핫 러너를 적용한 초소형 렌즈 사출성형 특성 고찰

오승아(Oh Seung A),박근(Keun Park) 대한기계학회 2018 대한기계학회 춘추학술대회 Vol.2018 No.05

13세 이하 발달장애아동을 위한 CALS(생활적응기술 척도)의 심리측정적 특성 연구

오승아 ( Seung Ah Oh ),최선경 ( Sun Kyoung Choi ) 한국특수아동학회 2009 특수아동교육연구 Vol.11 No.1

VCT를 활용한 내부 압력을 받는 액체가 채워진 원통 구조의 좌굴 하중 예측

오승아(Seung-ah Oh),이미연(Mi-Yeon Lee),조현준(Hyun-Jun Cho),김연주(Yeon-Ju Kim),김인걸(In-Gul Kim) 한국항공우주학회 2023 한국항공우주학회 학술발표회 논문집 Vol.2023 No.4

A Study on Thermal and Flow Characteristics of an Injection Mold Using a Detachable Core Module with Embedded Heating

오승아(Seung-Ah Oh),고영배(Young-Bae Ko),차백순(Baeg-Soon Cha),박근(Keun Park) Korean Society for Precision Engineering 2020 한국정밀공학회지 Vol.37 No.5

아버지 양육참여에 대한 부모의 인식 비교와 관련 변인 연구

오승아 ( Oh Seung Ah ),유준호 ( Ryu Jun Ho ) 한국아동교육학회 2016 아동교육 Vol.25 No.3

본 연구에서는 유아의 연령에 따른 아버지의 양육참여에 대한 부모의 인식을 비교하고 관련변인을 알아보고자 하였다. 본 연구의 대상은 한국아동패널 1차년도(2008년), 3차년도(2010년), 5차년도(2012년) 조사에 참여한 2,150명의 유아와 그들의 부모이다. 연구결과는 다음과 같다. 첫째, 아버지의 양육참여는 자녀가 만2세 일 때 가장 많이 이루어지고 만3세부터 감소하는 것으로 어머니는 인식하고 있었다. 둘째, 아버지 양육참여에 대한 아버지와 어머니의 인식 차이는 없는 것으로 나타났다. 셋째, 아버지 양육참여에 대한 어머니 인식에 영향을 미치는 변인들을 살펴본 결과 어머니가 인식한 결혼만족도, 부부갈등, 월평균 가구소득 순으로 영향을 미치는 것으로 나타났다. 한편 아버지 양육참여에 대한 아버지의 인식에 영향을 미치는 변인들을 살펴본 결과 아버지가 인식한 양육스트레스, 결혼만족도, 부부 갈등 순으로 영향을 미치는 것으로 나타났다. This purpose of this study was to investigate the perception of the fathers and mothers on fathers`` participation in nurturing and variables of fathers`` parenting participation. Data were gathered from 2,150 parents(the first panel data, the third panel data, the fifth panel data). Data surveyed through the Panel Study on Korean Children(PSKC). Results showed that first, fathers’ parenting participation is the highest in two years old and began to decline in three years old. Second, there is no difference in the perception of fathers`` parenting participation. Third, mothers perceived that marital satisfaction, marital conflict, the average monthly income influence in fathers`` parenting participation. And fathers perceived that parenting stress, marital satisfaction, marital conflict influence in fathers`` parenting participation.

