Dress and the Body

Elisa Tosi Brandi e Thessy Schoenholzer Nichols presentano uno studio relativo ad uno dei più antichi abiti alla moda rinvenuto in Italia. Si tratta di una veste femminile appartenuta alla beata Osanna Andreasi da Mantova, consigliera di Isabella d'Este e "santa di corte" dei Gonzaga, risalente alla seconda metà del XV secolo.
Le due autrici hanno studiato insieme il caso, precisamente Elisa Tosi Brandi si è occupata del contesto storico e sociale, Thessy Schoenholzer Nichols dello studio della fonte materiale e della sua ricostruzione ora esposta presso Casa Andreasi.

Elisa Tosi Brandi and Thessy Schoenholzer Nichols present a study of the oldest trendy clothes found in Italy. It is a woman's dress belonged to the Blessed Osanna Andreasi from Mantua, counselor of the Gonzaga court, dating from the second half of the fifteenth century.
The two authors have studied together the case, namely Elisa Tosi Brandi took over the historical and social context, Thessy Schoenholzer Nichols the study of the material source and its reconstruction, now display at Casa Andreasi.

«Så tok hun av frukten og spiste. Hun ga også til mannen sin, som var sammen med henne, og han spiste. Da ble øynene deres åpnet, og de skjønte at de var nakne. De flettet sammen fikenblader og bandt dem om livet.» i Alle mennesker over hele verden, til alle tider, har kledt kroppen. Det å kle seg er en fellesmenneskelig erfaring-selv om nesten alle mennesker kler seg forskjellig. Nettopp derfor kan praksis rundt klaer og kroppsuttrykk fortelle mye om oss mennesker. Ikke bare

Book review. Michael Carter: Being Prepared: Aspects of Dress and Dressing. Sydney: Puncher & Wattmann, 2017, 210 pp., ISBN 978-1-9221-8694-2.

The meanings of dress, clothing and fashion are so intermingled nowadays that it is hard to speak about one without inferring the others. Dress is mainly about appearance, the visual, while fashion includes the social meanings and functions of dress. Clothing occupies a central place in contemporary dress and fashion, but clothing is also a technology with properties and functions unrelated to dress and fashion. For these reasons, the overlap between dress and clothing can create problems when considering questions of origins.

"… questo volume ambisce ad indagare con scrupolo, e in diversi contesti storici, quelle logiche e dinamiche che conducono le culture alla definizione di una significatività degli abiti. Le più
diverse strategie vestimentarie appaiono infatti quali dispositivi di importanza decisiva nella produzione di quelle regolarità e continuità che caratterizzano i comportamenti collettivi. Risulta dunque,in tutta la sua evidenza, la necessità di indagare gli abiti e il loro uso culturale quali fatti di natura sistemica, capaci di generare una precipua forma di comunicazione sociale che, sebbene di natura indiretta, costituisce uno dei principali strumenti di produzione di quelle norme del vivere collettivo nelle quali si depositano i valori condivisi dei gruppi…"

Como afirma el teórico del diseño Tony Fry, Después de presenciar los efectos desfuturizantes del diseño moderno, a la disciplina le corresponde cuestionar su papel en mundo que ayudó a construir. En las últimas décadas de su joven historia disciplinar, han surgido diversos enfoques que propenden por un cuestionamiento de la acción del diseño en las diferentes esferas de la vida humana en las que se inserta. Tomando distancia del imperativo de la economía de mercado y la industrialización serial que motivaron durante casi todo el siglo XX las razones de ser de su práctica, la pregunta por las maneras en que diseñadores y personas podemos promover una sociedad más justa, propender por una actitud relacional y no solo de explotación con el medio ambiente, subvertir la alienación ligada a las prácticas naturalizadas de uso y consumo a través de una toma de conciencia sobre nuestras decisiones diarias, ha dado forma y lugar a enfoques como el diseño para el cambio de comportamiento, el diseño especulativo, el diseño crítico, el diseño para la transición y el diseño crítico, entre otros.

