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Journal articles on the topic 'Wedding dresses'
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Han, Eunkyoung, and Ji Young Lim. "Analysis on Sales Products and Consumer Preference Design for Small Wedding Dresses Planning." Korean Society of Culture and Convergence 44, no. 11 (November 30, 2022): 489–507. http://dx.doi.org/10.33645/cnc.2022.11.44.11.489.
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The purpose of this thesis is to consider the wedding dress designs preferred by the Generation MZ who are the core consumers of wedding market, in order to suggest wedding dresses suitable for the changed small wedding culture. For this, this study analyzed the designs of small wedding dresses currently sold in shopping malls, and then conducted a survey on the preferred designs of small wedding dresses targeting the Generation MZ, especially the unmarried women in their 20s-30s. The results showed the necessity to have the designs with practical image besides the dresses with elegant or classical image mostly shown in the existing wedding dresses, to expand the form from one-piece type with full-length & maxi length to various items of two-piece type such as jacket & skirt or jacket & pants, and to expand the color from white color to various colors like light gray, red, or navy color. It would be necessary to develop the design of wedding dress in the form of everyday wear. The results of this study could be working as the criteria of new wedding dresses for the Generation MZ who pursue such individual and practical wedding.
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Galvin, James. "On the Sadness of Wedding Dresses." Iowa Review 44, no. 2 (September 2014): 41–42. http://dx.doi.org/10.17077/0021-065x.7470.
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Bolte, Angela. "Do Wedding Dresses Come in Lavender?" Social Theory and Practice 24, no. 1 (1998): 111–31. http://dx.doi.org/10.5840/soctheorpract199824120.
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Liu, Fanxi. "The Importance of Garment Specification on Formal Dress: The Application of a Perfect Wedding Dress." Art and Society 1, no. 2 (October 2022): 41–55. http://dx.doi.org/10.56397/as.2022.10.07.
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Garment specification plays a critical role in the processing of manufacturing formal dress today, particularly wedding dress. However, wedding dress is usually white for the sake of purity, but today it is free to choose the form of color for wedding dress based on users’ life, status and preferences. Hence, the aim of this study is to illustrate the critical role that fabric and garment specification plays in pursuing practical and aesthetic value of a perfect wedding dress. This study critically reviews the prior studies on the garment specification application in making wedding dress for today’s customers from a few key aspects, including the design, size, measuring, draping and stitching, fabric specification, and textile testing of wedding dress. Furthermore, the case study of a Strapless Tight-fitting and Trailing Welding Dress indicates that garment specification includes requirements of the wedding and provide charting instruments, fabric description, fabric testing to the dress designer to better construct their wedding dresses, and ensure the quality and concept of wedding dress. This study calls on all brands to attach importance to garment specification and fabric testing to ensure sustainable use of wedding dresses.
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Niu, Li, Tingting Xia, Rongrong Cui, and Jie Lu. "Emergence of Chinese Han Retro Wedding Dress." Asian Social Science 12, no. 7 (June 21, 2016): 42. http://dx.doi.org/10.5539/ass.v12n7p42.
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<p>Social changes led to the gradual disappearance of traditional Han costume. While in the context of national cultural revival, the "Chinese Hanfu movement" has given rise to the appearance and commercialization of Han Retro Wedding Dress, which including "Zhou style", "Han style", "Tang style", "Song Style" and "Ming style." Chinese history and culture, social democratic environment, economical market promotion and diverse aesthetic needs give the soil for these dresses. While contemporary wedding dresses in China are mostly westernized, and these retro dresses bring certain "reverse cultural shock" to Chinese marriage custom. The key of dealing with the "reverse cultural shock" and reviving Chinese costume culture should be following the market rules with sufficient cultural consciousness of the whole Chinese nation.<strong></strong></p>
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Boonphisudsilp, Kornnapha. "A Study on Korean-Thai Traditional Wedding Dresses." Journal of Multiculture and Education 6, no. 2 (December 31, 2021): 163–71. http://dx.doi.org/10.31041/jme.2021.6.2.163.
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MinYuan Ma, Li Tan Yang Tseng, YuTing Wu, YiLin Tsai, and TsaiCi Ren. "Evaluation Attractiveness of Wedding Dresses: Qualitative to Quantitative." Journal of Convergence Information Technology 7, no. 5 (March 31, 2012): 263–72. http://dx.doi.org/10.4156/jcit.vol7.issue5.32.
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Zhilisbayeva, R. O., and E. K. Dosanov. "Designing a wedding dress using the transformation method." Journal of Almaty Technological University, no. 3 (January 16, 2021): 9–13. http://dx.doi.org/10.48184/2304-568x-2020-3-9-13.
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The article offers several options for a wedding dress developed using the transformation method. The purpose of this article is the artistic design of a women's wedding set. To achieve this goal, a number of interrelated issues and tasks were considered and solved: the study and use of fashion trends, analysis of creative sources, development of a promising collection of clothing models, and execution of a technical sketch of the model. As a result of the research, a set of wedding dresses was developed.
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Soelistyowati, Soelistyowati. "Visual Variety on the Change of Bridal Ornamental Kebaya Clothes for Generation Z in Sumenep, Madura." Humaniora 13, no. 1 (February 15, 2022): 73–79. http://dx.doi.org/10.21512/humaniora.v13i1.7672.
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The research discussed one of the problems with Indonesian cultural heritage in this digital world like nowadays. It was the form of decoration on wedding dresses in the Sumenep-Madura area, which was rarely seen in Indonesia, especially wedding dresses. They made some modifications to the traditional Madura wedding dress to look more modern. In this digital world where people could easily access everything, generation Z preferred cultural products from abroad rather than local culture. The research applied a qualitative method with descriptive analysis of document analysis and library sources with Java-Madura boundaries. The interviewes were conducted with cultural experts, young women, especially those who were about to get married, and creative industry players of bridal kebaya. The aim of the research was to determine the interest of young people in the decoration of wedding dresses. The research used the theory of triadic interplay concept analysis of forms, visuals and characters, and ornamentation as a visual object of tradition that was expected to be able to transform not only as an object of decoration but also as an object of education that gave value and meaning to its users. The research finds it important to study the changes in decoration to be maintained by revitalizing it without leaving the old form based on design work that can be applied through creation. By using quantitative methods through experiments with detachable techniques, fashion design concepts with meaning values can be conveyed in each form, motif, and ornament. So that the younger generation accepts and likes changes in decoration with modern forms that can practically be mixed and matched.
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TU, Jui-Che, and Hsing-Tzu CHANG. "A Study on the Attractiveness Factors of Wedding Dresses." International Journal of Affective Engineering 16, no. 3 (2017): 231–41. http://dx.doi.org/10.5057/ijae.ijae-d-16-00046.
