크림프 모델을 이용한 복합재료 실린더 해석

강영아(Young a Kang),조형순(Hyoung sun Cho),김학인(Hark inn Kim),이수용(Soo yong Lee),황태경(Taek young Hwang),김형근(Hyoung keun Kim) 항공우주시스템공학회 2013 항공우주시스템공학회 학술대회 발표집 Vol.2013 No.10

포르노그래피 퍼포먼스: 안젤라 카터의 『요술 장난감가게』와 마거릿 앳우드의 『핸드메이드 이야기』

강영아 ( Yeong A Kang ) 한국현대영미소설학회 2016 현대영미소설 Vol.23 No.2

This paper aims to read Angela Carter`s The Magic Toyshop and Margaret Atwood`s The Handmaid`s Tales as texts performing pornography, which reveal the politics of pornographic performances of subordinated but resistant woman characters. Cater`s and Atwood`s texts share the performative power of pornographic representations which not only reflect the societal logic but challenge it. While Philip`s ``Grand Performance`` in Toyshop and Gilead`s rituals named ``Ceremony`` in Tales repeat the stereotypes of pornography, objectifying and fragmenting women`s body and sexuality, Margaret in Magic Toyshop and Offred in The Handmaid`s Tales explicitly disclose the women suppression in patriarchy by (un)consciously performing a docile wife and a passive surrogate mother respectively. Carter`s and Atwood`s performing pornography texts suggest that pornographic representation in literature adversely can display and defy the male-dominated power which frames women into puppets in their sexual and political scenarios.

여성의 (포르노그래피) 리터러시-사라 워터스의 『핑거스미스』

강영아(Kang, Yeong A) 새한영어영문학회 2017 새한영어영문학 Vol.59 No.4

This paper aims to examine the heroine’s ‘pornography literacy’ as empowerment in Sarah Waters’s Fingersmith. In this provocative Neo-victorian text, Maud’s pornography literacy-her capability of appropriating pornography-enables her to articulate woman’s sexual desires, which was strictly prohibited in the Victorian era. As she is forced to wear white leather gloves and a petticoat restraining her body all the time, Lady Maud’s compulsory reading of pornography reveals her suppressed status. However, while reading pornographic texts and acquiring knowledge of female sexuality other than heterosexuality, Maud gradually comes to acknowledge her sexual desires for her maid Sue. As a result, she challenges and defies patriarchal Uncle Lilly, deceitful husband Rivers and even her matriarchal mother Mrs. Sucksby, all of whom have tried to dominate and exploit her body and sexuality. After all, Maud’s writing pornography from a woman’s perspective represents the possibilities of women’s appropriation and resistance as well as subjection to patriarchal and heterosexual pornography.

도덕적 포르노그래피와 위반의 글쓰기

강영아(Kang, Young Ah) 새한영어영문학회 2011 새한영어영문학 Vol.53 No.4

This paper aims at examining Angela Carter’s The Infernal Desire Machines of Doctor Hoffman as transgressive writing which attempts to change the power relations between men and women by rewriting pornography. The text, Carter’s first moral pornography, demonstrates the potential of the antithetical bad woman while revealing the stereotypes of femininity?the daughters, wives, mothers and prostitutes?as cultural artifices through the Sadeian male’s view. In the text, Desiderio, the first person narrator, describes that all women are obedient to men such as their father, husband and tribal chief, and are considered as being ‘born to suffer.’ It’s not only physical violence against women but mental as well that shows the perpetuation of patriarchy depending on the exchange and domination of women. In The Sadeian Woman, Carter puts the possibility of redeploying current power relations by exploiting the pornography because of the representation of sexual encounters it depicts disclosing the nature of social relations. Carter exploits the parody of women’s disguises in ordinary sexual relationships like the marital bed in the text, and they are gradually ousted as transgressive women: Albertina, the object of Desiderio’s desire by continuingly disguising herself and attempting to kill him, Aoi skillfully arousing Desiderio’s desire to conceal her intent to murder him, and Mama actively leading him into an incestial relationship. All three foreshadow the Sadeian woman as the paradigm of Carter’s new woman in that they seek the forbidden pleasure and exploit feminine sexuality for their own purposes.

