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Although it is appealing to think that fashion has taken a sharp
turn away from conventions established in the industry over the
past century and more, is this really the case? Or are 'pioneering'
designs simply part of a cyclical revival of forgotten fashions?
Looking at some of the most influential designers of the twentieth
century, Vinken considers the politics and philosophies that have
been the driving forces directing their sense of style.Vinken
describes 'Fashion Zeitgeist' as a trend characterized by
representations of traces of the past. She considers the key
concepts behind designers such as Yamamoto, Gaultier, and
Lagerfeld. The originality of Yamamoto's multi-layered look stems
from his philosophy that it is the individual sum of experience
that is important, not the collective consequences of history.
Martin Margiela, although he himself refuses to be photographed or
appear in the public eye, brings new individuality into fashion.
Chanel, under the direction of Karl Lagerfeld, is viewed as the
only fashion house to have remained fresh after 100 years, yet is
this success essentially proof of the self-referential qualities
fashion has adopted? What inspired the fetish for labels at the end
of the twentieth century? Answering these questions and many more,
this concise and thought-provoking book shows how beauty, gender,
sexuality, commerce and dandyism have persisted in defining the
fashion system.
Can civil war ever be overcome? Can a better order come into being?
This book explores how the Roman civil wars of the first century
BCE laid the template for addressing perennially urgent questions.
The Roman Republic's collapse and Augustus' new Empire have
remained ideological battlegrounds to this day. Integrative and
disintegrative readings begun in antiquity (Vergil and Lucan) have
left their mark on answers given by Christians (Augustine), secular
republicans (Victor Hugo), and disillusioned satirists (Michel
Houellebecq) alike. France's self-understanding as a new Rome -
republican during the Revolution, imperial under successive
Napoleons - makes it a special case in the Roman tradition. The
same story returns repeatedly. A golden age of restoration glimmers
on the horizon, but comes in the guise of a decadent, oriental
empire that reintroduces and exposes everything already wrong under
the defunct republic. Central to the price of social order is
patriarchy's need to subjugate women.
By his national affiliation and choice of genre, French novelist
Gustave Flaubert can be considered emblematic of modernity. This
book showcases his specific and highly refined imaginary as at once
unique and symptomatic of an era. In particular, it contributes to
the controversial discussion of modernity's relation to religion.
At a time when new religious fundamentalisms throughout the world
are on the rise, this has only become a more pressing issue.
Through this single acclaimed author, we realize that modernity can
only be understood in terms of its critical rewriting of religious
dogma. Strikingly, already in Flaubert, this rewriting emerges in
conjunction with questions of the Orient and Orientalism.
Flaubert's Orient is an Other that is always already within Western
society. By highlighting the complexity of the relation between
religion, modernity, and the Oriental, Barbara Vinken's discussion
of these issues goes beyond simple binaries. Her Flaubert
Postsecular is a model of scholarly research with far-reaching
political implications.
Future Beauty is the first comprehensive survey of Japanese
avant-garde fashion of the last 30 years. Such designers as Issey
Miyake, Yohji Yamamoto and Rei Kawakubo made an enormous impact on
the world fashion scene in the late twentieth century, challenging
established notions of beauty and turning fashion into art. Today a
new generation of radical designers, among them Tao Kurihara and
Jun Takahashi, is fast gaining acclaim. This spectacular book,
written by a team of experts led by the eminent fashion historian
Akiko Fukai, explores the distinct sensibility of Japanese design -
the uniqueness of its form, cut and fabric. Illustrated with over
250 photographs and sketches, Future Beauty is an authoritative and
stylish guide to some of the world's most expressive fashion.
Modern-day research on Flaubert has placed particular emphasis on
the bibliotheques de savoir ( libraries of knowledge ) integrated
into his literary work. Their status and function, however, have
not yet been fully understood. In this volume, members of the
Franco-German research group Fractal present their analyses of
Flaubert s intertextual work in the context of psychology, art,
philosophy, and religious history, illustrating its theoretical
aspects as well as its contemporary impact, both largely unnoticed
to date."
Le Flaubert rA(c)el establishes a new concept of realism in
Flaubert research. This re-definition is the result on the one hand
of an occupation with disciplines such as medicine and psychiatry.
On the other, following Hegela (TM)s definition of Romantic art and
Auerbacha (TM)s studies on the gospel and realism, modern
literature has its primal scene in the incarnation and crucifixion.