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Gai, Shunan, and Youngsun Yoo. "Expressional Characteristics of Retro Image Shown on Wedding Dresses." Journal of the Korean Society of Costume 66, no. 2 (February 29, 2016): 103–16. http://dx.doi.org/10.7233/jksc.2016.66.2.103.
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Kwon, Sang-Hee. "Green Can Be the New White for Wedding Dresses." Design Journal 20, no. 5 (July 14, 2017): 595–616. http://dx.doi.org/10.1080/14606925.2017.1349410.
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Gadzhalova, Fatima Amirbekovna. "MODERN KUBACHI WEDDING (ACCORDING TO FIELD MATERIAL OF 2017-2018)." History, Archeology and Ethnography of the Caucasus 18, no. 1 (March 31, 2022): 167–95. http://dx.doi.org/10.32653/ch11167-195.
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The paper is based on the field ethnographic material, collected in the village of Kubachi, Dakhadaevsky district of Dagestan. The method of participant observation was used for obtaining the material, while the source base for the study consisted of the interviews with the residents of the village and urban Kubachins.
The Kubachi wedding is a complex of specific customs and rituals, which last for three days in a certain sequence within the context of the mountain village. Local features and key points of a modern rural wedding are described. The author considers the traditional festive women’s costume as part of the whole wedding ceremony: these are dresses of a bride and closest married women of the family. Features of a collective wedding procession, which carries a certain function for each of the three days of the ceremony, are discussed: the rite of matchmaking with gifts on the first day, the relocation of the bride with relatives to the groom’s house on the second day, and the transfer of dowry on the third day of the wedding. The custom of the wedding ritual-show in the open air, accompanied with food and music, dances and mummers’ games is revealed. The material on the types of wedding food, traditions of its cooking is considered. The paper also discusses the custom of good-wishing and magic rituals, performed during the wedding, as well as the symbolism and their function. Among these rituals are: showering the bride with sweets, concealing the face with a veil, honey treating; features of popular magic beliefs on even numbers are also mentioned. The study also proposes material on city weddings of the Kubachins, their traditional rites, performed in an urban setting: women’s festive dress, traditional dances, etc.
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Gadzhalova, Fatima Amirbekovna. "MODERN KUBACHI WEDDING (ACCORDING TO FIELD MATERIAL OF 2017-2018)." History, Archeology and Ethnography of the Caucasus 18, no. 1 (March 31, 2022): 167–95. http://dx.doi.org/10.32653/ch11167-195.
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The paper is based on the field ethnographic material, collected in the village of Kubachi, Dakhadaevsky district of Dagestan. The method of participant observation was used for obtaining the material, while the source base for the study consisted of the interviews with the residents of the village and urban Kubachins.
The Kubachi wedding is a complex of specific customs and rituals, which last for three days in a certain sequence within the context of the mountain village. Local features and key points of a modern rural wedding are described. The author considers the traditional festive women’s costume as part of the whole wedding ceremony: these are dresses of a bride and closest married women of the family. Features of a collective wedding procession, which carries a certain function for each of the three days of the ceremony, are discussed: the rite of matchmaking with gifts on the first day, the relocation of the bride with relatives to the groom’s house on the second day, and the transfer of dowry on the third day of the wedding. The custom of the wedding ritual-show in the open air, accompanied with food and music, dances and mummers’ games is revealed. The material on the types of wedding food, traditions of its cooking is considered. The paper also discusses the custom of good-wishing and magic rituals, performed during the wedding, as well as the symbolism and their function. Among these rituals are: showering the bride with sweets, concealing the face with a veil, honey treating; features of popular magic beliefs on even numbers are also mentioned. The study also proposes material on city weddings of the Kubachins, their traditional rites, performed in an urban setting: women’s festive dress, traditional dances, etc.
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Білей-Рубан, Н. В., Є. В. Сєдоухова, and Л. М. Петрусь. "ХУДОЖНЬО-СТИЛІСТИЧНА РОЛЬ ВИШИВКИ ГУЦУЛЬЩИНИ В ПРОЄКТУВАННІ СУЧАСНОГО ВЕСІЛЬНОГО ОДЯГУ." Art and Design, no. 2 (September 21, 2020): 27–38. http://dx.doi.org/10.30857/2617-0272.2020.2.2.
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The aim is to study the artistic and compositional characteristics of Hutsul’s ceremonial clothing on the basis of a comprehensive analysis of the decor of the Hutsul wedding dress. In the course of research, the methods of visualization and comparative-historical reconstruction of the national order were used in the analysis of Hutsuls clothing. For the transformation of structural and decorative characteristics into the design principles of modern women's ensembles the method of stylization and the method of combinatorics have been used. The work is based on art analysis and the use of a literary-analytical method to analyze the main information sources. Thanks to the analysis of Hutsul’s ritual clothing in combination with modern technologies of its decoration, the ornamentation on the basis of authentic embroidery of Hutsul region for design ethno-ensembles has been improved. The resulting stylized patterns of embroidery are offered for use in the design of wedding dresses in the ethno style. The methodological basis for the artistic design of the collection of modern ensembles of wedding clothing with ethno-elements is theoretically substantiated and created with the use of the stylization of the main decor. Styled embroideries were developed on the base on the characteristics of Hutsul’s casual clothing as well as a collection of modern wedding dresses in ethnic style was created. The proposed ornamentation of wedding clothing is presented in the design of ethno ensemble, which is useful for experts in the methodology of artistic design of industrial products based on ethno motives.
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Evans, Grace. "Marriage à la Mode, An Eighteenth-Century Wedding Dress, Hat and Shoes Set from the Olive Matthews Collection, Chertsey Museum." Costume 42, no. 1 (June 1, 2008): 50–65. http://dx.doi.org/10.1179/174963008x285188.
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A rare and important group of items, a set consisting of a wedding dress, hat and shoes, form part of the Olive Matthews Collection at Chertsey Museum. This paper looks in detail at the construction of each of these garments. It also provides an account of how key aspects of provenance were uncovered. Other examples of contemporary wedding dresses are discussed. Finally it goes on to demonstrate how the newly uncovered facts about these garments, reviewed alongside contemporary social and economic contextual details, can further enhance our understanding of these and similar surviving pieces.
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Wilding, Raelene. "Locating Editorials and Advertising in Wedding Magazines." Media International Australia 119, no. 1 (May 2006): 74–84. http://dx.doi.org/10.1177/1329878x0611900108.
