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.

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.

세계문화이해와 다문화교육 프로그램 개발을 위한 기초연구

오승아(Oh, Seung-Ah),유준호(Ryu, Jun-Ho),조경서(Cho, Kyung-Seo),윤영배(Yun, Young-Bae) 한국유아교육·보육복지학회 2009 유아교육·보육복지연구 Vol.13 No.2

The purpose of this study is to investigate the multicultural families and their children go to kindergarden. Also, the research was to investigate teacher's perception and management of the of the multicultural education all over the country. The subjects used in this study were 211 kindergarten teachers and children of the multicultural families in the 7 metropolitan cities and 9 provincial. The results are as follows. First, the children of the multicultural families are 2929. The father's nationality in the multicultural families was Korea, and the mother's nationality was Japan(32%), Philippines(24%), the Korean race in china. The most children in the multicultural families lived in Gyeonggi Province, second-largest province was Seoul. Second, most of the kindergarden teacher thought multicultural education should be required. Third, most of the kidergarden teacher had provided intensive multicultural education at one theme. The kindergaren teacher couldn't educate multicultural education because of short supplies of teaching materials, and lack of understanding of the multiculture, having stereotype about race, ethnicity, culture. 본 연구는 전국 유치원에 재원 중인 다문화가정의 현황을 살펴보고, 전국 유치원 교사의 다문화교육에 대한 인식도와 다문화교육 실태 조사를 통해 현재 유치원에서 이루어지고 있는 다문화교육의 문제점을 파악하고, 다문화교육의 방향 수립을 위한 기초 자료를 제시하고자 하였다. 본 연구의 대상은 서울을 비롯한 7개의 광역시와 전국 9개의 도에 다문화가정의 유아가 재원 하는 공․사립유치원의 영아에서 만 7세까지의 영유아와 교사 211명을 대상으로 하였다. 본 연구의 결과 첫째, 전국의 유치원에 재원 중인 다문화가정의 유아는 총 2929명으로, 남아의 비율은 51.59%, 여아의 비율을 48.41%였다. 연령별 분포로 보았을 때 5세, 4세, 3세 순으로 많았다. 부모의 국적은 부의 경우엔 한국이 87%로 대다수였고 모의 경우엔 일본(32%), 필리핀(24%), 중국 한족(21%) 순으로 많았다. 다문화가정 유아가 가장 많은 곳은 경기도이고 그 다음이 서울이다. 그러나 지역별 인구대비 다문화 유아의 수를 살펴보면 서울, 부산과 같은 대도시보다 전남, 전북, 강원, 충청 같은 농어촌 지역이 인구대비 다문화가정이 많은 것으로 나타났다. 둘째, 다문화교육에 대한 교사들의 전반적인 인식을 알아본 결과 다문화교육 또는 이와 유사한 개념을 접해 본 경험이 있는 교사가 더 많았으며, 대부분의 교사들이 다문화교육이 필요하다고 생각하고 있었다. 셋째, 1년 내내 실시하는 경우보다는 하나의 주제에서 집중적으로 실시하거나 필요할 때마다 실시하는 경우가 대부분이었다. 다문화교육 지도 시 어려운 점으로는 우리나라 상황에 맞는 다문화교육자료 부족, 교사 자신의 다문화에 대한 이해 부족, 특정민족이나 인종, 문화에 대한 편견이나 고정관념 등을 들었다.

원통형 쉘 구조의 좌굴 하중 예측을 위한 고차 모드 진동수를 활용한 VCT 연구

오승아(Seung-ah Oh),이미연(Mi-Yeon Lee),조현준(Hyun-Jun Cho),김인걸(In-Gul Kim) 한국항공우주학회 2024 한국항공우주학회 학술발표회 논문집 Vol.2024 No.4

학령기 말더듬 아동의 첫음연장기법을 이용한 치료프로그램 효과 연구

오승아(Oh Seung-Ah) 가정과삶의질학회 2004 가정과삶의질연구 Vol.22 No.6

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.

베트남 전쟁소설에 나타난 이성애 중심주의 규범과 가정성: 팀 오브라이언과 에리카 종

오승아 ( Seung Ah Oh ) 한국영미문학페미니즘학회 2008 영미문학페미니즘 Vol.16 No.1

War is the quintessential experience of international military conflict, and twentieth-century U.S. wars not only dispatch American soldiers through the route of U.S. expansionism but also reinscribe the notion of heteronormative domesticity. This essay addresses the complicated intersections of war, domesticity, and gender roles in two Vietnam War novels by comparing them with William Saroyan`s The Human Comedy. The latter exemplifies how the masculine drama of World War II involves the absence and presence of women and home: a faraway home, a women`s sphere protected by men, is a space of longing which can heal the soldiers` traumatized souls. Invoking their own era`s fierce women`s liberation movement, however, Tim O`brien`s and Erica Jong`s works on the Vietnam War demonstrate a more subversive and ambivalent rendering of women`s gender role during wartime. On the one hand, Sweetheart of the Song Tra Bong depicts a drastic transformation of an All-American girl who moves away from home into the war zone; on the other, Fear of Flying presents an intricate narrative of a female voice, problematizing the gendered logic of war and marriage, and of the public and the private. In short, both narratives offer a critique of traditional Cold War ideology, manifested within the realm of domesticity in the lives of dependents of U.S. servicemen.

