아버지의 눈을 뜨게 하려 목숨을 버리는 심청을 주인공으로 하는 <심청전>을 연구 대상으로 <심청전>에서 긴장이 해소되는 지점을 중심으로 ‘안도’를 읽어나가 본다. 죽음을 가운데 둔 이 작품에서 향유층이 죽음으로 인해 빚어지는 긴장감을 어떻게 덜어내게 되는지를 심청이 죽음을 받아들이는 지점, 심청이 용궁에 이르는 지점, 심청이 연꽃을 타고 육지로 나오는 지점, 심청이 궁궐에 이르러 왕과 만나는 지점에 나누어 살펴본다. 이후 이를 ‘숭고미’를 염두에 두고 ‘안도’와 관련하여 해석한다. 서양에서의 숭고미가 ‘자연’에 기반한 것임에 반해 인간의 도리를 중심에 둔 동양에서의 숭고함에 대한 관념은 그와 다른 것임을 읽어나가며 아버지를 위해 희생하는 딸을 그리는 작품인 <심청전>이 왜 아름다운 고전으로 읽히게 되었는지를 미적 측면에서 읽어나간다. 이로써 그간 심청의 죽음 앞에 놓였던 ‘숭고’의 의미를 재탐색하며 심청의 죽음이 보여줄 수 있는 ‘위함’이 무엇인지 새롭게 살펴본다. 이를 통해 ‘희생제의’적인 측면이 강조되는 한국 고전문학에서 도출할 수 있는 미감(美感)의 의미를 화두로 던져보고자 한다.

This study aims to analyze Shimcheongjeon, which depicts Simcheong who gives up her life to open his father's eyes. Focusing on the scenes where narrative tension is relieved in Shimcheongjeon, ‘relief’ should be read in this study. This study shall analyze how the readers relieve the tension caused by Shimcheong’s death. For the analysis, the scenes where Simcheong accepts her death, Shimcheong reaches Yonggung, Shimcheong comes out to land on a lotus flower, and Shimcheong reaches the palace and meets the king. After that, it is interpreted in relation to relief concerning with sublime. While the sublime in the West is based on Nature, the idea of sublime in the East centers on behavior and thoughts in human. It could show that an aesthetic point of view why Shimcheongjeon, a work depicting a daughter who sacrifices her life for her father, was read as a beautiful classic. With this, the meaning of sublime in Korean classic literature text could be newly interpreted. Through this, the meaning of aesthetics that can be derived from Korean classical literature, which emphasizes the sacrifice for the others could be read in another point of view.

This study aims to analyze the issues of women and justice represented in Korean popular culture, focusing on the recently released Korean crime film Citizen Deok-hee(2024). The film, which deals with the emerging crime of voice phishing, is based on a true story. The protagonist, Deok-hee, is modeled after Kim Seong-ja, a victim of voice phishing, who later played a decisive role in uncovering a criminal organization. Kim Seong-ja’s story reveals the deeply embedded male-centered structure within the law, which continues to marginalize women. In other words, although the democratic judicial system pursues the neutrality and fairness of the law, it has historically adopted the perspectives and positions of men as universal, while ignoring or concealing women’s perspectives, experiences, and voices.

In particular, Korean crime films and dramas, which are actively produced and consumed, often reflect a stereotypically male-centered structure of law and crime. The heroes who mercilessly punish villains are usually men, while the victims they rescue are typically the socially vulnerable—children, the elderly, and women. While crime films pursue poetic justice rooted in the moral triumph of good over evil, they maintain a male-centric narrative that sidelines women and other social minorities by focusing on heroic male figures. Citizen Deok-hee, by basing its story on Kim Seong-ja, a real-life crime victim and key figure in resolving the case, criticizes the male-centric nature of the legal system and prompts viewers to reconsider the actual meaning of so-called “gender justice.”

In conclusion, this study argues that Korean popular culture demonstrates how law and institutions must listen to “women’s voices” in order to truly recognize women as legal subjects, and that doing so is essential for the realization of genuine gender justice and equality.

This study compares the Spanish novela negra and digital detective games to examine how both forms, while sharing a common detective narrative structure, construct fundamentally different models of reader/player subjectivity under distinct cultural and media environments. The primary cases include Manuel Vázquez Montalbán’s Pepe Carvalho series, its 1988 game adaptation Los Pájaros de Bangkok, and the modern digital detective game Disco Elysium.

Novela negra, rooted in the literary tradition of 19th-century detective fiction, presupposes truth as an internally embedded and interpretable entity, positioning the reader as a passive, empathetic, and interpretive subject. In contrast, digital detective games reconfigure truth as a construct generated through the player’s choices and interactions within technologically driven, interactive frameworks. Consequently, the user shifts from an external observer to an internal operator who actively engages in the unfolding of the narrative. Los Pájaros de Bangkok, situated at the boundary between literature and games, functions as a transitional narrative in which the weakening of traditional detective structures is accompanied by the emergence of game-like interactivity, revealing the structural shifts between media.

By comparing these narrative systems, this study argues that the evolution of detective storytelling is not merely a formal change but a reflection of broader cultural transformations in how subjectivity is imagined. Specifically, it shows how sensory perception, technological mediation, and cultural logic shape narrative structures. Ultimately, this research contends that literature and games should not be seen as isolated genres but as interrelated platforms for experimenting with the cultural construction of narrative subjectivity.

This study aims to examine more deeply the relationship and significance between the concept of "stylization(양식화)" and the critique of "schematic realism" through a focus on the criticisms published by Kim Hyeon in the mid-1960s. This will be developed through research in two particular categories. First concerns the influence of Bachelard inherent in the concept of "stylization." Kim Hyeon's reception of Bachelard is well known, and this is particularly evident in his critical work from the mid-1960s to the late 1970s. This paper argues that "stylization" is related to Kim Hyeon's major concept of "enveloping(감싸기)" and that it is based on the scientific epistemology of French philosophy. Furthermore, this argument will be advanced through an approach to "factual form(사실형)" in the critique of "schematic realism(도식적 리얼리즘)" found together in criticisms dealing with "stylization." Second, based on this, we aim to examine why Kim Hyeon develops his discussion centered on "religion(종교)" in "A Study on the Stylization of Korean Literature(한국문학의 양식화에 대한 고찰)" published in 1967. Through this, we seek to reveal that the concept of "stylization" is not simply a matter of style, but rather an epistemological concept closer to the French term modalité, which is more often translated as "modality" rather than "style" in Korean.