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Готові списки джерел за темами / Costume in literature / Статті в журналах

Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Costume in literature.

Статті в журналах з теми "Costume in literature"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 12 лютого 2022

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1

Roy, Suddhabrata Deb. "The Indian Superheroine costume: Analysing Indian comics’ first superheroine." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 313–24. http://dx.doi.org/10.1386/ffc_00027_7.

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Comics are an important form of Indian popular culture. Like other forms of popular culture which have engaged with superheroes, male superheroes have dominated the comic book industry in India. Costumes enable the social construction of these characters in comics, determine their characteristic traits and emphasize their gendered roles. Female characters have had to struggle against multiple patriarchal social processes which are integral to the global comics’ culture. Costumes play a critical role in how these characters engage with the overall narrative of the comics. The article analyses the costume of Shakti ‐ Indian comics’ first superheroine. It locates her costume within the broader literature available on graphic novels, comics and costumes. The article attempts to analyse the processes by which Shakti’s costume restricts her to a normative femininity where the power and authority of women become socially acceptable only when they are expressed or asserted without challenging patriarchal social norms.

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2

Bond, Katherine. "Mapping Culture in the Habsburg Empire: Fashioning a Costume Book in the Court of Charles V." Renaissance Quarterly 71, no. 2 (2018): 530–79. http://dx.doi.org/10.1086/698140.

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AbstractThis article introduces two manuscript editions of a richly illustrated costume album dated ca. 1548–49. Commissioned by Christoph von Sternsee (d. 1560), the captain of Charles V’s German guard, and composed using visual material sourced from Dutch master Jan Cornelisz Vermeyen (ca. 1500–59), the costume album records the diversity of subjects, customs, and costumes that the guard witnessed across imperial Habsburg Europe. Shaped by Sternsee’s personal experiences of travel, war, and empire, his costume album paints a vivid picture of imperial propaganda and personal ambition, demonstrating the significant role that Habsburg networks and relationships had upon the period’s visual culture.

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3

Jumantri, Muhamad Caesar, and Trianti Nugraheni. "Pengkajian Gaya Busana Tari Jaipongan Karya Sang Maestro." Gondang: Jurnal Seni dan Budaya 4, no. 1 (April 14, 2020): 9. http://dx.doi.org/10.24114/gondang.v4i1.16324.

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This study discusses the form of jaipongan dance costume which aims to obtain data from the form of jaipongan dance costume and the characteristics of each style of the jaipongan costume based on the themes. This study uses descriptive analysis method, where the researcher can describe and elaborate the findings with the existing literature. In this research, there are three categories of jaipongan costume work by Gugum Gumbira which are distinguished through the theme of the created dance. From the different themes, it can be concluded that the jaipongan dance work by Gugum Gumbira has its own characteristics from the choice of costume colours to the forms of the costume that are comfortable to wear. Also, the costume prioritizes the essence of the jaipongan dance movement.

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4

Croizat-Glazer, Yassana. "The Role of Ancient Egypt in Masquerades at the Court of François Ier*." Renaissance Quarterly 66, no. 4 (2013): 1206–49. http://dx.doi.org/10.1086/675091.

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AbstractThis essay examines the role of ancient Egypt in courtly masquerades under François Ier (r. 1515–47). It opens with an analysis of the iconography of a sphinx costume that was designed by Francesco Primaticcio (1504/05–1570) and worn by the king and one of his favorite courtiers, Cardinal Jean de Lorraine (1498–1550), at a wedding celebration held in 1546. Two other costume drawings by the same artist are discussed next, and the first printed French translation of Horapollo’s Hieroglyphica, which was published in Paris in 1543, is identified as their source. In examining their strange aesthetic and multiple layers of meaning, this study considers how these costumes were symptomatic of a broader French Renaissance fascination with concealed truth and how, as conveyors of veiled messages, they were meant to spark lofty discussions and demonstrate the French court’s sophistication.

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5

Zhabreva, Anna E. "Male Costume of Serbia and Montenegro on the Frontispieces of 19th Century Books (From the Slavic Literature Fund of the Russian Academy of Sciences Library)." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 83–101. http://dx.doi.org/10.21638/spbu15.2021.106.