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Unlike other magazines, few people subscribe to wedding magazines and, as most are annual publications, their presence on the publishing landscape is relatively intermittent and unobtrusive. Nevertheless, these publications provide a rich context for examining intersections between advertisements and editorials. In this paper, I draw on ethnographic and textual analysis of wedding magazines produced in Australia. I argue that the distinction between advertisement and editorial is not a useful analytical tool in this context. This is because the vast majority of advertisements and editorial pages in a wedding magazine appear almost identical: page after page of glossy photographs of wedding dresses. Rather, what is striking is the manner in which the magazine editors and advertising clients, in their discussions as each magazine issue is produced, negotiate the fine distinctions they perceive between advertising and editorial content. At stake in these negotiations is not just the economic success of both editor and client, but also their reputations as expert manipulators of symbolic representations.
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Maree, Claire. "Weddings and white dresses: Media and sexual citizenship in Japan." Sexualities 20, no. 1-2 (August 1, 2016): 212–33. http://dx.doi.org/10.1177/1363460716645790.
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Representations of gender and sexuality in mainstream media operate to both shape the contours of, and contest the limits to, sexual citizenship. The ‘citational practices’ of media representations mould contemporary understandings of these limits. In this article, the author examines mainstream and social media reports of two separate same-sex wedding ceremonies in Japan; the first at a queer community event in 2007 and the second at a major theme park in 2013. Through citations and quotations, a multitude of voices are embedded in the media texts. In the 2007 case, increased media visibility is mitigated by citational practices that clearly mark the same-sex wedding as devoid of legal standing. Whereas media reports situate the 2013 ceremony in the context of marriage equality trends internationally, an instance of possible discrimination is emphasised as being a ‘misunderstanding’. Similarly, a microanalysis of a light news documentary of the ceremony uncovers citational practices that highlight the importance of ‘forgiveness’ or ‘tolerance’ for ‘mutual coexistence’ in society. Furthermore, the reporting confines the ceremony to a ‘fairytale’-like ‘foreign’ domain. The process of ‘othering’ issues of sexual citizenship is linked to a cyclical process since the 1950s wherein representations of queerness are posited as ‘new’ forms of being in Japan. Discourse surrounding sexual citizenship is thereby projected into a non-domestic, non-specific future time.
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SÖZEN, Ayşegül. "Comparison of Üçetek Wedding Dresses in Kastamonu Cide and Şenpazar Womens Clot." Social Sciences Studies Journal 8, no. 95 (January 1, 2022): 820–35. http://dx.doi.org/10.26449/sssj.3896.
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Zarro, Michael, Catherine Hall, and Andrea Forte. "Wedding Dresses and Wanted Criminals: Pinterest.com as an Infrastructure for Repository Building." Proceedings of the International AAAI Conference on Web and Social Media 7, no. 1 (August 3, 2021): 650–58. http://dx.doi.org/10.1609/icwsm.v7i1.14418.
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We present findings from a qualitative study of activity on Pinterest.com, in which we investigated professional and personal uses of the site using interview data and observations of online activity. We find that Pinterest serves as an infrastructure for repository building that supports a wide range of activities including: discovery, collecting, collaborating, and publishing. We discuss these concepts using the language of “boundary objects” from the sociology of science. We suggest that scale is a critical dimension of boundary objects for understanding how people make sense of Pinterest and their diverse goals for using it. Profession- als often attempt to use Pinterest to create repositories that scale to groups, organizations and societies and interface with multiple social worlds whereas personal repositories often have highly localized meanings. Our approach builds on quantitative descriptions of Pinterest to understand how the site fits into a growing ecology of social network sites.
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Wulandari, Lisa Okta. "Cultural Hegemony: White Gown vs Traditional Dress." Digital Press Social Sciences and Humanities 2 (2019): 00012. http://dx.doi.org/10.29037/digitalpress.42263.
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Traditional dress defines a local identity of a culture, place, tribe, or race. Nowadays, traditional dresses are only worn on some ceremonies such as wedding ceremony and even so, many people do not wear any kind of traditional attire in attending a wedding. Instead, they use the modern one. In this era, women are familiar with the white gown for the wedding. Instead of wearing the traditional dress, they rather choose a white gown for some reasons such as the needs, the condition, efficiency, or interest. However, besides those personal reasons, there are also external factors such as economy, social, and even politics. These all factors happen in one process called globalization. They are connected through the process of globalization. In this process, those factors influence the local identity, which in this case is a traditional dress, in engaged with a white gown. Also, it can be identified whether the traditional dress can survive, or it is replaced by a white gown and what condition in globalization makes traditional dress survive or not.
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Hariana, Hariana, G. R. Lono Lastoro Simatupang, Timbul Haryono, and SP Gustami. "ASPECTS UNDERLYING THE MODIFICATION OF BRIDAL COSTUME IN GORONTALO AT THE WEDDING RECEPTION." Jurnal Kawistara 7, no. 3 (July 22, 2018): 297. http://dx.doi.org/10.22146/kawistara.33951.
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The visualization of the Gorontalonese bridal costume worn at the wedding reception is increasingly diverse in terms of the modification forms. The modification can be seen in the design elements including shape, texture, color, material, and accessory. Furthermore, the modification of the current costume makes the functional value of the bridal costume different from the already patterned one, which can be seen from its social, symbolic, and economic values of the Gorontalo community. The data in this study was collected through the review of books and previous studies related to the wedding clothing, the interviews, and the observation of bridal costumes and analyzed using the qualitative data analysis approach. The observation of unmodified bridal costume objects was done at the Dulahopa Traditional House in Gorontalo, while that of modified bridal costume objects was conducted on the widely used bridal costumes within the last two years in Gorontalo. The purpose of this study was to find out the aspects underlying the modification of bridal costume in Gorontalo. The results show that Gorontalo people tend to choose modified wedding dresses in the wedding party. Moreover, this study suggests that the bridal costume modification is influenced by the family’s social status in Gorontalonese community, migratory Gorontalonese people (staying outside the area of origin), and technological advancement.
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Toplis, Alison. "Wedding Dresses 1775–2014CatalogueThe Wedding Dress: 300 Years of Bridal Fashions.Edwina EhrmanLondon: V&A Publishing, 2014.208 pp.Paperback, £25ISBN 9781851777839." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 22, no. 1 (March 2015): 102–5. http://dx.doi.org/10.1086/683087.
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Fatminingrum, Susiana, and Yulistiana Yulistiana. "Penerapan Bordir Motif Bukang Marege dan Epaulettes pada Gaun Pengantin." BAJU: Journal of Fashion & Textile Design Unesa 3, no. 1 (June 13, 2022): 11–19. http://dx.doi.org/10.26740/baju.v3n1.p11-19.
