952:
504:
138:โor a god in the form of oneโgives her a set of tasks by which she can meet her husband again. The most recurrent tasks are tearing out her hair and weaving the hair into a rope, boring holes into her palms and threading the rope into the holes, and either hanging on it, going back and forth on it, or both; repeatedly drenching her fingers in oil, then setting them on fire; and, finally, paving a difficult mountain road with only what remains of her bare hands. Having done all this, Cheongjeong-gaksi is briefly reunited with her husband before he dies or departs again. In the majority of versions, the woman ultimately commits suicide or otherwise dies to be reunited with her husband for good in the afterlife.
500:). Dorang's mother dies when he is three and his father dies when he is four, and he is brought up by his maternal uncle. When the boy reaches fifteen, a marriage is arranged between him and Cheongjeong-gaksi. His uncle divines the future of the couple and determines that they are incompatible, but Dorang-seonbi insists on the marriage. He ignores a series of inauspicious omens on the way to his bride's house and falls ill on the night of the marriage. He leaves for home, telling Cheongjeong-gaksi that he will have died if she spits on the wall the next day and it immediately dries. Her spit dries the next morning, and a messenger soon arrives bearing the news of her husband's death.
855:
and death from its very beginning; death strikes at a lavish wedding, the beginning of a new life. The most important of
Cheongjeong-gaksi's tasks may also be seen as connective. The rope that she weaves from her hair is hung between two different places; in versions where one end is hung in the middle of the air, it implicitly links the temple sanctum to the supernatural realm. In the 1926 version, the fire too is explicitly said to be bright enough to be seen in the afterlife and to thereby draw Dorang-seonbi back to the living world. Kim also notes that the narrative centers on
867:
themselves and join the deceased in the afterlife. As they listen to the narrative, the people at the funeral are able to metaphorically "become
Cheongjeong-gaksi, hang themselves, and head to the afterlife to meet their loved one." Among the final episodes of the narrative, in which Cheongjeong-gaksi finds Dorang-seonbi doing well in the afterlife, presents hope to the funeral attendees that the deceased person of this particular funeral is at peace there as well. Shin concludes that the religious purpose of the narrative is to help overcome the emotional pain of death.
577:"stone"โis raised by his uncle after his parents' early deaths. A marriage is arranged between him and Cheongjeong-gaksi. There are many ill omens on the way to the bride's house on the wedding day so that Dorang-seonbi wants to delay the marriage, but his uncle insists on having it on that day. The groom swiftly falls ill and is comatose by the end of the wedding ceremonies. He is taken home. When Cheongjeong-gaksi comes to visit her new husband, she finds him already dead.
650:
about on the rope another three thousand times. Dorang-seonbi arrives on the penultimate spin, and she tries to grab him. The rope snaps and she fails. The Sage then tells her to pave mountain roads with her bare hands. Dorang-seonbi arrives as she is about to place the final stone. When she tries to grab him first, a wind blows him away. As he vanishes, Dorang-seonbi tells her to commit suicide. She hangs herself and rejoins him in the afterlife. They both become gods.
863:
paved road leads to a genuine reunion, albeit a very brief one before the husband returns to the afterlife. This parallels the nature of the funeral itself, in which the bereaved are able to briefly reunite with their loved ones and bid them farewell before they enter the unreachable world of the dead. The myth, therefore, affirms both the unfordable gap between life and death and the ability of religious ritual to allow brief communion between the two.
808:: the funeral ceremony of South Hamgyong shamanism. The Mangmuk-gut is divided into three processes: an initial series of rituals through which various deities are invited into the funeral grounds and feasted; the second, central process by which the soul of the deceased is severed from its bonds to the living and dispatched to the afterlife; and a final rite in which the invited deities are returned to the supernatural realm.
612:, and to cross the River hundreds of times every day until the rope snaps and she meets her husband again. Gladly heeding the priest's suggestion, Cheongjeong-gaksi crosses the river back-and-forth for many decades. On the day the rope snaps, she sees Dorang-seonbi washing his face on the river's other side. She calls, but he does not answer. When she crosses the river, he is nowhere to be seen.
482:. When she does this, Dorang-seonbi returns to the living world, only to vanish once more when Cheongjeong-gaksi tries to embrace him. Finally, the priest tells her to pave the road from her home to Mount Annae using only what remains of her bare hands. While doing this, she discovers Dorang-seonbi paving the same road from the other direction. She embraces him, and he does not disappear.
512:
dipper, every grain vanishes. Next, the Sage tells her to dig a pit with her bare hands in the coldest winter; she must enter the pit wearing the panties she had worn on her night with Dorang-seonbi, then undress and put her panties in the pit. Though she does this, the Sage refuses to show her her husband until she brings him a being or an object called a
991:): a wife totally devoted to her husband. Moralistic tracts published by the Joseon government include hundreds of stories of such "virtuous women," including dozens of young women who committed suicide when their husbands died and one tale of a young widow who cut off her hair, ears, and nose to protest her family's suggestions that she remarry.
438:. They burn the gifts, but he continues to be nearly comatose. He leaves alone on the wedding night, after telling his wife that he will have died if she sees a man with shorn hair at noon the next day. No such man comes at noon, but a shorn-haired servant of Dorang-seonbi arrives at her house at night and announces that his master has died.
