놀이 중심의 이야기치료 프로그램이 한부모 가정 아동의 자아존중감에 미치는 효과

박설미,여인숙 한국아동심리재활학회 2009 놀이치료연구 Vol.13 No.2

본 연구는 놀이 중심의 이야기치료 프로그램이 한부모 가정 아동의 자아존중감 향상에 미치는 효과를 알아보는데 목적을 두고 실시하였다. 연구대상은 대구광역시 00모자원에 거주하는 초등학교 고학년 아동이다. 선정방법은 사회복지사로부터 적응에 어려움이 있다고 의뢰된 아동 중에서 자아존중감 검사를 실시하여 하위 33%에 속하는 아동 6명을 선정하여 통제집단과 실험집단에 각각 3명씩 배정하였다. 연구문제는 놀이 중심의 이야기치료 프로그램이 한부모 가정 아동의 자아존중감(자아존중감 척도, 언어표현, 행동, 삶에 대해 긍정적으로 서술하는 이야기 내용)에 미치는 효과이다. 이야기치료의 프로그램은, 자신의 문제 분리, 대안적 문제 해결, 능동적인 문제 해결 및 유능감 경험의 요소를 중재전략으로 하고 저항을 감소하는 놀이의 치료적 요인을 활용하였다. 아동의 자아존중감 향상을 알아보기 위해서는 실험집단과 통제집단의 사전·사후 자아존중감 척도 점수를 비교하였고, 실험집단은 매회기 자기와 타인에 대한 긍정, 부정 언어표현과 자아존중감 관련 행동, 삶에 대해 긍정적으로 서술하는 이야기 내용을 분석하였다. 연구의 결과는 다음과 같다. 놀이 중심의 이야기치료 프로그램은 자아존중감 척도에서 점수가 향상되었으며, 긍정언어표현은 증가하였고, 부정언어표현은 감소하였으며 행동 및 이야기의 내용도 긍정적으로 변화하였다. 따라서 놀이 중심의 이야기치료 프로그램은 한부모 가정 아동의 자아존중감을 향상시킨 측면에서 연구의 의의를 찾을 수 있다. The aim of the study was to examine effects of a play-based narrative therapy program on self-esteem of the child in a single parent family. The subjects of the study were higher grade elementary school children living in X single mothers' home in Daegu Metropolitan City. The selection process of the subjects was as follows. A social worker recommended several children whose had difficulties in socializing. Among the suggested, six children with lower 33% self-esteem were finally subjected to the study after a self-esteem test. They were grouped into a control and a test group with three children for each. The research task was to examine changes in self-esteem by applying a play-based narrative therapy for the children of a single parent family. The details of the self-esteem to be measured involved the self-esteem scale, verbal expression, behavior, and narrative positively describing their own life. The narrative therapy program was devised with a moderating strategy such as self-understanding, distinction of one's problems, alternative problem solving, active problem solving, and competence experience. It was also designed to utilize a therapeutic element of the play which reduces resistance. The self-esteem scales before and after the program were compared to examine an increase of the self-esteem of the children. Analyzed were positive and negative verbal expressions of self and others, behavior related with the self-esteem, narrative positively describing one own's life in each session. The results of the study are as follows. The play-based narrative therapy enhanced the self-esteem of the child in a single parent family. More specifically self-esteem scale improved, positive verbal expressions increased, negative verbal expressions decreased, and contents of behavior and stories became more positive. In conclusion, it proved that a play-based narrative therapy enhanced the self-esteem of the child in a single parent family.

