• Fashion & Textile Research Journal
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• v.12 no.6
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• pp.821-829
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• 2010

The men's costume of eighteenth century showed feminine image of elegant decoration through the influence of social feminine atmosphere. As years go, heading towards the end of the eighteenth century, most of men's wear were simplified except vest, which had gorgeous decorations showing feminity. Therefore, men's vest of eighteenth was regarded as good item to apply to modern women's wear. The men's vest design of eighteenth century were divided into three types due to the passage of time, they showed the difference in the length, detail and trimming. Cutting lines in the modern fashion are used to give comfort and show the three-dimensional body silhouette. Also, cutting lines, as a decoration element, can define the costume's image and characteristics. Therefore, by using cutting lines, we can represent historical costume as modern costume and men's wear as women's wear. I made five women's costumes applying design characteristics of the men's vest of the eighteenth century. These five women's costumes have decorative aspect of men's vest of eighteenth century and simple aspect of men's costume. I applied dart manipulation in several different ways to make various cutting lines for women's costume. These cutting lines were emphasized by matching various colors and patterns of fabrics. I made small buttons and cords of these various fabrics. I sewed fabric buttons on five costumes for the purpose of function and decoration like buttons of the men's vest of eighteenth century. I applied fabric cords to decorate five costumes in various way. We should further study how to express important characteristics of historical costumes as modern costume in many ways.

• Journal for History of Mathematics
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• v.11 no.2
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• pp.55-62
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• 1998

This paper aims to analyze the phenomena of eighteenth-century mathematics and to find the "metaphysics" of the period which made them possible. It shows that mathematics in eighteenth-century was "mixed" and result-oriented and that eighteenth-century metaphysics emphasized the real and natural.he real and natural.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.25-35
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• 2006

This study investigated the scheme for correctly making Korean fashion design known to the world. It attempted to increase the influence of the Eighteenth Century Costume in contemporary fashion. During the 18th century, France had an almost complete monopoly of fashion. Growing out the fairyland atmosphere of the French Court and often conceived of as ennui by personal vanity, this fashion was a product of an age which sought at any price to live life with supreme grace. Most of the special costume exhibitions in the Metropolitan Museum of Art are planned and directed by Polaire Weissman, Diana Vreeland, Richard Martin, Harold Koda. The Costume Institute has held exhibitions of the Eighteenth Century Costume several times such as "Museum Period Rooms Re-Occupied in Style," "the Eighteenth Century Women," "the Ceaseless Century," "Dangerous Liaisons," etc. Especially, the exhibition of "Dangerous Liaisons" is organized in ten parts such as the Portrait, the Levee, the Music Lesson, the Withdrawing Room, the Broken Vase, the Favorite, the Masked Beauty, the Card Game, the Late Supper, and the Shop. Using the eighteenth century as its touchstone, The Ceaseless Century proceeds differently, not seeking the short distance between a discrete present and the multiple past but rather showing the complicated navigation that comes of revivalism swing to and fro on the timeline of history and sensibility. The designers featured include Karl Lagerfeld, Gianni Versace, Vivienne Westwood, Jean Paul Gaultier, Christian Dior, Cristobal Balencicga, Christian Lacroix, Stella McCartney forChloe, Olivier Theyskens, Alexander McQueen, etc. Therefore, Korean designers should refrain from (Ed-confirm) the foreign collection without a clear purpose and should devote their effort to create with an active attitude.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.745-765
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• 2009

The Eighteenth Century Shakespeare's Women Audiences: From Objects of Sexual Appetite to Ladies of Quality Abstract Younglim Han (Kyungpook National U) This paper aims to give an account of the eighteenth century Shakespeare's women audiences who marked a turning-point in the history of Shakespeare's popularity. The 1736 formation of the 'Shakespeare Ladies Club' as a leading group of the female audience encouraged the theater managers to perform more Shakespeare. Stage productions relied more than ever on the favorites of women audiences. The establishment of female patronage was associated with the popularity of Shakespeare's crossed-dressed comedies and actresses in 'breeches' part. The outstanding achievement of the Ladies was their contribution to the promotion of Shakespeare's status as an embodiment of British culture and the acknowledgement of the dignity of national literature. They were successful in securing the native sense of Shakespeare in place of Italian opera and Harlequin pantomime. The recognition of the national significance of Shakespeare led a campaign to erect his monument in Westminster Abbey. The female audience's claim to the respectable Shakespeare provided the stimulus for transforming his plays in the interests of family values such as marital duty and domestic morality. Marina (1738), George Lillo's adaptation of Pericles that was dedicated to the Ladies, was an exemplary case. The domestic versions of Shakespeare stressed the importance of women characters and the idealization of them. Thus the reception of Shakespeare in the eighteenth century was characteristic of formulating the women audiences-performers-characters association. The female yearning for a refined theater was a significant achievement, considering its influence on ways of establishing the canonical Shakespeare in the eighteenth century.

