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Journal articles on the topic 'Fashion Philosophy'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Hanson, Karen. "Dressing Down Dressing Up—The Philosophic Fear of Fashion." Hypatia 5, no. 2 (1990): 107–21. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00420.x.

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There is, to all appearances, a philosophic hostility to fashionable dress. Studying this contempt, this paper examines likely sources in philosophy's suspicion of change; anxiety about surfaces and the inessential; failures in the face of death; and the philosophic disdain for, denial of, the human body and human passivity. If there are feminist concerns about fashion, they should be radically different from those of traditional philosophy. Whatever our ineluctable worries about desire and death, whatever our appropriate anger and impatience with the merely superficial, whatever our genuine need to mark off the serious from the trivial, feminism may be a corrective therapy for philosophy's bad humor and self-deception, as these manifest themselves when the subject turns to beautiful clothes.

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2

Burcikova. "Introduction: Fashion in Utopia, Utopia in Fashion." Utopian Studies 28, no. 3 (2018): 381. http://dx.doi.org/10.5325/utopianstudies.28.3.0381.

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3

Abate, Elena. "Fashion as an Aesthetic Form of Life." Croatian journal of philosophy 21, no. 61 (May 21, 2021): 53–69. http://dx.doi.org/10.52685/cjp.21.1.4.

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Fashion is an aesthetic practice that concerns the ordinary sphere of our life: it is associated with everydayness and it is a source of endless aesthetic experiences. The purpose of this paper is to validate a new perspective on fashion based on Wittgenstein’s later aesthetic conception. In Philosophical Perspectives on Fashion (2017), Matteucci introduces the idea of combining the Wittgensteinian concept of “form of life” with fashion. In accordance with this thesis, the paper aims at showing how fashion is constituted as a “form of life”. Specifically, I shall argue that fashion is an “aesthetics form of life” which structurally employs a language of an aesthetic type ––one with a specific grammar (or set of rules) of its own. I claim that there is in fashion a contact point between the grammar of language and socially encoded aesthetic responses: fashion follows slavishly its own grammar, through its cyclical seasonality, while at the same time tending to creatively reinvent itself. Thus, anyone who daily commits to the practices of fashion acquires sensitivity to its rules, contributing to a social dialectic of identification/diversification typically belonging to fashion itself. Finally, on the basis of the claim that fashion is a “form of life”, and indeed since fashion is primarily an aesthetic practice, I claim that Wittgenstein’s aesthetic notions can coherently be related to fashion as well: concepts such as ‘aesthetic reaction’, ‘gesture’, and ‘correctness’ will be shown to be crucial to an analysis of the aesthetic phenomenon of fashion.

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4

Arnold, Rebecca. "Reflections on Dress: Discussions of Philosophy, Identity and Fashion." Art History 36, no. 5 (October 22, 2013): 1099–100. http://dx.doi.org/10.1111/1467-8365.12055.

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5

Stasiulyte. "Imagining a Future of Sonic Fashion." Utopian Studies 28, no. 3 (2018): 547. http://dx.doi.org/10.5325/utopianstudies.28.3.0547.

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Gunawardena, Harinda, and Udaya Wickramasinghe. "Materialising Gender-fluidity through Fashion." Bolgoda Plains 01, no. 01 (October 2021): 08–09. http://dx.doi.org/10.31705/bprm.2021.7.

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As the final year comprehensive design project for the Honours Degree of Bachelor of Design, Department of Integrated Design, Faculty of Architecture, University of Moratuwa, I have selected a project which is based upon my own clothing brand. It is an emerging ready-to-wear clothing brand based in Sri Lanka, which was launched in August 2020 through the Colombo Fashion Week named “HARID”. Currently, HARID retails at the Design Collective store in Colombo for a consumer group based upon it. The brand philosophy of HARID is to challenge gender-related stereotypical concepts. As the brand identity, HARID uses heritage craft practices.

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7

Andraş, Sonia. "Fashioning simultaneous migrations: Sonia Delaunay and inter-war Romanian connections." Critical Studies in Fashion & Beauty 13, no. 2 (December 1, 2022): 229–53. http://dx.doi.org/10.1386/csfb_00047_1.

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This article analyses the connections between the worlds of fine art and fashion through the complex interconnections between the Parisian-Eastern European creative exile. It follows the common threads between Ukrainian-Jewish artist and fashion designer Sonia Delaunay (1885–1979) and prominent inter-war Parisian Romanians: namely, Tristan Tzara, Constantin Brâncuși and Lizica Codreanu. I suggest the concept of ‘simultaneous migrations’ to illustrate fashion’s mobility beyond and across cultural differences, identities and aesthetics through Sonia Delaunay’s philosophy of Simultaneity, focusing on her inter-war Romanian connections in Paris. The research bridges across the fields of fashion studies, art history and cultural studies, in order to explicate the synapses that shed light on Sonia Delaunay’s ideas of Simultaneity and colour theories to Paris as an ideological, cultural, artistic and identity hub.