19:
862:
Cheongjeong-gaksi paving the road with her bare hands, which appears in all but one of the versions, is a particularly important connective element. Cheongjeong-gaksi's road is symbolic of the road to the afterlife that the dead soul will travel on through the
Mangmuk-gut. Unlike the other tasks, the
834:
In the context of the funeral, an important purpose of the narrative is to demonstrate the unbreachable gap between the living and the dead. In all versions of the myth, Cheongjeong-gaksi undergoes excruciating torment. Yet no matter her pain, she cannot be reunited with her husband so long as she is
580:
Cheongjeong-gaksi weeps, hoping to see her husband again. She is visited by a
Buddhist priest, who advises her to be submerged naked in icy water for five midwinter days. At the end of her torment, she is allowed to briefly meet Dorang-seonbi. The priest then tells her to immerse her fingers in a pot
546:
Dorang-seonbi loses his parents at an early age and is brought up by his maternal uncle. The uncle chooses an inauspicious day for his nephew's marriage with
Cheongjeong-gaksi, ignoring warnings from gods and birds. Dorang-seonbi falls sick on the wedding day. He spends one night in his bride's house
533:
of oil and setting her fingers on fire. She manages this and finally sees Dorang-seonbi at a distance, although he soon disappears. Her next task is to be raised and lowered by a rope woven from her hair and running through her palms, with the same specifications as in the 1926 version. Even when she
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is fundamentally supportive of patriarchy. Yoon Joon-seop points out that although many "virtuous women" commit suicide, none of them are reunited with their husbands, whereas
Cheongjeong-gaksi always is. He argues that the difference is that "virtuous women" were motivated by the patriarchal notion
296:
rituals are illegal and no longer held in North Korea, so the oral transmission of the narrative is presumed extinct. The ritual was thought to be virtually extinct in South Korea as well, as most refugee shamans did not pass down their knowledge. But in the 2010s, researchers were able to contact a
854:
Despite the emphasis on the separation between the living and the dead, Dorang-seonbi and
Cheongjeong-gaksi are invoked as divine linkers between the two, and scholars have also emphasized connective motifs in the myth. Kim Sun-hyun points out that the story demonstrates the interlinkedness of life
615:
Once more, she prays to the Buddha for three years. The priest returns and tells her to submerge her hands in a jar of oil for three years, and then to keep them burning for another three years while praying to the Buddha. At the end of these six years, Dorang-seonbi appears and tells her to follow
604:
Dorang-seonbi and
Cheongjeong-gaksi are young neighbors, presumably lovers, who receive their parents' permission to marry. They select an auspicious day for the wedding, but Dorang-seonbi suddenly falls ill and dies on his wife's lap on the night of the marriage. Devastated, Cheongjeong-gaksi does
466:
and hang one end in the temple sanctum and hang the other end in the middle of the air. Bore holes into your two palms and insert the rope into your palms. If you do not say that you are in pain, even while three thousand girls are raising and lowering that rope with all their force, you will meet
1048:
version, previously unknown to academia, in which the husband and wife are depicted as lovers even before the marriage. Yoon also notes the fact that Dorang-seonbi is responsible for his own death in most versions and that it is the woman who actively brings about their reunion, which may imply an
1038:
However, scholars such as Han also noted that
Cheongjeong-gaksi shows desires and sexual lust as well, as in her repeated attempts to make physical contact with her husband. Han argued that the heroine's suffering reflected the common perception in patriarchal Korean society that female desire was
649:
The Sage then orders
Cheongjeong-gaksi to tear out her hair and thread it into the palms in her hand. This version then combines the two variations seen in the earlier versions. Once she has strung the rope into her palms, she must first go back and forth on it three thousand times, then be spun
624:
After long anticipating their marriage, Dorang-seonbi and Cheongjeong-gaksi are finally married at the age of eighteen and fifteen respectively. But when Cheongjeong-gaksi offers wine to her husband during the wedding, the wine turns into water, oil, and blood. Dorang-seonbi falls ill, goes home
592:
and the other end to a pillar in Geumsang Temple. She must then thread the hair-string into holes in her palms and go back and forth on the string three thousand times. When the string snaps, she sees Dorang-seonbi washing his face. She runs there and finds nothing but water. Finally, the priest
564:
seeds, dries them all by dipping them on her fingers, and then sets her fingers on fire. When she does this, she only briefly sees Dorang-seonbi flying on a horse. A shamanic god then appears to tell her to pave a high mountain road with ninety-nine curves, using only her bare hands. As she does
511:
The distraught Cheongjeong-gaksi refuses to eat or drink for a hundred days. The sound of her wailing reaches the celestial Geumsang Temple of Mount Anhe. The Sage of the Temple visits to tell her to fill a gourd dipper with rice in order to see her dead husband. When she pours the rice into the
817:
is the single most important component of both the second process and of the entire funeral because it is believed to generate the road to the afterlife on which the deceased soul will journey. Dorang-seonbi and Cheongjeong-gaksi are worshipped as gods who create this road for the dead upon the
457:
container with clean water, then to go to Dorang-seonbi's grave alone and pray with it for three days. Cheongjeong-gaksi does so and is reunited with her husband. Delighted, she tries to grab his hand, but he disappears. The priest then tells her that what to do to be reunited with her husband
537:
The Sage finally orders Cheongjeong-gaksi to pave mountain roads with what remains of her hands. She falls asleep after weeping while paving the roads and finds Dorang-seonbi beside her when she awakes. But on the way home, a bridge spanning a river collapses while her husband is crossing it.
866:
Folklorist Shin Donghun argues that over the course of the recitation, Cheongjeong-gaksi acts as a surrogate for the bereaved. Her physical agony stands for the emotional agony felt upon a loved one's death. By committing suicide, she acts out the unrealizable desire of the bereaved to kill
485:
On their way home, a sudden north wind knocks Dorang-seonbi off a bridge and hurls him into the river below. As he drowns, he tells his wife to commit suicide so they can reunite in the afterlife. Cheongjeong-gaksi goes home, "rejoicing greatly" at finally having understood how to be with
593:
tells her to pave the harsh roads to Geumsang Temple with her bare hands. At last, she is reunited with her husband, but he falls off a bridge and drowns on the way. When Cheongjeong-gaksi digs a pit near Dorang-seonbi's grave and weeps inside it, her husband returns.
1026:
Cho argued that the agony of Cheongjeong-gaksi represents the suffering of women under a system that marginalized them and that the fact that Cheongjeong-gaksi readily accepts that agony and is ultimately rewarded with divinity reflects women's acceptance and
433:
to be married to a young nobleman named Dorang-seonbi. The groom falls very ill the moment he enters the bride's gate for the wedding. They consult a shaman, who tells them that the sickness is because Dorang-seonbi's marriage gifts to Cheongjeong-gaksi were
145:
demonstrated the unbreachable gap between the living and the dead but also suggested that shamanic ritual could lead to a brief reunion with the dead. Scholars have focused on the myth's Buddhist influences, and especially on its relationships to
486:
Dorang-seonbi forever. She hangs herself. She finds her husband teaching painting to children in the afterlife. The two reunite and enjoy "infinite happiness." Later, they are reborn into the human world as deities invoked in the Mangmuk-gut.
220:), is found in other areas of Korea where the myth of Dorang-seonbae is unknown. It may be that the mythological figure is named after the ritual, rather than vice versa. No version gives any indication of the meaning of "Cheongjeong".
1891:"<์ฒญ์ ๊ฐ์ ๋๋์ ๋น>๋ฅผ ํตํด ์ฃผ์
ํ๋ ๋ฌธํ์ ์์์ฑ์ด๋ ๋ค๋ฆ ์๋ ์๋ด๋ ๋จํธ์ ์ํด ์ด๋ค ์๋์ด๋ผ๋ ๊ฐ๋ดํด์ผ ํ๋ฉฐ... ๊ฐ์ ์ ๋ณต์ํด์ผ ํ๋ ์ง์๊ณผ์ ๋ฅผ ์ง๋ ์กด์ฌ๋ผ๋ ๊ท์ ์ด๋ค... ๊ตฟํ์ ๊ต์กํ์๋ ๊ทธ ์์งํญ๋ ฅ์ ํตํด ์์์ฑ์ ์ ๋นํํ๊ณ ๊ทธ ์ ๋นํ๋ฅผ ํตํด ๊ธฐ์กด์ ๊ถ๋ ฅ ๊ด๊ณ๋ฅผ ์ฌ์์ฐํ๋ค. ๊ทธ๋ฆฌ๊ณ ์ง๋ฐฐ์ง์, ์ฆ ๋จ์ฑ์ง์๋ฅผ ์ํํ๋ค. ์ด๋ฅผ ํตํด ๋จ์ฑ๊ถ๋ ฅ์ ์์ ์ ๊ณ ์ ํ ํ์ธ ์์ง๊ถ๋ ฅ์ ๋ง๋์ ๊ฐ๋ ๊ฒ์ด๋ค."