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The article analyzes eight frontispiece portraits of Serbian and Montenegrin statesmen from the 12–19th century as well as one collective ethnographic image of an inhabitant of the Bay of Kotor. These consist of prints found in seventeen Serbian and Montenegrin 19th century publications which were found in the Slavic Literature Fund of the Russian Academy of Sciences (Saint Petersburg). The portraits are considered as works of book graphics, as historical and ethnographic sources. They were compared with other pictorial sources — originals of portraits, images of genuine clothing and jewelry, as well as ethnographic materials. There are detailed descriptions of the costumes depicted in the portraits, the names and characteristics of the clothes, hats and decorations. As a result of the comparison, it was found that some engravings are fictitious images, while others, made from pictorial lifetime originals, can serve as important material for the reconstruction of Serbian and Montenegrin appearance and costume, including specific historical figures. An attempt was made to reveal the relationship of the costume of the ruler at the end of the 18th — first half of the 19th century both with the fashion trends of the era, and with his national identity and political views. These aspects manifested themselves with particular vividness in the portraits of Milos Obrenovich, Karageorgy, Vladyka Daniel and Peter Petrovich Njegos. The analysis of portraits in chronological order made it possible to touch upon the theme of Serbian and Montenegrin costume history, which has been insufficiently studied in the Russian press.

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6

Langi, Kezia Clarissa, Setiawan Sabana, Hafiz Aziz Ahmad, and Dian Widiawati. "Killer’s Fashion: Transforming the Potential of Nias Saber’s Amulets into Indonesian Fashion Accessories." Humaniora 11, no. 2 (July 30, 2020): 121–28. http://dx.doi.org/10.21512/humaniora.v11i2.6416.

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The research was conducted to discover the potential of Nias saber’s amulets into fashion accessories and to introduce the tradition of Nias saber’s amulets into society. Nias war costume had its unique way of distinguishing each other and gaining a spiritual strength, which was to accessorize its war costume with small amulets. This tradition was a new inspiration for developing a fashion look with local identity. Exploring Indonesian culture in the form of fashion accessories was done in order to extract Indonesian potential in the fashion industry. Styling small ‘amulets’ into clothing could elevate one’s look while gaining a local meaning. The research applied a qualitative method with data collected through interviews, literature studies, and field research. The outcome of the research shows that Nias war costume’s amulet can be an inspiration for today’s fashion accessories that serve traditional meaning to the wearer.

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7

Worman, Nancy. "The Ties that Bind: Transformations of Costume and Connection in Euripides' Heracles." Ramus 28, no. 2 (1999): 89–107. http://dx.doi.org/10.1017/s0048671x00001739.

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Cependant, elle, qui croyait bien connaître Jacques, s'étonnait. Il avait sa tête ronde de beau garçon, ses cheveux frisés, ses moustaches très noires, ses yeux bruns diamantés d'or, mais sa mâchoire inférieure avançait tellement, dans une sôrte de coup de geule, qu'il s'en trouvait défiguré.Zola, La Bête HumaineIt may seem banal to note that in its original conception Greek tragedy depended for much of its force on costume and visual effect. The dramas themselves often make clear, however, that costume, as a central feature of a character's visible type, communicates essential aspects of how she is situated both literally and figuratively. Not only do characters often enter in heroic or royal regalia, but the more elaborate or bedraggled one's appearance, the more likely it is that other characters comment upon it and thereby give it some overarching significance. As historians of Athenian drama have noted, the plays themselves do not provide very detailed evidence about the actual costumes that actors wore. Nor do vase paintings of particular stories always supplement the dramas with sufficiently detailed images of characters; and die written sources are too late to be definitive. I would nevertheless suggest that in Sophocles and especially in Euripides the plays draw attention to differentiations among the appearances of characters when the character's visible type contributes importantly to understanding her place in the social and symbolic structure of the play.

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8

Stillman, Yedida K., and Nancy Micklewright. "Costume in the Middle East." Middle East Studies Association Bulletin 26, no. 1 (July 1992): 13–38. http://dx.doi.org/10.1017/s0026318400025025.

