Academic literature on the topic 'Dress accessories Symbolic aspects'
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Journal articles on the topic "Dress accessories Symbolic aspects"
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Hayeur-Smith, Michèle, Gavin Lucas, and Quita Mould. "Men in Black: Performing masculinity in 17th- and 18th-century Iceland." Journal of Social Archaeology 19, no. 2 (August 16, 2018): 229–54. http://dx.doi.org/10.1177/1469605318793798.
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Studies in masculinity have lagged behind in the field of gender studies though recent scholarship is making up for this disparity. In this paper, we tackle the question of masculinity and modernity in early modern Iceland through an analysis of archaeological material relating to dress from the site of an Icelandic bishopric and school, Skálholt, during the late 17th and 18th centuries. We explore both the symbolic and performative dimensions of dress in relation to masculinity as it is traversed by other facets of identity including status, nationalism, and calling. An important focus of our study is to unravel the subtle negotiations that are evident in dress and linked to the performative construction of different and sometimes competing masculinities. Tensions between Lutheran ideals, nationalistic pride in homespun and elite status, and more generally between clerical and nonclerical masculinities can all be seen in the way dress and dress accessories are made to work.
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Lind, Gunner. "Uniform and Distinction: Symbolic Aspects of Officer Dress in the Eighteenth-Century Danish State." Textile History 41, sup1 (May 2010): 49–65. http://dx.doi.org/10.1179/174329510x12646114289545.
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VanPool, Christine S., Todd L. VanPool, and Lauren W. Downs. "DRESSING THE PERSON: CLOTHING AND IDENTITY IN THE CASAS GRANDES WORLD." American Antiquity 82, no. 2 (April 2017): 262–87. http://dx.doi.org/10.1017/aaq.2017.4.
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Casas Grandes Medio–period (A.D. 1200–1450) human effigies are unique in the North American Southwest in that they depict primary and secondary sexual traits, making determination of sex and gender roles possible. Here, we build on previous discussions by considering the importance of depictions of clothing (e.g., belts and sashes), personal adornments (e.g., necklaces and bracelets), facial decorations, and other aspects of dress. We find that Medio-period symbolism for males and females was based on gender complementary that combined the productive, reproductive, and ritual activities of men and women within a single symbolic and ritual system. Some clothing styles are found on both males and females (e.g., arm bands), but there are also sex-based differences. Women wear low horizontal belts across their hips, whereas men primarily wear sandals and elaborate headbands. Aspects of dress also appear to be continued from previous cultures such as the Classic Mimbres (A.D. 1000–1150) and continued into historic northern Mexican and southwestern groups (e.g., headgear and some sandal types). Ultimately, we find that males have more elaborate dress and are associated with a specific set of ritually important symbols. Females are associated with cloud/fertility symbolism, sternal decorations, and birds.
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Bedikian, Sonia A. "The Death of Mourning: From Victorian Crepe to the Little Black Dress." OMEGA - Journal of Death and Dying 57, no. 1 (August 2008): 35–52. http://dx.doi.org/10.2190/om.57.1.c.
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Mourning is a natural response to loss. In the late eighteenth century and throughout the nineteenth century, in England and France, the bereaved was expected to follow a complex set of rules, particularly among the upper classes, with women more bound to adhere to these customs than men. Such customs involved wearing heavy, concealing, black costume and the use of black crepe veils. Special black caps and bonnets were worn with these ensembles. Widows were expected to wear these clothes up to four years after their loss to show their grief. Jewelry often made of dark black jet or the hair of the deceased was used. To remove the costume earlier was thought disrespectful to the deceased. Formal mourning culminated during the reign of Queen Victoria. Her prolonged grief over the death of her husband, Prince Albert, had much to do with the practice. During the succeeding Edwardian rule, the fashions began to be more functional and less restrictive, but the dress protocol for men and women, including that for the period of mourning, was still rigidly adhered to. When World War I began, many women joined the workforce. Most widows attempted to maintain the traditional conventions of mourning, but with an increase in the number of casualties, it became impractical for them to interrupt their work in order to observe the seclusion called for by formal mourning etiquette. Never had the code of mourning been less strictly applied than during this period. The mourning outfits of the time were modest and made of practical materials. Little jewelry and few other accessories were used. Certain aspects of traditional mourning were still followed, such as the use of jet beading, crepe trim, and widows' caps. However, the hemlines fell above the ankle, the veil was used to frame the face instead of cover it, and the v-neckline left the chest and neck bare. During the following decades, gradually the rules were relaxed further and it became acceptable for both sexes to dress in dark colors for up to a year after a death in the family.
