Bibliografie tematiche / Maison Martin Margiela (Paris)

Letteratura scientifica selezionata sul tema "Maison Martin Margiela (Paris)"

Autore: Grafiati
Pubblicato: 22 giugno 2024

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Articoli di riviste sul tema "Maison Martin Margiela (Paris)":

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Cambridge, Nicolas. "Exhibition Review: Maison Martin Margiela 20". Fashion Practice 3, n. 1 (maggio 2011): 123–30. http://dx.doi.org/10.2752/175693811x12925927157171.

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Di Trocchio, Paola. "Exhibition Review: Maison Martin Margiela “20” The Exhibition". Fashion Theory 15, n. 1 (marzo 2011): 99–107. http://dx.doi.org/10.2752/175174111x12858453158309.

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Pungetti, Giovanni, e Stefano Caputo. "La création sans créateur : le cas de Maison Martin Margiela". Le journal de l'école de Paris du management 94, n. 2 (2012): 8. http://dx.doi.org/10.3917/jepam.094.0008.

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장라윤 e Yang Sook-Hi. "Fashion Communication and Exhibition Project- Focused on Fashion Exhibition Design by Maison Martin Margiela -". Research Journal of the Costume Culture 19, n. 6 (dicembre 2011): 1302–19. http://dx.doi.org/10.29049/rjcc.2011.19.6.1302.

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Jeong, Da-Hee, e Eun-Mi Choi. "Differences in Awareness of Skin Changes, Appearance Management Behavior, and Brand Preference According to Marital Status of Senior Women". Journal of the Korean Society of Cosmetology 29, n. 2 (30 aprile 2023): 345–52. http://dx.doi.org/10.52660/jksc.2023.29.2.345.

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Abstract (sommario):
Today's society is in a trend toward external beauty rather than internal beauty due to rapid changes. As of the 21st century, with the development of high-tech technology, humans are familiar with the Internet and SNS, and the world is sharing with each other and making various exchanges. Among them, with this development, modern people are increasingly interested in the fashion and beauty industries, increasing individual values and accelerating the trend cycle, creating new trends according to social and cultural trends. In particular, it is an era in which consumers are centered from Generation Y to Generation Z, which were born and grown together in the digital era, and are highly influential and led. Entering Generation Z, he is leading the era by directly expressing his inner desire and beauty differentiated from free and future-oriented others that deviate from the existing framework of dissolutionism. With this development of the times, new elements are added to the existing disintegrationism, which can be new to the new disintegrationism created by reflecting the needs of consumers. Maison Margiela, a fashion brand that represented the disintegrationism of the past, embraces various cultures and presents creative and interesting designs to the public. Nail art design has an identity as a diversified visual element, and modern people need a new design that fits the trend in a new aspect. Therefore, this study aims to produce autonomous, individualized, and diversified gel nail art designs as works to satisfy consumers' needs by examining the trend and aesthetic value of the times as a new deconstructionist characteristic of fashion brand Maison Margiela. As a method of this study, the characteristics of neodisintegrationism in Maison Margiela fashion were analyzed through previous studies, books, and the Internet, and based on studies by Kim (2021), Lee (2018), Wu (2021), and Park & Kim (2020) were combined with the characteristics of recreational gel nail art. The materials for producing the work were gel polish, gel brush, glitter, wire, and full tip No. 3. The conclusion of this paper is based on the design of Maison Martin Margiela, a representative fashion brand of neo-disintegrationism for diverse and creative designs, and the gel nail art design is presented by classifying the characteristics of neo-disintegrationism into playfulness, diversity, and reinvention recombination. The research results produced by the work are as follows. First, with Yoo Hee-sung's design, Work 1 first produced a sense of freedom as a design element from a design suppressed by a design that deviates from the existing framework of nail art. Work 2 is a design using space, designed for pure purpose, not intentional expression, and produced works in a fun and playful atmosphere. Second, with the diversity design, Work 3 expressed color expression and see-through flowers, and produced works by expressing gender boundaries from a neutral perspective. Work 4 was produced with a design that expresses an open and intriguing inner desire by expressing a part of it in three dimensions. Third, with the reinvention and recombination design, Work 5 was transformed and applied using space in three dimensions to produce works by expressing them in a auditory design. Work 6 was recombined by applying the existing gradation technique and produced a work with a design that gives a familiar image rather than unfamiliarity by using curves to create an integrated harmony of play and diversity. Therefore, this study was produced as a gel nail art work by applying the new deconstructionist Maison Margiela's fashion elements and sublimated into art works, and individual personality and original design showed trends and usability in nail industrial sites, and it is hoped that gel nail design research will be continuously conducted.
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Fantini, Wilne de Souza, e Maria Veralucia Pessoa Porto. "Michel Foucault, Sebastião Salgado e os homens infames: uma antologia de existências". Trilhas Filosóficas 10, n. 2 (13 giugno 2018): 29–45. http://dx.doi.org/10.25244/tf.v10i2.3008.