De manera particular el diseño crítico, también conocido como diseño para el debate, es una de las líneas del diseño contemporáneo que busca cuestionar y poner en debate nuestras prácticas, valores y comportamientos cotidianos. Este enfoque nacido en Inglaterra, ha sido poco explorado en el contexto nacional y menos aún desde el diseño de vestuario.

Este capítulo reúne parte de la reflexión acerca de si los productos del diseño de vestuario pueden interrogarnos sobre la sociedad en la que vivimos y plantear alternativas paralelas a las comúnmente aceptadas. Al mismo tiempo, aborda una revisión de los productos del ejercicio académico alrededor del diseño de vestuario crítico desarrollado en la Facultad de Diseño de Vestuario de la Universidad Pontificia Bolivariana (2017) por docentes y estudiantes de segundo a décimo semestre.

Las propuestas resultantes plantearon interrogantes acerca de las maneras de consumir, los usos, los valores, los hábitos, asumidos como normales en las relaciones de los seres humanos con su entorno material, las implicaciones actuales y futuras de los productos de diseño de indumentaria en relación con el impacto cultural y ético de las tecnologías, los procesos industriales de producción, la situación de los sectores en los que se inserta el diseñador, los ideales de cuerpo, las ideas de belleza, los estereotipos de género, las políticas medioambientales, entre otros.



Para citar este capítulo de libro:

Echeverri Jaramillo, A., Fernández-Silva, C., Vélez Granda, S. (2019). El diseño que incomoda. Diseño de vestuario para la acción, la interrogación y el debate. En N. Builes y A. E. Builes (Comp.), Creación y debate (pp. 145-155). Medellín: Editorial UPB.

Kyoto people have an expression, 'kidaore'. If you kidaore, you dress to destruction: you spend all of your money on clothing and fashion. How we dress and represent ourselves is integral to our cultural identity but dress is more than merely a visual representation of self. A sensory approach to dress and textiles reveals that not only do they embody memory and knowledge of cultural practices, but can also convey traditional morals, expectations and roles. The concept of kidaore highlights the importance of dress and textiles for Kyoto people; Kyoto is considered by Japanese to be the cultural heart of Japan, thereby illustrating the wider significance of the textile and fashion industry. Fashion throughout much of Japanese history has provided a codified communication of status, class and rank, but it has also been shown to mould and refine the body within. In the 21st century, Kyoto designers continue to link the present with the past by using traditional designs and manufacturing methods. By combining contemporary functionality with these long-established designs and technologies, they produce the latest cutting-edge fashions. This paper will examine three contemporary Kyoto fashion labels—Pagong, Sou Sou and Kyoto Denim—to consider how their designs, informed by the embodied practices of the past, act as a self-conscious vehicle for the expression of Japanese culture, communicating both traditional and renegotiated meanings.

The objective of this book is the reconsideration of the practices of personal adornment during the Neolithic period in Greece, through the assemblage, extensive bibliographic documentation, and critical evaluation of all the available data deriving from more than a hundred sites in the mainland and the Aegean islands –an archaeological archive of wide geographical and chronological scope. In addition, a thorough study of the personal ornament corpus from the Middle-Late Neolithic Dispilio in Kastoria, an important lakeside settlement in northwestern Greece, was conducted.
The book begins with an overview of the anthropological and archaeological literature on theoretical and methodological issues concerning practices of personal adornment. Then follows an examination of the problems and key points of study regarding personal adornment in Neolithic Greece, as well as a critical evaluation of the methodological approaches and classification schemes that have been applied in previous archaeological works. Subsequently, the technologies and processes of production, consumption, recycling, deposition, and distribution of personal ornaments in Neolithic Greece are discussed. Finally, the social correlates of personal adornment are explored, as they are reflected in the choice of different raw materials (shell, clay, bone, stone, and metal) and ornament types (beads, pendants, annulets, and so forth).

