terms as popular religion or folk beliefs, the author (Walraven) examines the contextual meaning of these terms in Korean history. According to him, these terms acquire meaning only when there is a social differentiation which emerges along with the ‘‘introduction of culture from abroad (204)’’ such as ‘‘great tradition.’’ However, the point of this chapter is that certain popular beliefs, originating from social distinction, often ‘‘managed to latch on’’ (205) to the ‘‘great tradition.’’ Walraven supports this idea by describing how the cult of Guan Yu (pronounced Kwan U in Korean), initiated by the government was ‘‘hijacked by the general population’’ (216) during the Chosŏn dynasty, thus showing the historicity and flexibility of popular beliefs. This informative book provides an excellent introduction to Korean popular beliefs. Therefore it can be used as a textbook for university students in Korean Studies programs or East Asian Studies and general readers who are interested in Korean religious culture.

中文翻译：

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韩国语境中的上帝图画：Laurel Kendall、Jongsung Yang 和 Yul Soo Yoon 萨满绘画的所有权和意义

作为流行宗教或民间信仰的术语，作者 (Walraven) 研究了这些术语在韩国历史中的上下文含义。在他看来，这些术语只有在伴随着“从国外引进文化（204）”而出现的社会分化（例如“伟大的传统”）时才有意义。然而，本章的重点是某些源自社会差异的流行信仰常常“设法抓住”（205）“伟大的传统”。 Walraven 通过描述关羽的崇拜（韩语发音为 Kwan U）来支持这一观点，在朝鲜王朝时期，政府发起的“被普通民众劫持”（216），从而显示了大众信仰的历史性和灵活性。这本内容丰富的书很好地介绍了韩国流行的信仰。