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Performing Identities through Dress
What does it mean to people around the world to put on costumes to celebrate their heritage, reenact historic events, assume a role on stage, or participate in Halloween or Carnival? Self-consciously set apart from everyday dress, costume marks the divide between ordinary and extraordinary settings and enables the wearer to project a different self or special identity. Pravina Shukla offers richly detailed case studies from the United States, Brazil, and Sweden to show how individuals use costumes for social communication and to express facets of their personalities.
Fashion and Politics in Postcolonial Argentina
Crossings in Text and Textile explores the diverse range of transatlantic representations of clothing in nineteenth- and early twentieth-century literature. This collection of essays demonstrates that fashion history and literary history, when examined together, prompt fresh understandings of the complexities of race, class, and sexual identity. By bridging material culture and discourse, Crossings establishes the significance of fashion—while neglecting none of its aesthetic appeal—to offer historicized readings on a variety of topics, from Jane Austen’s nuanced display of social interactions through the economics of muslin to the 1871 Park and Boulton cross-dressing trial and Jessie Fauset’s selection of apparel to express racial power. The geographic span of textiles from different economic areas around the globe includes Asia, Africa, Europe, and North America. By making use of transatlantic texts to consider the political and social positioning of both workers and consumers, the collection further expands upon the emerging cross-disciplinary study of reading dress.
A true “state of the field” work, Crossings in Text and Textiles charts new scholarly ground at the nexus between fashion, textiles, and literature, appealing to a broad interdisciplinary audience of scholars and students.
Grounded in the ubiquitous, ever-changing matter of fashion, Cultures of Femininity in Modern Fashion places women at the heart of modern culture. Rich and cohesive, this collection demonstrates how fashion shaped and emerged from diverse cultures of femininity and modernity. By recovering fashion as a dynamic and far-reaching force in culture and politics, the volume examines the nuanced and conflicted terrain of femininity from the mid-nineteenth to the early twentieth century. Revealing the inextricability of fashion from modern life, the volume argues for placing gender, everyday life, and materiality at the forefront of our accounts of modernity.
This transatlantic and truly interdisciplinary collection, with an afterword by distinguished literary scholar Rita Felski, is also notable for its mix of established and emerging scholars. The contributors address diverse aspects of women's engagement with fashion in modernity, through such topics as Sapphic architecture, tea gowns, secondhand clothing, transnational identity, the coquette, nursing uniforms, and Harlem Renaissance photographs. Cultures of Femininity in Modern Fashion traces a unique and often surprising history of modernity and its entwinement with the gendered phenomenon of fashion.
In this masterful intellectual and cultural biography of Denman Ross (1853-1935), the American design theorist, educator, art collector, and painter who taught at Harvard for over 25 years, Marie Frank has produced a significant artistic resurrection. An important regional figure in Boston's fine arts scene (he remains one of the largest single donors to the collections of the MFA to this day), Ross was a friend and colleague of Arthur Wesley Dow, Bernard Berenson, Jay Hambidge, and others. He gained national and international renown with his design theory, which ushered in a shift from John Ruskin's romantic naturalism to the formalist aesthetic that characterizes modern art and architecture. Ross's theory attracted artists, Arts and Crafts artisans, and architects, and helped shape architectural education, scholarship, and museum practices. This biography of an important intellectual figure is also a fascinating and illuminating guide to a pivotal point in American cultural history and a reminder of the days when Boston was America's salon.
Fondements communicationnels, théories et méthodologies
Nous vivons dans la société de l’information et des communications. Mais la révolution technologique en cours, malgré la force évolutive exercée sur nos vies quotidiennes, n’a pas encore concrétisé les promesses tant annoncées par les experts. Les systèmes d’information et de communication doivent être mis au service des personnes et des collectivités pour que la culture participative se consolide. Le « design pour tous » doit devenir une priorité. Cet ouvrage jette les bases du design communautique, c’est-à-dire le design d’outils collaboratifs adaptés, configurés et personnalisés aux groupes et aux communautés de façon délocalisée, afin de dégager des théories, des pratiques et des applications liées à cette forme de communication. Il est basé sur des recherches d’envergure, auxquelles ont collaboré des spécialistes de diverses disciplines, visant à observer toutes les phases de développement des communautés virtuelles, de l’initiation jusqu’à la métamorphose ou à la dissolution, afin de comprendre les facteurs qui contribuent à leur santé et à leur dynamisme. De multiples communautés et entreprises québécoises ont participé à ce vaste chantier, qui a permis d’établir des stratégies et des outils comme le système d’aide au design communautique (SADC), le modèle d’évaluation CAPACITÉS ou encore les huit concepts de base du design communautique (8C). Plus largement, l’auteur explore les besoins émergents des systèmes sociaux en ligne, et les compétences numériques qui sont nécessaires à leur développement, afin de contribuer à l’avènement d’environnements virtuels dédiés à l’innovation et à l’émergence d’une intelligence collective et collaborative.