123:. It is the most ritually important and most popular of the many mythological stories told in this ritual. The Mangmuk-gut is no longer performed in North Korea, but the ritual and the narrative are currently being passed down by a
471:
Cheongjeong-gaksi does this, and Dorang-seonbi returns. When she attempts to embrace him, he disappears. The priest then tells her to dip her fingers in oil and let them dry, and to repeat this until she has dried fifteen
538:
Cheongjeong-gaksi returns to the Sage, who tells her to throw herself into the river where Dorang-seonbi drowned. She does this and is reunited with her husband in a world full of light. They later become gods.
901:, includes two apparently related stories. In one of the legends, a man threads a rope into holes that he has bored into his palms, hangs the rope on two stakes, and shakes his hands to-and-fro while making a
826:
is both the most ritually important and the most popular among the worshippers. Its two central figures are the most venerated among all of the invoked gods and were even worshipped as second to the Buddha in
1056:
story that explains why maternal uncles are now banned from being involved in marriage arrangements in South Hamgyong culture. This motif is understood as a reflection of the historical shift of Koreans from
332:
As Kim Geun-seong was extremely drunk when he was being interviewed by the researcher, a proper transcription was not possible. Despite this, the 1926 version remains among the longest and most detailed.
134:
are known. In all versions, a man named Dorang-seonbi marries a woman named Cheongjeong-gaksi, only to die almost immediately after the wedding. Distraught, Cheongjeong-gaksi weeps or prays until a
851:
Shin Yeon-woo states, the heroine's ultimate death shows that "human hopes cannot prevail over the order of the world, though the narrative shows how ardent and desperate those hopes may be."
646:
of oil on her fingers, then to set the fingers on fire and smell her flesh burn. When Dorang-seonbi arrives as she lights her hand, she tries to grab him, accidentally extinguishing the fire.
141:
Dorang-seonbi and Cheongjeong-gaksi were worshipped in the Mangmuk-gut as eminent gods who paved the road on which the deceased soul would travel to the afterlife. In the funeral context, the
628:
As in the 1926 version, her weeping reaches the Jade Emperor, who dispatches the Sage of the Golden Temple. Cheongjeong-gaksi's first task is to go to Geumsang Temple and recite ten thousand
547:
and goes home, saying that white doves and white crows will bring news of him. Dorang-seonbi dies immediately upon coming home, and the birds deliver his wife a letter bearing the news.
418:
Yi Chan-yeop was born in 1982 but received training from refugee shamans from Hamgyong, notably his grandmother from Hamhung. Only a summary, first published in 2020, currently exists.
608:
After three years, an old Buddhist priest tells her to tear out all her hair and weave the strands into a rope, to thread it into holes bored into her palms, to span the rope over the
884:
has received scholarly attention for its vividly gory descriptions, which are unusual in Korean shamanic narratives. It is generally accepted that Cheongjeong-gaksi's ordeals reflect
195:"stone", because it was hoped that he would live a long life just as a stone does not decay or perish. On the other hand, the name of the ritual in which the narrative was recited,
847:
that their loved one is gone to a place where no living person can possibly reach them, just as Cheongjeong-gaksi could not resurrect her husband even at the end of such pain. As
1031:
of the patriarchal order. Cho's thesis has been accepted by many scholars. For instance, the folklorist Han Yang-ha notes that since Cheongjeong-gaksi is barred from women's
1010:
is this rule: that a wife must endure every possible hardship for her husband's sake, and that she is a being whose the earthly duty is to restore her family... Through this
917:
named Deugogok encounters a Buddhist priest paving a road. When the priest appears in his dreams that night, Deugogok inquires of the priest and learns that he has died.
1052:
Dorang-seonbi is brought up by his maternal uncle, and some versions portray the uncle as being responsible for his nephew's death. In the 1966 version, this becomes an
550:
Cheongjeong-gaksi continuously prays to see her husband again. One day, a Buddhist priest descends from heaven and says that she will meet him if she presses three
839:"Oh, it's still far away. You were born in this world too, and you'll ascend among the immortals. So you'll meet me when you're dead, and not when you're alive."
494:
Two divinities are banished from the realm of the gods and exiled into the human world. They marry and give birth to a boy, who they name "Dorang" after "stone" (
1368:"๋์ ๋จธ๋ฆฌ์นด๋ฝ์ ํ๋์ฉ ๋ฝ์ ์ผ์ฒ ๋ฐ ์ผ์ฒ ๋ง๋๊ฐ ๋๊ฒ ๋
ธ๋์ ๊ผฌ์ ์๋ด์ฐ ๊ธ์์ ์ ๊ฐ์ ๊ทธ๊ฒ์ ํ ๋์ ๋ฒ๋น์ ๊ฑธ๊ณ ๋ ํ ๋์ ๊ณต์ค์ ๊ฑธ๊ณ ๋ ์๋ฐ๋ฅ์ ๊ตฌ๋ฉ์ ๋ซ์ด ๊ทธ ์ค์ ์๋ฐ๋ฅ์ ๋ผ์ ์ผ์ฒ๋๋
๊ฐ ํ์ ๋คํ์ฌ ์ฌ๋ฆฌ๊ณ ๋ด๋ ค๋ ์ํ๋ค๋ ์๋ฆฌ๋ฅผ ํ์ง ์์์ผ ๋ง๋ ์๊ฐ ์์ผ๋ฆฌ๋ผ."
267:
religion of the country. As no standardized form of Korean shamanism or its mythology exists, shamanic narratives exist in multiple versions. There is also
231:
version also names her husband "Doryang," not "Dorang." For the sake of consistency, the article will always refer to Dorang-seonbi and Cheongjeong-gaksi.
843:
Thus Cheongjeong-gaksi is obliged to commit suicide or otherwise die. As the shaman recites the sacred narrative, the bereaved at the funeral come to
2221:
565:
this, she encounters her husband. But he departs after informing her that she cannot see him until after she dies. This ending appears incomplete.
2277:
835:
alive and he is dead. This divide is referenced explicitly by her husband's soul in many versions, as in the conclusion of the 1966 transcript:
581:
of oil for three years, then to set them on fire while praying to the Buddha. She does this and is once more briefly reunited with her husband.