It is born out of the spirit of an anti-christian Christianity,
which turns out to be a metamorphosis of antique idolatries. Yet
this progressive gestus of a critique of Christianity only provides
one aspect. On the back of this irony, Flaubert establishes modern
literature by unfathomably out-christianising Christianity beyond
all secularisation.
The highly ambivalent relationship of the Renaissance to antiquity
can best be illustrated with reference to Rome. Oscillating between
euphoria and melancholy, humanist thought revolved around Rome as
the centre of all its hopes. Francesco Petrarca's (1304-1374)
vision was a rebirth of Rome, while Joachim du Bellay (1522-1560)
was preoccupied with finally laying it to rest together with all it
stood for. In a sophisticated intertextual dovetailing of writings
from antiquity, Du Bellay pits against Petrarch's restauratio not
translatio but the religious schema of grace. In the name of
Marguerite, poetry redeems us from the curse of history that bears
the name of Rome.
By his national affiliation and choice of genre, French novelist
Gustave Flaubert can be considered emblematic of modernity. This
book showcases his specific and highly refined imaginary as at once
unique and symptomatic of an era. In particular, it contributes to
the controversial discussion of modernity's relation to religion.
At a time when new religious fundamentalisms throughout the world
are on the rise, this has only become a more pressing issue.
Through this single acclaimed author, we realize that modernity can
only be understood in terms of its critical rewriting of religious
dogma. Strikingly, already in Flaubert, this rewriting emerges in
conjunction with questions of the Orient and Orientalism.
Flaubert's Orient is an Other that is always already within Western
society. By highlighting the complexity of the relation between
religion, modernity, and the Oriental, Barbara Vinken's discussion
of these issues goes beyond simple binaries. Her Flaubert
Postsecular is a model of scholarly research with far-reaching
political implications.
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Fashion And Politics (Hardcover)
Djurdja Bartlett; Contributions by Serkan Delice, Rhonda Garelick, Erica de Greef, Jin Li Lim, …
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R1,216
R1,145
Discovery Miles 11 450
Save R71 (6%)
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Ships in 12 - 17 working days
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A timely and splendidly illustrated global exploration of the complex
intersections of fashion and politics from the mid-19th century to the
present day
Taking a multifaceted look at a topic of widespread fascination, this
pioneering book presents new research on the intersection of fashion
and politics through incisive essays by the field's leading voices,
including both renowned and emerging fashion scholars. The texts unpack
fashion between the mid-19th century and today as expressions of
nationalism, terrorism, surveillance, and individualism, as well as a
symbol of capitalism.
The first section explores the political potential of fashion despite
its immutable status as a commodity. The second section offers a
historical account of the political nature of dress, such as the
fashion of dissent within Mao's Cultural Revolution and the Black
Panther movement. The ways bodies are defined by dress-the entanglement
of oppression and expression-is the theme of the third section. A
fourth and final section explores contemporary issues in the practice
and theory of dress, from the processes of decolonizing museum
collections to the recent sartorial styles of Europe's political Left.
The book's incisive and beautifully illustrated essays provide a timely
investigation of an underdeveloped topic through a variety of
historical and current formats, including public and personal archives,
fashion magazines, political newspapers, museum displays, art, and
social media.
Although it is appealing to think that fashion has taken a sharp
turn away from conventions established in the industry over the
past century and more, is this really the case? Or are 'pioneering'
designs simply part of a cyclical revival of forgotten fashions?
Looking at some of the most influential designers of the twentieth
century, Vinken considers the politics and philosophies that have
been the driving forces directing their sense of style.Vinken
describes 'Fashion Zeitgeist' as a trend characterized by
representations of traces of the past. She considers the key
concepts behind designers such as Yamamoto, Gaultier, and
Lagerfeld. The originality of Yamamoto's multi-layered look stems
from his philosophy that it is the individual sum of experience
that is important, not the collective consequences of history.
Martin Margiela, although he himself refuses to be photographed or
appear in the public eye, brings new individuality into fashion.
Chanel, under the direction of Karl Lagerfeld, is viewed as the
only fashion house to have remained fresh after 100 years, yet is
this success essentially proof of the self-referential qualities
fashion has adopted? What inspired the fetish for labels at the end
of the twentieth century? Answering these questions and many more,
this concise and thought-provoking book shows how beauty, gender,
sexuality, commerce and dandyism have persisted in defining the
fashion system.
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