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Full-Text Articles in Arts and Humanities
Ricucire Il Tessuto Della Società: L’Intersezione Di Moda Femminile E Femminismo, Caroline Grace Bisese
Ricucire Il Tessuto Della Società: L’Intersezione Di Moda Femminile E Femminismo, Caroline Grace Bisese
Honors Theses
La moda è tutt'altro che una conseguenza frivola e accidentale dell'abbigliamento disponibile e del luogo in cui si va a fare shopping. L’abbigliamento è una forma di retorica corporea che evoca un ampio dialogo non verbale. Una narrazione che va ben oltre il materiale e lo stile, sebbene entrambi questi dettagli sono fondamentali, la moda al livello più elementare è essenziale per capire chi sono le persone, perché sono come sono e in cosa credono. Queste sono alcune dei capisaldi per capire una persona in relazione alla cultura e una cultura in conseguenza delle persone che la compongono. È una …
Dress And Womanhood Of Ancient Rome, Eliza Burbano
Dress And Womanhood Of Ancient Rome, Eliza Burbano
Honors Theses
Fashion transcends its own role of imagery, as it becomes the medium through which individuals express their place in society. Fashion history would not consider the ancient world as part of the history of the discipline. Nevertheless, the function of dress in ancient cultures like that of Rome has definitely helped shape social hierarchies that are still present today. Clothing structured Roman society deeply, just as class, race, and sexuality did. Scholar Kelly Olson (2002) defines the function of clothing as part of a sign system. This study argues that dress in ancient Rome goes beyond this idea, in that …
'And I Am A Material Girl': How Aesthetics And Material Culture Fashion Femininity In Edith Wharton's The Age Of Innocence, From Text To Film, Avery Novitch
Honors Theses
This thesis explores the role of aesthetics and material culture in Edith Wharton’s 1920 novel The Age of Innocence and in Martin Scorsese’s 1993 film adaptation. In Wharton’s Old New York, material opulence is arguably the most essential aspect of culture. Newland Archer is the primary authority on fashion and taste within the narrative, and is thus charged with enforcing standards of socially constructed Victorian femininity with regard to his two romantic interests, May Welland and Ellen Olenska. Scorsese’s film uses mise-en-scène to echo the detail rich design aesthetic found in Wharton’s prose; however, the film’s abandonment of Newland’s distinctly …