Στόχος του βιβλίου είναι η επανεξέταση των πρακτικών προσωπικής κόσμησης κατά τη νεολιθική περίοδο στην Ελλάδα μέσω της επανεκτίμησης των διαθέσιμων στοιχείων που προέρχονται από περισσότερες από εκατό ανεσκαμμένες νεολιθικές θέσεις, καθώς και η λεπτομερειακή μελέτη του corpus κοσμημάτων που προέρχονται από τη λιμναία θέση της Μέσης-Νεότερης Νεολιθικής περιόδου στο Δισπηλιό Καστοριάς.
Αρχικά γίνεται κριτική παρουσίαση των θεωρητικών και μεθοδολογικών απόψεων της ανθρωπολογικής και αρχαιολογικής βιβλιογραφίας σε σχέση με το ζήτημα των πρακτικών προσωπικής κόσμησης. Στη συνέχεια παρουσιάζονται τα προβλήματα και τα βασικά σημεία της έρευνας των νεολιθικών κοσμημάτων στην Ελλάδα, καθώς και η κριτική ανασκόπηση των μεθοδολογικών προσεγγίσεων και ταξινομικών σχημάτων παλιότερων ερευνών. Στη συνέχεια συζητούνται οι πτυχές της παραγωγής, των τεχνολογικών επιλογών, των συνθηκών χρήσης, ανακύκλωσης και εναπόθεσης καθώς και οι ενδείξεις της ενδοκοινοτικής, διακοινοτικής και χρονολογικής διασποράς των κοσμημάτων στη Νεολιθική Ελλάδα. Εξετάζονται, τέλος, τα ερμηνευτικά προβλήματα παραγωγής και χρήσης των τεχνουργημάτων αυτών που σχετίζονται με τη σωματική κόσμηση, άμεσες αρχαιολογικές μαρτυρίες των οποίων αποτελούν οι οστέινες, οστρέινες, λίθινες, πήλινες και μετάλλινες χάντρες, περίαπτα και δακτύλιοι.

The marriage of Henrietta Maria (1609-1669) and Charles I (1600-1649) was presented in literature and prints as the joining of the ‘lily’ (France, the queen) and the ‘rose’ (England, the king). Harnessing these floral analogies, this article examines how Henrietta Maria’s fair face was invested with social, political and medical import, and as such was widely cultivated and enhanced through physic, sartorial choices and painted representations. Her skin texture and colouring were considered a mirror of her dynastic pedigree, marital status and good health. The white and red palette of the lily and the rose were intrinsic to longstanding ideals of facial colouring, and to youthful bloom and fertility. This colouring was marshalled by painters such as Anthony van Dyck in her portraits, and strategically deployed through her clothing. Her physician, Theodore de Mayerne, also provided her with prescriptions to clean, smooth and restore her face. As such, the queen’s facial skin functioned as a mirror of her quality, a paradigm of health and a canvas for artists, wardrobe specialists and physicians to cultivate and highlight her natural beauty. The analysis is built on a range of primary sources including treatises, wardrobe accounts, herbals and cosmetic recipes.

Main aim is to create a method of virtual reconstruction of historical clothes. We applied 2D CAD, Clo3D, and CG tools to find the relationship between outline shape of skirt, properties and construction of garments and textile materials. We used contemporary fabrics which are similar to historical prototypes by changing physical and mechanical properties. New method includes 3D-to-2D flattening; finding the air gaps in "avatar-skirt" system; choosing textile materials and number of underskirt garments; generating of digital replica. The adequacy of historical prototypes to its virtual replica is full due to CAD, new developed modules, and data base.

This article explores figures of visibility and otherness in H.G. Wells’s novel 'The Invisible Man', discussing the relevance of such figures to the historical paradigm of the Victorian period in which the text was written.

Through an analysis of the text, the human body and skin are considered as mediums invested with personal and social meaning; modification through acts of dress and undress can be seen to have ramifications that impact both the individual and their social setting. The Invisible Man is discussed as a literary figure that comes to represent how the human body may be read as a metaphorically laden site.