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Clothing constitutes a cultural statement. It is a manifestation of culture, no less than art, architecture, literature, and music. Like all cultural phenomena, it communicates a great deal of information both on the physical and symbolic level about the society in which it is found. Fashions, or modes of dress, reflect not only the æsthetics of a particular society (what might be called the “adornment factor”), but also its social mores and values (the “modesty/immodesty factor,” or “reveal/conceal factor”). Furthermore, dress is often a clear economic indicator. The fabric, quality of cut, and ornamentation of a garment are commonly badges of socioeconomic status. More subtly and often symbolically, clothing reflects religious and political norms. In Islamic society, clothing has historically been intimately connected with notions of purity and impurity (tahāra and najas), ritual behavior (sunna), and the differentiation of the believer from the unbeliever (ghiyār), as well as the separation of the genders (hijāb). Thus, within Islamic society clothing constitutes a cultural complex, or what Roland Barthes has dubbed a “vestimentary system.” (Barthes 1957).

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9

Adzovie, Daniel Edem, Abdul Bashiru Jibril, Rita Holm Adzovie, and Divine Narkotey Aboagye. "Sex Sells! Could Sex Scenes in Ghanaian Video Films be used to Market Culture through Costume?" Technium Social Sciences Journal 10 (July 23, 2020): 133–41. http://dx.doi.org/10.47577/tssj.v10i1.1266.

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Film, although one of the youngest art forms, influences societies due to its unique way of interacting with the viewer. Film directors employ different tropes in conveying messages to audiences. One of such tropes is costume. “Sex sells” is a popular expression in advertising and marketing communications. The purpose of this study is to offer a new perspective on how sex scenes in films could be used to project aspects of a country’s culture. Riding on this popular expression, we argue that sex scenes in a Ghanaian video film could be a strong fulcrum to expose aspects of the rich Ghanaian culture to the world. We submit that by paying particular attention to the mise-en-scene of costume used during sex scenes, directors could lure film lovers into appreciating the kinds of fabric as well as style used by characters in a film. Through the case study method, we reviewed literature on mise-en-scene of costume in film, and its ability to convey underlying messages to the viewer. The literature review serves as the basis of our argument, where we propose how to ride on costume in sex scenes to project and market the richness of Ghanaian culture regarding clothing/costume in sex scenes in films. In this regard, we have been able to problematize a new way of thinking about sex scenes in films, especially regarding sex scene costume as a unique selling proposition and its contribution to marketing a country’s culture to the viewing public. This study contributes to policy in the entertainment industry in terms of portrayal of sex scenes in Ghanaian video films while ensuring cultural adaptability and growth.

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10

Holderness, Graham. "Introduction." Critical Survey 33, no. 1 (March 1, 2021): 1–7. http://dx.doi.org/10.3167/cs.2021.330101.

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In Britain, from the nineteenth century onwards, the default ‘setting’ for Shakespeare’s plays (by which I mean costume, mise-en-scène, and assumed historical and cultural context) has been medieval and early modern: the time of the plays’ composition (late sixteenth and early seventeenth centuries) or the time of their historical location (medieval Britain or Europe, ancient Greece or Rome, etc.). In this visual and physical context, Twelfth Night would normally be performed or imagined in Elizabethan or Jacobean, Macbeth and Hamlet in medieval, Julius Caesar in ancient Roman dress and settings. In the historical context of their original production, the plays were performed in contemporary dress with minimal mise-en-scène; through the Restoration and eighteenth century in fashionable modern dress and increasingly naturalistic settings. Today in Britain, Shakespeare can be performed in any style of costume, setting and cultural context, from the time of the plays’ reference to the immediate contemporary present, and often in an eclectic blend of some or all. But strong forces of tradition and cultural memory tie the plays, in their visual and physical realisation as well as their language, to the medieval and early modern past. We see this attachment in film versions of the plays and of Shakespeare’s life. We dress Shakespeare in the costumes of all the ages, but we know that he truly belongs, as in the various portraits, in doublet and ruff.

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11

Peacock, Noēl A. "Verbal Costume in Le Misanthrope." Seventeenth-Century French Studies 9, no. 1 (January 1, 1987): 74–93. http://dx.doi.org/10.1179/026510687793648710.

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12

Ji, Zhe, Wei-Hsin Huang, and Mengyi Lin. "Design Mode Innovation of Local Color Cultures: A Case Study of the Traditional Female Costume of Yi Nationality." Designs 4, no. 4 (December 17, 2020): 56. http://dx.doi.org/10.3390/designs4040056.