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Peleckis, Kęstutis, Valentina Peleckienė, and Kęstutis Peleckis. "Nonverbal Communication in Business Negotiations and Business Meetings." International Letters of Social and Humanistic Sciences 62 (October 2015): 62–72. http://dx.doi.org/10.18052/www.scipress.com/ilshs.62.62.
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This paper examines the importance of reading the body language signals in business negotiations and business meetings. By observing the physical changes of the human body, gestures, can lead to a more or less realistic impression about opponent, feelings of the other person, his mood, thoughts, expectations, intentions, and their changes. In non-verbal body language are very much important things : human posture, dress, accessories, gestures, eye contact, facial expressions, smile, voice intonation, laughter, eye contact, eye signs, the distance between the communicators, touch, clap, dance, and physiological responses - sweating palms, forehead, paleness, resulting in acute facial, neck redness and others. Part of nonverbal communication signs, or in other words the body language signals are sent consciously (natural or play signs, signals), and the other part of the body signals is emitted into the environment unintentionally, when to the information received response is made immediately, instantly, instinctively and without thinking. Body language signals in business negotiations or business meetings are important in several aspects:- reveal the other person’s, the opponent's physical and emotional state as well as its evolution;- complement, reinforce or weaken the spoken language;- allows those who are able to read nonverbal communication signs, to determine more or less accurately whether oral language is true.
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Mardin, Erlanda Ian Pratiwi, and Hayari, Sarman. "EKSISTENSI TARI MONDOTAMBE PADA MASYARAKAT TOLAKI DI KECAMATAN UNAAHA KABUPATEN KONAWE ABAD XVIII-XX." Journal Idea of History 2, no. 2 (December 27, 2019): 50–63. http://dx.doi.org/10.33772/history.v2i2.864.
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This study aims to describe the existence of Mondotembe dance in the Tolaki community in Unaaha District, Konawe Regency. The method used in this study was the historical method developed by Kuntowijoyo with the following stages: (1) Selection of topics, (2) Collection of sources, (3) Verification, (4) Interpretation, and (5) Historiography. Literature study used consists of historical concepts and theories, cultural concepts and theories, dance concepts, cultural change concepts, concepts of symbolic meaning, and historiographic review. The results showed that: (1) Mondotambe dance was born during the reign of the Konawe Kingdom centered in Unaaha in the XVIII century. The Mondotambe dance was a dance which dedicated to welcoming the Tamalaki (warriors) who have just returned from the battlefield against the Tobelo pirates with victory. (2) In addition to welcoming the returning soldiers from the battlefield, Mondotambe dance functionS were as a welcoming dance for guests of the Konawe Kingdom in Unaaha, the inauguration of a building, the opening of an activity organized by Konawe Regency government agencies and events. rituals like marriage. The Mondotambe dance was performed by teenage girls and two young men as a companion (3) Changes to the Mondotambe dance appear in: a). Implementation aspects in terms of time and place, b). Accompaniment, c). Clothing and accessories for dancers and musicians, d). Musical accompaniment instrument. (4) The symbolic meaning contained in every detail of the movements and sounds that accompany the Mondotambe Dance, including: a). Hand gesture means the symbol of acceptance and reception, b). Female dancers become a symbol of tenderness and beauty, and c). The sound of "Gong" sounds as an invitation to the public to welcome one or a group of honored guests.
Keyword: Existence, Mondotambe Dance, Function, Symbolic Meaning
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Pavlova, Anzhelika N. "A costume in the funeral rituals of the Mari people." Finno-Ugric World 12, no. 4 (December 25, 2020): 423–29. http://dx.doi.org/10.15507/2076-2577.012.2020.04.423-429.