• Journal of Korean Society of Forest Science
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• v.37 no.1
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• pp.57-60
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• 1978

Significant findings concerning the cause of the gardening revolution of the eighteenth century in England, its landscape style and contribution to a new style are concluded as follows: 1. The English landscape garden is regarded as a great revolution in the history of landscape architecture, and it was in the eighteenth century, in England, that garden and landscape first came together. 2. For at no time in history has there been such general interest in gardens and in the total physical landscape, so much writing and criticism and open debate. 3. Garden design did not become a definite art form in England until the eighteenth century. During the period it can be seen that there were developing three distinct types of garden, that is, the picturesque garden, the 'poetic' garden and 'abstract' garden. 4. Also developing was a new appreciation for natural forms and natural landscape, expressed in painting, poetry and garden design, and the landscape gardeners tried bard to malce country scenery look as though man had not had a hand in it. Eventually these open spaces contributed to a new type of spatial form development of naturalistic landscape style which is today taken for granted as a normal component of the landscape architect's palette.

• Journal of English Language & Literature
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• v.53 no.2
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• pp.203-218
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• 2007

The early eighteenth century witnessed the birth of homosexuality as an identity and the emergence of a homosexual subculture in Britain. The homosexual subculture revealed itself through identified walkways and parks, gestures by which men might signal their interests to each other, and meeting places called "molly houses" where homosexuals could gather in relative safety. As early as 1703 the homosexuals seem to have overrun London. Homosexuals in eighteenth-century Britain provides a figure on which a variety of social anxieties could be displaced. Homosexuality is partly sexual transgression; mostly, it represents a variety of class, national, political transgressions. The association of British homosexuality with the fashion for Italian tastes was commonplace, and the growth of homosexuality was regarded as the greatest threat to the glorious Britain by destroying all its masculine virtues. Homosexuality was widely believed to be particularly common among the aristocracy and to be symptomatic of the increasing depravity of that class. The radicals in eighteenth-century Britain did not hesitate to exploit the surge in homophobia. They identified aristocratic patronage as one of the aristocratic practices that encouraged homosexuality and thus stigmatized the sort of male bonding that helped sustain aristocratic hegemony.

• The Research Journal of the Costume Culture
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• v.24 no.1
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• pp.54-66
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• 2016

This paper examines the transition of the Hungarian men's costume. Transition of the Hungarian men's costume can be divided into pre-eighteenth century, eighteenth century, and since the nineteenth century. Hungarian costume was derived from the Magyar who settled in Hungary in the ninth century. Hungry had begun to accept Western culture in the tenth century, so when the prototype of Hungarian costume was completed, it consisted of Dolman, Mente, pants, and boots combining traditional Magyar style with Western European style. In particular, Dolman shows the uniqueness of the Hungarian men's costume; it has a high, stand-up collar in the back center, closes on the left, has a right front plate with a diagonal cut at the waist, and a wide front closure. In the eighteenth century, Hungarian men's costumes played an important role in displaying national pride while living under the oppression of the Habsburg Empire. In particular, Dolman was worn as a uniform at the battle of independence (1703~1710). This dress of male courtiers became the distinctive style of the eighteenth century and then became the basic style of men's costumes. Since the nineteenth century, Hungarian men's costumes have acted as an means to promote the national consciousness of Hungary through the Citizen Revolution (1848), the War of Independence (1849), and the formation of the Dual Empire (1867). Looking at evolution of the Hungarian men's dress style, it reveals that resistance and struggles against other nations, a history of aggression, and living under oppressed are factors that impact on important clothing transitions.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.125-140
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• 2005

The purpose of this study is to define the special characteristics of the neoclassic style in eighteenth to nineteenth century fashion. Researching into philosophy and aesthetics in eighteenth to nineteenth century, the characteristics of the neoclassic style in fashion is considered the clarity of form, the utility of function, and the sensuality combined with body. The results of this study are as follows: The clarify of form is found in geometric form based on anatomical truth of the human body in relation with rational and scientific thoughts. The utility of function is found in simple and suitable construction considering purely practical purpose of dresses. The sensuality combined with body is found in natural silhouette dress alluding naked body in connection with Rousseau' naturalism. Understanding aesthetic value of the neoclassic style will help to develop fashion designs associated with neoclassical forms.

• Journal for History of Mathematics
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• v.17 no.4
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• pp.17-26
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• 2004

This paper claims that an essential characteristic of modernism is mathematization, and introduces how mathematization was deployed in the eighteenth century. It also points out problems caused by mathematization.

• The Research Journal of the Costume Culture
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• v.20 no.4
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• pp.616-620
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• 2012

The objectives of this paper are to examine some of the factors which may account for the rise in predominance of British textile manufacture in the eighteenth and nineteenth centuries. This paper identifies a range of important eighteenth century British inventions and associated developments, such as the 'factory' system, which stimulated expansion in textile manufacture in the British Isles and led to the rise in international importance of various 'heritage textile industries', including the Lancashire cotton industry, the Yorkshire woollen and worsted industry, the Dundee jute industry and the Irish linen industry.