805:
108:
951:
435:
463:
1014:, the educational acts on the shamanic ritual ground legitimize the arbitrary; by legitimizing it, they reproduce the preexisting
189:
simply means "newlywed bride." According to some versions of the narrative, the husband was named "Dorang" after the Korean word
268:
920:
Cheongjeong-gaksi burning her fingers, her most recurrent ordeal, has been connected to the Buddhist devotional practice of
290:
in the late 1940s are from shamans who had fled the North Korean government, or people who had learned from those shamans.
1018:
relations. And they conceal the dominant order, that is, the male-dominant order. Male power is thereby overlaid with the
937:
smearing himself in scented oil and setting himself on fire. The Buddha praises his sacrifice and says that one who seeks
503:
2544:
616:
him. He leads her on the treacherous road to the afterlife, and they are reunited for good in the realm of the dead.
462:"Tear out your hair, one by one. Weave them into a rope with three thousand strands and three thousand knots. Go to
634:(ritual praises of the Buddha) without moving her hands or feet. When Dorang-seonbi arrives just before the final
979:
patriarchal values, and a key part of this effort was the promotion of the social ideal of the "virtuous woman" (
1044:
of female virtue, while Cheongjeong-gaksi is driven by genuine personal love. He supports the argument with the
939:
2560:
398:, a 1970 publication by refugees from Pukchong who had fled to South Korea during the division and the ensuing
58:
165:
The central figures of the myth are the dead husband Dorang-seonbi and his grieving wife Cheongjeong-gaksi.
2437:
1015:
518:, which is "the sort of thing that gathers rock and makes it split, and gathers water and makes it split."
859:
spaces such as gates, graves, mountain temples, and bridges, furthering its ritual purpose of connection.
1074:
1028:
2602:
2597:
2299:
2131:[The aesthetics of empathy and healing in the weeping scenes of shamanic narratives: Focusing on
374:
Only a summary of the plot exists in written form, but the recitation was filmed and is available on
239:
104:
2310:
2166:
1035:
of a wife and a mother, her only way to gain recognition is as a self-sacrificial "virtuous woman."
441:
Cheongjeong-gaksi does nothing but weep day and night. The sound of weeping reaches the hall of the
2121:
2320:[Study on the organization and realization of Cheongjeong-gaksi's ordeals, illustrated by the
584:
Next, the priest tells her to tear out all her hair and entwine them into a string three thousand
609:
276:
116:
1003:
453:, and she pleads him to teach her how to meet her husband again. The priest tells her to fill a
527:, the Sage gives her the taskโalready seen in the 1926 versionโof smearing and drying fifteen
478:(approximately 240 liters) of oil. Then she must set her fingers on fire while praying to the
2271:
72:
2484:
2400:
2076:
2031:
1062:
640:, she tries to grab him and fails the task. Her next ordeal is to dip and dry thirty-five
153:. Whether Cheongjeong-gaksi is motivated by a patriarchal ideal of female virtue that the
8:
943:(the highest level of Buddhist enlightenment) should be willing to set a finger on fire.
770:
Tearing out her hair and weaving it into a rope, then threading the rope into her palms
2554:
764:
Tearing out her hair and weaving it into a rope, then threading the rope into her palms
758:
Tearing out her hair and weaving it into a rope, then threading the rope into her palms
747:
Tearing out her hair and weaving it into a rope, then threading the rope into her palms
738:
Tearing out her hair and weaving it into a rope, then threading the rope into her palms
286:
Several versions of the narrative are currently known. All versions recorded after the
18:
2540:
2507:
2462:
2415:
2378:
2333:
2252:
2199:
2144:
2099:
2054:
1011:
430:
287:
822:. Accordingly, out of the eight shamanic narratives recited during the funeral, the
2452:
2244:
2189:
828:
260:
2086:[Study of the shamanic narrative poetry of Hamgyong Province: Focusing on the
2248:
1032:
921:
885:
450:
446:
246:
135:
94:
994:
In an important article in 2001, folklorist Cho Hyun-soul first argued that the
185:
2287:—————————— (2019).
2176:[The prototypical and historical nature of the Hamgyong shamanic narrative
1019:
934:
157:
therefore supports, or whether she acts out of personal love, remains debated.
2575:
2457:
2194:
1077:, a group of Korean shamanic narratives, one of which is also sung in funerals
375:
2591:
2511:
2466:
2419:
2382:
2337:
2256:
2203:
2148:
2103:
2058:
1053:
976:
147:
2311:"Cheongjeong-gaksi siryeon-ui hwaso guhyeon-gwa chegye: Yi Chan-yeop guyeon
897:, a thirteenth-century compilation of Korean legends by the Buddhist priest
2355:
975:
dynasty (1392โ1910) of Korea sought to mold Korean family structures along
955:
A "virtuous woman" chooses to lose her hands and feet rather than lose her
585:
442:
344:
Preserved only as a recording for five decades; first transcribed in 2019.
271:
in the tradition, with many myths only recited in one specific region. The
264:
251:
1039:
sinful. Since the late 2010s, other scholars have questioned whether the
968:
931:
926:
893:
280:
124:
120:
2296:
Study on the shamanic narratives of the Mangmuk-gut of Hamgyong Province
297:
community descended from North Korean refugees, living near the city of
1058:
856:
848:
844:
399:
227:
versions) name the heroine "Cheongcheon" instead of "Cheongjeong." The
150:
2122:"Seosa muga sok-ui ureum-e gitdeun gonggam-gwa chiyu-ui mihak: Teukhi
63:
908:
589:
243:
1065:, caused by the Joseon enforcement of Confucian family structures.
956:
718:
Digging a pit with her bare hands in midwinter and undressing in it
386:
449:, to find the reason why. The god approaches her in the form of a
2406:[Goddess narratives and the production of subjectivity].
1730:"์ธ๊ฐ์ ์๋ง์ ์ธ๊ณ์ ์ง์๋ฅผ ์ด๊ธธ ์ ์์ง๋ง ์ด ์์ฌ๋ฌผ์ ๊ทธ ์ธ๊ฐ์ ์๋ง์ด ์ผ๋ง๋ ๊ฐ์ ํ๊ณ ์ฒ์ ํ์ง๋ฅผ ๋ณด์ฌ์ค๋ค."
913:
352:
324:
112:
2443:[Shamans of the North: The story of a shaman defector].
1113:
Her entry into the pit in the 1966 version is symbolic of death.