필기체(筆記體) 자기서사(自己敍事)의 자기형상(自己形象)과 자기변명(自己辨明): 이식(李植)의 「서후잡록(敍後雜錄)」을 중심으로

안득용 ( An Deuk-yong ) 민족문학사학회·민족문학사연구소 2017 민족문학사연구 Vol.64 No.-

Self-Narratives are written for leaving existence, giving testimony of self and world, and justifying their choices. Self-narratives and miscellaneous writings made miscellaneous self-narratives in the middle of the Joseon Dynasty, because of similarity of those genres. I studied on self-form and self-justification in Lee, Sik(李植)`s Seohujaprok(敍後雜錄) which was first miscellaneous self-narratives. This report researched self-form and self-justification in Miscellaneous self-narratives, with the result that there are following features. First, the describe motives of miscellaneous self-narratives had great diversity, flexibility, and organization by topic. Second, miscellaneous writings contained various contents. So there were public and private contents in miscellaneous self-narratives. But the private contents were stood out in the middle of the Joseon Dynasty. Lee, Sik`s Seohujaprok, taekkugoesa`s jaseo(澤?居士自敍), and jajisok(自誌續) organized a trilogy. But Seohujaprok was thickest, because miscellaneous self-narratives had great diversity, flexibility. Lee, Sik`s Seohujaprok focused on the isolation and the literature. He justified his choices by making good use of inner matching and inner correlation. I knew that Lee, Sik`s self-justification was distorted by mistake of memories and exaggeration and reduction of memories. So I scrutinized his self-narratives, and compared his self-narratives with another self-narratives. To conclude, Lee, Sik`s Seohujaprok was worth, because this self-narrative developed miscellaneous self-narratives, and tried to self-justification in earnest. But there was no self-examination in this self-narrative. That is the problem in this self-narrative.

스토리텔링을 통한 자기 성장과 교육

Min-Yong Lee 한국독서치료학회 2017 독서치료연구 Vol.9 No.1

This paper deals with the self-growth and education through storytelling from the perspective of narratology. According to brain/mind sciences, story is a basic principle of mind. Most of our experience, our knowledge, and our thinking is organized as stories. We interpret every level of our experience by means of storytelling. Although cognitive science is associated with mechanical technologies like robots and computer instruments that seem unliterary, the central issues for cognitive science are in fact the issues of the narrative mind. we organize information in story form. It is how we understand the world around us, and communicate each other. The personality formation and mental development are closely linked with narratives. Narratives are useful to self-growth. From the perspective of narratology, there is a concrete narrative level as text and three abstract narrative levels such as story, narration, and textuality. This paper, therefore, shows how narratives play a role for self-growth, and how the main components of the narrative levels can be used effectively for that. The contents of this pater are follows: 1) The Utility of Narratives for Self-Growth and Education in Terms of cognitive Narratology. 2) Theory of Narrative Layers in Narratology. 3) Narrative's Abstract Layers and Self-Growing through Storytelling. 4) two exemplary narratives for self-growth through storytelling: self-growth through storytelling in Arabian Nights, and self-growth through storytelling in focusing discourse layer of narrative. The king Shahrayar in Arabian Nights can make an alternative story with a self-growing power after listening to the tales Scheherazade tells. it is a self-growth and character education for him through strorytelling focusing on story layer. On the other hand, Annie in the Michael Gabriel’s storytelling residency narrative has experienced a self-growth through restorytelling her traumatic stories. it is her self-growth and chara

자기서사화를 통한 성찰 글쓰기 교육 -‘말’에 대한 자기서사 담화를 중심으로-

박혜영 경희대학교 후마니타스 교양교육연구소 2024 후마니타스 포럼 Vol.10 No.1

This paper analyzes the direction and effectiveness of writing through self-narrativization as part of self-exploration and reflection for college students in liberal education. Self-narrativization is a writing method that describes events experienced by the writer in a chronological and causal manner. The subjects of self-narrative consist of the experiencer(in other words, experiencing subject), the writer(narrative subject), and the narrator(describing subject). In self-narrativization, the experiencer and the writer are the same. They are only separated by the temporality of the narrative. Therefore, if the narrator is in the first person, the self-confessional statement from the internal perspective of the writer and the narrator is strengthened. If the narrator is in the third person, the writer objectively describes the events of the experiencer from the external perspective of a third party. This self-narrative method was applied to the reflective writing of words by university students, and the results were analyzed. Students used self-narrative discourse strategies such as establishing a first- or third-person narrator from the perspective of the narrator, controlling the narrative tense, and considering the order of narrative construction in order to focus on the events of the word. Self-narrativization inevitably involves self-reflection, and writing is both an outcome of self-narrative life and another starting point.