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8

Ingram, Susan. "Fashion in Parisian Modernity." European Legacy 14, no. 4 (July 2009): 471–72. http://dx.doi.org/10.1080/10848770902999583.

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9

Shea, Peter M. "Human Play in Simmel’s Philosophy of Fashion Some Sociological Perspectives." International Journal of the Arts in Society: Annual Review 3, no. 3 (2008): 79–86. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35473.

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10

Bancroft, Alison. "Fashion: A Philosophy by Lars Svendsen. Translated by John Irons." Fashion Theory 12, no. 3 (September 2008): 393–95. http://dx.doi.org/10.2752/175174108x332369.

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11

Pappas, N. "Fashion Seen as Something Imitative and Foreign." British Journal of Aesthetics 48, no. 1 (January 1, 2008): 1–19. http://dx.doi.org/10.1093/aesthj/aym041.

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12

Firdaus, Nina, Pongky Adhi Purnama, and Ratih Candrastuti. "TREN ECO-FASHION DENGAN KAIN TENUN GEDOG TUBAN DALAM FASHION FOTOGRAFI CAMPAIGN." Acintya : Jurnal Penelitian Seni Budaya 13, no. 1 (July 31, 2021): 65–71. http://dx.doi.org/10.33153/acy.v13i1.3822.

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Currently eco-friendly trends among Indonesians are in great demand, eco-fashion is one example of the application of eco-friendly trends to maintain the environment by reducing textile waste. However, not many people know about eco-fashion trends. In the making of this Final Task the author will create a fashion campaign photo work, the strength in fashion photography itself is to be able to record images and communicate certain beauty and is expected to be able tokanlkan eco-fashion trends to the public at large. In this fashion campaign photo, the author takes the concept of Ayu Lan Praseja. Ayu Lan Praseja is taken from javanese language which has a beautiful and simple meaning. Ayu Lan Praseja’s concept tells about the nature and behavior of Javanese people inspired by javanese philosophy of “nrima ing pandum” which means to “take for granted whatever happens as God’s will or destiny”. The use of basic photography techniques is used in this Final Task and the result obtained by the author in this Final Task work is Fashion Campaign Photography that can convey the message that the author wants to convey, namely about Ayu Lan Praseja, with a mature concept and also good photo-taking techniques. Keywords: Eco-Fashion, Weaving Gedog Tuban, Fashion Photography.

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13

Busche, Hubertus. "Simmels Philosophie der Mode: Altmodisch oder aktuell?" Zeitschrift für Kulturphilosophie 2015/1-2: Simmel 2015, no. 1-2 (2015): 223–40. http://dx.doi.org/10.28937/1000106703.

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The following reconstruction and critical evaluation of Georg Simmel's »Philosophy of Fashion« intends to show that until today this theory offers one of the clearest and most fruitful explanations of the modern periodical change of fashion. The close meshed knitted web of psychological, social, historical und economic factors of explanation used by Simmel allows – regardless of some lacking elements – a very instructive answer to the question, as to why fashion forms such a popular cosmos, and can easily be related to contemporary debates on fashion.

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14

Matei, Oana. "Sur le progres des sciences." Journal of Early Modern Studies 8, no. 2 (2019): 81–101. http://dx.doi.org/10.5840/jems20198213.

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This paper investigates the Baconian roots of Maupertuis’s Lettre XIX. Sur le Progrès des Sciences (1752). The Letter was published almost a decade after Maupertuis had accepted Frederick II’s invitation to move from Paris to Berlin and become the new President of the Prussian Academy of Sciences. Contrary to the secondary literature that identifies a distinction between Maupertuis’s Parisian and Berliner phases, this paper argues that there is in fact greater continuity between the two. Based on a reading that emphasizes the programmatic and methodological commonalities between Bacon’s project in De augmentis scientiarum (1623) and Maupertuis’s Lettre XIX, this paper argues that, in a Baconian fashion, Maupertuis combines the roles of the “scientist” and the “natural philosopher” into an integrated plan of action with both intellectual an institutional aims. One of Maupertuis’s aims was to highlight the importance of observation and experiment not only in the development of natural philosophy but also for some aspects of speculative philosophy, while another of his aims was to reinvigorate the structure of the Berlin Academy and to model it the fashion of other similar European intellectual projects of that time.

