• 한국의상디자인학회지
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• 제10권2호
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• pp.11-25
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• 2008

John William Waterhouse (1849-1917) is a painter renown for his romantic beautiful femme fatale images in the late 19th century in England. The purpose of this study is to examine the fashion in Waterhouse's femme fatale images. Waterhouse displays the devilism of femme fatale by the symbols of a wicked woman. He emphasized how wicked she is by means of water such as lake, river, and sea as well as symbols associated with demons such as forest, cave, naked woman, long hair, a monster-headed woman looking like an animal, water lily, and garden. On the other hand, he illustrates the woman's style as an image of a typical feminine beauty. Expressing naturally a fine-curved, immature girl's body with marvel-like white and clear skin in a kneeling down or crouching passive rose and depicting it as an innocent and fragile feminine image, he created a passive and lovely image of a young girl. With her eminent beauty and sex appeals, she lured men into danger. Words such as evil, women, and death had been used in describing her as femme fatale to emphasize her wickedness as well as to deliver the meaning across from the inside and to the outside. They also described her as a type of woman with body posture and fashion corresponding to the sexual ideology during the Victorian Age. His description of this fashion image was to show that femme fatale's fashion, which represents attraction and fatality, does not necessarily translate to an active fashion style that emphasizes sensuality. It also tends to minimize resistance and feelings of being threatened. Therefore, it allons us to acknowledge that even girlish body with innocent and frail-looking fashion can be a form of femme fatale, and that fashion styles is essential in forming the image of femininity.

• 영어영문학
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• 제56권6호
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• pp.1105-1117
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• 2010

This study traces out female identity and sexuality in George Du Maurier's novel, Trilby. The heroine's sexuality in this novel plays some interesting roles invoking both male gaze and male homosocial desire. There seems to have been lots of debates about female subjectivity and gender relations in the Victorian age. George Du Maurier tries to redefine female identity which had been divided into two aspects in the age: angel and demon. When he describes Trilby's identity, the fixed duality as fallen, demonic and autonomous women might have been considerably fluid. Rather than returning to the old boundaries of female subjectivity and identity through his heroine, he unwittingly describes the female role as an erotic organizer. As Du Maurier shows that Trilby's identity plays a conduit role for male homosocial desire, he created the tension between masculinity and femininity and revealed a changing relationship between female nature and male culture as well. Furthermore, when George Du Maurier in his novel opened a new possibility for an erotic organizer through his heroin, Trilby, he seems to have represented the more fluid female role in the patriarchal culture that asked only some fixed roles for women.

• Asian-Australasian Journal of Animal Sciences
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• 제14권11호
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• pp.1610-1615
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• 2001

Three studies were conducted to determine the effect of sex on pre- and post-weaning performance of pigs. These studies were conducted in response to observations that female pigs appear to grow faster than male pigs after weaning. In addition, female pigs have been found to grow faster than male pigs when supplied with supplemental milk before weaning. The aims of the present work were to further characterise the ontogeny of sex differences growth of nursing and growing pigs. In the first study, piglets sucking 32 sows were crossfostered to produce litters of 10 boars (n=9), 10 gilts (n=l 1) or 5 boars and 5 gilts (n=12). Liveweight of the sucking pigs was then measured weekly until weaning at 4 weeks of age. In the second study, 80 boars and 80 gilts were weaned at 26 days of age and growth performance measured until 21 days post-weaning. In the third experiment, 40 boars and 40 gilts were weaned into groups of 5 pigs at either 17 or 25 days of age and pigs were weighed until they were approximately 90 kg liveweight. All-boar litters grew more slowly than the all-gilt and mixed litters such that by 14 days of age the all-boar litters were 10% lighter than the all-gilt or mixed litters (39 vs. 43.8 kg, p=0.050). The proportional difference in litter weight appeared to be maintained at 21 days of age (53.9 vs. 59.4 kg, p=0.063) but was diminished by 28 days of age (66.5 vs. 70.8 kg, p=0.28). In the second study, gilts grew more quickly than boars over the first 7 and 21 days post-weaning and as a consequence were 10% heavier than boars at 21 days after weaning (13.7 vs 12.48 kg, p=0.001). In the third study, gilts grew more quickly than boars in the immediate 7 days post-weaning (40 vs. 5 g/day, p=0.014) whereas from 7 until 35 days post-weaning there was no significant difference in growth rate (381 vs. 360 g/day, p=0.19). Gilts also grew more quickly than boars over the 14 days after being moved into the grower (631 vs. 570 g/day, p=0.013) and finisher (749 vs. 688 g/day, p=0.038) sheds. However, these differences were not maintained over the entire period in each shed. These data support the hypotheses that gilts handle the stresses of weaning and other transitions better than boars.