자기이야기와 자기서사 그리고 치료작업

홍재범 ( Hong Jaebeom ) 겨레어문학회 2020 겨레어문학 Vol.65 No.-

This paper aims to examine the organic relationship of the counselee's self-story with self-narrative which is expressed through the process of discourse. The relationship between self-story and self-narrative is essentially the same as story and narrative in narratology. There is only a difference in the fact that the subject of analysis of narratology is a fictional composition. Self-story and self-narrative occupy a key position in narrative therapy. This is because the main problem of the counselee has to be identified based on the contents which the counselee verbalizes. The person in charge will pour out unorganized information about his or her life, facts, or events to the counselor. All the information verbalized by the counselee is the content that composes self-narrative with the convenience of the self-story that exist in the counselee's head. The point at which therapists differentiate themselves from general counselors should be able to clearly recognize the organic relationship between the counselee's self-story and self-narrative and provide narrative stimuli so that the counselee can reflectively target the self-story and imagine and realize a self-story that can overcome his or her own problem situation through a verbalized self-narrative. Freud's Emma therapeutic work is an example of this relationship. The counselee will use the self-story as a medium of expression, such as words, writings, pictures, photographs, images, or bodies, to externalize. In other words, the process of discourse will be carried out by selecting various media so that others can perceive what is inside. Among the various expressive media, the use of specific written text previously created as tools to perform therapeutic activities has been regarded as ‘literature therapy’. In order for these literary treatments to achieve the desired results, insight into the organic relationship between self-story and self-narrative is essential. At this time, limiting the method of discourse to literal externalization stops in the limited effect of bringing about changes in the inner circle. Exploring how to solve the problem of the counselee through various discourse methods, including verbalization, could contribute to achieving the original goal of psychotherapy.

이청준 소설에서의 자의식적 서술과 자기반영성 : 『축제』(1996)를 중심으로

이채원 ( Lee Chae-won ) 한국문학이론과 비평학회 2010 한국문학이론과 비평 Vol.47 No.-

This paper is to study about the self-conscious and self-reflexivity in fiction by Lee, Chung-Joon, focusing on The Festival. Especially this paper pays attention to the properties of metafiction. It constructs the dual structure: the writing of story and the story of writing. This structure is the narrative device that betrays the expectation of illusion and disturbs the absorption toward the virtual world. Besides the meta-narration and self- conscious narration lead to the world the border which separates between the real and fiction. In self-conscious metafiction, the narrator becomes a character, a critic, a theorist and an author. In The Festival, there are the first person narrator and the third person narrator but the aspects of narration by the narrators are undiscerned. So the same meaning and interpretations are emphasized repeatedly by the self-conscious and meta narration in a frame structure. In film, there are cinematic self- conscious devices instead of eliminating the critical narrations belongs to fiction. Especially an fairy tale inserted in film shows the cinematic self-reflexivity interfering illusion. While fiction is the genre where the language of the narrator governs the narrative, the dominant factor in film is the visual image. The narrator dominates the narrative in fiction becomes weak in film and other characters come to the surface. Also as a cinematic device, the frame in outer frame leads to different ending scene from ending of fiction. These differences in fiction and film extend the reception esthetic of readers and audiences.