This chapter of my book "Veiled Presence" explores how Lotto's images of the clothed body communicate a novel sense of being-in-the-world. In Lotto's paintings dress or drapery is possessed in both senses of the word: it proclaims ownership, but it is also stirred by strange animation. The intimate textiles of domestic life, including veils, kerchiefs and towels energize Lotto's smaller religious paintings, while his larger ones are enlivened by the movement of ritual drapes, such as vestments, altar cloths and curtains.  Such cloths function at times as "transitional objects", mediating between the real, the fictive and the imaginary.  Clothes disguise and drapery may hide or withold, as when a cloth is laid over a mirror.  It signals both remembering and forgetting.

Based on an examination of news coverage from 2013 to mid-2018, this article analyzes rhetoric in favor of school dress code policies. I illustrate how women’s bodies are problematized in order to manifest
grounds for regulating female attire. By employing pragmatic lines of argument, pro-dress code rhetors foster what I term consequential transference. Because pragmatic arguments rely on identifying consequences, questions of agency are implicit, as presuppositions of who is responsible for the consequences are embedded into the fabric of the discourse. In this case, dress code defenders paint female immodesty as responsible for several harmful potentialities, including negative social judgments, sexual harassment, and the distraction of male students in the classroom. I assert that pragmatic argumentation is a serviceable tool for underwriting misogynistic culture because consequential transference warrants female regulation and punishment by diminishing the accountability of other actors.

Published on Aug 24, 2016
Interview with Joan L. Saverino - San Giovanni in Fiore (CS), July 2016.
Music: tarantella, pastorale, sonata.
Images: West Virginia State Archives, Charleston WV and Joan Saverino
Editing by Alessandro Tarsia.
«New Nostoi Series» by Alessandro Tarsia, non-profit video.
Special Thanks: Antonia Prosperati, Comune di San Giovanni in Fiore, Museo Demologico dell'Economia del Lavoro e della Storia Sociale Silana, Abbazia Florense.

« Corps de mode et art du vêtir. Retracer l’histoire du costume, de l’Antiquité égyptienne aux derniers défilés Couture »
« Mode et société : valorisation du luxe par l’image »
« Des origines de la Haute Couture à la "fringue" réactionnaire et militante »

This article examines the Victorian chatelaine, a rarely investigated accessory with a function that has been attributed to the lack of pockets in Victorian women's clothing. Whereas previous study into the chatelaine has concentrated on design and material culture, this article explores perceptions and representations of the chatelaine. A textual and visual analysis of literary and photographic representations of the chatelaine considers how the accessory functioned to expose women's possessions to the male gaze, and regulated femininity via unique gesticulations and appended tools.
Multiple conflicting qualities emerge, portraying the chatelaine as an aid to domesticity
and femininity, and as a flirtatious novelty central to interactions with the opposite sex.
Adopted by women of all ages, the chatelaine served a variety of functions, providing
women with the means to display and enact their domesticity, femininity, and
fashionability whilst engendering an emotional supportive role through its tactile
materiality.

By laying the foundation for a new dance that would release the inner spiritual impulse through unrestricted movement, Isadora Duncan sought to return to the understanding of the body as a medium for harmonious expression of natural rhythms. Such kinetic celebrations of female vitality required the adoption of garments that challenged the dominant conventions of women's dress and represented a route to alternative practices that encouraged physical and personal freedom. This study builds a comprehensive view of Duncan's progressive identity by considering the ways in which the dancer aligned herself with late-nineteenth-century dress reform movements and adopted references from classical antiquity in order to develop a distinctive style within the context of both everyday sartorial presentation and performative culture.