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Introduction. Burial rites, which are a traditional object of research in archeology and ethnography, are one of most stable elements of ethnic culture. The costume and its individual elements took an important place in the funeral and memorial rites. The study of these rituals can reveal new aspects of the spiritual culture of the Mari people. Materials and Methods. The work is based on the comparison of archaeological and ethnographic materials, culturogical approach, methods of semantic, cultural and anthropological research. Results and Discussion. The reference of funeral and memorial rites to the passage rites determined the use of the elements of a wedding dress, including fur clothes and jewelry. The belt that served as a storage was an important part of the burial costume, as well as the sacrificial and ritual complexes of the ancient Mari tribes. Conclusion. Application of a culturological approach to the research of the funeral rituals of the Mari people allowed to conclude that the costume substituted the deceased, served as the embodiment of a generic body that went back to the totem. The funeral costume, like the wedding one, assumed the use of ancient symbolic codes. The belt that completed the symbolic human body was an important burial costume. The belt served as a defense in the ancient Mari sacrificial ritual complexes, enhancing their association with the world tree.
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Sklar, Monica, Katherine Hill McIntyre, and Sharon Autry. "Preserving cultural craft heritage: Digitizing a traditional Syrian clothing collection." Craft Research 12, no. 2 (September 1, 2021): 317–33. http://dx.doi.org/10.1386/crre_00055_1.
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This project explores the importance of the preservation of diverse private collections of crafted artefacts, and specifically improving digital access. The focus is on the transformation of an assemblage of 100 Syrian garments held in the United States into a museum-quality, publicly accessible archive. Private collections that are not financially endowed face various challenges, including their culturally valuable content being inaccessible and underseen. The goal of archiving and exhibiting this collection of garments is to share Syria’s dress and craft history as a form of identity, community, economy, artistic expression and technological development. Each item is unique, representing an everyday life that no longer exists. As people moved to new geographical locations, craft traditions were not always carried with them. Consequently, the garments and accessories in this collection feature dyeing techniques, metalwork and symbolic representations of different generations of Syrian people from this ancient to present civilization. Throughout the research process, we learned to synthesize the core issues of contemporary craft heritage management, with an initial goal to build a new digital archiving method and template to benefit small or private collections outside of institutions. First, we determined how to do so using affordable and accessible tools, in line with manageable industry standards. Digital photography, metadata development, object labelling, and anecdotal interviews complement the existing collection information. The long-term goal is the dissemination of the collection through exhibitions, interactive websites, symposiums and publications. Museums are working harder to diversify their collections, and many private collections represent marginalized cultures or do not fit within the established parameters of public institutions. This study touches upon the disparate and specific needs of private versus public collecting, and how to bridge some of the gaps using standardized digitization techniques towards similar preservation and outreach goals.
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Nodżak, Emilia. "Dressed for Work: The Sartorial Representations of Working Women in Early 21st-Century American Primetime Dramas." New Horizons in English Studies 6 (October 10, 2021): 130–45. http://dx.doi.org/10.17951/nh.2021.6.130-145.
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The present study is theoretically located in the field of critical feminist studies of the representation of women in the mass media. It discusses the ways in which working women characters construct and express their occupational identity in selected American primetime TV dramas of the early 21st century. The observed strategies, which range from highly restricted self-expression to unbridled sartorial liberty, appear to be heavily correlated with the prestige of the presented occupations and their levels of masculinization/feminization. Moreover, the self-limiting sartorial choices of high-achieving professional women, frequently containing their femininity, result from the competitive nature of prestigious yet traditionally male-gendered occupations. However, it is also pointed out that working women are generally depicted as determined to accentuate the physical aspects of their femininity regardless of the established dress code or traditional gendering of their occupations. Thus, the sartorial choices made by the female characters at the workplace serve in the analyzed TV shows as symbolic manifestations of women’s growing confidence as players on the job market in their own right.