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Tujuan penelitian ini adalah untuk mendeskripsikan proses penerapan bordir motif bukang marege dan epaulettes pada gaun pengantin, dan untuk mendeskripsikan hasil jadi penerapan bordir motif bukang marege dan epaulettes pada gaun pengantin. Metode yang digunakan adalah Double Diamond Model, yang terdiri dari 4 tahapan yaitu discover, define, develop, deliver. Proses pembuatan bordir motif bukang marege menggunakan mesin bordir dengan desain yang telah di stilasi dari motif bukang marege yang asli. Proses pembuatan epaulettes ada dua tahap, tahap pertama membuat padding bahu yang berfungsi sebagai kaitan manik-manik, dan proses kedua yaitu menyusun manik-manik yang akan dikaitkan pada padding. Bagian padding eppauletes juga ditambahkan payet agar menambah keindahan. Terdapat 2 bagian pada gaun pengantin, yaitu bagian gaunnya itu sendiri dan sepasang kain yang dipasangkan pada kedua sisi bahu hingga menjuntai kebawah sepanjang panjang gaun. Hasil jadi gaun pengantin sesuai pada rancangan yang telah dibuat, penerapan bordir pada bagian dada dan sepasang kain yang dipasangkan di bagian bahu gaun, disusun secara sistematis begitu juga dengan penerapan epaulettes.
The purpose of this study is to describe the process of applying the embroidery motifs of bukang marege and epaulettes on wedding dresses, and to describe the results of the application of embroidery motifs of bukang marege and epaulettes on wedding dresses. The method used is the Double Diamond Model, which consists of 4 stages, namely discover, define, develop, deliver. The process of making bukang marege embroidery uses an embroidery machine with designs that have been stylized from the original bukang marege motif. The process of making epaulettes consists of two stages, the first stage is to make the shoulder padding which functions as a bead hook, and the second process is to arrange the beads that will be attached to the padding. The eppauletes padding section is also added with sequins to add to the beauty. There are 2 parts to the wedding dress, namely the dress itself and a pair of fabrics that are attached to both sides of the shoulders so that they fall down the length of the dress. The finished result of the wedding dress is in accordance with the design that has been made, the application of embroidery on the chest and a pair of fabrics that are attached to the shoulders of the dress, systematically arranged as well as the application of epaulettes
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Bae, Soojeong, and Xinyi Yuan. "A Comparative Analysis of the Design Efficiency of Transformable Wedding Dresses Using 3D Programs -Focusing on Dress Design for Small Weddings-." Journal of the Korean Society of Clothing and Textiles 45, no. 3 (June 30, 2021): 439–52. http://dx.doi.org/10.5850/jksct.2021.45.3.439.
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Kwon, Sookhee. "Development of Basic Pattern of Wedding Dress I : Focused on Torso Pattern for Top Dresses." Fashion & Textile Research Journal 20, no. 4 (August 31, 2018): 439–48. http://dx.doi.org/10.5805/sfti.2018.20.4.439.
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Staniland, Kay. "The Wedding Dresses of H.R.H. The Princess of Wales (1981) and H.R.H. The Duchess of York (1986)." Costume 21, no. 1 (January 1, 1987): 94–96. http://dx.doi.org/10.1179/cos.1987.21.1.94.
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Murai, Mayako. "Sewing Wedding Dresses for Interspecies Marriage: Tomoko Kōnoike’s Reimagining of Animal Bridegroom Tales after the Tōhoku Earthquake." ISLE: Interdisciplinary Studies in Literature and Environment 26, no. 3 (2019): 780–92. http://dx.doi.org/10.1093/isle/isz063.
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Hamilton, Paula. "School books or wedding dresses? Examining the cultural dissonance experienced by young Gypsy/Traveller women in secondary education." Gender and Education 30, no. 7 (December 21, 2016): 829–45. http://dx.doi.org/10.1080/09540253.2016.1270423.
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Ekeyeva, Emma V., and Nikolay V. Ekeyev. "Особенности национальной одежды алтайцев." Oriental Studies 14, no. 1 (April 5, 2021): 103–14. http://dx.doi.org/10.22162/2619-0990-2021-53-1-103-114.
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Introduction. With reference to works by Russian ethnographers and collected field materials, the paper presents the first insight into specific features of Altaian traditional clothes and changes the latter undergo in the modern period. Goals. The work primarily seeks to reveal transformations of Altaian national garments in the late 20th – early 21st centuries. Materials. The study examines data from field expeditions to Ust-Kansky, Shebalinsky and other districts of the Altai Republic in 2017-2019. The research data collection methods included those of questionnaires and interviews among local communities of the mentioned districts of the region. Results. The paper highlights various aspects of men’s and women’s clothes represented mainly by outer garments, such as sheepskin coats, e.g., nekey ton (a sheepskin coat a with long thick fur), akar ton (a coat sheepskin with short thick fur), kyptu ton (a coat with fabric-trimmed upper elements), tortok ton (a short sheepskin coat), and also sleeveless jackets (kögÿspek) and national gowns (chekpen). The work describes caps worn both by men and women (tÿlkÿ bychkak börÿk, talbañ börÿk, kish börÿk, bolchok börÿk), shoes made of fur (skin) from animals’ lower legs (bychkak ödÿk) or leather ones (katu/ köm ödÿk, charyk ödÿk, shiri ödÿk) usually decorated with upright pointed toes. Special attention is paid to women’s wedding and festal clothes, namely: dresses with wide sleeves and long cuffs that were to completely cover hands, the former decorated with buttons, beads, and ornaments to be worn under a full-length silk sleeveless jacket. The research explains differences between the classical and contemporary conventionalized chegedek full-length sleeveless jackets worn by women over a special dress during wedding ceremonies. Chegedek communicates a symbolic message that a girl acquires the new status of a married woman. Some attention is given to men’s undergarments, such as regular shirts (chamcha) mostly worn untucked with woolen trousers (shtan). Conclusions. The Altaian clothes have underwent certain changes but some centuries-old traditions survive till nowadays, e.g., women’s dresses are distinguished by special sleeves (ushtuktar) and ‘wings’ (kanattar). However, it is noteworthy that the tradition of selecting colors for garments with due regard of age and sex is lost, and layout of decorative elements has also changed. The loss of ethnic features in national clothes results from the wide use of commercial cloths and services of tailor shops.
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Liu, Xiang, and Chuyeon Suh. "Development of Rushan (襦衫) and Qun (裙) Patterns for Traditional Chinese Wedding Dresses Using a Virtual Fitting Program." Journal of the Korean Society of Clothing and Textiles 46, no. 2 (April 30, 2022): 250–71. http://dx.doi.org/10.5850/jksct.2022.46.2.250.
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Endo, Yumi. "Decision Difficulty and Illusion of Transparency in Japanese University Students." Psychological Reports 100, no. 2 (April 2007): 427–40. http://dx.doi.org/10.2466/pr0.100.2.427-440.