Wearing is fundamental to our experience of cloth and of clothing; though we experience our garments through other senses it is a relationship predicated on touch. It is through the tactile experience of our garments that we come to know them; to comprehend texture, fit and form. Drawing upon both a phenomenological and a psychoanalytic approach to touch and wear this article examines the possibility of wearing as a methodology for practice and performance based research, wearing as a means of ‘doing’ research.
This paper expands upon the experimental methodology developed over the course of my doctoral research (RCA, 2016). The research examined the embodied experience of wearing shoes and how the effects of wearing upon the shoe, the marks of use and wear might come to embody experience. Rather than drawing on a social science methodology of object based interviews or participant observation, or a historical/humanities methodology or archival of image based research, the research utilized processes of wearing and performance to examine attachment to and with our clothes.
It presents the act of wearing, the embodied experience of clothing and the body together, as a tool for developing knowledge, of ‘being in’ or ‘being with’ rather than observing from outside. It builds on the work of phenomenologists Schilder (1935) and Meleau-Ponty (1962) proposing a methodology of entanglement; a methodology which draws upon and abstracts the idea of participant observation.
This paper explores the possibility of a wearing based research, as an addendum or adjunct to the more widely understood practice and performance based researches. It asks if wearing as a research practice might open up new avenues in fashion and textile knowledge, uncovering different aspects of our lived experience of cloth and clothes. What might the parameters of wearing as performance practice be and how might it differ from wearing as a habitual embodied experience.

En 1976, le phénomène punk surgit à Londres, semble remettre en cause certains des codes sociaux et des normes culturelles la société britannique, et est le sujet d’une « panique morale ». La même année, en Irlande du Nord, 297 personnes sont tuées à cause du conflit. Les Sex Pistols invoquent l’anarchie dans leurs textes, mais pour les nord-irlandais, « Anarchy in the UK » est bien plus qu’une chanson : il s’agit de leur quotidien. Pourtant, alors que le conflit fait rage, alors que protestants et catholiques restent cantonnés dans leurs quartiers respectifs, des centaines de jeunes issus de deux communautés que tout semble opposer se retrouvent semaine après semaine dans les mêmes lieux pour partager une passion commune : celle du punk rock. Quelles sont les spécificités que présentent le punk en Irlande du Nord ? Quel impact ce phénomène de culture populaire a-t-il sur les pratiques des jeunes Nord-Irlandais qui participent à cette scène et à cette subculture alors que le conflit bat son plein ? Quels mécanismes permettent aux punks d’imaginer et d’incarner une « Alternative Ulster » ? Afin d’apporter des réponses à ces questions, le présent travail s’attache à retracer l’émergence de la scène punk nord-irlandaise (1976-1983), à analyser les manières dont sont « pratiqués » les lieux sur lesquels elle repose, à interroger l’importance de la tenue et du corps punk et, finalement, à mettre en lumière les thématiques qui traversent la chanson punk.

***

In 1976, punk took the United Kingdom by surprise, and for one brief moment, challenged some of the cultural and social assumptions of British society, shocking public opinion and causing an outbreak of moral panic in its wake. The Sex Pistols could sing about it, but for people living in Northern Ireland, “Anarchy in the UK” was more than just a song, it was what they experienced in their everyday lives. Yet, while the conflict raged on, and at a time when cross-community contact had become uncommon, a minority of the North’s youth turned to punk. These young Catholics and Protestants ignored their political and religious differences and met up in streets and record shops during the day, and at night crowded into the few bars and pubs that allowed punk bands to play. What specific features did Northern Ireland punk display? What impact did this popular culture phenomenon have on the practices of the young participants who took part in this scene and subculture in the midst of the “Troubles”? What mechanisms enabled punks to imagine and embody an “Alternative Ulster”? In order to find answers to these questions, we will provide an account of the emergence of the punk scene in Northern Ireland (1976-1983), analyse the ways in which its spaces were “practiced”, examine the importance of punk dress and, finally, explore the themes which appear in punk rock songs.

Beim Begriff „Kinderkleidung“ denkt man unwillkürlich an eine spezielle Art von Kleidung, mit eigenem Schnitt, besonderen Stoffen, Farben und Mustern. Abgesetzt in verschiedene Zeitabschnitte – Baby, Kleinkind, „Schulkind“, Jugendliche – sind auch noch heute verschiedene Kinderkleidungen üblich, wenn auch (bis auf das Baby- und eventuell noch Kleinkindalter) nicht mehr so signifikant eine bestimmte Altersstufe kennzeichnend wie im 18.– und 19. Jahrhundert. Damals setzte sich Kinderkleidung gewollt deutlich von jener der Erwachsenen ab. Im folgenden Beitrag gilt es nun, in größere zeitliche Tiefen vorzustoßen, an den Beginn unserer Geschichte. Wie drückte sich Identität durch Kleidung aus? Gab es bereits vor 2.000 Jahren spezielle Kinderkleidung?