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Resumo: O presente artigo visa mostrar algumas reflexões existentes no pensamento do filósofo francês Michel Foucault concernente à ontologia do presente, às relações de poder e à heterotopia. A atualidade analisada por Foucault está vinculada ao aspecto vital de cada época, nas formas de vivência dos indivíduos, principalmente, aqueles considerados pela normatividade e normalidade das relações de poder como sendo marginais, anormais, resíduos, infames. Assim, Foucault aproxima-se do trabalho desenvolvido por Sebastião Salgado ao relatar e denunciar os homens infames, habitantes dos espaços heterótopos.Palavras-chave: Michel Foucault. Ontologia do presente. Heterotopia. Homens infames. Sebastião Salgado. Abstract: This paper aims to show some reflections about the thoughts of the French philosopher Michel Foucault concerning the ontology of the present, power relations and heterotopia. actuality analyzed by Foucault is linked to the vital aspect of each age, in the ways of individuals living, especially, those considered by the power relations of normativity and normality as marginal, abnormal, waste, infamous. Therefore, Foucault approach his work to the work developed by Sebastião Salgado reporting and denouncing the infamous men, inhabitants of heterotopical spaces.Keywords: Michel Foucault. Ontology of the present. Heterotopia. Infamous men. Sebastião Salgado. REFERÊNCIASBAUMAN, Zygmunt; LYON, David. A vigilância líquida como pós-pan-óptico. In: ______. Vigilância líquida. Tradução de Carlos Alberto Medeiros. Rio de Janeiro: Zahar, 2013, p. 55-74. CASTRO, Edgardo. Vocabulário Foucault: um percurso pelos seus temas, conceitos e autores. Tradução de Ingrid Müller. Belo Horizonte: Autêntica Editora, 2009.DELEUZE, Gilles. Michel Foucault: rachar as coisas, rachar as palavras. In: Conversações (1972-1990). 3. ed. Tradução de Peter Pál Perlbart. São Paulo : 34, 2013.FOUCAULT, Michel. As palavras e as coisas: uma arqueologia das ciências humanas (1966). 8. ed. Tradução de Salma Tannus Muchail. São Paulo: Martins Fontes, 1999._______. Des espaces autres (1984). In : _______. Dits et ecrits II (1976-1988). Paris: Gallimard, 2001b, p. 1571-1581. _______. Em defesa da sociedade. Curso no Collège de France (1975-1976). Tradução de Maria Ermantina Galvão. São Paulo: Martins Fontes, 1997. (Coleção: tópicos)._______. La vie des hommes infâmes (1977). In: _______. Dits et ecrits II (1976-1988). Paris: Gallimard, 2001b, p. 237-253._______. Les anormaux (1975). In: _______. Dits et ecrits I (1954-1975). Paris: Gallimard, 2001a, p. 1690-1696.FOUCAULT, Michel. Microfísica do poder. 22 ed. Rio de Janeiro, Graal, 2006a._______. O poder psiquiátrico. São Paulo, Martins Fontes, 2006b._______. Poder e saber (1977). In: MOTTA, Manoel Barros da (Org.). Estratégia, poder-saber. Tradução de Vera Lúcia Avellar Ribeiro. Rio de Janeiro: Forense Universitária, 2003, p. 223-240. (Col. Ditos & Escritos IV).FURTADO, Rafael Nogueira. A atualidade como questão: ontologia do presente em Michel Foucault. In: Natureza humana, vol.17, n.1, São Paulo (2015), p. 144-156. Disponível em: <http://pepsic.bvsalud.org/scielo.php?script=sci_arttext&pid=S1517-24302015000100007> (acessado em: 16.08.2016).JAQUET, Gabriela. É preciso questionar o presente: Foucault, o diagnóstico, a Aufklärung, Anais da XIII Semana Acadêmica do PPG em Filosofia da PUCRS, Porto Alegre, RS (2014). Disponível em: <http://ebooks.pucrs.br/edipucrs/anais/semanadefilosofia/XIII/9.pdf> (acessado em: 16.08.2016).REVEL, Judith. Foucault, une pensée du discontinu. Paris: Mille et une nuits, 2010.WENDERS, Wim. O sal da terra [documentário]. Autoria: Juliano Ribeiro Salgado, Wim Wenders, David Rosier. Produção: Decia Films. Co-produção: Amazonas Images, Fondazione Solares dele Arti com apoio de La région Île-de-France, Les Amis de la Maison Européenne de la Photographie (2014), 1 DVD (115 min).ZENDRON, Rute Coelho. O fotógrafo, Dossiê migrações, Esboços. In: Revista do programa de pós-graduação em História da UFSC, v.10, n.10, Florianópolis (2002), p. 83-95. Disponível em: <https://periodicos.ufsc.br/index.php/esbocos/article/view/389/9854> (acessado em: 16.08.2016).
7

