narratives. Gameunjang-agi possesses the ability to effortlessly bring about wealth, but not acceptance from her family. Once she is expelled from the house, she makes efforts to bring about interpersonal as well as material happiness, such as by involving her husband in the discovery of the gold and silver and by actively seeking out her parents and restoring their sight. It is only after founding a new family and restoring her original one that she is able to reveal her position as the goddess of destiny. According to Jeong, the narrative affirms that a truly fortunate destiny is the result of effort and not simply inherent fortune. Shin Tae-soo notes that Gameunjang-agi's behavior, in which she denies her parents' authority and murders her sisters but is nonetheless worshipped as a goddess, is at odds with the mainstream Confucian virtue of filial piety. According to Shin, the Samgong bon-puri seeks to affirm the superiority of the ethical system of Korean shamanism, in which obedience towards parents and solidarity with the family is contingent on accordance with divine and cosmic principles, over the hierarchical Confucian value system. The confrontation between the girl and her parents thus personifies a confrontation between shamanism and Confucianism. Shin also argues that Gameunjang-agi identifying herself as the source of her fortune rather than an external cause reflects a shamanic insistence on the importance of self-driven action compared to the Neo-Confucian focus on social regulation and moral discipline, and that her charitable work seen in the beggars' feast and her curing of her parents' ignorance and blindness reveal shamanic definitions of righteous conduct. Feminist interpretations Both the shamans and the worshippers of Korean shamanism were traditionally predominantly women. Many studies of the Samgong bon-puri are accordingly informed by a feminist framework and focus on the narrative's subversion of patriarchy. Korean society conventionally associated women with sentimentality, passivity, and selfless sacrifice, suiting their subordinate relationship to men. But Gameunjang-agi openly affirms her worth as a woman before her parents and leaves the family house, which is a symbolic space dominated by the conventional patriarchal order that does not accept her. She plays the active role throughout the rest of the story, consistently following her own desires rather than those of the men and showing none of the self-sacrifice or patient endurance expected of women. The myth concludes when the parents themselves enter the house built with the gold she