• 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.

• Fashion & Textile Research Journal
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• v.20 no.3
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• pp.287-292
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• 2018

The present study proposes a model for literature-based instruction within the context of a fashion design curriculum at a Korean university. The fashion design market continues to grow. The fashion design market now requires more cultural-bound strategies and efficient communication skills. The literature provides authentic resources and is highly relevant to the development of students' culture awareness as well as language awareness. Alice's Adventures in Wonderland written by Lewis Carroll contains various cultural contexts of the Victorian Era. The text provides explicit knowledge of the era depicted in both illustrations and satire languages. This study instructs students to analyze and interpret texts and illustrations so that they can engage critically and analytically in reading text to increase culture awareness and language awareness. The integration of literature and fashion design can provide students an opportunity to explore language choice and acquire refined knowledge of the target culture. Along with the text, illustrations in the literature provoke student's imaginative and creative thinking skills. Students can think and discuss many issues that deal with Victorian values and reinforce creative thinking skills. In the final stage, students can design fashion inspired by Victorian values and present their own designs using the acquired languages. This eventually leads students to adapt to a new notion for the fashion market and become competent communicators in the fashion world.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.80-80
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• 2001

• 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.

• 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.64 no.4
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• pp.565-584
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• 2018

The pedagogical dynamic dramatized in Shaw's Pygmalion, which sets man as a distinct pedagogical authority and woman his subject spawning similarly patterned plays many decades later, has been relatively overlooked in the play's criticism clouded by its predominantly mythical theme. Shaw stages Eliza's pedagogical subordination to Higgins followed by her Nora-esque exit with the declaration, "I'll go and be a teacher." The central premise of this article is that the pioneering modern playwright and feminist's pedagogical rewriting of A Doll's House sets out a historical dialogue between Eliza, a new woman who repositions herself as a teacher renouncing her earlier subordinate pedagogical position that is culturally ascribed to women while threatening to replace her paternal teacher, and her immediate precursors, that is, Victorian women teachers whose professional career was socially "anathematized." Through a historical probe into the social status of Victorian women teachers, the article attempts to align their abortive career with Eliza's new womanly re-appropriation of the profession of teaching. With Pygmalion as the starting point of its query, this article conducts a historical survey on the literary representation of pedagogical women from the mid to late Victorian era to the turn of the century. Reading a wide selection of novels and plays alongside of Pygmalion (1912), such as Jane Eyre (1847), A Doll's House (1879), An Enemy of the People (1882), The Odd Women (1893), and The Importance of Being Earnest (1895), it contextualizes Eliza's resolution to be a teacher within the history of female pedagogy. This historical contextualization of the career choice of one of the earliest new women characters in modern drama helps appraise the historical significance of such choice.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.75-87
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• 2002

The nineteenth century was a watershed - the extreme point of difference in the style of fashion dress and in the roles men and women played in society. This conviction has its roots in the socioeconomic changes of the 19th century and the industrial revolution, and the new working bourgeoisie' value, fashion and taste were on the rise. The bourgeois, who was not considered as having infallible taste, was looking for its own style, while on the other hand it was competing with the nobility. Therefore bourgeois' own etiquette and taste were appeared. There was ideals which the middle classes were hungry for, and it became the basis of judging an individual. The bourgeois tried to get social approval and used fashion was the mean of it. Bourgeois women fashion has a funtion as a complete symbol of the status, wealth and leisure in a patriachal society. Not only the Bourgeois tried to control themselves and to achieve the virtue of moderation, chastity and obedience by the restrictive costume, but also extravagant and cumbersome dresses has a kind of compensative funtion against a sober and simple men's dress. There was a reformative movement to break out of the legal, economic and social restrictions within the confines of respectable Victorian Society. The process of reform was long and slow for not only did laws be changed but the barriers of prejudice in a society convinced of man s mental and physical superiority had to be overcome. But even though there were many difficulties, a small number of progressive women challenged the social recognition and role of women and decisively refused the restrictive and ostentative fashion. Victorian costume was also criticized in the medical and aesthetic aspect for their impracticality. As a result, more funtional and practical women's clothes has appeared, but it have resulted in a peculiar hybrid of traditional female attire in combination with the more uncomfortable aspects of men's clothes. However it was becoming an essential look for new women who were the equals of men and wanted to be treated as such.