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Stankevičiūtė, Kristina. "BLOWING UP THE FASHION BUBBLE, OR NINE THINGS WRONG WITH FASHION: AN OUTSIDER’S COMMENT. A CRITICAL ESSAY ON FASHION AS A CREATIVE INDUSTRY." Creativity Studies 14, no. 2 (October 1, 2021): 376–90. http://dx.doi.org/10.3846/cs.2021.15096.

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The world of fashion has lived in a bubble long before the concept found its way into social networks. Well before the social networks themselves, in fact. The very emergence of fashion as an idea occurred within the bubble of the social life at Palace of Versailles, France, where the notorious Louis XIV sported great interest in the looks of his court in addition to those of his own. The article is an outsider’s attempt to have a sober look at the fashion industry that until recently seemed to have maintained the “structure of feeling” of the 17th century Palace of Versailles. Today’s social realities, however, put fashion in the state of a shock that probably equals that of the Storming of the Bastille in 1789, even though it is presumably much less sudden. Written in the manner of the most popular contemporary fashion media format – a bullet list, the text presents a conceptual analysis of the world’s second most wasteful yet poisonously attractive industry, critically reflecting on such characteristic values of the fashion field as concept and features, hierarchy, arrogance, resources and philosophy.

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Sergei, Kozlov. "MODERN ITALIAN FASHION AS UNIQUE SOCIO-CULTURAL PHENOMENON." Herald of Culturology, no. 4 (2021): 201–15. http://dx.doi.org/10.31249/hoc/2021.04.11.

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The article attempts a comprehensive interdisciplinary consideration of the key aspects of modern italian fashion as a unique sociocultural phenomenon. Regional differences inherent in the fashion of Northern and Southern Italy are noted. The article analyzes the origins of the aesthetic and ideological choice of outstanding fashion designers: D. Armani, D. Versace, R. Cavalli, D. Dolce and S. Gabbana, F. Ragazzi, etc.; special attention is paid to such qualities of their unique heritage as hard work, constant creative search, synthesis of traditions and innovations, «philosophy of perfectionism», productive use of the latest technologies and information communications. The main reasons for the high popularity of italian fashion in modern Russia are considered; conclusions are drawn about its significance for the world cultural and artistic heritage.

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17

Martin, Linda, and Elizabeth Ewing. "History of Twentieth-Century Fashion." Journal of Interdisciplinary History 19, no. 2 (1988): 369. http://dx.doi.org/10.2307/204712.

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18

Neumann, Cecilie Basberg. "A Dangerous Subject: The Fashion Model and the Beauty/Narcissism Double Bind." Hypatia 32, no. 2 (2017): 380–96. http://dx.doi.org/10.1111/hypa.12319.

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In the wake of modernity, women's sexuality was positioned in a way that created a beauty/narcissism double bind that is still with us today. My concern in this article is that the subject position of “fashion model” serves as a constant reminder of this split, which is directed at all women and weakens the generalized woman's political agency. Fashion models themselves experience harassment and humiliation as well as pleasure and desire in their work as fashion models. However, the small portion of feminist work that has engaged explicitly with the fashion‐model business sees it mainly as an enterprise that is alienating and hostile to women. Although I do not entirely disagree with this analysis, it neglects the meaning of beauty and what beauty does to us with regard to creativity and pleasure. I wish to explore how some of the work experience of fashion models intersects with and challenges the beauty/narcissism double bind. I suggest that rather than grounding our understanding of the subject position “fashion model” and the fashion business solely in their reinforcement of the beauty/narcissism double bind, we should pay attention to the importance of what beauty and aspects of narcissism may mean.

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19

Shen, Lei, Jing Xu, and Yi Jun He. "Innovation of Men's Fashion Design of China Based on the Humanistic Philosophy." Advanced Materials Research 479-481 (February 2012): 1589–91. http://dx.doi.org/10.4028/www.scientific.net/amr.479-481.1589.

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Humanistic design is a continuous progress design concept with the needs of the society, the purpose of humanistic design is to supply products continuously to meet people's increasing material and cultural needs. This paper describes the design concept of the humanistic content, the germination of the humanistic design in men's fashion industry from a historical point of view of China, makes an analysis of development opportunities of the humanistic design from macroeconomic and the consumer market, and specifically points out that the trend of men's design innovation of China, sums up the necessity of persisting to the humanistic design thinking to guide for men's product design.

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20

Adams, Colin. "The Math fall fashion preview." Mathematical Intelligencer 30, no. 3 (June 2008): 25–26. http://dx.doi.org/10.1007/bf02985375.