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Color is a concrete expression of combining local features and traditional culture. The purpose of this study is to provide a new design method and intends, by taking the traditional costume of the Yi women in Liangshan, China, as an example, to establish a systematic color scheme which can be used as a reference for the establishment of relevant color records for other cultural groups. First of all, through literature review, this study provides the definition of the traditional costume of the Yi women in Liangshan, color and culture and color images and clarifies the characteristics of research samples. Secondly, experts are invited to find out and record the color values of different colors on Yi women’s costume, and a software is resorted to in order to calculate the area ration of each color and analyze the color distribution principles of sample costume. Moreover, this study discusses the color images of Yi women’s costume, sorts out its unique color characteristics and establishes and verifies samples of color scheme through focus group interviews in order to analyze regional cultural colors. Finally, this study proposes a systematic approach for regional cultural color analysis, namely, understanding color characteristics, analyzing color images, establishing a color scheme and demonstrating color scheme principles. Through a systematic approach, these cultural colors are analyzed and organized to establish a regional cultural color scheme, which can not only retain the characteristics of the traditional cultural colors of Chinese ethnic groups’ costume but also serve as a reference for designers to develop regional cultural products.

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13

Saatsoglou-Paliadeli, Chryssoula. "Aspects of ancient Macedonian costume." Journal of Hellenic Studies 113 (November 1993): 122–47. http://dx.doi.org/10.2307/632401.

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A judicious combination of literary sources and archaeological research has often offered rewarding historical insights. In Macedonian studies such attempts have tended to be less fruitful, due to the scanty nature of the material and literary evidence. Now that archaeological investigation has expanded so widely in Northern Greece, it may be time to reassess aspects of Macedonian culture which have in the past been tackled with more enthusiasm than actual evidence, not surprisingly in view of the age-long interest in the people who shaped the Hellenistic world.

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14

Raw, Lawrence. "Rethinking the Costume Drama: Agnieszka Holland's Washington Square (1997)." Henry James Review 24, no. 1 (2003): 69–81. http://dx.doi.org/10.1353/hjr.2003.0005.

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15

Masuoka, Susan, and Margot Blum Schevill. "Costume as Communication: Ethnographic Costumes and Textiles from Middle America and the Central Andes of South America." African Arts 21, no. 3 (May 1988): 81. http://dx.doi.org/10.2307/3336461.

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16

Garland, Liz, and Kevin Almond. "Second Skin: Investigating the Production of Contoured Patterns for the Theatrical Costume Industry." Costume 50, no. 1 (January 1, 2016): 90–113. http://dx.doi.org/10.1080/05908876.2015.1129860.

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This paper discusses research into pattern cutting via mould-making techniques for body-conscious, contoured clothing used in the theatrical costume industry (film, television and theatre). With their considerable experience as costume makers, the authors recognized a gap in knowledge and documentation for this approach to pattern cutting. The intentions were to expand the range of techniques available for theatrical costume professionals, allowing practitioners to draw complex style lines directly onto the body shape and onto inanimate objects. The research explored different approaches through a series of three-dimensional experiments, which included contouring the body with moulds to achieve sculptural or abstract forms and discovering the capabilities, advantages and restrictions of the technique. The enquiry includes a variety of methodologies, which investigated the practical, technical and historical background to contoured pattern cutting. Object-based research considered the design and manufacture of body conscious garments. Action-based research and semi-structured interviews with practitioners considered the skills costume makers use to produce contoured clothing and the ethics connected with drawing styles directly onto the human body. In order to contextualize the practical investigations, a review of the literature revealed the limited extent of contemporary and historical research dedicated to contoured pattern cutting.

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17

Sadoff, Dianne F. "Appeals to Incalculability: Sex, Costume Drama, and The Golden Bowl." Henry James Review 23, no. 1 (2002): 38–52. http://dx.doi.org/10.1353/hjr.2002.0005.

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18

Södergren, Jonatan. "From aura to jargon: the social life of authentication." Arts and the Market 9, no. 2 (December 9, 2019): 115–31. http://dx.doi.org/10.1108/aam-05-2019-0020.