972:
898:
750:
Dipping her hands or fingers in oil, then setting them on fire
630:
561:
479:
410:
298:
256:
179:
167:
42:
27:
2494:[The significance of obstacles to marriage and ordeals in
1474:
1462:
1437:
1425:
998:
promoted this social ideology among the worshippers, writing:
767:
Dipping her hands or fingers in oil, then setting them on fire
761:
Dipping her hands or fingers in oil, then setting them on fire
755:
Dipping her hands or fingers in oil, then setting them on fire
744:
Dipping her hands or fingers in oil, then setting them on fire
741:
Dipping her hands or fingers in oil, then setting them on fire
903:
454:
1677:
1675:
1648:
1636:
1280:
1278:
1276:
1210:
783:
Paving a difficult road with what remains of her bare hands
780:
Following her husband on the dangerous road to the afterlife
301:
in South Korea, who continue to recite the narrative today.
1149:
1147:
776:
Paving a difficult road with what remains of her bare hands
721:
Being submerged in icy water naked for five midwinter days
1970:
1958:
1873:
1822:
1660:
1486:
1326:
275:
is one such localized narrative, being unattested outside
1898:
1863:
1861:
1834:
1785:
1672:
1564:
1542:
1540:
1527:
1525:
1498:
1413:
1375:
1350:
1338:
1273:
77:
2438:"Buknyeok-ui mudang-deul: eoneu talbuk munyeo-ui iyagi"
1994:
1810:
1737:
1600:
1314:
1302:
1263:
1261:
1200:
1198:
1144:
588:
long, and to tie one end of it to a pine tree on top of
2231:[Significance of the death of Cheongjeong-gaksi in
1934:
1922:
1846:
1761:
1749:
1510:
1185:
1183:
1181:
1179:
1177:
1164:
1162:
255:โthe Korean term for large-scale rituals officiated by
183:
is a Korean word referring to a Confucian scholar, and
2365:[The significance and ritual functions of pain in
1858:
1712:
1693:"์ผ ์์ฃผ๊ทผ ๋ฉ์๋ค ๋๋ ์ด ์์์ ๋์ ์ ๊ฐ์ผ๋ก ์น์ฒํ๊ฒ ์ผ๋ ์ฃฝ์ด ๋ง๋์ง ์ด์์ง๋น ๋ชป ๋ง๋๋ค"
1552:
1537:
1522:
1290:
360:
Transcribed, but the ending appears to be incomplete.
2128:์์ฌ๋ฌด๊ฐ ์์ ์ธ์์ ๊น๋ ๊ณต๊ฐ๊ณผ ์น์ ์ ๋ฏธํ๏ผํนํ <๋๋์ ๋น ์ฒญ์ ๊ฐ์>๋ฅผ ์ค์ฌ์ผ๋ก๏ผ
2041:[The narrative implications of liminal spaces in
1982:
1946:
1910:
1773:
1624:
1612:
1588:
1576:
1258:
1234:
1222:
1195:
789:
2577:
2006:
1700:
1174:
1159:
1132:
1099:
986:
812:
799:
727:
699:
641:
635:
625:
without spending the night, and dies in three days.
551:
528:
522:
513:
495:
473:
291:
196:
190:
172:
1246:
2036:-e natanan gyeonggye gonggan-ui seosa-jeok hamui"
1455:"์กฐ๋๋ง๋ฐ๋ค๋ฆฌ๋ผ๋ ๊ฑฐ๋ ๋์ ๊ฑท์ด ๋์ ๊ฐ๋ผ์ง๊ตฌ ๋ฌผ์ ๊ฑท์ด ๋ฌผ์ ๊ฐ๋ผ์ง๊ฒ ํ๋ ๋ฐ์์ด๋"
534:accomplishes this, Dorang-seonbi fails to appear.
177:are both titles, not integral parts of the names.
2589:
907:(a Buddhist hand gesture), thereby reaching the
605:nothing but pray to the Buddha for three years.
429:Cheongjeong-gaksi, the daughter of two gods, is
2360:-e natanan gonan-ui uimi-wa jeui-jeok gineung"
870:
659:Comparison chart of Cheongjeong-gaksi's tasks
2489:-e natanan honsa jang'ae-wa siryeon-ui uimi"
2226:-e natanan Cheongjeong-gaksi jugeum-ui uimi"
946:
686:Praying at her husband's grave for three days
2088:Song of Dorang-seonbae and Cheongjeong-gaksi
1094:
980:
127:community descended from Hamgyong refugees.
98:
48:
2289:Hamgyeong-do Mangmuk-gut seosa muga yeon'gu
2276:: CS1 maint: DOI inactive as of May 2024 (
965:Song of Dorang-seonbi and Cheongjeong-gaksi
882:Song of Dorang-seonbi and Cheongjeong-gaksi
875:
796:Song of Dorang-seonbi and Cheongjeong-gaksi
273:Song of Dorang-seonbi and Cheongjeong-gaksi
202:
90:Song of Dorang-seonbi and Cheongjeong-gaksi
37:Song of Dorang-seonbi and Cheongjeong-gaksi
2456:
2193:
560:(approximately sixty liters) of oil from
2353:
2083:ํจ๊ฒฝ๋ ๋ฌด์์์ฌ์ ์ฐ๊ตฌ๏ผ<๋๋์ ๋ฐฐ ์ฒญ์ ๊ฐ์ ๋
ธ๋>๋ฅผ ์ค์ฌ์ผ๋ก๏ผ
1867:
1791:
1718:
1694:
1681:
1296:
950:
502:
17:
2527:
2435:
2401:"Yeosin-ui seosa-wa juche-ui saengsan"
2317:์ฒญ์ ๊ฐ์ ์๋ จ์ ํ์ ๊ตฌํ๊ณผ ์ฒด๊ณ๏ผ์ด์ฐฌ์ฝ ๊ตฌ์ฐ ใ๋๋์ถ์ใ์ ์์ฆ์ผ์๏ผ
2286:
2219:
2164:
2119:
2000:
1988:
1976:
1964:
1952:
1916:
1879:
1828:
1816:
1804:
1779:
1731:
1654:
1642:
1630:
1606:
1558:
1546:
1531:
1480:
1468:
1456:
1443:
1431:
1332:
1320:
1308:
1252:
1240:
1228:
1216:
1204:
2590:
2482:
2398:
2308:
2171:-ui wonhyeong-seong-gwa yeoksa-seong"
2079:Dorang-seonbae Cheongjeong-gaksi norae
2077:"Hamgyeong-do musok seosa-si yeon'gu:
2074:
2029:
2012:
1940:
1928:
1904:
1892:
1852:
1840:
1767:
1755:
1743:
1706:
1666:
1618:
1594:
1582:
1570:
1516:
1504:
1492:
1419:
1407:
1394:
1381:
1369:
1356:
1344:
1284:
1267:
1189:
1168:
1153:
1138:
2537:Studies on Korean Shamanic Narratives
2362:<๋๋์ ๋น ์ฒญ์ ๊ฐ์>์ ๋ํ๋ ๊ณ ๋์ ์๋ฏธ์ ์ ์์ ๊ธฐ๋ฅ
1049:overcoming of the patriarchal order.
