• Journal of Fashion Business
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• v.8 no.4
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• pp.68-79
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• 2004

This study aims to understand the history of the Victorian age that attached importance to various designs and aesthetic aspects by art and craft movement, and to present that the Victorian pattern is a factor with unlimited possibility in application and development of the modern textile product designs. Therefore, through documents research home and abroad, I considered the periodical background of the Victorian style, a change course of textile, and the theoretical backing of the Victorian pattern, and I studied and analyzed the cases of being applied in the modern textile product designs by classifying apparel, home interior, and fashion accessories. First of all, in apparel, the Victorian pattern transformed into geometrical form had much relative importance, and secondly, in the home interior, the Victorian pattern was expressed realistically or it was represented more boldly and complexly with new materials or techniques introduced. Thirdly, in fashion accessories, decorative nature was shown in intense design with the real description of the Victorian flower pattern and brilliant colors. With these results, it was found out that when the Victorian pattern was applied in the modern textile product designs, it was the factor that could be expected to make a high value added suitable with the modern sense, and it was the pattern with developmental potential with its unlimited use range. Therefore, based on this study, it is considered that the development of textile product designs utilizing the Victorian pattern and academic research, reorganizing the Victorian pattern in accordance with the modern design should be continued.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.161-176
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• 2007

The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the correlation between the wedding dress style and the fashion style in those days and the influence of the wedding dress style on contemporary's styles. The materials of this study were 9 wedding dresses owned by the Historical Costume and Textile Collection at the University of Connecticut in USA. The dresses were made during the mid and late Victorian Age. As for silhouette, the bustle style was popular in the 1870s and 1880s, and the hourglass style in the 1890s, and different from contemporary dresses there were no big differences in structural pattern and details between ordinary dresses and wedding dresses. In addition, colored wedding dresses were used until the mid and late Victorian Age, but since the wedding ceremony of Queen Victoria in 1840, white wedding dress was widely accepted and settled as the tradition of today's wedding dresses. While the Western dress style had been basically a one piece style, there appeared simple two piece designs in which the upper garment was separated from the lower one, from the mid Victorian Age. This is considered the reflection of those days' pragmatic social trend in dress style. It seems around 1875 when asymmetric design was first introduced in the Western dress style, which had been mostly symmetric. The asymmetric style that pursued atypical beauty, though not common during the late Victorian Age, shows a change in the typical Western dress style. With regard to dress making techniques, sewing machines were distributed widely during the early Victorian Age but they were not used in all parts of dress. Most of details and trimming works were done manually and some parts were attached and detached by hand sewing. In addition, not like today, there were no generalized rules of making such as the form of closings and composition.

• Lingua Humanitatis
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• v.2 no.2
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• pp.203-221
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• 2002

The ideal of middle class British masculinity and the representative of the new Victorian respectability, the ″gentleman″ was difficult to define amidst the class mobility and social change of the nineteenth century. Was the gentleman to be identified by class and by money\ulcorner By behavior and clothing\ulcorner By religion and morality\ulcorner This essay focuses on the problem of the ″gentleman″ as it was debated in the Victorian era and as it was reflected in the biography and work of the mid-nineteenth century's most important English writer, Charles Dickens. I examine the critical debate surrounding the Victorian idea of the ″gentleman″ by comparing the arguments of Shirley Robin Letwin's The Gentleman in Trollope(1982) and Robin Gilmour's The Idea of the Gentleman in the Victorian Novel(1981). Letwin views the ″gentleman″ as largely transcending class structure, while Gilmour's more historically-conscious view locates the gentleman as emerging out of, and even enabling, the class negotiations of this period. Against the backdrop of such debates, I discuss Charles Dickens's struggles with the idea of the gentleman in theory and in practice. In his novels, especially his semi-autobiographical bildungsromane about the growth and development of boys into adulthood, Dickens prominently engages with the identity and definition of the gentleman. As I demonstrate in this essay, this interest originated from Dickens's own childhood trauma and his subsequent drive to attain gentility, a necessity complicated by the vicissitudes of his personal and professional life.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.05a
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• pp.120-121
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• 2005

• Journal of Fashion Business
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• v.14 no.6
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• pp.188-203
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• 2010

This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women's dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the $19^{th}$ century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A.line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three-dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women's suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects. In the late Victorian age when the hourglass style was in fashion, mantle returned again to plain design emphasizing the details of the shoulders. The results of this study are expected to present motives for the development of contemporary designs, to contribute to the new recognition of the value of mantles, and to open a new research area of clothing history.

• Archives of Plastic Surgery
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• v.45 no.6
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• pp.598.1-598.1
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• 2018

• Asian-Australasian Journal of Animal Sciences
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• v.13 no.4
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• pp.511-515
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• 2000

Early weaning is a means of breaking the disease cycle from sow to piglet as well as capitalising on the enormous growth potential of the pig. However, the transition from milk to dry diets results in a growth check. Feeding of supplemental milk, fermented to reduce pH and enterotoxigenic bactetial proliferation, may be a means of gradually weaning pigs on to solid feed. This study involved 216 pigs weaned from the sow at 12 days of age, allocated to groups of 6 males and 6 females per weaner pen and allowed ad libitum access to a pelleted diet. In addition, half the pigs were given supplemental fermented skim milk for the first 8 days after weaning. Feeding supplemental fermented milk increased feed intake (104 vs. 157 g DM/d, p=0.011), average daily gain (-3 vs. 112 g/d, p<0.001) and feed conversion efficiency (0.01 vs. 0.81, p=0.003) over the first 8 days after weaning. The improvements observed in the supplemented pigs continued to be augmented such that, by 42 days of age, the pigs that had received supplemental fermented milk were heavier (9.6 vs. 11.5 kg, p=0.003) than their unsupplemented counterparts. Feeding fermented supplemental milk to early-weaned pigs can improve growth performance in the immediate and subsequent post-weaning period.