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Purpose Authenticity has emerged as a prevailing purchase criterion that seems to include both real and stylised versions of the truth. The purpose of this paper is to address the negotiation of authenticity by examining the means by which costume designers draw on cues such as historical correctness and imagination to authenticate re-enactments of historical epochs in cinematic artwork. Design/methodology/approach To understand and analyse how different epochs were re-enacted required interviewing costume designers who have brought reimagined epochs into being. The questions were aimed towards acknowledging the socio-cultural circulation of images that practitioners draw from in order to project authenticity. This study was conducted during a seven-week internship at a costume store called Independent Costume in Stockholm as part of a doctoral course in cultural production. Findings Authenticity could be found in citations that neither had nor resembled something with an indexical link to the original referent as long as the audience could make a connection to the historical epoch sought to re-enact. As such, it would seem that imagination and historical correctness interplay in impressions of authenticity. Findings suggest that performances of authentication are influenced by socially instituted discursive practices (i.e. jargons) and collective imagination. Originality/value This paper contributes to the literature on social and performative aspects of authentication as well as its implications for brands in the arts and culture sector.

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19

Kezia Clarissa Langi, Setiawan Sabana, and Hafiz Aziz Ahmad. "Kezia Clarissa Langi STUDI LAPANGAN: TRADISI BAJU PERANG NIAS MASA KINI DI KOTA GUNUNGSITOLI DAN DESA BAWOMATALUO." PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 2 (January 24, 2020): 8–13. http://dx.doi.org/10.33153/semhas.v2i0.95.

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For centuries the title ‘warrior’ is embedded in Nias society. As a warrior, the person, their duty, and its costumecannot be separated. To become the protector of a village, a series of task are needed. Therefore, being awarrior is a prestigious status. Today, Nias and its war costume are on the edge of modernity. The thin linebetween tradition and attraction is created due to globalization and its tourism purpose. To understand theimportance of the tradition of Nias war costume, it is crucial to analyze the history through literature and theimpact of globalization in Nias today. The result of this research could adapt into creating future Nias warcostume that is suitable for the Ono Niha (term for the people of Nias). To fully understand about the conditionof this tradition, field research is needed. This research aims to obtain data from Gunungsitoli city andBawomataluo village regarding the tradition of Nias war costume. The results of this research are the untoldstory of Nias and the needs of the society regarding Nias tradition in the future.

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20

Cox-Rearick, Janet. "Imagining the Renaissance: The Nineteenth-Century Cult of François I as Patron of Art*." Renaissance Quarterly 50, no. 1 (1997): 207–50. http://dx.doi.org/10.2307/3039334.

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A sentimental domestic scene, François I and Marguerite of Navarre, was painted in 1804 by the Salon painter Fleury Richard (fig. 1). As he explained, it illustrates an anecdote from the legend of François I. The king's sister, Marguerite de Navarre, is shown discovering on the windowpane a graffito about the inconstancy of women. François — the great royal womanizer — has just scratched it there and looks very pleased with himself.This painting signals not only the early nineteenth century's fascination with the Renaissance king, but reveals its attitudes about the Renaissance itself. For example, the setting and the costumes betray a confusion about the periodization of Gothic and Renaissance: the room in which the scene takes place is of Gothic revival design, while another room - in neo-classical style - opens beyond; the king's costume is historically correct, but Marguerite could be Maid Marian.

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M.R., Devi Meenakshi. "Women's attire and costumes in the Perungathai." International Research Journal of Tamil 2, no. 3 (June 4, 2020): 106–16. http://dx.doi.org/10.34256/irjt20312.

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Tamil literature is the epitome of the great ideas of our ancient Tamils. Literature is a country's time glass. In which people can connect with them in order to progress. The societal changes in a country's artistic environment are reflected in the local literature. The Epic literature is to highlight the importance of women in their clothing and ornaments. The women’s in the Perungathai are the beautiful women who come before our eyes. The prosperity of a country is determined by the women living in the country. Women’s who lived happily with dresses, ornaments and Savor flowers. Therefore, the dress and costume of the female protagonists in Perungathai are very special and imitated by the present generation.

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22

Gaskell, Ivan. "Costume, Period Rooms, and Donors: Dangerous Liaisons in the Art Museum." Antioch Review 62, no. 4 (2004): 615. http://dx.doi.org/10.2307/4614728.

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Azizah, Rona Cita, Susanna Edelweiss, and Angelika Riyandari. "Representing Multicultural Semarang through Gambang Semarang’s Narrative." Celt: A Journal of Culture, English Language Teaching & Literature 18, no. 2 (December 29, 2018): 248. http://dx.doi.org/10.24167/celt.v18i2.1300.