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People tend to believe that their inner thoughts are readily apparent to others. This study was conducted to examine effects, related to the difficulty of making decisions of personal preference, on the illusion of transparency, that is, the tendency people have to regard their own preference as more apparent to others when they have made their decision easily as opposed to situations in which they felt their decision to be difficult. In three studies in which the customary “transparency” experimental paradigm was used, university students were asked to rank choices of wedding dresses (Studies 1 and 3) or Korean movie stars (Study 2). Analysis suggested that the less difficulty participants felt in making their judgments (the first and last preference vs mid-ranking preference), the more they expected judgments to be transparent, especially when they had the clear intent to convey their thoughts to others. However, observers discerned first preferences no better than mid-ranking preferences. How inner subjective information contributes to the illusion of transparency is also discussed.
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Al Sheikh, Basma Abdel Mohsen. "Mixing Between Jeans and Lace Fabrics to Design Wedding Dress Using Designing-on-the Mannequin Technique." Advances in Social Sciences Research Journal 9, no. 7 (July 18, 2022): 147–60. http://dx.doi.org/10.14738/assrj.97.12657.
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Modelling or shaping on mannequin is a science and an art that has its scientific origins, in addition to the skill required to be acquired to master it. It depends on the individual's ability to innovate, his analytical ability and his skill in work that is characterized by quality, beauty and perfection to produce designs that perform their utilitarian and aesthetic functions. By modelling on mannequin, it is possible to add a shape and surface texture different from the shape and surface of the original material because the modelling method has great potential in this field by making suitable formation of the cloth on the mannequin. Rather, it can make more than one shape and more than one surface appearance for one type of cloth using modelling. This research seeks to analyze and characterize the aesthetic values in the use of jeans fabrics, in the innovative designs of international fashion designers; identify the relationship resulting from mixing jeans and laces in the design of the wedding dress using shaping on mannequin technique; measuring the degree of acceptance among specialists, and Saudi girls of age category (18-25) to the idea of wedding dresses made of lace and jeans fabrics. The research sample included a group of (14) faculty members specialized in the field as well as a group of (60) Saudi girls whose ages range between 18-25. Two questionnaires were used as a tool to measure the sample's attitudes towards the designs. It was found that the design has achieved great success in terms of concept and method of implementation and achieved a good mix of jeans and laces (tulle and lace) in a beautiful way.
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Istiqomah, Alfi Rida, and Yuhri Inang Prihatina. "TRANSFORMASI BENTUK RAGAM HIAS PUTA DINO SEBAGAI ORNAMEN BORDIR BUSANA PENGANTIN WANITA." BAJU: Journal of Fashion & Textile Design Unesa 2, no. 2 (July 17, 2022): 61–68. http://dx.doi.org/10.26740/baju.v2n2.p61-68.
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Tujuan penelitian adalah untuk mengetahui transformasi bentuk ragam hias Puta Dino menjadi ornamen bordir pada busana pengantin dan dapat melihat hasil jadi transformasi bentuk ragam hias Puta Dino sebagai ornamen busana pengantin. Metode yang digunakan adalah metode Double Diamond yang tediri dari 4 tahapan yaitu Discover, Define, Develop, dan Deliver. Mengambil motif Puta Dino dengan sumber inspirasi cerita rakyat Leba Mareku Laisa yang menceritakan tentang rakyat yang mempunyai mata pencaharian cengkeh dan pala di Maluku, Tidore. Suku bangsa yang mempunyai ciri khas mata pencahariannya pala dan cengkeh salah satunya. Dari hasil yang diperoleh, 1) proses penerapan motif Puta Dino dengan teknik bordir yang penerapannya pada busana pengantin wanita meliputi proses menentukan motif Puta Dino yang di transformasikan menjadi motif modern dan dilakukan stilasi ragam hias, yang selanjutnya di jadikan menjadi satu kesatuan motif yang akan dibentuk dalam bentuk bordir. 2) Diterapkan pada busana pengantin wanita dengan menggunakan teknik lekapan menggunakan jahit tangan. Proses pembuatan bordir menggunakan material bahan organza yang dibordir dengan motif puta dino, kemudian diatur penataannya pada bagian cape depan dan cape belakang pada busana pengantin. Hasil jadi busana pengantin dengan siluet A-line dengan penerapan ornament bordir puta dino tampak simple elegan dan modern.
The purpose of the study was to find out the transformation of Puta Dino's ornaments into embroidery ornaments on wedding dresses and to see the results of the transformation of Puta Dino's ornaments as wedding dress ornaments. The method used the Double Diamond method which consists of 4 stages, namely Discover, Define, Develop, and Deliver. Taking the Puta Dino motif with the source of inspiration for the Leba Mareku Laisa folklore which tells about the people who make cloves and nutmeg as a livelihood in Maluku, Tidore. One of the ethnic groups whose livelihood is nutmeg and cloves. From the results obtained, 1) the process of applying the Puta Dino motif with embroidery techniques whose application to the bride's clothing includes the process of determining the Puta Dino motif which is transformed into a modern motif and stylized decorative motifs, which are then made into a single motif that will be formed. in embroidery. 2) Applied to the bride's clothing by using the technique of hand sewing. The process of making embroidery uses organza material which is embroidered with a puta dino motif, then the arrangement is arranged on the front cape and back cape on the wedding dress. The finished wedding dress with an A-line silhouette with the application of puta dino embroidery ornaments looks simple, elegant and modern.
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Antonov, Dmitriy I. "SOVIET ICONS AS A RESEARCH PROJECT." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2022): 155–64. http://dx.doi.org/10.28995/2686-7249-2022-9-155-164.
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The article is about the project of research into Soviet icons, which began at the Russian State University for the Humanities in 2021 at the Center for Visual Studies of the Middle Ages and Modern Period of the Faculty of Cultural Studies. The Soviet icon is a religious artifact created by village craftsmen (image painters) of the Soviet times – an icon, various in execution techniques, set in a wooden case (kiot). For the decoration of such icons both the traditional (for 19th – early 20th century) materials used – foil, paper, wax, paraffin etc. – as well as specific things that were available in the era of scarcity, poverty of the Soviet village, persecution of the Church and the inability to create religious artifacts in a manufactory way, for the market. Craftsmen used the fabric from Soviet Pioneers ties and wedding dresses, Soviet newspapers, foil from tea bags, prints on which were made with the hunting shotgun cartridges, etc. As a result, the complex bricolages appeared. Often they had icons and materials of the 19 – early 20th century inside, covered with a layer of heterogeneous materials of the Soviet era. The article deals with the specifics of that phenomenon, explains the term “Soviet icon” introduced by the authors of the project, and describes the prospects of the project in the coming years.
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Greenhill, Pauline, and Angela Armstrong. "Traditional Ambivalence and Heterosexual Marriage in Canada." Ethnologies 28, no. 2 (April 23, 2007): 157–83. http://dx.doi.org/10.7202/014987ar.
