2022, Vol., No.45

A Study on the Origins of Jeju Island's Snake Faith from Naju: Based on the connection between the Dragon faith in Naju-mok area of the Joseon Dynasty

LeeHyunjeong | 2022, (45) | pp.5~38 | number of Cited : 0

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Cheonguagudemengi, the deities of Najugiminchang-josangbonpuri and Tosanyodret-Dangbonpuri, which represent Jeju Island's snake faith, is not a straightforward snake itself, but is close to a dragon Deity. This article unravels the reason by examining the origin of the two faiths in connection with the Dragon faith in the Naju-mok area. The process of revealing the reality and full picture of the Dragon faith involved in the formation of each faith compared historical, folk, and literary materials related to this based on the space described in Bonpuri and the unique attributes of Deity. First of all, Najugiminchang-josangbonpuri and related beliefs prioritized the explanation of the characteristics of the deity, which are ancestral gods and have the appearance of you and the god of sea. Jechang-Village in Anchang-dong, where Naju Jeminchang was established, has been a place where the faith of the dragon Deity, centered on Ang-am and Yongjindan, has been highly revered since the Goryeo Dynasty. This traditional and indigenous Dragon faith was derived and differentiated faithfully in relation to JeMin-chang, Gwan-chang, water transport, and trade in future generations, and served as the origin of Najugiminchang-josangbonpuri and related faith. In addition, the sea god festival, which was held when ships carrying Ijingok to Jeju entered and departed, also served as the basis for formation, leaving Bonpuri as a trace in the narrative. Tosanyodret-Dangbonpuri and related beliefs revealed the religious origin of dragonthrough an explanation of the transformation of God, that is, the correlation between Cheongu- Agu-demeng-i and baduk stone. It found clues in the special first half of the story, the story of Dae-mang contained in Eouyadam, the anecdote of Shin Sook-ju, and the folk belief of Geum-an-Village. Tosanyodret-Dangbonpuri are related to the long-cherished desire to become a dragon due to your greed for cintamani, and at the same time, you have a marine attribute that presides over the wind and clouds. As a result of examining the connection between Shin Sook-ju and Naju's indigenous forces and the relationship between the folk faith and the dragon faith in Geumseongsan Mountain in Naju, This suggests that the belief in Geumseongsan Mountain in Naju was already achieved in the form of a combination of dragon and snake faith at that time. Based on the indigenous and traditional Dragon faith in Naju-mok area, the two beliefs are homogeneous in that they have been introduced into the shamanic system of Jeju Island, linked to problems such as Gwanchang(官倉), water transport, Trade, and a sea route etc, according to religious and historical exchanges with Jeju people and gradually completed their appearance as faith. Therefore, it cannot be concluded that the two faiths were derived from the House Spirit Belief or snake faith from the beginning. Rather, after the dragon faith, which is the origin, flowed into Jeju Island, and combined with the existing indigenous snake faith or the snake faith of the natives, there is a lot of room for a more colorful and complex faith system and main pool.

A Study on the Karma Tales Character of Lovesick Snake Tales

Gim Sun-jae | 2022, (45) | pp.39~60 | number of Cited : 1

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In Buddhism, the snake is a symbol of samsara and karma, and it is a animal that is mainly reincarnated by humans who have accumulated a lot of bad karma in a previous life. Accordingly, the tale of a disciplinant Buddhist monk died and became a Lovesick snake may be a Buddhist karma tales to be wary of the Buddhist monk building bad karma with his sexual desire. As the tale of the Buddhism Lovesick snake, the Buddhist monk is a main character, spreads to the people and the range of characters expands, it is possible to create a Lovesick snake tales which the main character is an ordinary person who is not related to Buddhism. The created Lovesick snake tales in this way can also contribute to the mission work of Buddhism. This is described in detail as follows. First, the Lovesick snake tales may have been created and utilized to inspire the Buddhist monks to be wary of violating the precept. The Lovesick snake tales make Buddhist monks understand the samsara so that they don’t build bad karma with their sexual desire, can help the Buddhist monks devote themselves to asceticism that they develop Buddhist doctrines for building good karma. Second, the Lovesick snake tales may have been created and utilized to facilitate mission work easily of funny for the public to understand the creed and thought of Buddhism. The Buddhist monks can easily propagate the Buddhist karma thought and samsara thought, which is difficult for the public to understand, through the tales of becoming a Lovesick snake by bad karma, sexual desire. Also, the Lovesick snake tales may have been used to get the public interested in Buddhism by interesting and amazing tales. Third, the Lovesick snake tales may have been created and utilized to secure the social status of Buddhism by enhancing the miracle of Buddha through amazing tales, and through this, to secure the believers. The Buddhist monks narrated the Cheongpyeongsa Temple legend and solve the impossible eradication of Lovesick snake through the Buddha’s miracle, so it can be propagated that, like the princess’s act of Buddhist merit, if the public believes in Buddhism and accumulates Buddhist merit, prayers will be solved. As mentioned above, the Lovesick snake is a being which is reincarnated by building bad karma to sexual desire of five desire of Buddhism, and for this reason, the Lovesick snake tales can be seen as a Karma Tales of Buddhism.