문신의 글쓰기-안젤라 카터의 매저키즘적 여성 읽기

강영아 ( Yeong A Kang ) 한국현대영미소설학회 2015 현대영미소설 Vol.22 No.3

This paper reads Angela Carter`s Heroes and Villains and The Infernal Desire Machines of Doctor Hoffman as the writing of tattoo, in which Carter inscribes and criticizes the violence of patriarchal dominance over women by overtly depicting victimized women`s (face) tattoos. Though Carter is well known for her sadeian discourse, the victimhood of her heroines needs to be read in terms of masochistic strategy. Since her writing of tattoo plainly reveals tattooing men`s oppression of tattooed women, the ambivalent strategy of displaying women as victims is equivalent to the masochist`s one. As Deleuze puts, a masochist is one who reveals the paradox of the Law/Power while performing the play of ‘beating and beaten’ relations. Likewise, Carter`s writing of tattoo makes us reconsider the relationships between dominance/victim, sadism/masochism, the tattooing/the tattooed, feminine/masculine through heroines` subversion of dichotomies by emphasizing the ruler`s violence along with defying being tattooed.

좀비(화)의 폭력 드러내기: 조이스 캐럴 오츠의 『좀비』

강영아(Kang, Yeong-a) 영남대학교 인문과학연구소 2021 人文硏究 Vol.- No.96

본 논문은 미국 작가 조이스 캐럴 오츠의 『좀비』가 타자의 은유인 ‘좀비’를 통해 미국 사회의 폭력을 폭로하는 텍스트임을 분석하고자 한다. ‘밀워키의 살인마’로 불리는 다머의 실화가 바탕이 된 『좀비』는 유색인 이주자를 좀비 노예로 만들려고 하는 백인 화자의 욕망을 통해 미국 사회의 불안과 폭력을 극단적으로 재현하고 있다. 좀비는 서구 중심의 인종적ㆍ계급적 타자의 정형화를 체화하는 존재로 서구가 만든 상상물이다. 오츠는 타자의 은유이자 내적 손상을 드러내는 좀비를 통해 인종적 타자에 대한 제도적 폭력을 가시화하는 글쓰기를 실천한다. 『좀비』는 백인 화자가 뇌엽 제거술을 모방해 유색인 청년을 좀비로 만들려다 잔혹하게 살해한다. 오츠는 한때 미국의 의료기관이 환자를 통제하던 수단인 외과수술을 전유하여 사회제도의 폭력을 가시화한다. 게다가 화자가 유색인 이주자들을 좀비로 만드는 가학적인 좀비화를 통해 오츠는 인종적 타자에 대한 폭력을 사실적으로 묘사한다. 오츠는 『좀비』에서 백인 화자의 좀비 만들기와 유색인 이주자의 육체적 훼손을 시각화하는 글쓰기로 타자화의 폭력을 외면화하는 서사 전략을 모색한다. This paper analyzes Oates’s Zombie in respect of a new radical writing revealing the American institutional violence and otherness on colored people. In the text, the zombies represent a metaphor for those colored immigrants coming to America in 1990s. Desiring the ‘zombies’ as slaves, the Caucasian narrator Quentin damages the colored youth’s eyes and takes the lives of innocent ones while mimicking the ‘frontal Leucotomy.’ As the Leucotomy was such the notorious tool of incapacitating patients in mental hospitals in U.S. that Quentin’s exploiting it for his own zombies highlights the institutional violence on individual lives especially the youth of color. Accompanied by the kidnaps, rapes, tortures and murders, the violent zombification of colored immigrants visualizes the violence of American society towards the racial others. Oates’s Zombie suggests the possibility of the zombie text as Yves Michaud claims that the violence represents the very nature of the society which yields that violence. Zombie sheds light on the externalization of violence through the physical materiality of the zombie which discloses its internal damage.