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Mothé, Thiago, and Adller Moreira Chaves. "Vestes e Espaço: um estudo simbólico no Tribunal de Contas do estado do Espírito Santo." Revista Foco 11, no. 2 (June 17, 2018): 82. http://dx.doi.org/10.28950/1981-223x_revistafocoadm/2018.v11i2.540.
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O presente estudo observou aspectos simbólicos no Tribunal de Contas do Estado do Espírito Santo (TCE-ES), através das vestimentas dos colaboradores e o espaço organizacional. Esses aspectos simbólicos demonstram algumas das características da identidade da organização. Seguindo o estudo de Pardini, Gonçalves e Kilimnik (2008) os indivíduos dentro do TCE-ES, através das vestimentas transmitem uma serie de signos e significações que constitui a identidade da organização, como por exemplo a posição hierárquica de cada um deles dentro do TCE-ES. Além disso, esse trabalho também destacou a forma que o espaço organizacional foi idealizado e construído, transmitindo os valores organizacionais para os indivíduos da organização e de fora dela, conforme estudo de Fischer (2010). No espaço organizacional do TCE-ES ficou claro para os pesquisadores a transmissão do valor organizacional “Ética e Transparência” e condição hierárquica dos setores da organização. The present study observed symbolic aspects in the Court of Audit of the State of Espírito Santo (TCE-ES), through employee dress and organizational space. These symbolic aspects demonstrate some of the characteristics of the organization's identity. Following the study of Pardini, Gonçalves and Kilimnik (2008), individuals within the TCE-ES, through the garments transmit a series of signs and meanings that constitutes the identity of the organization, such as the hierarchical position of each of them within the TCE -ES. In addition, this work also highlighted the way that organizational space was idealized and constructed, transmitting the organizational values to the individuals of the organization and from outside it, according to Fischer's study (2010). In the organizational space of the TCE-ES it was clear to the researchers the transmission of the organizational value "Ethics and Transparency" and hierarchical condition of the sectors of the organization.
Dissertations / Theses on the topic "Dress accessories Symbolic aspects"
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Chen, Yin Xuan. "Impacts of internet beauty celebrities on female consumerism culture in the contemporary China." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3952602.
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Dhlamini, Mbali. "The master's cloth: a rainbow nation, exploring faith and spirituality through colour, a study of Apostolic and Zionist movements in Soweto." Thesis, 2016. http://hdl.handle.net/10539/20778.
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A dissertation submitted to the Faculty of Humanities, University of
Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the
degree of Masters of Arts in Fine Art by Dissertation.
Johannesburg 2016Colour has always played an important role in South Africa; from the beginning of colonialism when “Africans” were converted to Christianity and baptised in white robes, to the bright colourful church garments that flood Soweto on Sundays. In the nineteenth century “Africans” began to reimagine their faith and spiritually. Seeking independence and a sense of identity, they began to fuse Western Christian ideologies with “African” spiritual beliefs and attire, which led to the origin of African Independent Churches (AIC). I aim to demonstrate how colour was not only used as a break away from colonial influences, but was also used to portray African spiritual beliefs and to create a distinctive “African” religious identity. This paper aims to study colour usage and it’s meaning within the South African context in order to show how colour use within Apostolic and Zionist movements relates to traditional African spirituality. The paper aims to show how colours used within both movements are symbolic and are thus used as spiritual codes. The paper will look at contemporary colours in order to show how Apostolic and Zionist movements continue to use colour to shape their spiritual identity.
Books on the topic "Dress accessories Symbolic aspects"
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Jinsong, Li, ed. Fu shi yu jie ceng: The research on clothing & adornments and hierarchy. Beijing: Zhongguo shi dai jing ji chu ban she, 2010.
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Koizumi, Hiroko. Sutairu no aru onna wa datsu bunan!: 87 fashion tips. Tōkyō: Kōdansha, 2013.
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W, Freeburg Beth, ed. Dress and society. New York, NY: Fairchild Publications, 2008.
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The little black dress. New York: Simon & Schuster, 1997.
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The little black dress. London: Aurum, 1998.