• English & American cultural studies
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• v.17 no.2
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• pp.1-27
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• 2017

My aim in this paper is to provide a clear view of Victorian gender ideology and highlight the role played by Browning's dramatic monologues in the challenge against the strict patriarchal codes of the era. Laura Mulvey's Male Gaze theory in cinema is especially useful for understanding Browning's most well-known dramatic monologues, "Porphyria's Lover," and "My Last Duchess," because these poems are structured by polarities of looking and being looked at, the active and the passive. In her 1975 essay "Visual Pleasure and Narrative Cinema", Mulvey introduced the second-wave feminist concept of "male gaze" as a feature of gender power asymmetry in film. To gaze implies more than to look at – it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze. She declares that in patriarchal society pleasure in looking has been split between active/male and passive/female. Browning's women are subject to the male gaze, but they refuse to become the objects of a scopophilic pleasure-in-looking. Porphyria and the Duchess don't exist in order to satisfy the desires and pleasures of men. They reveal themselves as an autonomous being - reserved in Victorian gender dynamics for men. Mulvey advocates 'an alternative cinema' which can challenges the male-dominated Hollywood ideology. It is possible to say that Browning's dramatic monologues correspond to Mulvey's 'alternative cinema' because they show a counterview in terms of the representation of woman against the Victorian patriarchal ideology.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.461-485
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• 2010

The present paper focuses on a specific aspect of H. G. Wells' The Island of Doctor Moreau (1896), namely the issue of homosexuality, particularly as it concerns Prendick, the novel's primary narrator, and Montgomery, Moreau's assistant on the island, both of whom are implicitly associated with homosexual identity-and suggested to represent various forms of repression or acceptance-their personalities, or psyche, explored in relation to other characters on Moreau's island, particularly the Beast Folk, as well as Doctor Moreau and his treatment of the creatures as an allegory of Victorian anti-sodomy legislation and its most celebrated victim, Oscar Wilde, who had been convicted for male sodomy in 1895, only months prior to the original publication of The Island of Doctor Moreau. In addition, this paper examines an extensive series of allusions to Oscar Wilde and to late-Victorian homosexual scandals, including that author's own conviction, allusions to others involved in the affair-some of which involve situational/plot analogies, while others involve echoes or semantic associations between the names of characters in Moreau and historical figures-as well as allusions and parallels involving the most recognizably biographical of Wilde's works, The Picture of Dorian Gray (1890). The deliberate, complex web of allusions and ironic implications of homosexuality, presented in this essay, thus, expands considerably upon existing scholarly work on a range of matters concerning homosexual identity and conduct within the context of social conventions and legislation in the late-Victorian period, as well as more broadly, in scientific and humanistic terms. In this respect, one key aspect of this essay is the exploration of the novel's setting of Noble's Island, which, among other things, includes topographical allusions to nineteenth-century scientific theories of anatomical anomalies in pederasts-namely those of the eminent French forensic medical scientist, Ambroise Tardieu (1818-1879), whose underlying framework of physiological adaptation, moreover, intersected with the scientific interests of Wells and of his protagonist. Beyond this, it is shown that, in Moreau, there is as a web of allusions to homosexual practice and those same anomalies, involving the character of Montgomery and his name.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.4
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• pp.366-382
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• 2023

Among the many novels penned by Thomas Hardy, the novel "Tess of the d'Urbervilles" came into print in 1891.In this novel, Hardy portrays Tess who was born and raised in a rural middle-class family but ends up working as a laborer, trapped in a society where she is subjugated by the men's wealth, leading a life marked by loneliness and isolation. The novel presents the status of women, moral struggles, and the challenging fate that they must overcome. It highlights the powerlessness of women living in a structurally unreasonable social environment, forced to depend on the ever-changing twists of destiny. This story delves into the complexities of love between the genders, moral conflicts, and the societal criticism that must be confronted. By utilizing the life of the young woman Tess, it underscores the struggle for existence and elucidates the roles, expectations, and constraints imposed on gender during the Victorian era. This research paper aims to compare the roles of women in the Victorian era in Britain and woman in contemporary Korean society. The Victorian era featured rigid gender norms, confining women to prescribed roles. In contrast, modern Korean society blends tradition and modernity, empowering women to play vital roles and reshape societal norms. Our research explores the interplay of tradition and change, providing a comprehensive understanding of women's evolving roles in both historical and contemporary contexts. We will present our discussions regarding the enduring roles that women have faced in both periods. Furthermore, we aim to highlight the distinctive roles women are called upon to play while dealing with the swift transformations in contemporary Korean society, recognizing them as essential agents in the agents in advancing Korean society.