書簡體 自己敍事의 주요 양상과 自己形象

안득용 우리문학회 2019 우리文學硏究 Vol.0 No.62

This paper focuses on looking for meaning in the way the ancestors took care of their own identity and cared for their lives by reviewing the aspects of epistolary self-narratives. In order to faithfully approach this subject, the works selected for this purpose include “a letter to Min Ho the vice minister of the secretary’s office (答芸臺亞監閔昊書)” written by Cheonchaek (天頙), “a letter to Ryu Jahan the governor of the Yangyang county (上柳襄陽陳情書)” written by Kim Siseup (金時習), and “a letter to Yeongwoon the buddhist monk of Yujeom buddhist temple (與楡岾寺僧靈運書)” written by Ryu Mongin (柳夢寅). I analyzed these works and got the following results. First, Kim Siseup’s “a letter to Min Ho, the vice minister of secretary’s office” is a model of an epistolary self-narrative. This work shares certain points with the narratives of the chronological age, but it suggests that the process of life is not isolated and concentrated in the center point while emphasizing the inner aspect of oneself. Second, Ryu Mongin, in “a letter to Yeongwoon the buddhist monk of Yujeom buddhist temple,” tries to reconstruct his own life through justification. Although it has some limitations, this work is significant in broadening the horizons of our self-narrative by presenting the direction of life and adding to the past works, as well as acting as a commentary of the works written by Ryu Mongin. Third, Cheonchaek’s “a letter to Min Ho the vice minister of secretary’s office” is one of the most prominent works on self-narrative in the pre-modern era. There is value in creating a narrative body close to the autobiographical version of modern meaning, beyond the traditional level, by expressing the existential troubles between governing and entering the Buddhist priesthood through the monologue. In this sense, an epistolary self-narrative is, basically, a genre formed from an attitude that examines one’s self and reflects on one’s past life. In other genres of self-narrative, self-examination and self-reflection can be seen, but it is hard to find a case in which self-identity is established through self-examination and self-reflection among the restructured works of the whole of one’s life, and they took care of their own life. In addition, the time when the epistolary self- narrative appeared is also rarely faster than that of the epistolary self-narratives. This is the meaning of epistolary self-narratives and their literary historical location. 본고는 書簡體 自己敍事의 대표적인 작품들을 고찰함으로써 선인들이 자기의 정체성을 고민하고 삶을 돌보았던 모습에서 의미를 찾는 데 초점을 두었다. 이러한 목적에 충실히 다가서기 위해 대상으로 선별한 작품이 天頙의 「答芸臺亞監閔昊書」, 金時習의 「上柳襄陽陳情書」, 柳夢寅의 「與楡岾寺僧靈運書」인데, 이 작품들을 분석하여 다음과 같은 결과를 얻게 되었다. 첫째, 김시습의 「상유양양진정서」는 서간체 자기서사의 典型이다. 이 작품은 年代記 형식의 자기서사와 일정한 공유점도 있지만, 그와는 달리 삶의 과정이 고립되어 있지 않고 구심점으로 응집되는 모습을 보이면서 자신의 내면을 부각시켰다는 의미가 있다. 둘째, 유몽인의 「여유점사승영운서」는 辨明을 통해 자신의 삶을 재구성하려고 시도한다. 이것이 일정한 한계가 되기도 하지만, 삶의 지향을 제시하고 과거의 행위는 물론 자신이 지은 작품의 해설까지 곁들임으로써 우리 자기서사의 지평을 넓혔다는 의의도 갖는다. 셋째, 천책의 「답운대아감민호서」는 전근대 우리의 자기서사 중 내면적 갈등을 가장 뚜렷하게 부각시킨 작품이다. 獨白을 통해 經世와 出家 사이에서의 실존적 고민을 토로함으로써 전통적인 수준을 넘어 현대적 의미의 自敍傳에 가까운 敍事體를 창조했다는 가치가 있다. 이로써 볼 때, 서간체 자기서사는 기본적으로 자신의 내면을 省察하고, 지난 삶을 反省하는 태도 위에 형성된 장르이다. 여타 장르의 자기서사에서도 반성과 성찰이 보이지만, 자신의 삶 전반을 온전히 재구성한 작품군 가운데 성찰과 반성을 통해 자아의 정체성을 수립하고 자신의 삶을 돌보았던 경우는 찾기 힘들다. 뿐만 아니라 그 출현 시기 역시 서간체 자기서사 보다 빠른 경우는 거의 없다. 이것이 서간체 자기서사의 의미이자 그 문학사적 위치이다.