Dubois, Pierre. "Marie-Pauline Martin , Juger des arts en musicien – un aspect de la pensée artistique de Jean-Jacques Rousseau , Paris, Éditions de la Maison des sciences de l’homme, 2011, 127 p." Dix-huitième siècle 45, n. 1 (1 luglio 2013): CXXIV. http://dx.doi.org/10.3917/dhs.045.0727dt.

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François, Étienne. "Martin Baloge, Vie et mort de l’impôt sur la fortune. Les luttes pour la représentation des intérêts à l’Assemblée nationale et au Bundestag, Paris, Éditions de la Maison des Sciences de l’Homme, 2022, 229 p." Allemagne d'aujourd'hui N° 244, n. 2 (13 giugno 2023): 176–77. http://dx.doi.org/10.3917/all.244.0176.

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Werbner, Richard P. "TCHERKÉZOFF, Serge, Dual Classification Reconsidered: Nyamwezi Sacred Kingship and Other Examples, Cambridge and Paris, Cambridge University Press and Editions de la Maison des Sciences de l'Homme, 1987, 157 pp., 0 521 30895 X, translated by Martin Thom". Journal of Religion in Africa 18, n. 3 (1988): 269–71. http://dx.doi.org/10.1163/157006688x00333.

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Barré, Louise. "Basto Maria-Benedetta, Blum Françoise, Guidi Pierre, Kiriakou Héloïse, Mourre Martin, Pauthier Céline, Rillon Ophélie, Roy Alexis et Vezzadini Elena (dir.), Socialismes en Afrique , Paris, Éd. de la Maison des sciences de l’homme, 2021, 708 p., 39 €". 20 & 21. Revue d'histoire N° 151, n. 3 (22 dicembre 2021): a. http://dx.doi.org/10.3917/vin.151.0185a.

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Ti possono interessare anche gli elenchi estesi di opere sul tema "Maison Martin Margiela (Paris)":
Articoli di riviste

Tesi sul tema "Maison Martin Margiela (Paris)":

1

Kim, Menart Soo Young. "La Maison Martin Margiela (1988-2014)". Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080063.

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Abstract (sommario):
Cette thèse porte sur la Maison Martin Margiela, de1988, date de sa fondation par Martin Margiela, à 2014, justeavant l’arrivée de son nouveau créateur, John Galliano. Elle apour objet l’étude des éléments révélateurs de l’univers de lamaison et leur analyse en questionnant sur une redéfinition del’art et de la mode, ces deux mondes autrefois opposés etdistincts. Une première partie retraçant l’histoire de lamaison permet d’appréhender le contexte de sa création. Uneseconde partie nous plonge au coeur des modes de création conçusen fonction de deux types de modalités, artisanales etindustrielles, qui nous incitent à nous questionner sur lesjugements de valeur ayant trait à l’originalité etl’authenticité, tout en interrogeant également sur cesprocessus spécifiques de création en lien avec la notion decollectif en rapport avec la notion de signature et d’auteur.Enfin, les questions liées aux rapports esthétiques etartistiques de la maison au delà de ceux entre l’art et la moderenvoient aux relations entre haute couture et prêt-à-porter,artisanat et industrie, singularité et reproductibilité,originalité et multiplicité, création et consommation, ce quirend floues les frontières les définissant habituellement.Ainsi, ces points de convergence saisis à travers ces relationspermettent d’élaborer une nouvelle définition pour lescréations de la Maison Martin Margiela
This thesis covers the evolution of the Maison Martin Margiela, from its foundation in 1988 by Martin Margiela, to a point in 2014, just before the arrival of the new creative director, John Galliano. The study aims to identify and explore indicative components of the House's creative universe, whilst calling into question received definitions of art and fashion, these two hitherto distinct and opposite poles. In the first part, we will focus on the history of the House, allowing us to grasp the context of its birth. The second part takes us right to the heart of creative approaches conceived by the House, across two types of practice - artisanal and industrial, leading us to question value judgments applied in terms both of originality and authenticity, whilst we examine how the premise of signatory authorship contrasts with that of collectivity, in this regard. Finally, we will analyse the overall relationship between artistry and aesthetics at the House, which goes far beyond the comparison of art with fashion, reaching into the complex rapports between haute couture and ready-to-wear, craft vs industry, singularity vs reproducibility, originality vs multiplicity, and creativity vs consumption, where we will note that the House has blurred the erstwhile boundaries drawn between the former categories. Thus, highlighting the above nodes will allow us to move toward refreshed and challenging definitions for the creations of the Maison Martin Margiela

