Dress Sense explores the importance of the senses and emotions in the way people dress, and how they attach value and significance to clothing. Inspired by the work of Joanne B. Eicher, contributors offer different multi-disciplinary perspectives on this key and unexplored topic in dress and sensory anthropology. The essays present historical, contemporary and global views, from British imperial dress in India, to revolutionary Socialist dress. Issues of body and identity are brought to the fore in the sexual power of Ghanian women's waistbeads, the way cross-dressers feel about their clothing, and how the latest three-dimensional body-scanning technology affects people's perception of themselves and their bodies. For students and researchers of dress and anthropology, Dress Sense will be invaluable in understanding the cross-cultural, emotional and sensual experience of dress and clothing.

This book examines the clothing worn by African Americans in the southern United States during the thirty years before the American Civil War. Drawing on a wide range of sources, most notably oral narratives recorded in the 1930s, this rich account shows that African Americans demonstrated a thorough knowledge of the role clothing played in demarcating age, sex, status, work, recreation, as well as special secular and sacred events. Testimonies offer proof of African Americans' vast technical skills in producing cloth and clothing, which served both as a fundamental reflection of the peoples' Afrocentric craftsmanship and aesthetic sensibilities, and as a reaction to their particular place in American society. Previous work on clothing in this period has tended to focus on white viewpoints, and as a consequence the dress worn by the enslaved has generally been seen as a static standard imposed by white overlords. This excellent study departs from conventional interpretations to show that the clothing of the enslaved changed over time, served multiple functions and represented customs and attitudes which evolved distinctly from within African American communities. In short, it represents a vital contribution to African American studies, as well as to dress and textile history, and cultural and folklore studies.

Although the Victorian white wedding dominates western bridal dress and large portions of former colonial empires, marriage rituals vary significantly throughout the world. The Japanese, for instance, combine both traditional ceremonies with receptions utilizing western approaches to dress. In the Andes the bride will personally create a multi-layered dress to showcase her weaving skills. Berber brides in Morocco wear binding clothing that covers their faces, a notable contrast to Canadian prairie-province brides whose stylized gowns individualize and enhance body shape. This engaging book examines the evolution and ritual functions of wedding attire within the context of particular cultures. It raises questions as to the relationship between contemporary wedding attire and traditional values. It discusses the changes international migrations have had upon the wedding dress of several ethnic groups. It provides insights into numerous societal relationships to weddings, such as the ban on bridal-produced embroidery in dowries in India, the challenges individual values have to larger societal ones in themed weddings, and the relationship between the return to pre-western attire and identity politics. Exploring these issues, the authors provide unusual insights into the centrality of dress in shaping individual identity as well as its importance in reflecting cultural values and ideals.

Edition of the returns made by English merchants, recording the transactions of foreign traders. The "Views of Hosts" is the name given to the returns which merchant "hosts" in London, Southampton and Hull were required to provide for the Exchequer. They listed the imports and purchases made by their foreign merchant "guests", who came mostly from Italy, Spain and the Low Countries. The returns, printed here in full for the first time, provide details of the goods traded in and out of these ports, and also the names of the foreign merchants, and of the local men and women who bought their wares and sold English goods to them in return. The volume thus not only throws light on individual merchants and craftsmen living and working in these ports, but will also be of interest tothose concerned with the patterns and practices of English trade in the fifteenth century. The returns themselves are complemented with full apparatus and notes; introduction; biographies of more than 500 English people mentionedin the texts, as well almost 130 foreign merchants; and a glossary of commodities.

Essays demonstrating the importance and inflence of Italian culture on medieval Britain. Between the fourteenth and sixteenth centuries, the rise of international trade, the growth of towns and cities, and the politics of diplomacy all helped to foster productive and far-reaching connections and cultural interactionsbetween Britain and Italy; equally, the flourishing of Italian humanism from the late fourteenth century onwards had a major impact on intellectual life in Britain. The aim of this book is to illustrate the continuity andthe variety of these exchanges during the period. Each chapter focuses on a specific area (book collection, historiography, banking, commerce, literary production), highlighting the significance of the productive interchange ofpeople and ideas across diverse cultural communities; it is the lived experience of individuals, substantiated by written evidence, that shapes the book's collective understanding of how two European cultures interacted with eachother so fruitfully. MICHELE CAMPOPIANO is Senior Lecturer in Medieval Latin Literature at the University of York; HELEN FULTON is Professor of Medieval Literature at the University of Bristol. Contributors: Helen Bradley, Margaret Bridges, Michele Campopiano, Carolyn Collette, Victoria Flood, Helen Fulton, Bart Lambert, Ignazio del Punta

Art and Belief presents twelve new essays at the intersection of philosophy of mind and philosophy of art, particularly to do with the relation between belief and truth in our experience of art. Several contributors discuss the cognitive contributions artworks can make and the questions surrounding these. Can authors of fiction testify to their readers? If they can, are they culpable for the false beliefs of their readers formed in response to their work? If they cannot, that is, if the testimonial powers of authors of fiction are limited, is there some non-testimonial epistemic role that fiction can play? And in any case, is such a role relevant when determining the value of the work? Also explored are issues concerned with the phenomenon of fictional persuasion, specifically, what is the nature of the attitude involved in such cases (those in which we form beliefs about the real world in response to reading fiction)? If these attitudes are typically unstable, unjustified, and unreliable, does this put pressure on the view that they are beliefs? If these attitudes are beliefs, does this put pressure on the view that all beliefs are aimed at truth? The final pair of papers in the volume take different stances on the nature of aesthetic testimony, and whether testimony of this kind is a legitimate source of beliefs about aesthetic properties and value.