• Asian review of World Histories
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• 제1권2호
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• pp.265-293
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• 2013

The second volume of the Iwakura Reports is the writing on Britain. What is interesting, here, is the fact that the mission had visited the large factories in the major industrial cities. The editor of the reports in particular recorded the productive processes of goods at many factories, and wrote his own impressions of the landscapes of those cities. Those records let us know the real situation of the British economy at the time. Japanese historians admit that the activities of the Iwakura mission largely contributed to Japan's modernization. But there are few studies that analyzed the second volume of the reports which had mainly described modern factories and industrial cities. The purpose of this paper is to summarize the records of the reports on the British industry, and to examine what they recognized from the industrial civilization. The Iwakura Reports would furnish important information to the notables that had initiated the early industrialization in Japan. After the mission's visit, some British companies' export to Japan increased rapidly. What is more important, however, is that the British economy was losing its own vitality in the late Victorian age in which Japan began to be rapidly industrialized. During the Japanese industrialization, some Japanese diplomats and factory-owners might have realized the decline of the British industry. Britain began to be overtaken by her rival countries such as the United States and Germany. The Iwakura Reports do not let us know the change of the British manufacture in the late nineteenth century. Later, the leading figures of Japan's industrialization might focus on the rise of Germany or America. As the Iwakura mission had visited Britain in the early stage of the competition between Britain and other rival states, they could not know the real situation of the British economy. Furthermore, with compiling his manuscripts, the editor of the reports could not help being based upon the factory-owners' explanations and their brochures. This is the reason why he focused only on the excellence and competitiveness of British manufacture.

• 복식
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• 제57권5호
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• pp.166-182
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• 2007

The purpose of this study is to reinterpret sexuality represented in fashion since the latter half of the 19th century in a contextual view, on the basis of Foucauldian idea of post-structural sexuality. As for research methodology, literary research was undertaken from the conception of sexuality to a historical review of the culture and dress. Foucault maintains the view of plural sexuality, which floats by power relationship between dominant and oppositional discourses in a specific historical context. In contextual approach sexual ideology codified in fashion since the latter 19C shows the following aspects: First, the traditional sexual ideology in the latter 19C is a capitalist value, which gives a priority to bourgeois man's profits, and the Victorian discourses of sexuality constructs the dichotomized fashion of the period. Next, the former half of the $20^{th}$ C is regarded as the period of conformity rather than opposition with various alternatives appropriated to the mainstream, so the traditional sexual ideology in fashion of this period is still preserved. Finally, in post-capitalism period of the latter 20C a variety of anti-fashion visualized plural sexuality from the enormous oppositional discourses. Although it doesn't all mean deconstruction of sexuality in fashion by the anti-fashion re-appropriated without oppositional meanings, pluralization of sexuality implies dynamics of sexual discourses in the next historical period. As a result, fashion since the latter 19C has been changed as a means for expressing age and sexual desire out of gender and class. And mainstream fashion in even postmodern period keeps the modern value on the center of the hegemonic heterosexual masculinity though the increase of Androgynous Femininity in women's fashion may connote the meaning of femininity. The plural sexuality represented in fashion has a contextual flexibility, thus sexuality floats with a specific socio-cultural context and fashion represents a masquerade as an identity vehicle.