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21

Griffin, Miriam. "Philosophy, Cato, and Roman Suicide: I." Greece and Rome 33, no. 1 (April 1986): 64–77. http://dx.doi.org/10.1017/s0017383500029971.

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When we imagine the world of the Julio-Claudian Emperors and their Flavian and Antonine successors, it is difficult to avoid thinking of suicide as the characteristic Roman way of death. That is because of the numerous acts of suicide which are celebrated by the greatest writers of the period, Seneca, Lucan, Tacitus, and Pliny, and which even invade the pages of a minor author such as Martial. There is no reason to think in terms of an epidemic, as Y. Grisé justly remarks in her recent book on Roman suicide. But we do seem to be dealing with a fashion, one curious enough to merit investigation.

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22

Sun, Chenhao, and Jisoo Ha. "Fashion Designers and National Identity: A Comparative Empirical Analysis of Chinese and Korean Fashion Designers." Asian Culture and History 11, no. 2 (July 15, 2019): 75. http://dx.doi.org/10.5539/ach.v11n2p75.

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The purpose of this study is to observe the similarities and differences between contemporary Chinese and Korean fashion designers in understanding the concept of national identity. To achieve this objective, the literature review and in-depth interview were conducted. The results are as follows: Firstly, the model that interprets the influence factors of designers’ awareness of national identity was built. Under the social background of national identity, including governmental role, features of culture, openness of social system and the international and economic status, features of fashion and fashion designers influence on national identity expressed in designers’ fashion works. Secondly, three main similarities between fashion designers’ awareness have been found. The first is that both Chinese and Korean fashion designers emphasize broader regional concept about national identity; the second is that influence of national identity is subtle and not obvious; the third is that fashion designers have mixed consciousness of self-identity and national identity. Thirdly, there are three main differences between Chinese and Korean fashion designers’ awareness. The first is that the adoption of ethnic national identity in fashion design is more related to the traditional ethnic elements in Chinese while modern elements were favored more by Korean. The second is that Chinese designers as a whole showed a deeper comprehension of traditional ethnic culture or philosophy than Korean designers do. The third is that more solid and positive attitude toward the government caused Chinese designers to have a more intensive civic national identity.

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23

Reaves, Shiela, Jacqueline Bush Hitchon, Sung-Yeon Park, and Gi Woong Yun. "If Looks Could Kill: Digital Manipulation of Fashion Models." Journal of Mass Media Ethics 19, no. 1 (March 2004): 56–71. http://dx.doi.org/10.1207/s15327728jmme1901_5.

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24

Schmelzer-Ziringer, Barbara. "Der Grand Couturier kokettiert als Künstler: Zu Georg Simmels Modekritik im Kontext seiner Kunstphilosophie." Zeitschrift für Kulturphilosophie 2015/1-2: Simmel 2015, no. 1-2 (2015): 207–22. http://dx.doi.org/10.28937/1000106702.

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"Georg Simmel is regarded as a co-founder of fashion theory. In his treatises of vestmental culture of the fin de siècle developed in his main work on the philosophy of money, he emphasizes imitation as a social force of changes in fashion. The then active makers of clothes and couturiers such as Charles Frederick Worth were not given any attention, Simmel instead developed his basic theorems of art referring to the work of painters and sculptors including Rembrandt and Auguste Rodin. The current debate on the convergence of art and fashion proposes to connect Simmel's philosophical analyses of culture with what were, for him, separate phenomena. "

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Moyse Ferreira, Lucy. "Colour, movement and modernity in Sonia Delaunay’s (1926) fashion film." Journal of Visual Culture 19, no. 3 (December 2020): 391–404. http://dx.doi.org/10.1177/1470412920965997.

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Sonia Delaunay is best known for her abstract and colourful style which is manifested across her artwork, fashion, textile and interior designs alike. In 1926, this culminated in a fashion film, titled ‘L’Elégance’. Shot using the Keller-Dorian colour process, the film features a succession of Delaunay’s simultaneous fashion and textile designs. This article explores the implications and origins of the film, considering technological, cultural and social factors. It focuses on the themes of colour and movement that were essential both to the film and Delaunay’s philosophy at large and were strongly related by Delaunay and her contemporaries to modernity and women’s liberation. The author positions Delaunay’s earlier work as a form of proto-cinema and demonstrates how her film uniquely transfers aesthetic and cultural themes. She explains why fashion film was a necessary step for Delaunay and how she employed notions of temporality to further fashion film as an avant-garde form.

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26

Switzer, Adrian. "Spinoza, Our Mutual Friend: Deleuze and Guattari on Living a Philosophical Life." Deleuze and Guattari Studies 16, no. 2 (May 2022): 190–213. http://dx.doi.org/10.3366/dlgs.2022.0474.