• International Journal of Contents
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• v.7 no.3
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• pp.60-64
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• 2011

Jane Campion's is a well-known film for a number of reasons, such as for being an Oscar winner, for having been helmed by an emerging director from New Zealand, and for having the reputation of being a feminist film. In this paper, the first scene of was chosen to examine the heroine Ada's language in terms of the gothic genre. Ada is a dumb woman who lives in the era of man's language. She represents the women's social position in the Victorian era but has her own and unique language for communicating with the outside world. The first scene of introduces Ada's own language, using her fingers. Her fingers speak for her all the time instead of her mouth, and there is someone who can understand what she wants to say when all others cannot. How the film depicts Ada's language and how the first scene well summarizes the film's core are examined herein.

• English & American cultural studies
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• v.13 no.1
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• pp.83-103
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• 2013

This paper focuses on the function of suicidal images in the history of art including literature. Death has been romanticized or repoliticized into an existential act of defiance and rebellion in literary works, so questions remain about the correlation between literary suicide and the essence of suicide. Although Jacques Ranciere insists that the order of art contrasts with the order of common people whose acts and gestures can express either their specific purposes nor the rationalities of their frustration, literary suicide reflects the outside life of readers. In fact, images of suicide produces the order of things about the real world. William Shakespeare's Hamlet handled two oppositional self-murder significantly. As Ron M. Brown pointed out, Hamlet, by choosing confrontation, seeks out an end which is voluntary, thus he avoids self-destruction and feels triumph of heroic fashion. Ophelia's self-chosen death stems from loss, frailty and the disintegration of reason, which demeans the act and diminishes her from the tragic to the pathetic(16). In the $19^{th}$ century, the resurrection of Ophelia acted as the context for later periods where life itself is fictionalized from the differing periods of network of signifier and texts. Finally, in Ophelia's case, fiction became life(Brown 285). Her suicidal image was fixed in the Victorian Culture whose visual discourse was strikingly similar to that of the men. Likewise, the ambiguities of the suicide became intertwined with the social, cultural issues of a certain period, and the paradigm of suicide was conformed to the changing needs of successive generations. However, if literary art understands that a European culture grappled with the almost impossible task and coming to terms with this strangest and most persistent of phenomena, it will be able to focus on of the multi-layered suicide by recognizing the inherent instability of the verbal sign which cannot reveal the design and grammar of truth.

• Archives of design research
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• v.15 no.4
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• pp.177-188
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• 2002

A thousands of chairs have designed from the Victorian era to the present. Thonet's Nol4 chair in 1859, Wright's high-back chair in 1904, Ritveld's red/blue chair in 1917, Breuer's Wassily chair in 1925, Aalto's Paimio chair in 1932, Eames's DAR chair in 1948, Piero Gatti's Sacco chair in 1969, Starck's Von Volgelsang chair in 1984, Stumpf's Aeron Chair in 1992, Little's 'Coat of arms' chair in 1994 - the list of architects who have seized the opportunity to express their theories in the design of a chair is seemingly endless. Architects such as Machintosh(1868-1928), Wright(1807-1959), Aalto(1898-1976) included chairs within their artistic schemes for interiors and buildings. But as the manufacture of chairs moved away from the domain of the craftsman towards that of the industrial process, architects were also ideally positioned, with their background knowledge of engineering, to pioneer innovative chair design within the constraints of modern manufacturing technology. Beyond matters of function and structure, the fundamental worth of chairs, past or present, lies in their communication of attitudes, ideas and values. The persuasiveness of a chair depend on the clarity of its rhetoric. Chair has become an ideal medium for designers to make their visual statements and construct their individual manifestos. In chair design there is a ping-pong game played out between absurd and useful design, and this game is one way in which the design profession explores itself.