What a series of the shamanistic myths having the woman as the protagonist are showing characteristically is the strained relationship between the inability, irresponsible god taking woman on trial and the able goddess enduring and overcoming the trial. Where is the origin of this particularity? The origin of the woman figure that is enduring the suffering shown in CHUNGJUNGGAKSI & DORANGSUNBI(청정각시·도랑선비) is the Masculine Domination. This domination makes the body through not only the symbolic violence but the physical violence. The violence forms the convention and the violence itself becomes one of the conventions. This process of making the subjectivity by the violence is strengthened and reproduced through the educational acts of GUT, a kind of consonance box. By the way, it matters whether that kind of social product is absolute or not. Isn`t there a way to build the feministic subjectivity? The answer to that question can be found in the immanent ability of the heroine. What we can find out from CHUNGJUNGGAKSI & DORANGSUNBI is the ability of paradox reversing the praise and the blame of gods. Through this paradoxical ability, the human act gets to transform the passivity into the activity. This transforming ability is always, already, the immanent ability in the heroine of shaman`s epic. The feministic subjectivity which resists the various `the education act` intended for a long stay of the Masculine Domination is made up by the active transformation through this paradox.