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The essay draws together a number of disparate elements from Deleuze and Deleuze and Guattari’s various engagements with Spinoza. Specifically, the essay connects the notion of expressionism, which Deleuze develops in the early work Expressionism in Philosophy: Spinoza, to the notion of living a philosophical life from Spinoza: Practical Philosophy, to the ideas of friendship and conceptual personae in Deleuze and Guattari’s What is Philosophy? To think philosophically, which following Spinoza Deleuze treats as a matter of thinking immanently and essentially, is to live a philosophical life, that is, to re-express the contingencies of an empirical life in and as the essence of a life. Such is the existential and ethical task Spinoza presents us. The essay argues that a Spinozan existential ethics is realisable only in relation to – only in friendship with – the image of a philosopher as conceptual persona. Further, the essay argues that Spinoza is an exemplary philosopher in this regard because expressionism, which he alone in the history of philosophy conceptualises in fully univocal fashion, presents an image of a philosopher as a friend to one and to all. The ethical implication of thinking immanently and living essentially in the image of Spinoza as a photographic lens is to constitute a community of friends – distant and non-communicative as that community may be. Or, to put the point in Dickensian terms that Deleuze appeals to in ‘Immanence: A Life’, the Ethics is of ethico-existential import in expressing the image of Spinoza as our mutual philosophical friend.

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Dastur, Françoise, and Res Publica. "Françoise Dastur by Herself." Hypatia 15, no. 4 (2000): 174–77. http://dx.doi.org/10.1111/j.1527-2001.2000.tb00359.x.

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Françoise Dastur describes her efforts to practice history of philosophy in a (paradoxically) non-historical fashion. She discusses her concept of the historical, and argues that the only true way to be of one's time is to be against one's time.

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Chung, Ha Jeong. "A study on the modern aestheticization of fashion-textile design: focusing on the modernity of Georg Simmel." Korea Institute of Design Research Society 7, no. 3 (September 30, 2022): 318–32. http://dx.doi.org/10.46248/kidrs.2022.3.318.

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Georg Simmel is a thinker who implied the phenomena and interrelationships of society, culture, and art at the center of human beings in the modern era of the 19th century when the monetary economy of capitalism was intensively revealed. Among his extensive discourses on modernity, 'Cultural Philosophy' and 'Sociological Aesthetics' focuses on the value of human essence, and his research provides fundamental concepts necessary for the study of human awareness as a designer in the contemporary digital-based industry. Through the design methods and processes universally developed in the fashion-textile design studio, the researcher's design thinking and behaviors are drawn from the perspective of Simmel's 'cultural philosophy' and 'sociological aesthetics', and based on this, the results of discussing the creative style and behavior that a designer should have for the modern aestheticization of fashion-textile design are as follows. First, according to the fashion market economy, research is carried out in consideration of the group to which the designer belongs. According to the purpose, direction, process, and role of the designer, design research is conducted by understanding the times and expanding historical knowledge. Second, empathize with the public through communication.By following the principle of autonomous competition in the capitalist market, designers understand and accept trends to express free creativity. Third, explore creative behaviors. The internal value of the industry is raised by combining the cultural and aesthetic needs that can survive in the autonomous competition of the expanded fashion industry.

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29

Mannering, Helenka. "A Theological Analysis of the Postmodern Phenomenon of Fashion." Heythrop Journal 62, no. 5 (March 25, 2021): 928–46. http://dx.doi.org/10.1111/heyj.13935.

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30

Ambrosio, Alberto. "Book Review: Fashion Theology by Robert Covolo." Studies in Christian Ethics 35, no. 3 (June 17, 2022): 646–49. http://dx.doi.org/10.1177/09539468221103761a.

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Miller, David. "The Political Philosophy of Henry Sidgwick." Utilitas 32, no. 3 (January 17, 2020): 261–75. http://dx.doi.org/10.1017/s0953820819000529.

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AbstractWhy has Sidgwick's political philosophy fallen into oblivion while his ethics continues to be celebrated? Not because his performance in that field was inferior, nor because his choice of topics has become outdated, nor because his conclusions were largely conservative. Instead the problem stems from the weight he attached to common sentiments and beliefs in his application of the utility principle, illustrated by his treatment of topics such as secession and colonialism. Moreover his Elements of Politics is arranged in such a way that he never has to confront the basic question of what makes states legitimate. This means that neither political moralists, who want to see the utility principle applied in more radical fashion, nor political realists, for whom the problem of establishing political order is central, find much to commend in his political philosophy.