우리나라 청소년이 지각한 부모양육방식, 청소년 활동, 또래애착이 청소년의 삶의 만족도에 미치는 영향 연구

오승아 ( Oh Seung-ah ),유준호 ( Ryu Jun-ho ) 한국아동교육학회 2017 아동교육 Vol.26 No.3

본 연구는 청소년이 지각한 부모양육방식, 청소년 활동, 또래 애착이 청소년의 삶의 만족도에 미치는 영향에 대하여 알아보고, 청소년 활동과 또래 애착을 매개로 하여 부모양육방식이 청소년의 삶의 만족도에 미치는 영향에 대해 알아보고자 하였다. 본 연구에서는 한국청소년정책연구원의 `한국아동·청소년패널조사` 중1패널의 2015년도 5차 패널조사 자료를 활용하였다. 그 결과 첫째, 부모양육방식 중 방임, 학대와 또래애착 중 `소외`는 청소년 삶의 만족도에 부정적인 영향을 미치는 것으로 나타났다. 또한 청소년 체험활동 만족도가 높아질수록 동아리 활동 만족도가 증가하는 것으로 나타났다. 둘째, 부모양육방식이 방임적이 아닐수록 청소년 활동과 또래애착은 증가하는 것으로 나타났으며, 청소년들은 청소년 활동을 통해 삶의 만족도가 높아지는 것으로 나타났다. 이와 같이 청소년의 삶의 만족도에는 부모의 양육방식과 같은 가정적인 요인과 또래관계, 청소년 활동 등의 사회적 요인이 모두 영향을 미치고 있는 것으로 나타났으므로, 청소년의 삶의 만족도를 높이기 위해서는 가정과 사회 모두에서 적절한 방안을 모색해 보는 것이 필요할 것이다. The purpose of this study is to examine the effects of parental rearing styles on life satisfaction and the mediating effects of youth activities and peer attachment. This study targeted high school first graders of Korea Child and Youth Panel Survey (KCYPS) surveyed by National Youth Policy Institute. This data was obtained from the 5th panel survey data (2015) of middle school first graders in 2011. The results of research is as follows. First, it was discovered that neglect and abuse parental rearing and isolation in peer attachment had a negative impact on the life satisfaction. Also, the more the youths got satisfaction with youth activities, the more the youths were satisfied with club activities. Second, the more parental rearing was not `neglect`, the more youth activities and peer attachment increased. And youth activities influenced youth life satisfaction.

흑인여성문학텍스트 읽기 : 『패싱』과 레시타티프

오승아(Seung Ah Oh) 한국영미문학교육학회 2012 영미문학교육 Vol.16 No.1

Toni Morrison's only short story "Recitatif" is a curious revision of Nella Larsen's Passing, one of the masterpieces of the Harlem Renaissance. While both texts are embedded with numerous cultural and historical signs of modern America, what operates as the center of the narrative is racial ambiguity that simultaneously claims and disclaims race. The two female protagonists in Larsen's Passing are equipped with racially ambiguous bodies that allow them to pass for white; in"Recitatif," the racial codes of two racialized female characters are intentionally erased. As such, Morrison intriguingly replaces the bodily passing in Passing with literary passing, in which the provocative experiments on racial readability probelmatize the issue of race as well as the genre of African American women's literature. Not conforming to the readers' expectations of African American women's literary texts, Passing and "Recitatif" avoid the search for the rural origins or an African American past. Each text instead chooses to delineate a pair of women'slives in terms of class, family, gender roles, and consumer culture; the memory excavated is that of personal, not racial or even collective. Though written by two of the most representative African American women writers of the Harlem Renaissance and the late twentieth century respectively, both works urge us to reconsider African American women's literature as they only obliquely mention race. By problematizing the notion of race as conventionally literarized in African American women's literature, these works invite readers to re-examine and re-question the meaning and weight of race and the ways we believe and perceive it in literature and in life as well.