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Dance is usually perceived as a structured movement done by a person or more and accompanied by music and in some cases songs. The attention on physical movement often neglects the narrative which may exist behind a dance. Dances often have stories which frame the sequence of movements done by the dancers. The stories in a dance have elements of literature such as theme, plot, characters, and setting. This paper which is part of an on-going research on Semarang traditional dance discusses the story told through the movements and costume of Gambang Semarang dance. Gambang Semarang is traditional performing arts from Semarang which originally consists of music, vocal, dance, and comedy. Gambang Semarang dance was a small part of Gambang Semarang performance, but it is often performed separately from the complete performance now. The dance is commonly accompanied by Gambang Semarang music which combines Javanese music instruments, gamelan, and Chinese music instruments. In some occasions, songs such as Gambang Semarang and Gado-Gado Semarang are presented along with the music. Gambang Semarang dance itself is often considered as Semarang’s identity as the dance tries to embrace the multicultural society of Semarang which are Javanese, Chinese, and Arabs through the dance movements and the costume worn by the dancer. Data were collected through interviews with key informants. The results of the interviews then were analyzed to find out the stories represented by Gambang Semarang. The findings show that dance movements and costumes of Gambang Semarang indeed represent multicultural Semarang.

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Fitzgerald, Mary Ann, Henry J. Drewal, and Moyo Okediji. "Transformation through Cloth: An Egungun Costume of the Yoruba." African Arts 28, no. 2 (1995): 54. http://dx.doi.org/10.2307/3337226.

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25

Urbainczyk, T. "Review. The world of Roman costume. JL Sebesta, L Bonfante." Classical Review 47, no. 1 (January 1, 1997): 139–40. http://dx.doi.org/10.1093/cr/47.1.139.

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Kim, Munyoung, Hyunjin Cho, and Jaeyeong Lee. "The costume of ritual dance in Mongolian and Korean Buddhism." Acta Orientalia Academiae Scientiarum Hungaricae 68, no. 3 (September 2015): 309–16. http://dx.doi.org/10.1556/062.2015.68.3.6.

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27

Rosser, John. "Coins and Costume in Late Antiquity.Jutta-Annette Bruhn." Speculum 71, no. 1 (January 1996): 134–35. http://dx.doi.org/10.2307/2865213.

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Na, Youngjoo, and Jisu Kim. "Abuse of Empire style robe to thermal insulation and body discomfort." International Journal of Clothing Science and Technology 27, no. 4 (August 3, 2015): 587–99. http://dx.doi.org/10.1108/ijcst-01-2014-0006.

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Purpose – Empire style fashion, Greek-Roman style robe with bare shoulder and chest and short sleeved with long gloves which created a slim silhouette, was worn even in winter season in Europe, where average temperature is 0-5°C. Most women suffered with catching cold and thousands caught flu and tuberculosis of the lungs, called muslin disease. The purpose of this paper is to find out clothing insulation of the robe by measuring the thermal resistance and to guess how cold they felt in this robe in winter time. Design/methodology/approach – The authors performed the investigation on original robe shape with based on historical evidence and data, such as drawings, sketches, pattern books and sewing books, and reproduced a representative robe costume and tested its thermal insulation. The fabrics of robe were thin wool, silk and cotton following the literature evidence and preserved costume. Thermal insulation of the robes was measured using thermal manikin with the test method ISO 15831. The authors analyzed the thermal insulation of reconstructed robes with an inner cotton breech as for daily use and tested them wrapped with cashmere shawl on manikin shoulder as for severe cold weather. Findings – The dress robes had the range of 0.61-0.67 clo regardless of the type of fabric materials, and 0.80-0.81 clo with the cashmere shawl. These values were not enough for women to keep body temperature or comfort in winter time. Originality/value – This study combined fashion historic theory for costume reproduction with clothing science and technology for thermal insulation. Combination of costume history, construction technology and measurement engineering is the ingenious idea, and the combination of historical and scientific research evidences interdisciplinary originality.

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Mullaney, Samantha, and Laura F. Hodges. "Chaucer and Costume: The Secular Pilgrims in the General Prologue." Modern Language Review 97, no. 1 (January 2002): 168. http://dx.doi.org/10.2307/3735630.