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Krijnen, Christian. "Comprehending Sociality: Hegel Beyond his Appropriation in Contemporary Philosophy of Recognition." Hegel Bulletin 38, no. 2 (March 6, 2017): 266–92. http://dx.doi.org/10.1017/hgl.2017.1.

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AbstractContemporary philosophy of recognition represents probably the most prominent direction that presently claims to introduce an updated version of classical German idealism into ongoing debates, including the debate on the nature of sociality. In particular, studies of Axel Honneth offer triggering contributions in Frankfurt School fashion while at the same time rejuvenating Hegel’s philosophy in terms of a philosophy of recognition. According to Honneth, this attempt at a rejuvenation also involves substantial modification of Hegelian doctrines. It is shown that Honneth underestimates the implications of Hegel’s thoughts about the theme, method and systematic form of philosophy. As a consequence, Honneth’s social philosophy is, on the one hand, in need of a plausible foundation. This leads, on the other hand, to a different construction of the social within philosophy than Honneth offers.

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Löhr, Winrich. "Christianity as Philosophy: Problems and Perspectives of an Ancient Intellectual Project." Vigiliae Christianae 64, no. 2 (2010): 160–88. http://dx.doi.org/10.1163/157007209x453331.

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AbstractThe article explores the profile, context and consequences of Christianity’s self definition as a philosophy in the ancient world. It proposes a distinction between, on the one hand, the practice of teaching philosophy in small Christian schools, and, on the other hand, an intellectual discourse that proclaimed Christianity as the true and superior philosophy. It is argued that Christianity’s self definition as a philosophy should not be viewed as merely an accommodation to an intellectual fashion. It is shown how Christianity could be understood and practised as a philosophy in the ancient sense of the word. However, as a philosophical practice Christianity underwent a transformation in the 4th century which prevented the emergence of a late antique Christian scholasticism and gave rise to new combinations of Christianity and non-Christian philosophy.

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Crawford Camiciottoli, Belinda. "‘My almost-leggings-so-I’m-kind-of-cheating jeans’: Exploring hyphenated phrasal expressions in fashion discourse." Text & Talk 39, no. 1 (December 19, 2018): 1–24. http://dx.doi.org/10.1515/text-2018-2016.

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Abstract The language of fashion was first investigated by Roland Barthes in his influential book Système de la Mode, but it has since received scant attention from linguists, perhaps due to perceptions of frivolousness associated with the fashion world. This study explores contemporary fashion discourse through a systematic analysis of hyphenated phrasal expressions as linguistic features that are analytically challenging, but with strong expressive potential. The Fashion Discourse Corpus consists of 396,125 words compiled from the traditional fashion press (Vogue, Women’s Wear Daily, Harper’s Bazaar) and two leading fashion blogs, representing both American and British English. For comparative purposes, a reference corpus was extracted from American and British benchmark corpora. The quantitative analysis revealed that hyphenated phrasal expressions were considerably more frequent in the Fashion Discourse Corpus. Follow-up qualitative analysis identified conventional, semi-conventional, and non-conventional types, along with recurring structural patterns and communicative functions used to describe and evaluate fashion phenomena. The fashion blogs in particular contained richly expressive items that seemed to reflect the writer’s unique voice and identity within the discourse community. The findings can be applied in journalism and communication courses to help aspiring writers learn to use hyphenated phrasal expressions effectively.

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Frodeman, Robert, and Adam Briggle. "Strawmen at the Symposium: A Response." Philosophy of the Social Sciences 48, no. 1 (November 15, 2017): 80–94. http://dx.doi.org/10.1177/0048393117740844.

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In this essay, we reply to the five commentaries offered of our 2016 book, Socrates Tenured: The Institutions of 21st Century Philosophy. We argue that, in a recursive fashion, those commentaries exemplify the thesis of our book – that contemporary philosophy has a blind spot concerning the philosophical priors of its status as an institution. That is, 20th and now 21st century philosophy has limited metaphilosophy to being an exclusively theoretical exercise, neglecting to also pursue a ‘philosophy of philosophy’ in its material, bureaucratic, and Marxist dimensions. After making these points in the introduction, the article is divided into three parts that deal, in turn, with comments that are facile, earnest, and provocative. We then conclude by noting the unintentional irony of our contemporary situation, where the vast majority of philosophy departments are inhabited by sophists rather than philosophers.

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Wang, Ningbo, and Chenggang Li. "An Analysis of Uniqlo’s Management Philosophy and Its Enlightenment to China’s Fast Fashion Brands." Open Journal of Social Sciences 06, no. 03 (2018): 301–8. http://dx.doi.org/10.4236/jss.2018.63022.