963:Much of the academic research on the
713:
695:Praying to the Buddha for three years
65:Dorang-seonbi Cheongjeong-gaksi norae
2038:<๋๋์ ๋น ์ฒญ์ ๊ฐ์>์ ๋ํ๋ ๊ฒฝ๊ณ ๊ณต๊ฐ์ ์์ฌ์ ํจ์
1803:"์ฒญ์ ๊ฐ์๊ฐ ๋์ด ๋ชฉ์ ๋งค๊ณ ์ ์น์ผ๋ก ๊ฐ์ ๊ทธ๋ฆฌ์ด ์ฌ๋๊ณผ ๋ง๋"
1008:Cheongjeong-gaksi and Dorang-seonbae
445:, who orders a subordinate god, the
2496:Dorang-seonbi and Cheongjeong-gaksi
2491:<๋๋์ ๋น ์ฒญ์ ๊ฐ์>์ ๋ํ๋ ํผ์ฌ์ฅ์ ์ ์๋ จ์ ์๋ฏธ
2367:Dorang-seonbi and Cheongjeong-gaksi
2233:Dorang-seonbi and Cheongjeong-gaksi
2178:Dorang-seonbi and Cheongjeong-gaksi
2133:Dorang-seonbi and Cheongjeong-gaksi
2043:Dorang-seonbi and Cheongjeong-gaksi
971:social structures. The long-ruling
967:has focused on its relationship to
653:
259:โwhich constitute the mythology of
79:Torang-sลnbi Ch'ลngjลng-gaksi norae
13:
2228:<๋๋์ ๋น ์ฒญ์ ๊ฐ์>์ ๋ํ๋ ์ฒญ์ ๊ฐ์ ์ฃฝ์์ ์๋ฏธ
2173:ํจ๊ฒฝ๋ ๋ฌด๊ฐ <๋๋์ ๋น ์ฒญ์ ๊ฐ์>์ ์ํ์ฑ๊ณผ ์ญ์ฌ์ฑ
790:Religious purpose and significance
704:without moving her hands and feet
596:
223:Two of the versions (the 1966 and
22:Shaman Jang Chae-sun reciting the
14:
2614:
2569:
711:Filling a gourd dipper with rice
2487:Dorang-seonbi Cheongjeong-gaksi
2358:Dorang-seonbi Cheongjeong-gaksi
2224:Dorang-seonbi Cheongjeong-gaksi
2169:Dorang-seonbi Cheongjeong-gaksi
2124:Dorang-seonbi Cheongjeong-gaksi
2034:Dorang-seonbi Cheongjeong-gaksi
1885:
1797:
1724:
1687:
1449:
1400:
1387:
1362:
1107:
1088:
619:
568:
541:
489:
424:
2584:The narrative begins on 10:41.
2324:recited by Yi Chan-yeop].
2022:
521:When the woman brings him the
464:Geumsang Temple in Mount Annae
269:significant regional variation
99:
49:
1:
2220:์ค์ค์ญ (Yoon Joon-seop) (2018).
1120:
818:shaman's recitation of their
394:A summary is provided in the
234:
2549:. Anthology of prior papers.
2399:์กฐํ์ค (Cho Hyun-soul) (2001).
2249:10.17838/korcla.2018..53.233
2165:์ ์ฐ์ฐ (Shin Yeon-woo) (2019).
1125:
871:Theories and interpretations
726:Bringing an object called a
7:
2578:
2528:ํํํ (Hong Tae-han) (2002).
2120:์ ๋ํ (Shin Donghun) (2016).
1100:
1075:Life replacement narratives
1068:
987:
813:
800:
728:
700:
642:
636:
552:
529:
523:
514:
496:
474:
292:
197:
191:
173:
78:
64:
10:
2619:
2559:: CS1 maint: postscript (
2530:Han'guk seosa muga yeon'gu
2483:ํ์ํ (Han Yang-ha) (2010).
2354:์ ์ ํธ (Jeong Je-ho) (2017).
2309:์ด๋ณด์ฉ (Lee Bo-yong) (2020).
2075:๊นํ์ (Kim Heonsun) (1999).
2030:๊น์ ํ (Kim Sunhyun) (2017).
947:Relationship to patriarchy
573:Dorang-seonbiโnamed after
240:Korean shamanic narratives
2539:]. Seoul: Minsogwon.
2458:10.17792/kcs.2011.21..171
2300:Seoul National University
2195:10.17090/kcwls.2019..38.5
1095:
981:
774:
708:
692:
690:
675:
672:
669:
666:
663:
507:Traditional Korean bridge
447:Sage of the Golden Temple
323:
306:
105:Korean shamanic narrative
71:
57:
41:
36:
2532:
2490:
2439:
2402:
2361:
2316:
2291:
2227:
2172:
2127:
2082:
2037:
1081:
940:anuttarฤ-samyak-saแนbodhi
876:Relationship to Buddhism
804:, the tenth rite of the
160:
130:Several versions of the
2251:(inactive 2024-05-27).
1483:, pp. 74, 232โ236.
1471:, pp. 73, 229โ232.
1446:, pp. 73, 218โ226.
1434:, pp. 73, 214โ218.
911:. In another legend, a
396:Pukchong County Gazette
277:South Hamgyong Province
117:South Hamgyong Province
2440:๋ถ๋
์ ๋ฌด๋น๋ค๏ผ์ด๋ ํ๋ถ ๋ฌด๋
์ ์ด์ผ๊ธฐ๏ผ
2436:์ต์ค (Choi Jun) (2011).
1459:, pp. 73, 226โ229
1219:, pp. 3โ4, 15โ17.
1024:
960:
841:
798:is recited during the
698:Reciting ten thousand
508:
469:
31:
1657:, pp. 64โ65, 76.
1645:, pp. 48โ49, 64.
1104:, nine to eleven P.M.
1000:
954:
924:. In particular, the
837:
506:
460:
21:
2126:-reul jungsim-euro"
2081:-reul jungsim-euro"
1669:, pp. 220, 240.
1495:, pp. 230, 233.
1063:patrilocal residence
959:. 1619 illustration.
59:Revised Romanization
2315:-eul yejeung sama"
2167:"Hamgyeong-do muga
1979:, pp. 256โ258.
1967:, pp. 258โ263.
1907:, pp. 225โ227.
1882:, pp. 249โ255.
1843:, pp. 237โ239.
1831:, pp. 115โ116.
1573:, pp. 166โ167.
1507:, pp. 233โ234.
1422:, pp. 228โ229.
1384:, pp. 227โ228.
1359:, pp. 225โ226.
1347:, pp. 223โ225.
1335:, pp. 265โ266.
1287:, pp. 222โ223.
1156:, pp. 232โ234.
831:in South Hamgyong.
660:
2582:ritual on YouTube.