Common knowledge about Second World War prisoner identification in Nazi concentration camps usually focuses on the registration process and the striped uniforms issued to new inmates. Recent research on concentration camp clothing based on primary sources has revealed lesser known, and even entirely unknown other types of garments, including civilian clothing marked to identify camp prisoners. Dress was a valuable companion on the route towards survival; personal narratives relating to camp attire reveal individual stories hidden in every piece of clothing.
This study presents new material from an ongoing research project on prisoners’ clothing in Second World War concentration camps. Valuable information is gleaned from unpublished evidence documented in personal interviews with former camp prisoners from Central Europe. This article explores the journeys of the garments alongside the persons through the study of former prisoners’ narratives. It combines data collected from oral testimony and archival research using qualitative analysis, and proposes oral history as a valuable tool in documenting personal experience related to the clothing that accompanied concentration camp survivors to the end of the war. The article brings to light significant aspects of the role of attire within the Nazi concentration camp context as an essential key to survival.

When the administration of Cyprus was passed over to Britain, in 1878, the island entered a new, 'European' phase. The ceding of the administration of Cyprus to Britain resulted in a deep social transformation of the island. The British period (1878-1960), characterized by rapid change in urban life style in contrast to much slower progress in rural areas, also opened the way to more travellers, mostly of higher social classes, from around the world, especially from Britain. The European dress became prevalent in towns and gradually penetrated the countryside with a more provincial fashion style. Younger town people readily adopted modern lifestyle and elegant fashion ways. One consequence of the change in attire was the introduction of new occupations, such as tailors, seamstresses and dressmakers. The new upper class created a different lifestyle, while Cyprus moved gradually but steadily towards its Europeanization. In the towns, the people of higher classes, who in earlier times would wear oriental Ottoman dress, now wore contemporary European clothing. Upper classes members, typically the first to adopt new fashion, comprised only a small portion of the Cypriot population; yet, they represented a new dynamic element in the society, which gave further impetus to economic and social transformations. The wider strata of the population proudly wore traditional costume, which by the end of the 19th century had become the national dress of the Cypriots. Traditional costumes would continue to be worn by ordinary people. Various types of traditional village dress would still echo 18th century or earlier urban styles.

Turkey has witnessed remarkable sociocultural change under the regime of Recep Tayyip Erdogan and his Justice and Development Party (AKP), particularly regarding its religious communities. As individuals with pious identities have increasingly gained access to state power and accumulated economic influence, so religious appearances and practices have become more visible in Turkey's `secular' public spaces. More than this, consumption practices have changed and new Islamic and Islamist identities have emerged.
This book investigates three of the most widespread faith-inspired communities in Turkey: the Gulen, Suleymanli and the Menzil. Nazli Alimen compares these communities, looking at their diverse interpretations of Islamic rules related to the body and dress, and how these different groups compete for power and control in Turkey. In tracing what motivates consumption practices, the book adds to the growing interest in the commercial aspects of modest and Islamic fashion. It also highlights the importance of clothing and bodily rituals (such as veiling, grooming and food choices) for the formation of community identities. Based on ethnographic research, Alimen analyses the relationship between the marketplace and religion, and shows how different communities interact with each other and state institutions. Of particular note are the varied expressions of Islamic masculinities and femininities at play. Appealing to a cross-disciplinary readership, the book will be relevant for scholars within Turkish Studies, Gender Studies, Islamic Studies, Fashion, Consumption Studies, Sociology of Religion and Middle Eastern Studies.