우울증 상담에서의 자기서사

이강옥 ( Lee Kang-ok ) 한국문학치료학회 2012 문학치료연구 Vol.24 No.-

우울증 상담에서 자기서사를 활용하는 방안을 모색했다. 먼저 우울증 상담에서 자기서사를 활용할 때의 유의사항을 정리했다. 자기서사는 말하게 하기보다 쓰게 하는 것이 좋다. 상담자는 내담자가 자기 경험에 대해 긍정적인 시각을 갖추게 하는 방안도 마련해야 한다. 상담자는 내담자가 편하게 자기서사를 쓰고 그에 대해 이야기할 수 있도록 배려를 해야 한다. 내담자가 반론할 기회를 보장해주면서 상담자도 적극적인 의견을 개진해야 할 것이다. 내담자의 자기서사에 대해 상담자가 특별히 착목해야 할 사항들을 제시하였다. 자기서사가 지리멸렬한 것은 내담자의 서툰 글쓰기 혹은 기억망실 현상과 긴밀한 관련이 있다. 나열의 구조는 내담자가 자기 삶의 특별한 부분을 알지 못한 데서 비롯하기도 한다. 또 자기 상처부분을 의도적으로 숨기려거나 아니면 상처부분을 자각하지 못한 것과도 관련이 있다. 반복은 상황이나 사고 등에서 비슷한 대목들이 거듭 나타나는 경우를 말한다. 내담자의 실제 상황이 그러한 데서 비롯하기에 `부정적 상황의 반복`이라 할 수 있다. 우울증 환자들이 `자동화된 부정적 사고`를 하기 때문에 자기서사에 특정 서술 구조가 되풀이되기도 한다. 삶의 구조가 아니라 삶에 대한 관점과 해석이 반복되는 것이다. 대조는 내담자의 자기 부정으로 귀결된다. 우울증 자기서사에서 가장 일반적으로 관철되는 것은 `시간적 대조`이다. 초점화 부분은 긍정적으로든 부정적으로든 내담자가 자기 삶에서 중요하게 생각한 부분이고 또 그것을 드러내고자 한 부분이다. 그런 점에서 상담자가 그 중심이나 정점의 성격을 살펴보는 것이 필요하다. 상담의 과정은 자기서사의 수정 보완 과정이기도 하다. 상담 중 회상이나 자기 최면, 자기 진술의 절차를 통하여 내담자는 먼저 쓴 자기서사의 내용과 시각을 조정하면서 새로운 자기서사를 써가는 것이 바람직하다. 애초 자기서사가 문제적인 것이라면, 그 문제성을 밝히고 극복함으로써 마침내 `대안적 자기서사`를 창출할 수 있다. 대안적 자기서사는 자기의 위대성을 발견하고 인정하는 쪽으로 귀결되어야 할 것이다. 그것이 미래의 밝은 자기를 만들어내는 원동력이 되며, 이미 그 속에 미래가 배태되어있다고 하겠다. 이상과 같은 자기서사의 다시쓰기 과정은 우울증 극복의 과정이기도 하다. This paper attempts to explore the methods of applying self-narrative to depression therapy and foreground some problems in utilizing self-narrative. Writing is a better method for self-narrative than narrating. The counselor should provide some methods to help patients form a positive perspective on their own experiences. Counselors should also encourage patients to write self-narrative and talk about it in relaxing environment. While guaranteeing patients a right to object, counselors should actively express their own opinions. The paper suggests several points for counselors to pay special attention to. Incoherence of self-narrative is closely related to either patients` lack of ability to write or their amnesia. Parallel structure of self-narrative is due to patients unawareness of their own lives` special events. It is also related to patients` intentional cover-up of the painful experiences or their inability to take notes of them. Repetition of similar circumstances and incidents in a self-narrative reflects patients` own lives, resulting in `a repetition of negative circumstances`. Since the patients of depression tend to have `automated negative thinking`, certain types of narrative structure repeat themselves. What`s exposed is not the structure of their lives but the repetition of their perspectives of and interpretations on their lives. Contradictions in self-narrative are led to their self-denial. The most frequently observed aspect in depression patient`s self-narrative is “time contradiction.” Foregrounded are moments patients consider significant either positively or negatively. It is extremely important to pay close attention to the nature of those moments. The process of therapy is complementing and amending of the problematic self-narrative. It is desirable for patients to write a new self-narrative, while negotiating with their previous perspectives and contents through the process of retrospect, self-hypnosis, and self-narration. Exposing and overcoming of problems in self-narrative would help create `an alternative self-narrative`. This alternative self-narrative should lead patients to discovery and recognition of their greatness. It will be the source of creating a brighter self for future. Such process of rewriting self-narrative is also that of overcoming depression.