Growing up without a father from the age of 3 years old, Talandas (Killer Kane) Heirloom tried his best to stay away from bad influences. The city of Inkster and Golden City, Michigan had exploded in crime. Dahlia, a mother of four, moved to Inkster realizing it was a tough place to live. Inkster was no different than the inner city of Detroit. She moved from to Golden City, where she resides to this day. Talandas (Killer Kane) Heirloom earned the street name Killer Kane and began to run with the worst of them. Killer Kane turned into something he never was. Dahlia, confused, prayed for her son. Killer Kane joined a gang called U.B.N. in Inkster, Michigan. Doing anything to survive, he faced life and death consistently. One incident tested the faith of his gang members. Killer Kane swore his life to the gang. Would he live or die for the U.B.N gang? No one but God Knew what Talandas fate was. In and out of jail multiple times, people would often feel his wrath. Dahlia knew where he was headed. She just prayed for the best. Only sixteen, he thought he was living the exciting life of a thug. What was in store for Talanadas and his gang? Did Talandas get life or death?

Dahlia Petticoat had many brushes with death, starting at the age of one. Not knowing what her future held or the darkness that awaited her, she soon learned what family really meant. The pain she suffered nearly drove her to suicide and to murdering an entire family to seek revenge. She never suspected the enemies she acquired. It became them or her. She was determined not to die in the end, but would that determination be enough to save her life at the age of fourteen?

Young, beautiful, and intelligent, Liza Dozier had a promising future ahead of her. Popular in and out of school, she seemed happy. Liza carried a dark secret that would rip her family apart. Things went well, for a while, but as she grew older, the past came back to haunt her. Liza, the eldest out of seven children, knew she had a decision to make. She wasn't sure if her decision would cost her everything, even her soul. Berlin Hamgorium, had a darker secret that would rip his family and the world apart. He knew his secret would be safe forever, or would it?

Although the Victorian white wedding dominates western bridal dress and large portions of former colonial empires, marriage rituals vary significantly throughout the world. The Japanese, for instance, combine both traditional ceremonies with receptions utilizing western approaches to dress. In the Andes the bride will personally create a multi-layered dress to showcase her weaving skills. Berber brides in Morocco wear binding clothing that covers their faces, a notable contrast to Canadian prairie-province brides whose stylized gowns individualize and enhance body shape. This engaging book examines the evolution and ritual functions of wedding attire within the context of particular cultures. It raises questions as to the relationship between contemporary wedding attire and traditional values. It discusses the changes international migrations have had upon the wedding dress of several ethnic groups. It provides insights into numerous societal relationships to weddings, such as the ban on bridal-produced embroidery in dowries in India, the challenges individual values have to larger societal ones in themed weddings, and the relationship between the return to pre-western attire and identity politics. Exploring these issues, the authors provide unusual insights into the centrality of dress in shaping individual identity as well as its importance in reflecting cultural values and ideals.

This book examines the clothing worn by African Americans in the southern United States during the thirty years before the American Civil War. Drawing on a wide range of sources, most notably oral narratives recorded in the 1930s, this rich account shows that African Americans demonstrated a thorough knowledge of the role clothing played in demarcating age, sex, status, work, recreation, as well as special secular and sacred events. Testimonies offer proof of African Americans' vast technical skills in producing cloth and clothing, which served both as a fundamental reflection of the peoples' Afrocentric craftsmanship and aesthetic sensibilities, and as a reaction to their particular place in American society. Previous work on clothing in this period has tended to focus on white viewpoints, and as a consequence the dress worn by the enslaved has generally been seen as a static standard imposed by white overlords. This excellent study departs from conventional interpretations to show that the clothing of the enslaved changed over time, served multiple functions and represented customs and attitudes which evolved distinctly from within African American communities. In short, it represents a vital contribution to African American studies, as well as to dress and textile history, and cultural and folklore studies.

Dress Sense explores the importance of the senses and emotions in the way people dress, and how they attach value and significance to clothing. Inspired by the work of Joanne B. Eicher, contributors offer different multi-disciplinary perspectives on this key and unexplored topic in dress and sensory anthropology. The essays present historical, contemporary and global views, from British imperial dress in India, to revolutionary Socialist dress. Issues of body and identity are brought to the fore in the sexual power of Ghanian women's waistbeads, the way cross-dressers feel about their clothing, and how the latest three-dimensional body-scanning technology affects people's perception of themselves and their bodies. For students and researchers of dress and anthropology, Dress Sense will be invaluable in understanding the cross-cultural, emotional and sensual experience of dress and clothing.