Libri sul tema "Maison Martin Margiela (Paris)":

1

Margiela, Maison Martin, a cura di. Maison Martin Margiela Street special edition. Paris: Maison Martin Margiela 13, 1999.

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2

Martin, Margiela, Egeraat, A. W. S. M. van., Duits Thimo te, Maison Martin Margiela e Museum Boijmans Van Beuningen (Rotterdam, Netherlands), a cura di. Martin Margiela (9/4/1615). Rotterdam: Museum Boijmans Van Beuningen, 1997.

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3

Beecroft, Vanessa, Susannah Frankel, Andree Putman, Jean-Paul Gaultier e Maison Martin Margiela. Maison Martin Margiela. Rizzoli International Publications, Incorporated, 2009.

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Margiela, Martin, e Margiela Martin. Maison Martin Margiela. Maison Martin Margiela, Paris, 1999.

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LA Maison Martin Margiela. Distributed Art Pub Inc (Dap), 1997.

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6

Woman by Vivienne Westwood, Christian Dior Couture, Maison Martin Margiela, Junya Watanabe, Ann Demeulemeester, Veronique Leroy, Bernhard Wilhelm, Viktor & Rolf, Hussein Chalayan. Utrecht: Centraal Museum, 2003.

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7

Zehmisch, Philipp. Mini-India. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199469864.001.0001.

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This contribution to political anthropology, migration research, and postcolonial studies fills a gap in the hitherto under-represented scholarship on the migrant and settler society of the Andaman Islands, called ‘Mini-India’. Focusing on political, social, economic, and cultural effects of migration, the main actors of the book stem from criminalized, low-caste, landless, refugee, repatriated, Adivasi, and other backgrounds of the subcontinent and South East Asia. Settling in this ‘new world’, some underprivileged migrants achieved social mobility, while others remained disenfranchised and marginal. Employing the concept of subalternity, this ethnographic study analyses various shades of inequality that arise from communities’ material and representational access to the state. It elaborates on the political repercussions of subaltern migration in negotiations of island history, collective identity, ecological sustainability, and resource access. The book is divided into three parts: Part I, titled ‘Theory, Methodology, and the Field’ introduces the reader into subaltern theory and the Andamans as fieldwork site. Part II, titled ‘Islands of Subalternity: Migration, Place-Making, and Politics’ concentrates on the Andaman society as a multi-ethnic conglomerate of subaltern communities in which stakes of history and identity are negotiated. Part III, titled ‘Landscapes of Subalternity: An Ethnography of the Ranchis of Mini-India’ focuses on the Ranchis, one particular community of 50,000 subaltern Adivasi migrants from the Chotanagpur region. It highlights the exploitative history of Ranchi contract labour migration, which triggered specific forms of cultural and ecological appropriation as well as multi-layered strategies of resistance against domination to achieve autonomy, autarchy, and peaceful cohabitation in the margins of the state.

Capitoli di libri sul tema "Maison Martin Margiela (Paris)":

1

Dritsopoulou, Olga. "Maison Martin Margiela, Spring/Summer 2001". In Bloomsbury Fashion Video Archive. Bloomsbury Publishing Plc, 2019. http://dx.doi.org/10.5040/9781350996335.0008.

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Dritsopoulou, Olga. "Maison Martin Margiela, Spring/Summer 1990". In Bloomsbury Fashion Video Archive. Bloomsbury Publishing Plc, 2019. http://dx.doi.org/10.5040/9781350996335.0009.

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Atti di convegni sul tema "Maison Martin Margiela (Paris)":

1

Ryu, Eunhyun, Hangyu Joo, Seungyul Yoo e Jongyub Jung. "Neutronics and Thermal Hydraulics Coupled 3-D Calculation of Pressure-Tube Deformation". In 2020 International Conference on Nuclear Engineering collocated with the ASME 2020 Power Conference. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/icone2020-16514.