The Book Designs of He Hao, 2003-2013
Almost a Hundred Design Projects: Ai Weiwei, Xu Bing, Araki Nobuyoshi, Lin Tianmiao, Wang Gongxin, RongRong & inri, Liu Zheng, Yue Minjun, Miao Xiaochun, Xu Weixin, Zhang Dali, Yang Fudong, Tim Yip, Chen Wenji, Zhan Wang, Yu Hong... An Asian Trend in Contemporary Graphic Design An independent print-media practitioner, He Hao has been working with distinctive and representative artists in the Chinese contemporary art world, including Ai Weiwei, Xu Bing, etc., and designed more than 100 high-quality books and catalogs since 2003. Recording the current state of art development in China, his works have become an archive of significance. He Hao’s practice shows an Asian trend in today’s graphic design: the replacement of transplanted Modernism with a contemporaneity informed by the culture and lifestyle of contemporary China and the East. An independent print-media practitioner, He Hao has been working with distinctive and representative artists in the Chinese contemporary art world, including Ai Weiwei, Xu Bing, etc., and designed more than 100 high-quality books and catalogs since 2003. Recording the current state of art development in China, his works have become an archive of significance. He Hao’s practice shows an Asian trend in today’s graphic design: the replacement of transplanted Modernism with a contemporaneity informed by the culture and lifestyle of contemporary China and the East. He Hao’s designs grow organically from the content. His sole concern is the discovery and presentation of the content, and his designs show no trace of his hand. This approach might best be called “essential design.” — Xu Bing He Hao is a designer infatuated with the dialogue between space and time. Sensitive to both the pressures of history and the endless transformations of all life forms, he remains in deep and focused meditation, a lone sojourner outside the commercial realm. — Bei Dao
Women and British Aestheticism in an Age of Reform
In Dressed as in a Painting, Kimberly Wahl provides a lucid exploration of the interrelations between fashion, art, and Aestheticism during the latter half of the nineteenth century. Although artistic forms of dress have been the subject of short studies before, no book has focused exclusively on Aesthetic dress and its various expressions in the visual cultures of Victorian Britain. More important, no book has attempted to investigate the gap between the material facts of artistic clothing as it was embodied on the wearer, and its presence as an idealized sartorial trope in the visual and textual print culture of the period.
Habits of Being 4
This final volume in the four-volume series Habits of Being shows how the dialectic between everyday appearance and outrageous acts is mediated through clothing and accessories. It considers how clothing and accessories can move quickly from the ordinary to the extravagant. Employing many different approaches, these essays explore how wearing an object—a crown, a flower, an earring, a corsage, a veil, even a length of material—can stray beyond the bounds of the body on which it is placed into the discrepant territory of flagrantly excessive public signs of love, status, honor, prestige, power, desire, and display.
The varied contributions of scholars (historians, ethnographers, literary and film critics) and artists (photographers, sculptors, writers, weavers, and embroiderers) take up the threads of these forays into history, psyche, and aesthetics in surprising and useful ways. With examples from around the world, contributors address how the simple action of ornamenting the body, even with something as common as a button, are open to elaborate interpretations—which themselves offer new understandings of human behavior and artistic endeavor. When our “habits of being” receive close scrutiny, they seem anything but habitual.
Contributors: Mariapia Bobbiobi; Camilla Cattarulla, U of Rome Three; Paola Colaiacomo, Sapienza, U of Rome; Maria Damon, Pratt Institute of Art; Joanne B. Eicher, U of Minnesota; Maria Giulia Fabi, U of Ferrara; Margherita di Fazio; Adeena Karasick, Fordham U; Tarrah Krajnak, Pitzer College; Charlotte Nekola, William Paterson U; Victoria R. Pass, Maryland Institute College of Art; Amanda Salvioni, U of Macerata; Maria Anita Stefanelli, U of Rome Three.