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A. khedrawi, Ibtihal. "Innovative Fashion Designs in the Light of Existential Philosophy and its Connection to Feminism." Alexandria Science Exchange Journal 43, no. 3 (June 30, 2022): 113–22. http://dx.doi.org/10.21608/asejaiqjsae.2022.237726.

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Tsui, Christine. "The Design Theory of Contemporary “Chinese” Fashion." Design Issues 35, no. 3 (July 2019): 64–75. http://dx.doi.org/10.1162/desi_a_00550.

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This paper examines the basic design theories underpinning contemporary Chinese fashion by exploring a fundamental question: are there any common features that can be summarized about Chinese fashion, and, if yes, what is Chinese fashion? Chinese fashion in this paper means clothing that is in “Chinese” style and designed by People's Republic of China (PRC) designers. To answer the specific question, I undertook in-depth interviews with selected Chinese designers and then supplemented these with a textual analysis of interviews published previously in prominent Chinese fashion journals. This study shows the Chinese style exhibiting features of “implied beauty” in aesthetic, flat form in shape, and harmony in spirit. I synthesize the three features into one Chinese character, HE. HE literally encompasses rich meanings: harmony, peace, implicit but evoking, reserved, pure, natural, and any synonyms of these words. The character indicates an implied beauty system of China—presenting the beauty in an implicit and subtle form. Implied beauty urges viewers to imagine the beauty that is between visibility and invisibility under the clothing, rather than to sense the beauty by directly seeing the body of the wearer through the eyes. The primary form in Chinese style clothing as a reflection of implied beauty is the flat form, meaning that the clothing is cut without any darts or seam lines to reduce the volume differences between the bust line, the waist line, and the hip line. The cutting hides body rather than reveals body. Finally, in spirit Chinese fashion reflects the core Chinese philosophy of harmony, which means being in tune with both the social and the natural environment.

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Quinton, Anthony. "The Rise, Fall and Rise of Epistemology." Royal Institute of Philosophy Supplement 48 (September 2001): 61–72. http://dx.doi.org/10.1017/s1358246100010705.

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I began the study of philosophy in an organized fashion after I was demobilised in 1946. My first steps were firmly Lockean. Innate idea, substance, primary and secondary qualities and personal identity were the topics of the first term's essays, along with smaller infusions of Descartes, Berkeley and Hume. The fundamental examination paper in those days in Oxford was General Philosophy and that meant the problems in the theory of knowledge that had exercised the great philosophers of the seventeenth and eighteenth centuries and, beyond them, Russell, Moore, Price and Ayer. The syllabus was very clearly set out by the chapter headings of Russell's Problems of Philosophy.

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Goldman, Loren. "Richard Rorty’s ‘Post-Kantian’ Philosophy of History." Journal of the Philosophy of History 9, no. 3 (November 2, 2015): 410–43. http://dx.doi.org/10.1163/18722636-12341310.

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This article contends that despite Richard Rorty’s famous rejection of metaphysics, his work nonetheless offers a philosophy of history, and that his account mirrors that of Kant’s, a figure Rorty considered one of his primary conceptual adversaries. Although Rorty often presents his approach to history as a foil to Kant’s, his account has striking parallels to the latter’s regulative meliorism. In similar fashion, far from being a blind optimist, Kant provides a critical, progressive vision of history as necessary for the purposes of social action. Properly understood, Kant buttresses rather than undermines Rorty’s aims, and had Rorty engaged his work on history more seriously, he might have avoided some of the more problematic elements of his own prophetic patriotism. Despite Rorty’s dismissal of his work as the apotheosis of the absolute, this article argues that Kant’s regulative philosophy of history is more pragmatically oriented towards concrete social change than Rorty’s.

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Asriati, Afifah. "Degradasi Makna Simbolik Busana Adat Minangkabau di Kota Padang (Studi tentang Kasus-Kasus Busana Adat dalam Tari dan Penyambutan Tamu)." Humanus 10, no. 1 (July 30, 2012): 62. http://dx.doi.org/10.24036/jh.v10i1.487.

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This study aims to determine the cause of changes in the function of Minangkabau traditional clothing into the fashion of dance and reception, and whether the changes brought to the degredation of symbolic meaning of the traditional fashion. Through a qualitative approach and techniques of documentation, interviews and triangulation, member check, and peer debriefing, it was found that there have been changes in the function of traditional clothing into the fashion of dance and reception. The reason is because of a lack of understanding of users and choreographer. It is only driven by its aesthetic value alone, without appreciate the value of philosophy in addition to the lack of supervision of customary institutions. Thus there has been a degredation of traditional symbolic value when the traditional clothing was used in dancing and reception. Key Words: degradation of Symbolic Meaning, Minangkabau Traditional Clothing, Traditional Clothing in Dance and Guests Reception.