The Characteristics of Dangun Myth in Modern Joseon Legendry Written in Japanese

Park Seong Hae | 2022, (45) | pp.61~100 | number of Cited : 2

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The Aspect of Natural Awareness and Tao-Oriented Consciousness Appearing in Unlimcheosaga

Song, Jae-Yeon | 2022, (45) | pp.101~132 | number of Cited : 0

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Haksa Kim Eung-jo's Yeonsijo HaksaSamgok

JUNG, Kisun | 2022, (45) | pp.133~154 | number of Cited : 1

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A Study on the Narrative Description and Themes of Manwha-Chunhyangga

Yi, Ji-Young | 2022, (45) | pp.155~182 | number of Cited : 1

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Children’s Attachment Relationship in Korean Full-Length Novels: Focusing on Eomsihyomuncheongrok, Yuhyogongseonhaengrok, and Boeungiurok

KO EUNIM | 2022, (45) | pp.183~224 | number of Cited : 0

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This study examined children’s attachment and growth process depicted in Korean full-length novels and explored its significance both inside and outside the work. With a focus on children aged under 15, the full-length novels Eomsihyomuncheongrok, Yuhyogongseonhaengrok, and Boeungiurok were studied—in these, children’s lives have been described relatively in detail and the problematic phases of growing up unfold in earnest. In Eomsihyomuncheongrok, amid a succession struggle, Eomyoung experiences serious internal and external conflicts due to his biological mother who tries to make him the heir by harming Eomchang, who is older but adopted. Eomyoung does not cooperate in his mother’s scheme and actively helps Eomchang, seeking brotherhood and peace in his family; this is because of Eomyoung’s strong attachment with Eomchang since infancy. Yuhyogongseonhaengrok and Boeungiurok depict the life of a child facing abuse at home. Yuyeon’s narrative in Yuhyogongseonhaengrok is particularly problematic—he is severely abused by his father from childhood and develops physical and mental problems; what is worse is that he ends up passing on this unstable attachment to his own son. Wiyeoncheong in Boeungiurok is also severely abused by his father. However, he overcomes his trauma and grows up into a stable and strong individual. As such, the reason that these two characters, despite suffering similar abuse, grow up to have different attitudes in life seems to be related to their different attachment experience during childhood. Wiyeoncheong who forms a stable attachment during childhood and experiences positive interactions grows up to be mentally healthy; it is his inner strength, which continues to develop, that helps him endure the abuse. The children’s narratives in these three stories show that attachment is crucial for a child to grow up healthy and mature, and that the main figure with whom a child can form a positive attachment is not limited to the parents. The Joseon Dynasty’s literature record shows that various members of upper-class families participated in childrearing—this raises a question about the traditional image of mothers and makes us reconsider the conventional wisdom that continues to overemphasize the mother and her role. Meanwhile, it is assumed that the existence of various members within the extended family played an important role in alleviating children’s vulnerability in the Joseon Dynasty’s patriarchal family structure, where the head of the family held his family’s right to life or death. The stronger the vertical order, the safer and healthier children can grow when various relationships are formed for emotional communication and building of close bonds, and this is well illustrated in Korean full-length novels.

