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      「김현감호」호랑이 아가씨의 모성(母性) 계승과 창조성 = The maternal succession and creativity of the Maiden Tigress in Gimhyeongamho

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      https://www.riss.kr/link?id=A106599089

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      The inheritance and creation of the tradition of the tigress mountain spirit is reflected in the encounter between the archetypical tigress mountain spirit, who natives must have worshiped after building a life base around the Mt. Hyeong of Jinhan, and the tigress in Gimhyeongamho. Its inheritance is confirmed in the mother tigress in Gimhyeongamho, and its creation is confirmed in the maiden tigress in it. The tiger at the house for the guardian of Mt. Seondo today can be understood from the perspective of inheriting the tigress in Gimhyeongamho. The tiger in the altar portrait of Buddha, which one can watch in Mt. Seondo today, is considered to have inherited its multi-layered identity from the tigress in Gimhyeongamho. Finally, it is needed to consider Ilyeon's intention behind placing Gimhyeongamho in the context of Gamtong in Samgukyusa in order to understand another layer of the Gimhyeongamho story in Samgukyusa. Although Gimhyeongamho is a love story to depict impossible love, its meanings were re-contextualized the moment that it was included in Gamtong in Samgukyusa. The outcome of its re-contextualization is the shift from a secular impossible love story to a sublime and divine faith story. Ilyeon exerted his skills as a creator that re-contextualized this story into a Buddhist story of prayer and divine response by developing a logic of denying, affirming what was denied, re-denying what was affirmed, and re-affirming what was re-denied.
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      The inheritance and creation of the tradition of the tigress mountain spirit is reflected in the encounter between the archetypical tigress mountain spirit, who natives must have worshiped after building a life base around the Mt. Hyeong of Jinhan, an...

      The inheritance and creation of the tradition of the tigress mountain spirit is reflected in the encounter between the archetypical tigress mountain spirit, who natives must have worshiped after building a life base around the Mt. Hyeong of Jinhan, and the tigress in Gimhyeongamho. Its inheritance is confirmed in the mother tigress in Gimhyeongamho, and its creation is confirmed in the maiden tigress in it. The tiger at the house for the guardian of Mt. Seondo today can be understood from the perspective of inheriting the tigress in Gimhyeongamho. The tiger in the altar portrait of Buddha, which one can watch in Mt. Seondo today, is considered to have inherited its multi-layered identity from the tigress in Gimhyeongamho. Finally, it is needed to consider Ilyeon's intention behind placing Gimhyeongamho in the context of Gamtong in Samgukyusa in order to understand another layer of the Gimhyeongamho story in Samgukyusa. Although Gimhyeongamho is a love story to depict impossible love, its meanings were re-contextualized the moment that it was included in Gamtong in Samgukyusa. The outcome of its re-contextualization is the shift from a secular impossible love story to a sublime and divine faith story. Ilyeon exerted his skills as a creator that re-contextualized this story into a Buddhist story of prayer and divine response by developing a logic of denying, affirming what was denied, re-denying what was affirmed, and re-affirming what was re-denied.

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