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Abstract Among the various parts in a pressurized heavy-water reactor (PHWR), pressure tubes are of tremendous importance. This is because they withstand extreme both pressure and temperature differences that exist between the Primary Heat Transport System (PHTS) and the moderator. The pressure tubes also contribute to prevention of fission product release from the PHTS to the PHWR plant (together with end fittings and nearby parts including plugs). When a PHWR is given a 1% derating, half is due to the aging of the pressure tubes. The main concern with pressure tubes is decrease of the safety margin. Most of the reduction comes from the effects caused by radial expansion and axial sagging, which are belong to four major phenomena including the thinning and the elongation. More specifically, the fuel-pin temperature distribution changes for the worse if deformation of the pressure tube occurs. Because there is extreme irradiation inside the core, the tube content is exposed to high temperature and high pressure. Thus, the shape of the pressure tube is deformed as times goes on. In this paper, using modeling of a deformed pressure tube in three-dimensional space, the effects on the fuel, coolant temperature, and coolant density, were studied quantitatively. This included a neutronics effect explored using coupled neutronics and thermal hydraulics (T/H) calculations. Among the results, only marginal changes of the neutronics effects were observed. The T/H results, which included temperature and density of the fuel and the coolant, were not critical. Through this study, we are now able to determine in new ways, conventional derating values from a pressure tube.
2

Mahanti, G., M. Al Kalbani, S. Lawati, S. Kindi, A. Al-ghaithi e A. L. Ryba. "Revitalizing the Oldest Well in a South Oman Field Using Hydraulic Fracturing: A Case Study". In SPE International Hydraulic Fracturing Technology Conference and Exhibition. SPE, 2023. http://dx.doi.org/10.2118/215665-ms.

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Abstract Siliciclastic Ghariff reservoirs in Southern Oman fields are prolific reservoirs of fluvio-deltaic origin. These reservoirs are classified into Upper, Middle and Lower Ghariff sands depending on the geological environment of deposition. These reservoirs are developed via an initial primary depletion phase followed by secondary recovery techniques of water flood (Al Kalbani, Al Barwani, et al., 2023). One aspect of the field's development history is that the most promising reservoirs; the middle and upper parts of Lower Ghariff were given the highest drilling and development priority. Over the years, focus has shifted towards poorer quality reservoirs. These are thin, laminated and low permeability reservoirs. The lower most sub-units (LGB) of Lower Ghariff sands are an example of these poor-quality reservoirs which require stimulation to achieve economical production targets The field discussed in this paper is an erosional truncation on one side of the Haima turtleback anticline. The Nahr Umr (Wasia) Unconformity erodes much of the top of the Gharif, generally leaving the Middle and Lower Gharif reservoirs and occasionally the lower parts of the Upper Gharif. The Gharif Formation has undergone major changes in deposition styles through time. During the Late Carboniferous to Early Permian, Oman was situated around 50 degrees South Latitude and gradually moved north (Sharland, P. R. et. al 2001). This period was cold over much of Gondwanaland with deposition of the glacio-lacustrine Al Khlata Formation in Oman. The Rahab Shale represents the final melt phase of the Al Khlata and was deposited as localized ponded deglaciation features (Osterloff, 2000) over a relatively widespread area of Southern Oman. The base of the Lower Gharif is a transgressive marine flooding surface due to relative sea level rise at the end of the Permo-Carboniferous glacial period. In the south, the LG B unit consists of marginal marine deltaic sediments while further to the north it grades laterally to wave dominated shoreface and deltaic environments. The LG B unit varies greatly in thickness even within a field and is likely to represent the "topographic healing" phase post glaciations. Above this, the LGA unit is relatively uniform in thickness. The LGA unit is dominated in the north by the Haushi Limestone and in the south by shoreface and deltaic deposition so the main channels recognized are distributary channels. The Middle Gharif unit shows a major basin ward shift in facies across the Lower Gharif Unit boundary. In the south of Oman the shift is marked by a change from marine shoreface deposition to terrestrial semi-arid palaeosols. Thicker sandstone sections within the Middle Gharif are often channels sandstones or braided river deposits. The upper part of the Middle Gharif is a widespread palaeosol. The top of the palaeosol (HSGHM) marks the boundary between the Middle Gharif and the Upper Gharif. This surface represents the breakup unconformity of Gondwanaland with a 5-10 million years break in deposition. During this depositional hiatus, Oman moved further northwards causing a climatic change to humid tropical conditions. The main reservoirs in the Upper Gharif are fluvial to braided channel deposits as well as small lacustrine deltas. The top of the Upper Gharif reservoir section is identified by the top sandstone. Above the upper sandstone there is a transgressive shale transforming upwards into the Khuff Carbonate. The shale is thick in the south and inter-fingers with the carbonate in the north suggesting lateral facies change. (Osterloff, P. 2004; Alsop, D. 2015).

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