it, they reproduce the preexisting power relations. And they conceal the dominant order, that is, the male-dominant order. Male power is thereby overlaid with the symbolic power reserved to it. 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 internalization 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 social identities of a wife and a mother, her only way to gain recognition is as a self-sacrificial "virtuous woman." 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 sinful. Since the late 2010s, other scholars have questioned whether the Song 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 of female virtue, while Cheongjeong-gaksi is driven by genuine personal love. He supports the argument with the Gazette 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 overcoming of the patriarchal order. 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 etiological 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 matrilocal to patrilocal residence, caused by the Joseon enforcement of Confucian family structures. See also Life replacement narratives, a group of Korean shamanic narratives, one of which is also sung in funerals Notes References Citations Works cited External links Film of the 1981 dorang-chugwon ritual on YouTube. The