The essays in this volume engage explicitly in a variety of theoretical and methodological strategies for the interpretation of dress, dressed bodies, and their representations in the ancient world. Focusing on personal ornaments, portraiture and architectural sculpture, the collected papers investigate the visual, somatic and semantic significance of the act of getting dressed, what it meant to be dressed in various ways, and how dress contributed to and shaped identities in antiquity. Authors draw from a wide range of disciplinary frameworks, integrating literary and archaeological evidence, experimental archaeology, social theory and the study of iconography. This volume spans a broad area both geographically and chronologically, bringing the ancient Near East into dialogue with the Classical world from prehistory through late antiquity. The breadth and inclusivity of this volume provide a strong theoretical and methodological foundation for the collaborative study of the dynamic role of dressed bodies and images that depict them.

As a culturally produced text, literature is seen as a lens with the potential to draw attention to the values, ideas, and beliefs that underlie a society.

In this paper three key themes in H.G. Wells' novel 'The Invisible Man' (1897), are discussed: firstly, the ways that the body may be fashioned through dress and individual practices; secondly, how wearable artefacts may socialize bodies and symbolically communicate; and thirdly, how the fashioned body may challenge personal and cultural boundaries. Collectively, these issues draw attention to the relational network of body, culture, and dress.

These relationships are highly relevant to design research in fashion, dress, and wearable artefacts, which all use the body as a site. This study is seen as being an example of how literature may be utilized as a speculative device to encourage experimental and creative design research practices.

The author's practice led doctoral research, which emphasizes the body and skin as sites for design, is used as an example of a cross-disciplinary approach that draws on the issues raised through an analysis of the novel.

Куклы в первую очередь ассоциируются у нас с миром детских игрушек. Идеализированные образы детства, предлагаемые массовой культурой, формируют традиционное восприятие кукол: они предстают как простые, «домашние» вещи, воплощающие жизнерадостное, наивное мироощущение. Между тем в игрушках наиболее зримо проявляется стремление взрослых контролировать сознание ребенка, отражаются их ожидания, желания и представления о норме. Одновременно в любой кукле находит свое предельное выражение породившая ее культура и, прежде всего, ее краеугольный камень -представления о человеке. В кукле человек остраняется, предстает как вещь и как Другой. Составное, подчеркнуто искусственное тело куклы подтверждает ее открытость для любых манипуляций.

This paper deals with the role of garment metaphors in the conceptualization of emotion. Metaphor plays a central role in the formation of emotional concepts, as indeed in the formation of concepts in general. Typically, this is a matter of mapping the concrete onto the abstract and the physical onto the psychological. 1 A culture's emotional categories are experiential, based on the physical interaction of embodied human beings with their environment and extended via metonymies and metaphors that derive from such experience. The properties of these emotions are not objectively given, but felt; they depend not just on objective processes in the body, the brain, and the world, but on the representation of the phenomenology of such processes in the intersubjective system that is language. Emotional concepts are constrained by physical embodiment and a shared external reality, but they are also variable – from one individual to another and especially from one linguistic community to another. Garment metaphors for emotion are a case in point: they illustrate a universal tendency to derive abstract concepts from concrete physical experience, but they themselves are not universal. As elements of ancient Greek ways of conceptualizing emotion, they depend on the pragmatics and symbolism of Greek dress as an aspect of the body's interaction with the environment. In what follows I set garment metaphors for emotion in two contexts: first that of emotional metaphor in general, and second that of garment metaphors in general (including the wider nexus of imagery in which garment metaphors belong). This will help establish precisely what garment metaphors do in the Greek conceptualization of emotion, but also remind us (first) that emotions may also be conceptualized in other (related or unrelated) terms; (next) that garments are good to think with in a variety of different ways; and (thirdly) that " emotion " is not a clearly defined and unified category, either for us or for the Greeks: the metaphors that contribute to the Greek conceptualization of what we regard as emotions also apply in a range of non-emotional concepts, and there is no absolute qualitative difference between emotion and other domains of experience in terms of the import or implications of such metaphors – neither in conceptual nor in phenomenological terms do they isolate features that are unique to the categories of pathos or " emotion ". It was not my initial intention in preparing this paper to concentrate on Homer. But my researches showed that the relevant metaphors are (with a few significant exceptions) largely poetic, and that their main source is Homer and early hexameter.