칙릿과 정전의 기묘한 연계 -『악마는 프라다를 입는다』와『브리짓 존스』 시리즈의경우

오승아 ( Seung Ah Oh ) 한국현대영미소설학회 2014 현대영미소설 Vol.21 No.1

Since the publication of Bridget Jones`s Diary, chick lit has been associated with the legacy of canonical masterpieces, especially by female writers. Pride and Prejudice and Persuasion have been credited with lending plots and perspectives to the Bridget Jones series; Wharton, Bronte, and Woolf are among the names mentioned for their influence on the bestselling chick lit. While these names provide weight and authority to the new popular novels, comparisons with these literary godmothers inevitably devalue the modern sub-genre. Hence the trope of navel cord most interestingly encapsulates the relationship between canonical female writers and chick lit novels, as the former is not only able to throw a literary spotlight on the latter but also to outshine it instantly. The pairing of The Bell Jar and The Devil Wears Prada also demonstrates curious parallels. The latter`s brazen portrayal of a postfeminist heroine functions to better define the still-developing genre of chick lit, but an inevitable comparison not unexpectedly favors Plath`s canon. Finally, however, the recent publication of Bridget Jones: Mad about the Boy marks a point of departure in the history of chick lit; its new focus on post-Austen and post-happily-ever-after endings importantly interrogates and problematizes public understanding of the genre. Bridget`s possible rewriting of To The Lighthouse further humorously upturns chick lit`s godmother-goddaughter relationship with canonical writers. Bridget, who is one of the most representative chick lit characters, offers Woolf`s heroine an opportunity to live once again, but not vice versa.

흑인의 억양. 백인의 목소리 캐쓰린 스타킷의 『헬프』와 흑백 저자권의 문제

오승아 ( Seung Ah Oh ) 영미문학연구회 2012 영미문학연구 Vol.22 No.-

A popular narrative centered on African American lives by a white woman writer, Kathiyn Stockett`s 77 Help is an intriguing successor of Uncle Tam`s Cabin by Harriet Beecher Stowe and Imitation of L4fr by Fanny Hurst While the novel gloriously portrays black and white sisterhood and its struggle against racial injustice in 1963 Mississippi, its crucial dependence on African American racial stereotypes often becomes the target of heavy criticism. Among the three female characters who alternately narrate each chapter, Stockett peculiarly chooses the voice of Aibileen a middle-aged African American help, for the beginning and ending of the novel. Aibileen`s cooperation with Skeeter, a well-intentioned young white woman writer, builds the main plot throughout the novel, but what is at stake is the African American woman`s authorship, which is constantly praised but never rightfully authorized. From her emotional and literaiy investment to the inevitable renunciation, Stockett`s curious experiments with the character of Aibileen call for readerly exploration. Her creation of Aibileen as an author is fascinating-even subversive-as it allows the African American woman to inscribe her own voice and thereby resist the white woman`s pen. The power of Aibileen`s written account apparently reverses a long standing power dynamic of "slave narrative" -African American woman talking and white woman writing-to the degree that it overshadows Skeeter`s design as a fledgling writer. Ultimately, however, Aibileen the author is submerged by Aibileen the Mammy. Stockett`s authorial stance unmistakingly reinscribes the "white ventriloquism" that projects what the white listener would wish to hear through her African American characters. Aibileen speaks in Mammy`s language to ameliorate the young white woman`s guilt, and her writing ends up serving to liberate Skeeter from the stifling South. The white feminist cause of "lending a voice to the voiceless" purported by Stockett is not legitimate within this context. She only borrows Mammy`s accent to deliver the white female author`s voice.

시선, 변신, 후드 티셔츠를 입은 소년 : 『뉴 키드』에 나타난 슈퍼 히어로 코믹스의 서사

오승아(Seung Ah Oh) 한국영미문학교육학회 2020 영미문학교육 Vol.24 No.1

Breaking the barrier in children’s literature for the format as the first graphic novel to win the prestigious Newbery Award, Jerry Craft’s New Kid is an important bildungsroman for contemporary America. Revolving around its protagonist Jordan Banks, a twelve-year-old middle-class African American boy in New York City, the plot follows his middle school experiences at a predominantly white upscale private school far away from his Washington Heights apartment. Suddenly being exposed to the racializing gazes, he not only feels like a vulnerable outsider but also experiences frustrating microaggressions on a daily basis. Even the bus ride between his neighborhood and school is an exhausting process where he must perform different selves to fit in and conform to the shifting cultural codes on the route. The childish graphic novel that he draws in his sketchbook, however, demonstrates his humor and artistic agency as well as his critical gaze into the contradictions and problems that surround him. Above all, narratives of superhero comics are at play in his growth and transformation from a quiet new kid to a brave champion of the weak who stands up to protect his friends. The cover of New Kid features an average African American boy wearing a hoodie, but the story offers the possibility of an ordinary superhero in a hoodie as well.