상 p. 73-93
安坚『梦游桃源图』的观看顺序与图像叙事研究 = A study of viewing sequence and pictorial narrative in An Jian's Dreaming of the Peach Garden 施程亭, 随成龙, 张庆丰 p. 95-116
식민지 근대화와 여성 노동의 재편 = Colonial modernity and the reorganization of women's labor : working women in Manchukuo's female literature : 만주국 여성작가 작품 속 여성의 직업을 중심으로 정겨울 p. 117-141
『동국세시기』에 나타난 중국 세시풍속의 수용과 변용 연구 = The adoption and adaptation of Chinese seasonal customs in Dongguk Sesigi 조선미 p. 143-177
건륭제 팔순 만수절과 연극공연 = The Qianlong Emperor's eightieth birthday celebration and theatrical performances 차미경 p. 179-206
新神話主義視角下中國神話的重構 = Reconstructing Chinese mythology from a neo-mythological perspective : the case of Shan Hai Jing in animated adaptations : 以『山海經』動畫改編爲中心 夏玥 p. 207-232
방법으로서의 중국과 ‘비판’의 문제에 관하여 = China as method and the problem of critique 피경훈 p. 233-255
신체 경험과 자아의 재건 = Embodied experience and self-reconstruction : an analysis of the film YOLO (You Only Live Once, 熱辣滾燙) : 영화 <맵고 뜨겁게(熱辣滾燙)>를 중심으로 김남희 p. 257-273
을 중심으로"> ‘미스터리’ 장르로 소환된 ‘동북’ = China's "Northeast" region recalled through "mystery" genre : focusing on The Long Season : 드라마 <만장적계절>을 중심으로 김혜주 p. 275-301
个体化进程中的女性主体能动性研究 = Female agency in the process of individualization : a narrative and audiovisual analysis of My Sister : 基于《我的姐姐》的叙事与视听分析 孙佳, 金廷宣 p. 303-320
基于中国观众影评的韩中灾难电影特点与社会功能浅析 = A preliminary analysis of the characteristics and social functions of Korean and Chinese disaster films based on Chinese audience reviews 陈吉文, 罗敏球 p. 321-348
从反向忠诚到双向契约 = From reverse loyalty to reciprocal contract the modern transformation of Confucian "Zhong" ethics in Chinese dog films : 中国犬类电影中儒家“忠”伦理的现代转型 丛天馗, 金廷宣 p. 349-372
현대중국어 ‘N+一些’에 대한 初探 = A preliminary study on the 'N+一些' construction in modern Chinese 조은경 p. 373-400

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