Textile crafts, and weaving in particular, have contributed much to the overall development of technology. Looms were invented in the Neolithic and represent the first ‘machines’ of human history. Essential goods for daily use, especially clothing, as well as utilitarian textiles, ostentatious objects for display and luxury items were produced with this craft.
Textiles were valuable, as can be inferred from the recycling of fabrics. Worn out garments were used as binders, packaging and even as a dressing material in prehistoric times. Clothing, however, not only offered protection against the elements – even in prehistoric times textiles and jewellery were more than just simply means to dress – they are an essential feature of every culture. In the past as well as today, clothing represents an important non-verbal means of communication and conveys aspects of identity about the wearer such as age, gender, social status and group memberships.
This book is dedicated to historians, costume designers, archaeologists, and anyone interested in handcraft and artisanship. The temporal and geographical scope of this investigation is the Neolithic to Late Iron Age of Central Europe, which is the period before the introduction of writing. The book ends with the Roman occupation in Central Europe. Austrian finds and sites as well as those of neighbouring countries are the primary focus.

The essay uses contemporary anthropological and sociological study of dress and nakedness to consider nakedness in the Book of Revelation as part of a gendered apocalyptic fashion code and following Bourdieu the generation of a form of symbolic capital. It exegetes nakedness motifs in Revelation and compares them with themes of nakedness in the Hebrew Bible, intertestamental Jewish literature including Qumran, and in apocalyptic literature in Christ religion from the first century CE through to the Byzantine period. The essay analyses the motif of nakedness in Roman imperial military iconography which represents conquered enemies in various degrees of nakedness or improperly arranged clothing to argue that while parallels with Hebrew Bible texts are important for understanding Revelation’s treatment of dress and nakedness, attention to Roman imperial iconography repays exegetical and hermeneutical attention.

Aus dem Propsteifriedhof von Zwettl (ca. 1500-1800) sind aus mehreren Gräbern auch Textilreste erhalten, die am Naturhistorischen Museum in Wien untersucht wurden. Es konnten auch Funde mit Goldfäden getätigt werden, darunter eine Goldborte und Bestandteile eines liturgischen Gewandes in einem Priestergrab (um 1500). Gewebe mit Gold und Seide gehörten im Mittelalter und der frühen Neuzeit zu den besonderen Luxusartikeln, die nur den obersten weltlichen Gesellschaftsschichten zur Verfügung standen. Der Stellenwert, den die Kirche in dieser Zeit hatte, wird auch dadurch dokumentiert, dass nicht nur in bedeutenden Klöstern und Kathedralen Messgewänder aus Seide und Gold verwendet wurden, sondern auch in kleineren Kirchen – und diese dann auch ihren Weg als letzte Ausstattung des Priesters in das Grab fanden. Andererseits handelt es sich an Kleidungsverschlüsse ankorrodierte Fragmente von Woll-, Leinen und Seidengeweben aus Frauen- und Männergräbern, die als Überreste der bei der Grablege getragenen Kleidung zu interpretieren sind.

Huulthin (shawls) play an important role in Nuu-chah-nulth First Nations’ oral histories, social organization, and ceremonial life. Drawing upon archival, material, museum, and ethnographic data, this research explores changes in huulthin as emblematic of broader social, economic, and spiritual transformations.
Nuu-chah-nulth First Nations’ huulthin do not exist in a vacuum—they are intimate possessions, collectively produced and displayed. Huulthin are a material iteration of deep histories, spiritual beliefs, social relationships, and trade networks. In the last 240 years, colonial encounters, capitalist economies (fueling rampant resource extraction and industrialization), settlement, and Canada’s aggressive assimilationist agenda have brought dramatic change to the West Coast of Vancouver Island.
Huulthin are a material, symbolic, spiritual, and embodied interface: between individuals and tribal communities, physical and spiritual worlds, knowledge and display, and perhaps most importantly, between history and a rapidly changing world.