• 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The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the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.

• 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.

• 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.

• 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.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.993-1011
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• 2009

Generally, the parts narrated by Esther in Bleak House has been considered less convincing and reliable than those by the anonymous narrator for some problematic qualities in her character and narration. However, Esther's narrative shows Dickens' masterly depiction of emotional deprivation, the psychic consequences of the Victorian sexual repression on its victim. Therefore, to restore the reliability of Esther's narrative is the prerequisite for claiming its value as an appropriate locus of the meanings of the text. On the other hand, the anonymous narrator is not so omniscient as he has been regarded. As the chapters proceed, his omniscient power and authority is conspicuously weakened, and even transferred to other characters such as Esther and Mr. Bucket. This shows that the identity of the omniscient voice is unstable and that Dickens does not intend his voice to be the sole center of meanings of the text. In short, these two narratives are the necessary partners in imagining and understanding the society in its wholeness. Alternating and sometimes intersecting each other throughout the novel, these opposing viewpoints make us see the contradictory multi-leveledness of the Victorian society. The equality of them implies Dickens' notion that more than single unified voice is needed to portray ideological conflicts of his age.

• Asian-Australasian Journal of Animal Sciences
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• v.14 no.7
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• pp.1019-1023
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• 2001

An on-farm trial was conducted in temperature-controlled lactation rooms at a commercial pig farm to investigate the efficacy of broadcasting sow suckling grunts from day 4 of lactation, on increasing piglet growth to weaning. In the Broadcast treatment, sows and litters were exposed to a 3-min broadcast from loud-speakers every 42 min. The Control treatment was not exposed to the broadcast. All sows and litters had similar husbandry and piglets were provided with creep feed on the floor twice daily. In each of the three replicates in time, the Broadcast and Control treatments were allocated to different lactation rooms at random and there were 12 sows and litters per treatment per replicate. A total of four identical lactation rooms were available for the trial, each containing 28 conventional sow and litter crates with piglet heater in the creep area. A non-trial room separated the two treatment rooms in each replicate to minimise the chance that the broadcast grunt stimulation was audible to the Control treatment litters. Five "normal and average-looking" piglets from the trial litters were weighed twice, 7 d apart. The cohort of five piglets was identified by ear-tags and formed the experimental unit for the statistical analysis. The average (${\pm}SD$) age of piglets at initial weighing was 7.7(${\pm}2.22$) days. For each litter, mean piglet live weight at day 14 of lactation was estimated by linear regression of the two weights recorded seven days apart, when on average, the Broadcast treatment had been exposed to the stimulation for 10 days. Piglets in the Broadcast treatment were heavier (p<0.01) at day 14 of lactation compared to Control treatment (4.24 and 3.92 kg, respectively) and tended to have a greater average daily weight gain over the 7-d period (245 and 228 g/day, respectively; p<0.08). The results suggest piglet growth was improved by about 8% in response to the regular, timed broadcast of sow suckling grunts in the lactation shed. The independent contributions of milk and creep feed to the improved growth remain to be determined.

• Journal of the Korea Fashion and Costume Design Association
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• v.1 no.1
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• pp.141-156
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• 1999

This paper is to analyze the classification of textile pattern design focusing on the 19th century in England. The purpose of this study is. firstly to research the thoughts and ideas of these design in the time of mid-Victorian age; Secondly. to classify the textile pattern design from many points of view. We could find such William Morris's thought and ideas of 19th century to reform from textile pattern design. We wish to use these studies for textile pattern designers to develop this tradition onward to modern and future trends.

• Archives of design research
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• v.18 no.4 s.62
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• pp.25-34
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• 2005

The purpose of the present study is to investigate the characteristics of the current Victorian-style interior by reviewing the basic Victorian-style house in the past. this research was analyzed various prior studies and literatures, and found the following results: First, the Victorian-style house and interior space showed various historical trends and adopted every style from Gothic to rococo, and sometimes more than one style influenced a single place. Its formality was applied depending on the function and standard of each room. Second, the interior had many decorative things with free, irregular or other patterns, influenced by Romanticism and Naturalism. The several environmental factors such as air pollution and hygienic matter were also related with its trend. the dramatic changes in the kitchen and sanitary facilities were appeared based on the technical development, and affluent design styles were also used. All these reflected the characteristics of the Victorian age. In conclusion, the characteristics of Victorian-style were influenced by many factors including: (a) the trend of Romanticism and Naturalism, (b) consideration of family convenience based on the technical development, (c) the Socio-Environmental factors like air pollution and the social norm, and (d) reflection of the individual value in accordance with frequent contacts with foreign cultures. In this respect, it is necessary to reevaluate the Victorian-style after paying due regard to such factors.

• Journal of English Language & Literature
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• v.56 no.5
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• pp.999-1026
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• 2010

There was a Golden Age of Fantasy novels in the United Kingdom in the 19th Century, which had the major writers, Lewis Carroll and George MacDonald. These writers pushed the boundaries of imagination and created a new world in which explore their own selves and societies. Fantasy novels flowered in the 1860s when a group of writers including Carroll and MacDonald published their works. These writers used the trait of dream framing to create their own fantasy world in which they took the action against the complicated and oppressive Victorian reality. Carroll's fantasy worlds of Alice in Wonderland and Through the Looking-Glass were an insane and chaotic world where the certainty of the real world was overturned. MacDonald's dream worlds of At the Back of the North Wind and the Princess books including The Princess and the Goblin and The Princess and Curdie were ideal societies in which imaginative characters could create harmony between fantasy and reality. Fantasy writers engaged in making journey to other lands to do philosophical and moral discussion critiquing Victorian society and to find insights into those problems in their works. Thus, their fantasy journey traverses time and place can produce some suggestive answers to the questions that lie in other times and realities as well as theirs.