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Queer moments abound in traditional rituals associated with marriages and weddings, not only in some regions of English Canada but in most European and European-colonised locations. In the Prairie provinces and Ontario, mock weddings (folk dramatic travesties of the Christian/majoritarian wedding ceremony, usually performed cross dressed) can interrupt wedding showers or milestone anniversary parties. And from Prince Edward Island to British Columbia, charivaris (late night visits to a newly married couple, featuring extreme noisemaking and/or traditional trickery) can follow a marriage. The authors question whether these practices transgress against conventional heterosexual marriage or merely ritualise and thus contain potential resistance to its strictures, and find that they do both.
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Cho, Seo-Youn. "An Appropriation of ‘Vietnam Destruction’ and the Representation of Vietnamese Refugees －Focusing on the films Scissors, Rock, and Wrap(1976) and The Wedding Dresses of Tears(1990)－." Studies of Korean Literature 67 (July 31, 2020): 363–401. http://dx.doi.org/10.20864/skl.2020.07.67.363.
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Magee, Gayle. "MARKETING THE VOICE: OPERA, FILM, AND THE CASE OF ROBERT ALTMAN." Theatre Survey 51, no. 2 (October 18, 2010): 191–224. http://dx.doi.org/10.1017/s004055741000030x.
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In 2004, the Lyric Opera of Chicago celebrated two milestones: its fiftieth anniversary and the premiere of A Wedding. With music and libretto by Pulitzer Prize–winning composer William Bolcom, film director Robert Altman, and Arnold Weinstein, the opera received intense international coverage. Prepremiere articles, major features, interviews, and reviews appeared in Opera Now, Opernwelt, Opera, and Opera Quarterly. The Lyric's A Wedding dominated the August issue of Opera News, occupying the cover and several features, complete with glossy photos of the photogenic young leads dressed in luxurious wedding attire (see Figure 1).
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M. Nur, Hasan Basri, Syed Sultan Bee Packeer Mohamed, and Nor Azlah Sham Rambely. "HUBUNGAN SOSIAL MAYORITAS ISLAM DENGAN MINORITAS AGAMA-AGAMA LAIN DI KOTA BANDA ACEH-INDONESIA." JURNAL AL-IJTIMAIYYAH 7, no. 2 (December 31, 2021): 213. http://dx.doi.org/10.22373/al-ijtimaiyyah.v7i2.11521.
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Abstract: Assumption from outsiders that Aceh is intolerant is truly disadvantage for Aceh which its majority is Muslims and implement Syria law. Looking on religious perspectives, the composition of Banda Aceh inhabitant is: Islam (97,96%), Buddha (1,13%), Christian (0,70%), Catholic (0,20), and Hindu (0,01). This research to find out how is social relationship between Muslim majority and other religious minority believers in Band Aceh. Social relationship framed in five aspects are religious, social, education, politic, economy and culture. This research used qualitative descriptive approach with observational data collection techniques, interview, and literature review. The finding of research showed that social relationship between believers in Banda Aceh runs in peace and interrelated. The existence of Muslims as great majority and Syria law implementation in Aceh has not been an obstacle in social activities of the minority. Muslims play roles as protectors and back shield for minority. Otherwise, the minorities are capable to adjust themselves and respect the existence of Islam showed on their attitudes, such as doing their formal prayer in designed places, their children wear polite dresses at schools even though not wearing hijab, participate in national and national election, close shops on Friday prayer, Muslim holidays, and mutual sending invitations to wedding party, involve in social work, and other activities.Keywords: Social; Religion; Majority; Minority; Banda Aceh.Abstrak: Anggapan orang di luar bahwa Aceh tidak toleran sangat merugikan Aceh yang mayoritas penduduknya menganut agama Islam dan menerapkan Syariat Islam. Komposisi penduduk Banda Aceh berdasarkan agama adalah: Islam (97,96%), Buddha (1,13%), Kristen (0,70%), Katolik (0,20), dan Hindu (0,01). Penelitian ini hendak mengetahui bagaimana hubungan sosial antara mayoritas penduduk Islam dengan minoritas agama-agama lain di Banda Aceh. Hubungan sosial dibatasi dalam lima aspek, yaitu sosial agama, pendidikan, politik, ekonomi, dan budaya. Penelitian ini menggunakan pendekatan kualitatif deskriptif dengan teknik pengumpulan data secara observasi, interview, dan kajian dokumen. Hasil penelitian menunjukkan bahwa hubungan sosial antar agama di Banda Aceh berlangsung damai dan saling mengisi. Keberadaan umat Islam sebagai mayoritas mutlak dan pemberlakuan Syariat Islam di Aceh tidak menjadi penghambat dalam aktivitas sosial umat minoritas. Umat Islam mampu memainkan peran sebagai pengayom dan pelindung bagi umat minoritas. Sebaliknya umat minoritas mampu menyesuaikan diri dan menghormati keberadaan Islam yang terlihat dari beberapa perilaku mereka, seperti beribadah di tempat-tempat resmi yang telah disediakan, anak-anak mereka mengenakan pakaian sopan di sekolah walau tak memakai jilbab, berpartisipasi dalam setiap momen Pemilu/Pilkada, menutup toko menjelang pelaksanaan shalat Jumat, hari raya Islam, serta saling mengundang/menghadiri pada pesta perkawinan, gotong royong dan lain-lain.Kata Kunci: Sosial; Agama; Mayoritas; Minoritas; Banda Aceh.
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Chou, Ting-Jui, Qi Dai, En-Chung Chang, and Veronica Wong. "Replacement between Conformity and Counter-Conformity in Consumption Decisions." Psychological Reports 112, no. 1 (February 2013): 125–50. http://dx.doi.org/10.2466/01.07.09.pr0.112.1.125-150.
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This study assessed, in a Chinese context, how self-esteem interacts with perceived similarity and uniqueness to yield cognitive dissonance, and whether the dissonance leads to self-reported conformity or counter-conformity behavior. Participants were 408 respondents from 4 major Chinese cities ( M age = 33.0 yr., SD = 4.3; 48% men). Self-perceptions of uniqueness, similarity, cognitive dissonance, self-esteem and need to behave in conformity or counter-conformity were measured. A theoretical model was assessed in four situations, relating the ratings of self-esteem and perceived similarity/uniqueness to the way other people at a wedding were dressed, and the resultant cognitive dissonance and conformity/counter-conformity behavior. Regardless of high or low self-esteem, all participants reported cognitive dissonance when they were told that they were dressed extremely similarly to or extremely differently from the other people attending the wedding. However, the conforming/counter-conforming strategies used by participants to resolve the cognitive dissonance differed. When encountering dissonance induced by the perceived extreme uniqueness of dress, participants with low self-esteem tended to say they would dress next time so as to conform with the way others were dressed, while those with high self-esteem indicated they would continue their counter-conformity in attire. When encountering dissonance induced by the perceived extreme similarity to others, both those with high and low self-esteem tended to say they would dress in an unorthodox manner to surprise other people in the future.
