By Shoshana-Rose Marzel, Guy D. Stiebel
Gown and style are strong visible technique of speaking ideology, no matter if political, social or spiritual. From the communist values of equality, simplicity and harmony exemplified within the Mao swimsuit to the myriad of favor protests of feminists akin to French progressive women's call for to put on trousers, costume can represent ideological orthodoxy in addition to revolt.
With contributions from a variety of overseas students, this e-book offers the 1st scholarly research of gown and beliefs via obtainable case stories. Chapters are equipped thematically and discover gown with regards to subject matters together with country, id, faith, politics and utopias, throughout a powerful chronological succeed in from antiquity to the current day.
Dress & Ideology will entice scholars and students of style, heritage, sociology, cultural reviews, politics and gender reports.
Read or Download Dress and Ideology: Fashioning Identity from Antiquity to the Present PDF
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Additional info for Dress and Ideology: Fashioning Identity from Antiquity to the Present
Chinese scholar–officials were forced to adopt both the Manchu gown and Manchu hairstyle, which they saw as barbarian and by which they were initially appalled. The Manchus hated talk of “barbarians” and were watchful of any references to the border peoples. From this perspective, Hua Yan’s eighteenth-century portrayal of Zhaojun’s departure for the frontier poses a slight conundrum except insofar as Zhaojun may have lost some of her Ming-dynasty intransigence in the course of the dynastic transition.
Indeed, one of the signs of the changing times can be seen in the final project assigned in 1996 to students at the advertising and marketing school run by the Israel Advertising Association and the Technion. The students were asked to propose ideas to convince young and ambitious administrators and businessmen aged 25–35 that wearing a tie to work would benefit their career advancement. My body and me The growing importance of outer appearance also gave rise to a major industry concerned with self-enhancement and self-care, ranging from products for more youthful looking skin and for concealing age marks to plastic surgery clinics offering face lifts, breast enhancements and reductions, hair removal, and the like.
The one significant difference in terms of costume is that the women in Hu Gui’s painting wear their gowns fastened on the left. 21 In brief, there is little to distinguish the Khitan painting of contemporary Khitans from the presumably Han Chinese painting of the ancient Xiongnu. Given this similarity, the question of how the Xiongnu of ancient times were to be depicted by the painter of Eighteen Songs might perhaps be rephrased as a question about how the Khitan were to be depicted. In other words, the narrative theme of the painting, centered on the Xiongnu, may well have been secondary to the subject matter, which is for the most part Khitan land, Khitan material culture, Khitan people.