문학교육과 창작 능력 : 서사 능력과 서사물 쓰기의 새로운 방법 모색 -고등학교 자기서사 창작교육의 활성화를 중심으로-

박태진 ( Tae Jin Park ) 한국문학교육학회 2008 문학교육학 Vol.27 No.-

The aim of this study is focusing on finding a living way about self-narrative creating writing`s education in high school. Namely, What kinds of self-narrative creative writing`s education should be practiced in high school, So, How self-narrative creating writing`s education can be began actively in high school. But, To the present, The study on narrative creative writing`s education is focusing on novel creative writing`s education. But, According to the flexible genre point, Narrative essay has a essential role in self-narrative creative writing`s education. First of all, The goal of narrative creative writing`s education is to get student to be get self-education from ordinary life for his life. Self-narrative creative writing`s education is suitable for fulfilling this goal. Especially narrative essay creative writing`s education out of self-narrative creative writing`s education is useful more than novel creative writing`s education for fulfilling self-education. Of course, there are a diary, a memoir, a biography, a travel`s journal, a narrative essay, self-novel in self-narrative creative writing. But, novel creative writing out of many self-narrative creative writing is not easy for high school student to learn because of it`s much manuscript and difficult technique and so on. But narrative essay creative writing`s education related with a travel`s journal, a narrative essay is easy because of little manuscript and easy technique, and so on. Therefore many students are like writing travel`s journal and narrative essay prior to novel in high school. According to this inclination, This study have a prospect that creative writing`s education of travel`s journal and narrative essay should be practiced in first for self-narrative creative writing`s education in high school. But there are problems to solve for creative writing`s education of travel`s journal and narrative essay to be practiced prior to any kinds of self-narrative creative writing`s education in high. First, What creative writing`s education of travel`s journal and narrative essay is pursuing should not be life`s narrow world. Second, writing`s education of travel`s journal and narrative essay should be studied by intimate relation with writing`s education of self-novel. Third, Writing`s education of travel`s journal and narrative essay should not focused on life`s philosophy only. Also, Creative writing curriculum including intimate hierarchy with elementary school and middle school`s creative writing education should be lively studied with teaching-learning`s method and assessment about writing`s education of travel`s journal and narrative essay.

내방가사에 나타난 자기서사의 양상과 의미

최은숙 한국어문학회 2025 어문학 Vol.- No.167

본고는 내방가사에 나타난 자기서사의 양상과 특징을 살펴 그 중요성과 현재적 의미를 조망하고자 한다. 내방가사 자기서사의 의도와 목적은 ① 자기현시와 자기치유, ② 존재론적 고민과 통찰, ③ 사회적 가치 부여와 정체성 확립이라는 세 가지 층위로 구분된다. <복선화음가>, <노부탄>, <덴동어미화전가>는 근대 전환기 여성들에게 강조된 치산(治産)에 기반한 자기서사로 자신의 존재를 드러내거나 상처받은 삶을 치유하고자 했다. <이씨회심곡>은 극단적인 고통을 겪은 화자가 자기서사를 통해 자신이 처한 상황과 관련한 존재론적 이유를 모색하는 과정을 보여주었다. <생조감구가>와 <한창만록>은 자기서사를 통해 공동체 내에서 자신의 삶과 가치를 공표하고, 여성의 역할과 존재 의미를 강조했다. 내방가사의 자기서사는 단순한 개인적 기록을 넘어 전통 사회에서 여성들이 겪었던 부당한 현실을 드러내고, 유사한 처지에 있는 이들의 목소리를 대변했다. 또한 자기서사에 나타난 경험의 재해석과 의미 탐색은 신자유주의 사회를 살아가는 현대인들에게 중요한 시사점을 제공한다. 향후 작품을 추가적으로 발굴하고 현대적 맥락에서의 내방가사 향유자 연구를 통해 자기서사의 의미를 확장할 필요가 있다. This study analyzed aspects and characteristics of self-narratives in Naebang-gasa (representative female literary genre of Korea), exploring their significance and contemporary implications. Self-narratives in Naebang-gasa are classified into three categories: (1) self-expression and self-healing, (2) ontological reflection and insight, and (3) the affirmation of social values and identity. <Bokseonhwaeumga>, <Nobutan>, and <Dendongeomi hwajeonga> exemplify self-narratives grounded in chisan (economic self-sufficiency), a value particularly emphasized by women during the transitional period into modernity. These narratives serve as a means of asserting their existence and engaging in the process of self-healing. By contrast, <Issihoesimgok> presents a narrator who, having undergone profound suffering, seeks ontological explanations for her condition through autobiographical reflection. <Saengjogamguga> and <Hanchangmanrok> use self-narratives to articulate personal values and affirm women’s roles and significance within a communal context. The self-narratives in Naebang-gasa are not merely personal records but also a means of exposing the injustices and contradictions faced by women in traditional society. Furthermore, the process of reinterpreting the women’s experiences through self-narratives offers valuable insights for contemporary individuals to navigate the competitive landscape of neoliberal society. This study focused solely on works within the category of self-narratives in Naebang-gasa. Future exploration of additional texts and oral narratives from modern Naebang-gasa audiences is needed to expand the understanding of self-narratives.