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Maynard, Kent. "A Change in Fashion/Full Tilt/Somewhere xylophones." Anthropology Humanism 25, no. 1 (June 2000): 83–85. http://dx.doi.org/10.1525/ahu.2000.25.1.83.

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Barnes, N. "Inspiring Beauty: 50 Years of Ebony Fashion Fair." Journal of American History 100, no. 3 (November 1, 2013): 786–90. http://dx.doi.org/10.1093/jahist/jat456.

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Anzilotti, C. "The Politics of Fashion in Eighteenth-Century America." Journal of American History 100, no. 3 (November 1, 2013): 815. http://dx.doi.org/10.1093/jahist/jat471.

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Boisaubin, Eugene, and Laurence McCullough. "Prescribing Viagra in an Ethically Responsible Fashion." Journal of Medicine and Philosophy 29, no. 6 (January 1, 2004): 739–49. http://dx.doi.org/10.1080/03605310490883055.

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Holbrook, David. "Out of fashion, out of sight." Index on Censorship 20, no. 8 (August 1991): 2. http://dx.doi.org/10.1080/03064229108535168.

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Dietrich, Franz, and Christian List. "MENTALISM VERSUS BEHAVIOURISM IN ECONOMICS: A PHILOSOPHY-OF-SCIENCE PERSPECTIVE." Economics and Philosophy 32, no. 2 (March 3, 2016): 249–81. http://dx.doi.org/10.1017/s0266267115000462.

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Abstract:Behaviourism is the view that preferences, beliefs and other mental states in social-scientific theories are nothing but constructs re-describing people’s behaviour. Mentalism is the view that they capture real phenomena, on a par with the unobservables in science, such as electrons and electromagnetic fields. While behaviourism has gone out of fashion in psychology, it remains influential in economics, especially in ‘revealed preference’ theory. We defend mentalism in economics, construed as a positive science, and show that it fits best scientific practice. We distinguish mentalism from, and reject, the radical neuroeconomic view that behaviour should be explained in terms of brain processes, as distinct from mental states.

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Bartlett, Djurdja. "Moscow on the fashion map: between periphery and centre." Studies in East European Thought 63, no. 2 (April 27, 2011): 111–21. http://dx.doi.org/10.1007/s11212-011-9138-y.

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Balod, Flavio Costa. "SOBRE A ÉTICA DO FILÓSOFO E A UTILIDADE DA FILOSOFIA." Síntese: Revista de Filosofia 31, no. 101 (May 19, 2010): 405. http://dx.doi.org/10.20911/21769389v31n101p405-417/2004.

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Os temas citados no título do trabalho apresentam-se no texto, não numa justaposição meramente contingente, casual, mas sim numa relação necessária: já que a ética tem que ser entendida em essencial relação com a política, ou antes, tem que ser entendida como política, coloca-se a pergunta a respeito da inserção sócio-política do filósofo, isto é, pergunta-se sobre as conseqüências ético-políticas do fazer Filosofia. Tem a Filosofia alguma conseqüência sobre a vida daqueles que com ela não estão minimamente preocupados, isto é, a imensa maioria da humanidade? Ou será que ela serve apenas ao deleite individual daquele que por ela se interessa? Mas, neste caso, ser filósofo não afeta em nada o ser-com-os-outros do filósofo, estudante ou professor de Filosofia? Buscando apoio em Heidegger, principalmente, mas também em alguns outros dos maiores protagonistas da história da Filosofia, procuramos, neste texto, sugerir respostas para estas questões.Abstract: This paper puts together – in a non-contingent, non-casual fashion – the notions of Ethics, Politics and Philosophy. If Ethics must be understood within an essential relationship with Politics, or even better, if it must be understood as Politics, one should ask about the philosopher’s socio-political insertion and the ethical-political consequences of philosophical practice. Does Philosophy have any influence on the life of those who are not concerned about it; that is to say, most of humankind? Or is its only role to entertain people who are personally interested in it? But if this is the case, will the fact of being a philosopher affect in any way the being-with-others of the philosopher, the student or the teacher of Philosophy? Mostly finding support in Heidegger, but also in other important names in the history of Philosophy, this paper intends to suggest some answers to these questions.

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Fortunato, Paul L. "Wildean Philosophy with a Needle and Thread: Consumer Fashion at the Origins of Modernist Aesthetics." College Literature 34, no. 3 (2007): 37–53. http://dx.doi.org/10.1353/lit.2007.0032.

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