린다 수 박과 미국 아동문학의 전통

오승아 ( Seung Ah Oh ) 미국소설학회 2016 미국소설 Vol.23 No.1

The winner of 2002 Newbery Award and second-generation Korean American, Linda Sue Park has been acclaimed as one of today’s best multicultural children’s writers. Her Korean historical novels, including A Seasaw Girl, A Single Shard, and When My Name was Keoko, have been selected for educators’ and children’s reading lists and awarded numerous honors for their nurturing multicultural literacy. This paper, however, problematizes the prevailing tendency to celebrate an ethnic writers’ feat by focusing on his/her ethno-racial background, attempting to shed light on Park’s “American” literary and cultural identity via her complicit relationship with American children’s literature both as an avid reader and unrecognized literary descendant. Contrary to the readers’ expectation, Park’s typical suburban upbringing in Midwest America constitutes a remarkable readerly and writerly agency which is more proficient in American literary legacy and imagination versus Korean. Her deeply ingrained understanding of American children’s literature such as Laura Ingalls Wilder is embedded within her own themes of female bildungsroman. Park’s later writings with protagonists other than Asians and Asian Americans-Keeping Score, A Long Walk to Water, and collaborative works such as 39 Clues, Click, and The Chronicles of Harris Burdick-both reenact and subvert American children’s literature, further interrogating and complicating the notion of American identity, and American literature and literary heritage.

입양서사와 샌프란시스코: 아시아계 미국소설의 새로운 지형

오승아 ( Seung Ah Oh ) 미국소설학회 2017 미국소설 Vol.24 No.2

Recently, new Asian American novels are using the trope of adoption in unconventional ways. Sung J. Woo`s Love Love and Bich Minh Nguyen`s Pioneer Girl both employ the motif of adoption in their plot, yet unlike the representative Asian American literary works featuring adoption such as Gish Jen`s Love Wife, Chang-Rae Lee`s Gesture Life, and Jane Jeong Trenka`s The Language of Blood, they portray cases of homoracial, inter-country adoption. Instead of visiting the country of origin in Asia with questions of biological relatives and reasons for adoption, both protagonists travel domestically to San Francisco in order to explore their identity. San Francisco becomes an intriguing city of origin for both Asian American protagonists who walk the city as flaneur figures with a postmodern sensibility. Kevin Lee in Love Love observes San Francisco as a cosmopolitan city. Lee Lien in Pioneer Girl considers it a place of reinvention in the West. While the history of Kevin`s Korean American birth father belongs to the social and cultural history of 1970s San Francisco, and not to the ethnic histories of Asian America, the adoption mystery of Rose Wilder Lane beckons Lee Lien deeper into an American literary history. As San Francisco is marked as “origin” or “birthplace” on the map of Asian American itineraries, not as destination of Asian migrations, narratives of adoption offered by these novels suggest the changing mode of Asian American literature that interrogates and problematizes the ways in which Asian American identity and experiences are defined, represented, and imagined.

『초원의 집』 연작 다시쓰기: 와일더의 문학 유산과 아시아계 미국인 독자들

오승아 ( Seung Ah Oh ) 미국소설학회 2020 미국소설 Vol.27 No.2

This paper considers an Asian American renarration of the Little House legacy, examining how the Asian American readership engages with Laura Ingalls Wilder’s frontier narrative and its predominantly white and racially demarcated prairie. The Asian American presence has long been marginalized in the Midwest, and also being unseen in relation to Wilder’s literary legacy. While the trope of invisibility has haunted the Asian American psyche in historical, social, and literary terms, the Midwestern Asian American child readers of the Little House books live their invisibility within and outside of the text. Their implicit hope for solidarity and sense of belonging is betrayed when they realize Wilder’s prairie is a territory granted to the children of white settlers. Bich Minh Nguyen grew up as an avid Wilder reader in the Midwest, and Stealing Buddha’s Dinner and Pioneer Girl are her retellings of and intertextual responses to Wilder’s legacy. Stealing Buddha’s Dinner vividly discloses the repressed anxiety experienced by a young Asian American Midwestern reader, revealing ambivalent emotions of intimacy, betrayal, and denial toward the Little House books. Pioneer Girl, on the other hand, makes a more conscious claim of identity and belonging, claiming the Midwest and America by way of appropriating Wilder’s narrative. Nguyen’s works evince that the Little House books’ non-interpellation of Asian Americans deters neither their engagement with nor their claiming of Asian American space within the books’ legacy. What surfaces is the undeniable presence they establish within the American classic canon’s genealogy.