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Fonseca Chagas, Gisele, and Solange R. Mezabarba. "Dressed to Marry: Islam, Fashion, and the Making of Muslim Brides in Brazil." Religions 10, no. 9 (August 23, 2019): 499. http://dx.doi.org/10.3390/rel10090499.
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This article explores the dress practices of Muslim women in Brazil, focusing on the ways through which they choose, prepare, use, and talk about their wedding garments. The aim is to understand how religiously oriented women interpret the Islamic normative codes concerning the coverage of the female body when managing their appearance, particularly when “special celebrations” such as wedding rituals are involved. How do they combine bridal fashion trends with religious orientations? Drawing on ethnographic fieldwork and personal interviews, this analysis stresses that the desired aesthetic of Muslim women’s marital garments unfolds a search for a modest authenticity through which “Brazilian culture”, “female beauty”, and Islam are mobilized. In conclusion, the study points to the dynamic ways through which this specific encounter of religion and fashion produce an aesthetic based on a degree of improvisation and creativity, since the Islamic fashion industry is absent in the Brazilian market.
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Stow, Kenneth R. "Marriages are Made in Heaven: Marriage and the Individual in the Roman Jewish Ghetto*." Renaissance Quarterly 48, no. 3 (1995): 445–91. http://dx.doi.org/10.2307/2862871.
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The Woman—Dressed in the common mode of the fifteenth and sixteenth centuries — stands with her right, or sometimes left, hand extended forward, the second finger raised and stretched forth. The man, dressed similarly, confronts her, ring in hand, to place on her outstretched finger. There are others in attendance, principally a figure of dignity close to the pair and perhaps as many as ten or more spectators. The description is that of a wedding, in fact, a Jewish one. The action takes place exclusively between the bride and the groom, although in one version of this picture (there are many), the dignified third figure raises a cup in hand; in others, he is reciting words of blessing.
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Farhi, Moris. "Ties of Blood." European Judaism 33, no. 1 (March 1, 2000): 29–31. http://dx.doi.org/10.3167/ej.2000.330106.
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Father sprouted from that shoot of David which circumambulated Jerusalem's stones after the Dispersion which recognised Yahweh in all His other names which decked in Ottoman turbans helped raise the Levant as an ark for all races all cultures which shook hands with shepherds and artisans sipped tea with poets musicians and courtesans dressed janissaries and equerries waged war and peace on backgammon boards graced weddings circumcisions christenings funerals everywhere between Damascus and Sarajevo Algiers and Batumi
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Monia, Yuke, and Hayatunnufus Hayatunnufus. "STUDI TENTANG UPACARA ADAT PERKAWINAN DI KECEMATAN KINALI PASAMAN BARAT." Jurnal Tata Rias dan Kecantikan 3, no. 2 (January 26, 2022): 75. http://dx.doi.org/10.24036/.v3i2.65.
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The researcher's background in making this thesis is due to changes in the series of traditional wedding ceremonies and bridal make-up in West Kinali Pasaman District, as well as the existence of several series of traditional ceremonies and make-up processes that were left behind as in a series of ceremonies before marriage, namely mancari chickens (proposing). usually done by a mamak to find a mate for his nephew but in Kinali sub-district this process is rarely done. Meanwhile, a series of marriage ceremonies, namely the marriage contract, was previously carried out at night, namely at the night of cooking rice, but over time the marriage contract was carried out during the day. In the form of bridal make-up in Kinali Subdistrict, before the bride was make-up she first performed the bahieh ritual, but nowadays bahieh ritual is very rarely done because makeup artists are more following the trend of makeup. Many wedding ceremonies in Kinali Pasaman Barat Subdistrict have been changed over the years but still follow the prevailing customs. Previously, bridal make-up in Kinali Pasaman Barat Subdistrict, before the bride and groom were dressed, they first performed the bahieh ritual, but over time, makeup artists followed the current trend of makeup. The form of bridal clothing and accessories in West Kinali Pasaman Subdistrict, the bridal clothing consists of batabue, tokah, kodek / skirt, suntiang gadang bridal accessories, kaluang and galang, groom's clothing consists of skirt, vest, sarawa, sasampiang, bridal accessories saluak, kaluang, galang and keris. Wedding clothing, along with the times, has been modified a lot as well as various clothing colors, which used to be identical to the red color of the wedding dress. The meaning of wedding dress in Kinali Pasaman Barat Subdistrict, suntiang, implies that a heavy burden will be borne by a wife when living a married life. Saluak is a male head covering which has a meaning as a symbol of the leader in the gadang house after having a family. As well as leading the children and their nephews according to the customary saying of minang anak dipangku kamanakan in urang kampuang dipatenggangkan. The skirt symbolizes the wearer's greatness and big spirit.
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Jarvis, Anthea. "The Dress Must Be White, and Perfectly Plain and Simple: Confirmation and First Communion Dress, 1850–2000." Costume 41, no. 1 (June 1, 2007): 83–98. http://dx.doi.org/10.1179/174963007x182354.
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The basis for this article was a paper given at the Annual Symposium of the Costume Society in Norwich in 1998, on the theme of religious dress. It has been expanded with further research. This article traces the history and development of special dress worn for the sacraments of confirmation and first communion in the Church of England and the Roman Catholic Church. Before the 1850s no special dress was required; the growth of the fashion for increasingly elaborate white dresses and veils post-1850 seems to have been fostered by the growing affluence of the middle classes and by the fashion press. Special dress for Anglican confirmation declined in popularity in the later twentieth century, while dress for Catholic first communion, in contrast, has become, like dress for weddings, an occasion for an orgy of consumerism.
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Pranowo, NFN, and Winci Frdaus. "Penggunaan Bahasa Nonverbal dalam Upacara Adat Pernikahan Gaya Yogyakarta: Kajian Simbolik Etnopragmatik." Ranah: Jurnal Kajian Bahasa 9, no. 1 (June 25, 2020): 35. http://dx.doi.org/10.26499/rnh.v9i1.2321.