1746:, pp. 18, 20.
1410:, pp. 228โ229
1397:, pp. 228โ229
1372:, pp. 226โ227
1004:cultural arbitrary
961:
658:
509:
313:Date of recitation
111:, the traditional
32:
2576:Film of the 1981
2003:, pp. 22โ24.
1943:, pp. 91โ93.
1931:, pp. 87โ91.
1855:, pp. 10โ11.
1819:, pp. 56โ59.
1794:, pp. 81โ86.
1770:, pp. 20โ21.
1758:, pp. 21โ22.
1684:, pp. 75โ79.
1609:, pp. 73โ74.
1519:, pp. 23โ24.
1323:, pp. 30โ36.
1311:, pp. 28โ29.
1033:social identities
1012:symbolic violence
787:
786:
610:Ch'ongch'on River
422:
421:
288:division of Korea
263:, the indigenous
85:
84:
73:McCuneโReischauer
2610:
2603:Korean shamanism
2598:Korean mythology
2581:
2564:
2558:
2550:
2522:
2520:
2518:
2477:
2475:
2473:
2460:
2430:
2428:
2426:
2393:
2391:
2389:
2348:
2346:
2344:
2303:
2281:
2275:
2267:
2265:
2263:
2214:
2212:
2210:
2197:
2159:
2157:
2155:
2114:
2112:
2110:
2069:
2067:
2065:
2016:
2010:
2004:
1998:
1992:
1986:
1980:
1974:
1968:
1962:
1956:
1950:
1944:
1938:
1932:
1926:
1920:
1914:
1908:
1902:
1896:
1889:
1883:
1877:
1871:
1865:
1856:
1850:
1844:
1838:
1832:
1826:
1820:
1814:
1808:
1801:
1795:
1789:
1783:
1777:
1771:
1765:
1759:
1753:
1747:
1741:
1735:
1728:
1722:
1716:
1710:
1704:
1698:
1697:, pp. 78โ79
1691:
1685:
1679:
1670:
1664:
1658:
1652:
1646:
1640:
1634:
1628:
1622:
1616:
1610:
1604:
1598:
1592:
1586:
1580:
1574:
1568:
1562:
1556:
1550:
1544:
1535:
1529:
1520:
1514:
1508:
1502:
1496:
1490:
1484:
1478:
1472:
1466:
1460:
1453:
1447:
1441:
1435:
1429:
1423:
1417:
1411:
1404:
1398:
1391:
1385:
1379:
1373:
1366:
1360:
1354:
1348:
1342:
1336:
1330:
1324:
1318:
1312:
1306:
1300:
1294:
1288:
1282:
1271:
1265:
1256:
1250:
1244:
1238:
1232:
1226:
1220:
1214:
1208:
1202:
1193:
1187:
1172:
1166:
1157:
1151:
1142:
1136:
1114:
1111:
1105:
1103:
1098:
1097:
1092:
1022:reserved to it.
990:
984:
983:
829:Buddhist temples
816:
803:
731:
729:jorangmalttadari
703:
661:
657:
654:Comparison chart
645:
639:
555:
532:
526:
524:jorangmalttadari
517:
515:jorangmalttadari
499:
477:
304:
303:
295:
261:Korean shamanism
219:
216:
210:
207:
204:
200:
194:
176:
102:
101:
81:
67:
52:
51:
34:
33:
2618:
2617:
2613:
2612:
2611:
2609:
2608:
2607:
2588:
2587:
2572:
2567:
2552:
2551:
2547:
2534:
2516:
2514:
2492:
2471:
2469:
2441:
2424:
2422:
2404:
2387:
2385:
2363:
2342:
2340:
2318:
2293:
2292:ํจ๊ฒฝ๋ ๋ง๋ฌต๊ตฟ ์์ฌ๋ฌด๊ฐ ์ฐ๊ตฌ
2269:
2268:
2261:
2259:
2229:
2208:
2206:
2174:
2153:
2151:
2129:
2108:
2106:
2084:
2063:
2061:
2039:
2025:
2020:
2019:
2011:
2007:
1999:
1995:
1987:
1983:
1975:
1971:
1963:
1959:
1951:
1947:
1939:
1935:
1927:
1923:
1915:
1911:
1903:
1899:
1890:
1886:
1878:
1874:
1866:
1859:
1851:
1847:
1839:
1835:
1827:
1823:
1815:
1811:
1802:
1798:
1790:
1786:
1778:
1774:
1766:
1762:
1754:
1750:
1742:
1738:
1729:
1725:
1717:
1713:
1705:
1701:
1692:
1688:
1680:
1673:
1665:
1661:
1653:
1649:
1641:
1637:
1629:
1625:
1617:
1613:
1605:
1601:
1593:
1589:
1581:
1577:
1569:
1565:
1557:
1553:
1545:
1538:
1530:
1523:
1515:
1511:
1503:
1499:
1491:
1487:
1479:
1475:
1467:
1463:
1454:
1450:
1442:
1438:
1430:
1426:
1418:
1414:
1405:
1401:
1392:
1388:
1380:
1376:
1367:
1363:
1355:
1351:
1343:
1339:
1331:
1327:
1319:
1315:
1307:
1303:
1295:
1291:
1283:
1274:
1266:
1259:
1251:
1247:
1239:
1235:
1227:
1223:
1215:
1211:
1203:
1196:
1188:
1175:
1167:
1160:
1152:
1145:
1137:
1133:
1128:
1123:
1118:
1117:
1112:
1108:
1093:
1089:
1084:
1071:
1029:internalization
949:
922:self-immolation
878:
873:
792:
777:
656:
622:
602:
571:
544:
492:
451:Buddhist priest
436:ritually impure
427:
310:Shaman hometown
307:Reciting shaman
247:oral literature
237:
217:
211:
208:
205:
163:
136:Buddhist priest
107:recited in the
53:
26:in 1981 with a
12:
11:
5:
2616:
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2374:
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2272:cite journal
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2062:. Retrieved
2050:
2046:
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2008:
2001:Shin Y. 2019
1996:
1989:Shin Y. 2019
1984:
1977:Yoon J. 2018
1972:
1965:Yoon J. 2018
1960:
1953:Yoon J. 2019
1948:
1936:
1924:
1917:Shin D. 2016
1912:
1900:
1887:
1880:Yoon J. 2018
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1829:Yoon J. 2019
1824:
1817:Shin D. 2016
1812:
1807:, p. 58
1805:Shin D. 2016
1799:
1787:
1780:Shin Y. 2019
1775:
1763:
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1739:
1734:, p. 19
1732:Shin Y. 2019
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1292:
1255:, p. 6.