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Kaiser, Susan B. The social psychology of clothing: Symbolic appearances in context. 2nd ed. New York: Macmillan, 1990.
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The social psychology of clothing: Symbolic appearances in context. 2nd ed. New York: Fairchild Publications, 1997.
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Schubert, Gabriella. Kleidung als Zeichen: Kopfbedeckungen im Donau-Balkan-Raum. Berlin: Harrassowitz, 1993.
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Lewenhaupt, Tony. Afrodites strumpeband: Trettioåtta texter om dräkthistoria. Stockholm: Carlsson, 1996.
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Ekman, Hans-Göran. Klädernas magi: En Strindbergsstudie. [Hedemora]: Gidlund, 1991.
Find full textBook chapters on the topic "Dress accessories Symbolic aspects"
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Vizcaíno Sánchez, Jaime, and Luis Alberto García Blánquez. "The Early Visigothic Presence in Southeastern Hispania." In The Visigothic Kingdom. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720632_ch04.
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This chapter analyses some aspects of the late antique occupation of ‘Senda de Granada’, a rural settlement in Murcia. In the late fifth century, after they arrived in Hispania, the Visigoths attempted to assimilate Roman culture. Archaeological research has revealed the possibility of a religious building, with a well-defined funerary enclosure. Grave goods, mainly dress accessories, from the burial and a nearby dump, are decorated with the cloisonné technique. The presence of such items was previously unknown in southeastern Carthaginiensis. These finds and, more widely, the resulting settlement pattern, are evaluated and will be used as a blueprint for the examination of early Visigothic presence in the region.
Conference papers on the topic "Dress accessories Symbolic aspects"
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Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.
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“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.
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Eickel, Bianca, and Richard Perassi. "The evolution graphic-symbolic communication positioning of the Multilaser technological brand." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.97.
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With the globalization process, the concept of technology is widespread in the construction of a more simplified society (Harvey, 2008). Over time, technology evolves and transforms, during this process, communication and culture follow the changes. Companies inserted in this sociocultural network seek to communicate with the consumer, and thus the positioning is irrefutable in this marketing process. If technology, communication, and culture change and transform over time, then brand positioning must also follow this movement (Sant'Anna, 1998). Advertising uses the word technology as a sales argument and to position the brand in the minds of consumers, however, there is confusion in the representation of graphic visuality in technology companies when it comes to giving imagery meaning to the technology itself. It is believed that part of it is given by the cultural, political, and tooling aspects available for these constructions, as well as, it is intended to study the possible cause of hypertrophy of the aesthetic function in communication products, a concept addressed by Perassi (2001) when elucidating a pathology of representations that mischaracterize the referential and advertising function. Based on this context, the theme of this proposal will describe the evolution process of the graphic-symbolic communication positioning of the Multilaser technological brand, and thus analyze the changes in positioning from the perspective of design. The chosen brand brings relevance to the study because it went through historical milestones in its business and communication structure, which will contribute to the descriptive analysis of its evolution. The company was founded in Brazil in 1987. It started operating in the printer and photocopying segment, recycling cartridges until 2003, after the company entered the computer, accessories, and cell phone line, and consequently changed its positioning and starts to compete with major players in the world technological market. It currently has 44 thousand points of sale in Brazil, and portfolio of 15 departments. The problem of the proposal takes into account a large amount of importation of technological products, and soon it is believed in the importation of communication, and design references. The study is justified by the need to assess the perception of confusion in graphic representation and hypertrophy of the aesthetic function in communication in the Brazilian technological segment. To achieve the result, a qualitative methodological approach will be used, aimed at the perception of meanings that are intrinsic in beliefs, values, and attitudes in human relationships. Therefore, so that the research objectives are achieved, the study will be divided into three stages of development: exploratory, bibliographical, and documentary. The discussions that take place in this proposal bring the relationship between communication and culture, visual communication as a form of brand positioning, as well as graphic advertising representation in communication from the perspective of design. The study will be limited to graphic products for advertising communication, which is expected to understand a look at the advancement of knowledge in visuality and graphic-symbolic positioning of Brazilian technology brands, as well as the role of professionals in the field of design.