• Neonatal Medicine
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• 제25권1호
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• pp.7-15
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• 2018

We need to understand the outcomes into adulthood for survivors born either extremely low birthweight (ELBW; <1,000 g) or extremely preterm (EP; <28 weeks' gestational age), particularly their blood pressure and cardiovascular metabolic status,respiratory function, growth, psychological and mental health performance, and functional outcomes. Blood pressure is higher in late adolescence and early adulthood in ELBW/EP survivors compared with controls. In some studies, expreterm survivors have higher insulin and blood lipid concentrations than controls, which may also increase their risk for later cardiovascular disease. ELBW/EP survivors have more expiratory airflow obstruction than do controls. Those who had bronchopulmonary dysplasia (BPD) in the newborn period have even worse lung function than those who did not have BPD. As a group, they are unlikely to achieve their full lung growth potential, which means that more of them are likely to develop chronic obstructive airway disease in later life. Although they are smaller than term born controls, their weight gradually rises and ultimately reaches a mean z-score close to zero in late adolescence, and they ultimately attain a height z-score close to their mid-parental height z-score. On average, ex-preterm survivors have intelligence quotient (IQ) scores and performance on tests of academic achievement approximately 2/3 SD lower than do controls, and they also perform less well on tests of attention and executive function. They have similar high rates of anxiety and depression symptoms in late adolescence as do controls. They are, however, over-represented in population registries for rarer disorders such as schizophrenia and Autism Spectrum Disorder. In cohort studies, ex-preterm survivors mostly report good quality of life and participation in daily activities, and they report good levels of self-esteem. In population studies, they require higher levels of economic assistance, such as disability pensions, they do not achieve education levels as high as controls, fewer are married, and their rates of reproduction are lower, at least in early adulthood. Survivors born ELBW/EP will present more and more to health carers in adulthood, as they survive in larger numbers.

• 한국의상디자인학회지
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• 제8권2호
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• pp.85-94
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• 2006

In Korea, popular stars were the leaders of the latest fashion, who had the strong power in apparel market. Costume, especially wedding dress they worm became the focus of interest to single women of marriageable age and wedding dress co. This study was performed to research wedding dress design (silhouette, veil, sleeves, materials, and details) from 1960's to June. 2004. Resources were extracted from the weddings photos, 'My Wedding' magazine, 'Vogue Korea' magazine and web sites. The materials, which could not be judged on the photos, were researched from text articles. The popular stars were TV stars, musicians, and actresses. The results of this study were as follows: The wedding dress in Korea from 1960's to June 2004 had different distinguishing characteristics. 1. In 1960's, wedding dress was characterized with A silhouette, long veil, set in sleeves, and hair decoration. 2. In 1970's, H silhouette decorating by belt, long veil, puff sleeves, and ruffles hemline were in vogue. 3. In 1980's, Victorian style designed by long and wide width, the leg of mutton sleeves or tightly fitted sleeves, short veil and pearl coronet, flower decoration became popular. 4. In 1990's, to reach the elegance or romantic image, it was used race, ribbon, frill, etc., on the base of 1980's wedding dress design. Generally the girlish styles which expressed innocent and pure and feminine were in fashion. 5. In 2000's, the keyword of both luxury and simple were intended. Silhouette was designed variously, but it became slimmer and simpler. The decoration was splendorous with race, embroidery, and beads.

• 한국의류학회지
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• 제30권6호
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• pp.851-858
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• 2006

The human have constantly pursued the beauty through the history. Especially, the pursuit for the beauty of the human's body means that the subject is at one with the object pursued by Ire subject, which so called as the most active behavior of searching far the beauty. However it sometimes shows that human have tried excessively to search for the beauty of the human's ideal body in the history, and to the degree of hurting the body. For example, the corset was eagerly worn by women with the hope of a satisfied silhouette because the slender waist and the busty bosom were demanded as the woman's ideal body at 18C and 19C(the age of Victorian). The purpose of this study was to investigate the corset fashion in 18C, 19C, one of the most aggressive fashions out of the unreasonable fads, using narcissism that Freud mentioned as inside energy called libido. And the reason why to use the theory of narcissism in this study was that fashion as social outcome is thought to be influenced by the environment but the wearing behavior is considered totally private, it is particularly when focused on the excess ive energy, and the scope was limited to the investigation into the source of the energy binding the own body to hurting. The analysis about this craze of a corset with the view of the theory of narcissism as follows. First, women could mold the ideal concretely in surroundings that ideal woman was constituted just to focus on the appearance, moreover, the mother reinforced the narcissism of their offsprings. Also, the society demanded women to be chaste, and did not allowed for women to reveal libido to the external. As a result of this, libido should be ended up concentrating on ego. With this process, it to be difficult for 'ideal ego' impossible for attainment to transfer to compromising product, ego ideal. That is, women did not think entirely to be out of the question to reach the ideal ego, which meant the energy to tight waists was given women.