1253:Yoon J. 2019
1248:
1241:Yoon J. 2019
1236:
1229:Choi J. 2011
1224:
1217:Hong T. 2002
1212:
1205:Yoon J. 2018
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620:2019 version
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569:1981 version
557:
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542:1966 version
536:
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490:1965 version
484:
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443:Jade Emperor
440:
428:
425:1926 version
407:Yi Chan-yeop
395:
338:Ji Geum-seom
285:
272:
265:polytheistic
250:
249:sung during
238:
228:
224:
222:
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184:
178:
166:
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142:
140:
131:
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125:South Korean
115:ceremony of
100:๋๋์ ๋น ์ฒญ์ ๊ฐ์ ๋
ธ๋
89:
88:
86:
50:๋๋์ ๋น ์ฒญ์ ๊ฐ์ ๋
ธ๋
30:in each hand
23:
15:
2451:: 171โ199.
2414:: 219โ242.
2332:: 161โ186.
2243:: 233โ270.
2098:: 219โ256.
2023:Works cited
2013:Han Y. 2010
1941:Han Y. 2010
1929:Han Y. 2010
1905:Cho H. 2001
1893:Cho H. 2001
1853:Han Y. 2010
1841:Kim H. 1999
1768:Kim S. 2017
1756:Kim S. 2017
1744:Kim S. 2017
1707:Kim S. 2017
1667:Kim H. 1999
1619:Lee B. 2020
1595:Lee B. 2020
1583:Lee B. 2020
1571:Lee B. 2020
1517:Kim S. 2017
1505:Kim H. 1999
1493:Kim H. 1999
1420:Kim H. 1999
1408:Kim H. 1999
1395:Kim H. 1999
1382:Kim H. 1999
1370:Kim H. 1999
1357:Kim H. 1999
1345:Kim H. 1999
1285:Kim H. 1999
1268:Lee B. 2020
1190:Kim H. 1999
1169:Kim H. 1999
1154:Kim H. 1999
1139:Kim H. 1999
1054:etiological
969:patriarchal
932:bodhisattva
927:Lotus Sutra
894:Samguk yusa
888:influence.
806:Mangmuk-gut
281:North Korea
121:North Korea
109:Mangmuk-gut
97::
2592:Categories
2533:ํ๊ตญ ์์ฌ๋ฌด๊ฐ ์ฐ๊ตฌ
2182:ํ๊ตญ๊ณ ์ ์ฌ์ฑ๋ฌธํ์ฐ๊ตฌ
1393:"ํฌ๊ฒ ๊ธฐ๋ปํ๋ฉฐ"
1121:References
1059:matrilocal
849:folklorist
556:and three
400:Korean War
235:Narratives
151:patriarchy
2555:cite book
2512:2713-7775
2506:: 67โ99.
2467:1598-4176
2420:1227-0962
2383:1975-8499
2377:: 65โ88.
2338:1738-1614
2257:1225-1445
2204:1229-9316
2149:1738-1614
2143:: 31โ64.
2104:2713-7775
2059:2713-7775
1126:Citations
909:Pure Land
590:Mount Nam
349:Yi Go-bun
244:narrative
2472:June 26,
2188:: 5โ31.
2109:June 25,
2053:: 5โ34.
1406:"๋ฌดํ์ ๆจ"
1069:See also
988:yeolnyeo
957:chastity
886:Buddhist
431:arranged
387:Pukchong
2517:July 5,
2498:].
2425:July 6,
2408:๋ฏผ์กฑ๋ฌธํ์ฌ์ฐ๊ตฌ
2388:July 5,
2369:].
2343:July 6,
2262:July 5,
2235:].
2209:July 5,
2180:].
2154:July 6,
2135:].
2090:].
2064:July 5,
2045:].
1046:Gazette
857:liminal
677:Gazette
600:version
598:Gazette
391:Unknown
383:Unknown
376:YouTube
368:Unknown
353:Hamhung
325:Hongwon
257:shamans
229:Gazette
225:Gazette
206:
113:funeral
103:) is a
2543:
2510:
2500:๊ตฌ๋น๋ฌธํ์ฐ๊ตฌ
2465:
2445:ํ๊ตญ๋ฌธํ์ฐ๊ตฌ
2418:
2381:
2371:๊ณ ์ ๊ณผ ํด์
2336:
2255:
2237:๊ณ ์ ๋ฌธํ์ฐ๊ตฌ
2202:
2147:
2102:
2092:๊ตฌ๋น๋ฌธํ์ฐ๊ตฌ
2057:
2047:๊ตฌ๋น๋ฌธํ์ฐ๊ตฌ
973:Joseon
914:nangdo
899:Iryeon
845:accept
701:nianfo
637:nianfo
631:nianfo
562:bamboo
480:Buddha
467:him."
411:Sokcho
316:Notes
299:Sokcho
279:, now
215:prayer
213:dorang
180:Seonbi
168:Seonbi
95:Korean
43:Hangul
28:cymbal
2535:[
2326:ํ๊ตญ๋ฌด์ํ
2294:[
2137:ํ๊ตญ๋ฌด์ํ
1101:haesi
1096:ํด์/ไบฅๆ
1082:Notes
1016:power
982:์ด๋
/็ๅฅณ
904:mudra
681:2019
455:gourd
186:gaksi
174:gaksi
161:Names
2561:link
2541:ISBN
2519:2020
2508:ISSN
2474:2020
2463:ISSN
2427:2020
2416:ISSN
2390:2020
2379:ISSN
2345:2020
2334:ISSN
2278:link
2264:2020
2253:ISSN
2211:2020
2200:ISSN
2156:2020
2145:ISSN
2111:2020
2100:ISSN
2066:2020
2055:ISSN
1041:Song
1002:The
996:Song
891:The
880:The
824:Song
820:Song
811:The
794:The
673:1981
670:1966
667:1965
664:1926
586:feet
415:2019
371:1981
357:1966
341:1965
329:1926
203:lit.
171:and
155:Song
143:Song
132:Song
87:The
24:Song
2453:doi
2245:doi
2190:doi
1061:to
643:mal
575:dol
558:doe
553:mal
530:mal
497:dol
475:mal
293:Gut
252:gut
192:dol
2594::
2557:}}
2553:{{
2504:30
2502:.
2461:.
2449:21
2447:.
2412:18
2410:.
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2373:.
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2328:.
2274:}}
2270:{{
2241:53
2239:.
2198:.
2186:38
2184:.
2141:32
2139:.
2094:.
2051:44
2049:.
1860:^
1674:^
1539:^
1524:^
1275:^
1260:^
1197:^
1176:^
1161:^
1146:^
985:,
402:.
378:.
283:.
119:,
2563:)
2521:.
2485:"
2476:.
2455::
2429:.
2392:.
2356:"
2347:.
2302:.
2280:)
2266:.
2247::
2222:"
2213:.
2192::
2158:.
2113:.
2096:8
2068:.
2032:"
218:'
209:'
201:(
93:(
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