The Re-Discussion of Memory Transformation on Park Yup

Eunju Yi | 2022, (45) | pp.225~256 | number of Cited : 1

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This article attempted to shed light on why Park Yup's story took on a unique aspect in the later unofficial historical tales, following the previous study that Park, a close aide to Gwanghaegun who was executed shortly after King Injo's coup, is transforming from a corrupt official to a positive figure. To this end, Park's anecdotes in the late 18th and 19th centuries were classified into seven types, some of which pointed out that they seem to bring partial motifs from the stories of Yoo Mong-in, Park's contemporaries and other official history. However, the fact that Park's image is changing in anecdotes in the late 18th and 19th centuries itself cannot explain why this change occurred. In this article, based on the fact that Park served as a governor of Pyongan-do for a long time, he identified anecdotes that seemed to be the prototype of later stories through records in the Pyongyang gazetteer and Pyongyang people Kim Jeom's Seokyeong Sihwa and Chilong Naengseol. The prophecy of killing the "Cheonin" that appears in later anecdotes is the name of the people responsible for Park's death, and Park misunderstood it as a prophecy to kill a thousand people, and Chilong Naengseol showed that Park was innocent because he misunderstood the prophecy. Park's tyranny in the Pyongan-do is the object of resentment to the local people who suffered from his tyranny, but paradoxically, it can be thought that the perception of Pyongan-do residents changed after Park's execution. It is also noteworthy that the local people unofficially built Park's shrine in the 18th century. According to Shim No-sung's Daeseongsan Shinmyogi(the record of mountain spirit shrine), Park's shrine is related to the fact that the resentful local people dismembered Park's body immediately after his execution and could not recover the body, and after a period of time, showed the guilt and compassion for Park's spirit. However, this cannot be seen as denying Park's tyranny. Park's shrine was a shrine to pray for good fortune, not the official governor's shrine. when Park became a mountain god, he gained the image of a guardian deity of Pyongan-do, and later gained the image of an warrior figure with mysterious abilities in a fictional narrative. The direct reason why Park turned into an unrealistic and mysterious figure in later anecdotes can be seen as the result of the local people of Pyongan-do remembering Park's brutal execution and his body being damaged, and looking at him anew with guilt and compassion.

Ways to Survive in the Age of Capital and Desire: A study of Chaesaenggiwoo(蔡生奇遇) and Jangsugwajeon(張守果傳)

Kang Hye-Kyu | 2022, (45) | pp.257~274 | number of Cited : 3

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Yu Man-ju's Last Diary and Planning of an Ideal Space

Kim Hara | 2022, (45) | pp.275~322 | number of Cited : 1

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In the late 18th century, Seoul's intellectual Yu Man-ju(1755～1788) started writing his diary Heumyeong on January 1st, 1775. After keeping a diary for 12 years, he was shocked by the death of his eldest son in May 1787 and stopped writing the diary. He promised himself that he would write more diaries in memory of his son during the seven months defined as a period of mourning for his deceased son, after which he would quit completely. As promised, on December 14, 1787, he wrote the ambiguous sentence: "Take control of the drawing of the moon and stop it, and let the red snowflakes of your heart cease", and thus ended the diary. In this paper, I tried to read the meaning of this last sentence by analyzing the 'Plaques of Garden' written on December 1st, 1787, just before he quit his diary. 'Plaques of Garden' is a list consisting of 21 categories of buildings, landscaping facilities and natural environments, and 213 names of individual items in each category. These names constitute a space called 'The Ideal Land of Imhwa'. This list, which converges the landscapes and places that Yu Man-ju loved and dreamed of, succeeded and settled the utopia project called 'The Ideal Land of Imhwa', which he has continuously attempted since 1775. Also, this list is a mental picture and a kind of self-narrative depicting the self of Yu Man-ju, who was an aesthetic dreamer and on the way to becoming novelist. On the other hand, while writing a diary for his son's mourning, Yu Man-ju, who deviated from writing focused on his own aesthetic taste, felt deeply guilty and ashamed of himself. So, he wrote the last sentence with the intention that he would no longer indulge in dreams and beauty and write decorative articles. I think that the ‘moon drawing’ refers to the landscape drawn by his dream, and the ‘red snowflake of the heart’ refers to the act of adorning a beautiful imaginary world. In the end, the last sentence of Yu Man-ju's diary was a denial of his aesthetic taste and lifelong dream that he had kept until the end. This statement is problematic in that it implies serious self-denial. Through this last sentence, it can be seen that Yu Man-ju no longer allows himself to write and live. This coincides with the death of Yu Man-ju on January 29, 1788, less than a month after the diary ended.

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Journal of Korean Literature 2023 KCI Impact Factor : 0.62

2022, Vol., No.45