• 한국콘텐츠학회논문지
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• 제17권12호
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• pp.417-425
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• 2017

본 연구는 영화 <아가씨>에서 변형된 시공간과 캐릭터를 통해 흥행 요인을 분석하고자 한다. 원작 소설이 있는 영화는 소설의 내러티브를 기초로 영화의 경험재적 특성을 감소시켜 관람 욕구를 유도한다. 본 영화는 소설의 배경인 빅토리아 시대와 다른 일제강점기를 선택하여 식민주의 남성성의 특징을 구현하는 캐릭터를 만들고, 남성에게 억압받는 여성들이 계급성을 초월하여 탈주하는 내용으로 변형하였다. 이를 통해 원작소설의 동성애 요소가 여성의 성장과 연대로 치환되어 부정적 요소를 감소시켰다. 또한 영화 개봉 시기 발생한 여성 대상 범죄의 젠더 담론은 캐릭터들의 공감 요소를 증대시키고 영화의 주제와 부합하였다. 그외 감독과 배우의 스타시스템과 영화 예고편의 효과적 공개 마케팅, 영화제 진출작 선정을 흥행 요인으로 볼 수 있다. 영화는 소설의 각색을 통해 다원적인 창작 역량을 증대하고 관객의 공감 요인을 확대한다. 흥행하는 각색 영화의 차별성은 변형된 내용이 창의적이면서도 시공간을 초월하는 보편적 인식과 상응할 수 있는 주제를 내포하고 매체적 특성을 효과적으로 표현하는 데 있다.

• 영어영문학
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• 제55권2호
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• pp.241-257
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• 2009

The essay discusses the way in which the aesthetic of Pre-Raphaelites reformulates the habitual system of knowledge in the Victorian age by adapting $Ranci{\acute{e}}re^{\prime}s$ concept of aesthetics. $Ranci{\acute{e}}re$ develops an original theory of aesthetics, a regime of knowledge which enables to perceive and reflect art as such. In this way, aesthetics turns to be the logical system by which the consensus idea of the beautiful comes to exist. For $Ranci{\acute{e}}re$, aesthetics is an agreed system of the sensible and reproduces the habitual knowledge of the world. Therefore, a new aesthetic movement means an attempt to break the given aesthetics and reorients the new distribution of the sensible. The important point of $Ranci{\acute{e}}re^{\prime}s$ argument is that he does not presuppose the dimension beyond the present unlike Frankfurt School. What $Ranci{\acute{e}}re$ claims is that there is no such the aesthetic which can correct the instrumental reason, but rather an indifferent moment in which a worker finds out himself as a creator who can give rise to the new regime of the sensible and feels free from what he must work for. From this perspective, the essay explores the aesthetic of Pre-Raphaelites and its meaning in nineteenth century Britain. Pre-Raphaelites was an artist group who railed against a so-called academic style of paintings and created a new aesthetic criterion to describe the truth of the natural world. The essay examines the interrelationship between Pre-Raphaelites and photography that would enable them to re-distribute the sensible and produce a new way of seeing the order of things. This is related to the birth of a modern gaze as in the case of landscape paintings. What is crucial is that the distribution of the sensible is always-already doubled with the political. In short, Pre-Raphaeltes is not only an aesthetic movement but also a political pursuit to achieve a disenchanted perception of nineteenth century industrial capitalism.