Poly(ethylene 2, 6-naphthalate) 필름의 연신에 따른 동적 점탄성 거동 해석

강영아(Young Ah Kang),김경효(Kyoung Hou Kim),조현훅(Hyun Hok Cho) 한국염색가공학회 1999 韓國染色加工學會誌 Vol.11 No.5

포르노그래피 가정화의 재고찰-E. L. 제임스의 그레이 시리즈

강영아(Kang, Yeong A) 새한영어영문학회 2018 새한영어영문학 Vol.60 No.4

This essay reexamines ‘the domestication of pornography’ through E. L. James’s sensational Fifty Shades of Grey Series, so-called the ‘mommy porno.’ With explicit descriptions of the heroine’s kinky sexual pleasure, the series represents a literary development of Jane Juffer’s ‘domesticated pornography,’ which highlighted the reconciliation of woman’s everyday life and erotic texts in the 1980’s and 1990’s. As a feminized pornography adopting BDSM practices, the series apparently explores female sexual self-determination by articulating complex, pleasure-oriented desires which challenge the hetero-normative sexuality. However, while emphasizing Anastasia Steel’s sexual autonomy, the series still reveals a dominant/male-centered power-relation; Christian Grey tries to govern Anastasia’s everyday life in the name of “submissive consent.” Furthermore, replacing the couple’s sexual arrangement with a legally binding contract, ‘marriage,’ in the controversial ending, the series not only reinforces women’s subordinate/submissive position within the family, but implies the normalization of non-normative sexuality. After all, seemingly celebrating woman’s enjoyment of pornography, the series repeats one of the Harlequin/Cinderella clichés, which re-domesticates woman’s sexuality into patriarchal gender relations.

병원 간호사의 프리셉터 경험에 관한 포커스 그룹 연구

강영아 ( Young Ah Kang ),설미이 ( Mi Ee Seol ),이명선 ( Myung Sun Yi ) 서울대학교 간호과학연구소 2013 간호학의 지평 Vol.10 No.1

The purpose of this study was to describe hospital nurses` lived experience of being a preceptor in Korea. Methods: The data were collected in three focus group interviews with 15 nurses in one general hospital. The phenomenological analytic method suggested by Colaizzi was used to analyze the data. Results: Five theme clusters and 11 themes emerged from the analysis. The five themes include “inevitable rite of passage for an authentic nurse”, “facing new role and situations that were difficult to handle”, “preceptee-centered preceptorship”, “healing connection with colleague nurses”, and “enhanced status with competence”. Conclusion: The findings of the study provide deep understanding on hospital nurses` positive as well as negative experiences of being a preceptor and should inform the development of a more integrative preceptorship program to empower both preceptees and preceptors.

모성의 탈신화화 -안젤라 카터의 『새 이브의 수난』

강영아 ( Young Ah Kang ) 한국현대영미소설학회 2013 현대영미소설 Vol.20 No.3

This study aims to investigate Angela Carter`s demythologizing writing on motherhood in The Passion of New Eve. Though many critics of the text have concentrated on the socio-cultural constitutive of femininity and woman subjectivity, this paper emphasizes that Carter also criticizes bitterly the myth of naturalized and desexualized motherhood. In response to the contemporary radical feminists` discourses on mother/hood such as Rich`s and Chodorow`s, Carter focuses on not motherhood as an institution but motherng as a practice through the deviant characters out of the traditional family frame. While sexually aggressive Leilah defies the desexualized motherhood, Mother of Beulah demystifies the mother as Nature by exposing the artificiality of her maternal body and excessive motherhood. Above all, becoming-a-mother of transsexual Eve/lyn opens up the possibility of changes from motherhood as a myth to mothering as performative. In short, Carter`s text intends to represent the mother/ring as the field where the biological and cultural discourses on women are crossing.