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This research is an interpretive reflective research with ethnopragmatic symbolic study theory. The source of the research data was taken from the documents of two makeup artists from Yogyakata, namely the makeup dresser Lisandra and the makeup dresser Hj. Rochayati. The research data are in the form of Javanese traditional wedding document of Yogyakarta style. The data collection technique is in the form of observation of photo documentation to obtain data in the form of a marriage ceremony sequence that uses verbal and nonverbal language from preparation to the end. The data analysis technique is interpretive reflective. The concrete steps of data analysis are (a) identifying documents, (b) classifying the sequences of marriages, and (c) interpreting each stage of the ceremony. The objectives of the research are (1) to describe the form of nonverbal language in traditional marriage ceremonies, and (2) to describe the non-verbal symbolic meaning of non-verbal language in marriage ceremonies. The findings of the research are that (a) the form of Yogyakarta-style traditional wedding events there are 15 stages, ranging from paningsetan to reception, and (b) ethnopragmatic symbolic meaning in general in the form of prayer requests so that what is desired can be realized.AbstrakPenelitian ini merupakan penelitian reflektif interpretatif dengan teori kajian simbolik etnopragmatik. Sumber data penelitian diambil dari dokumen dua orang juru rias dari Yogyakata, yaitu rias pengantin Lisandra dan rias penantin Hj. Rochayati (nama disamarkan). Data penelitian berupa dokumen foto perkawinan adat Jawa gaya Yogyakarta. Teknik pengumpulan data berupa observasi dokumentasi foto untuk mendapatkan data berupa urutan upacara perkawinan yang menggunakan bahasa verbal dan bahasa nonverbal dari persiapan sampai dengan akhir. Teknik analisis data dilakukan secara reflektif interpretatif. Langkah konkret analisis data adalah (a) mengidentifikasi dokumen, (b) mengklasifikasi urut-urutan acara perkawinan, dan (c) menginterpretasi tiap tahapan upacara. Tujuan penelitiannya adalah (1) mendeskripsikan wujud bahasa nonverbal dalam upacara adat perkawinan, dan (2) mendeskripsikan makna simbolik etnopragmatik bahasa nonverbal dalam upacara adat perkawinan. Temuan hasil penelitian adalah bahwa (a) wujud acara adat perkawinan gaya Yogyakarta terdapat 15 tahapan, mulai dari paningsetan sampai dengan resepsi, dan (b) makna simbolik etnopragmatik pada umumnya berupa doa permohonan agar apa yang diinginkan dapat terwujud.
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Surikova, Olesya D. "The Bride's Universe in E. Barsov’s «Lamentations of the Northern Land»." Slavianovedenie, no. 6 (2022): 108. http://dx.doi.org/10.31857/s0869544x0023263-2.
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The article is based on the material of the third volume of the E. Barsov’s «Lamentations of the Northern Land». The author considers the conceptual sphere which is crucial for wedding lamentations: the material context of the bride (all the belongings and the space of this character: the courtyard and the house with its architecture and interior: furniture, tools; material property of the bride's and groom’s families: clothes, jewelry, etc.). The names of material values in the lamentations are numerous, various and are accompanied by idealizing epithets, which contributes to the creation of an image of a carefree, luxurious, abundant life, conceptually corresponding to the ideas of the golden age. Material values also construct the physicality of the bride: only those parts of the girl's body that can be decorated and dressed up are mentioned in the lamentations.
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Grad én, Lizette. "Dressed in a Present from the Past: The Transfers and Transformations of a Swedish Bridal Crown in the United States." Culture Unbound 2, no. 5 (December 17, 2010): 695–717. http://dx.doi.org/10.3384/cu.2000.1525.10238695.
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Ever since the emigration from the Nordic countries the Old world and the New world have maintained an exchange of ideas, customs, and material culture. This cultural heritage consists of more than remnants of the past. Drawing on theories of material culture and performance this article highlights the role of gifts in materializing relationships between individuals, families and organizations in the wake of migration. First, I build on a suggested coinage of the term heritage gifts as a way of materializing relationships. Thereafter, I map out the numerous roles which a Swedish bridal crown play in the United States: as museum object, object of display and loaned to families for wedding ceremonies in America. The transfers and transformations of the bridal crown enhances a drama of a migration heritage. This dynamic drama brings together kin in Sweden and America and maps specific locations into a flexible space via the trajectory of crown-clad female bodies.
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Mareano, Marcus Aurélio Alves. "THE TIME FOR THE WEDDING OF THE LAMB HAS COME. THE RECAPITULATION OF DIVINE JUSTICE IN THE HYMNS ACCORDING TO REV 19:1-8." Perspectiva Teológica 54, no. 3 (December 28, 2022): 719. http://dx.doi.org/10.20911/21768757v54n3p719/2022.
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ABSTRACT: In the central part of the Book of Revelation (4:1−22:9), there is a group of hymns (4:8-11; 5:9-14; 7:10-12; 11:15-18; 12:10- 12; 15:3-4; 19:1-8) that synthetizes the theological drama of the book. The plot of this part presents a judgement in which God acts as a fair judge against the enemies. Thus, this paper presents a literary analysis of the narration conclusive hymn (19:1-8). The chosen text sings God’s salvation and invites everyone to praise (19:5), because of God’s reign (19:6) and the nuptials of the Lamb with his wife (19:7), the community of faith, dressed with the Saints’ righteousness (19:8). The following topics will be developed in this presentation: the list of the hymns on the Book of Revelation; the literary context and the delimitation of 19:1-8; and the text’s literary analysis. The last hymn constitutes an ending that recapitulates many themes present in other passages of Revelation, mainly in its hymns. KEYWORDS: Revelation. Justice. Hymn. Judgement. Lamb.
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Bouvier, Hélène. "An Ethnographic Approach to Role-Playing in a Performance of Madurese Loddrok." Theatre Research International 19, no. 1 (1994): 47–66. http://dx.doi.org/10.1017/s0307883300018812.
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20 October 1986: the Rukun Kemala troupe is hired to perform at a wedding in Kalianget Barat, its home village from 8.30 p.m. to 2.30 a.m. In a courtyard between two houses, the stage is erected on poles, with a floor of woven bamboo panelling; one whole side will collapse in the middle of the night under the strain of the actors' entrances and exits, without so much as the performance being interrupted. The gamelan orchestra begins to play at 8.30 p.m. exactly, as contracted. Fifty minutes later, slides are projected onto the lowered stage curtain depicting names of the head and leading members of the troupe together with words of welcome to the audience. At 9.30 p.m. the curtain is raised for the first time to reveal a ten-minute dance number: four female dancers appear before the monumental split gates of a Hindu kingdom bathed in red light and strobe effects with Catherine wheels whirling. Next, photos of clowns are projected while the public is harangued to take an active participation in the forthcoming elections, family planning and family education organizations. The curtain rises again to reveal a painted backdrop depicting a street scene in an imaginary modern town, to accompany the clown programme which lasts forty minutes. A final set of slides, ten minutes long, this time shows the actors dressed in the costumes of the characters they are about to portray, with a brief introduction to the story by the scriptwriter. At 10.30 p.m. the curtain opens on the first scene of the play which will last four hours without an interval: ‘Black Mask, in the Story of Yuliati Awaiting Happiness’ (Topeng Hitam dalam kisah Yuliati menanti bahagia).