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30

Pistsov, Konstantin M. "Modest Worker of Russian Sinology: Remembering Vadim L’vovich Sichev." Oriental Courier, no. 1-2 (2021): 258. http://dx.doi.org/10.18254/s268684310015783-9.

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The author recalls the outstanding Russian sinologist Vadim L’vovich Sichev (1940–2019): He narrates the scientist’s biography and names his main academic works. Vadim L. Sichev was born in the family of famous soviet artist Lev P. Sichev. After graduation from the Institute of Asian and African Countries at Lomonosov Moscow State University, he worked in the State Museum of Oriental Art for a long time. The main areas of his scientific research were the study of Chinese costume and Chinese classical painting. Vadim L. Sichev has published a large number of books and academic articles. The most famous works of the scholar are “Chinese Costume: Symbolism, History, Interpretation in Literature and Art” (1975, co-written with his farther Lev P. Sichev), “Chinese Classical Paintings in the Collection of State Museum of Oriental Art” (2016), “Modern Chinese Prints in the Collection of State Museum of Oriental Art” (2016). The article contains reflections about the creative method and research principles of Vadim L. Sichev.

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31

Soria-Morales, César. "TRAJES DEL PERÚ, REPOSITORIO DIGITAL PARA VALORAR EL PATRIMONIO CULTURAL INMATERIAL." DISEÑO ARTE Y ARQUITECTURA, no. 10 (June 10, 2021): 23–45. http://dx.doi.org/10.33324/daya.v1i10.377.

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La presente investigación muestra la ausencia de un repositorio ordenado de la indumentaria utilizada en el ámbito de las artes del espectáculo, rituales y actos festivos en el contexto peruano. Como consecuencia, la brecha entre el objeto y el espectador se amplía a pesar de diferentes eventos realizados de manera presencial. El traje típico, como parte del patrimonio cultural inmaterial de las danzas, ritos y festividades de una ciudad, evoluciona y se transforma con el transcurso del tiempo por diferentes factores. Un repositorio digital que capture la esencia del traje y su evolución es necesario para conectar y vincular con el objeto cultural. En este sentido, a partir de las características definidas en el Ux Honeycomb la investigación propone determinar la interacción entre estas características en un repositorio digital de trajes para generar valor a la comunidad. Para lograr los objetivos, se ha realizado una revisión de literatura, un análisis de repositorios digitales y entrevistas a expertos, profesionales y alumnos de carreras creativas. Los factores de valor encontrados en el repositorio digital a partir de la investigación son: preservación, conexión, representación y conocimiento, los cuales son complementarios. A partir de la interacción, producida por la fuerza interna y externa, de dos o más valores mencionados anteriormente se genera la utilidad del repositorio digital. Las relaciones e interacciones entre los elementos aportan funcionalidad y vitalidad al repositorio. Palabras clave: Repositorio de trajes, valor, patrimonio cultural, user experience, diseño web. AbstractThe research herein shows the absence of an orderly repository of the garments worn at the show arts environment, rituals, and festive acts in the Peruvian context. Consequently, the gap between the object and the spectator broadens regardless of several events carried out in a face-to-face manner. The typical costume, as part of the intangible material cultural heritage of the dances, rites, and festivities of a city, evolves and transforms over time due to different factors. A digital repository that captures the essence of the costume and its evolution is necessary to connect and link with the cultural object. In this sense, based on the characteristics defined in the Ux Honeycomb, the research proposes to determine the interaction between these characteristics in a digital costume repository to generate value to the community. In order to achieve the objectives, a review of the literature was made, as well as an analysis of digital repositories and interviews with experts, professionals, and students of creative careers. From the interaction, produced by the internal and external force, of two or more values mentioned above the utility of the digital repository is generated. The relationships and interactions between the elements bring functionality and vitality to the repository. Keywords: Costumes repository, value, cultural heritage, user experience, web design.

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Obremski, Krzysztof. "Najkrótszy kurs tragikomedii PRL: Rejs Marka Piwowskiego." Przestrzenie Teorii, no. 31 (December 6, 2019): 345–56. http://dx.doi.org/10.14746/pt.2019.31.18.

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The tragicomic finale to a costume ball on a ship sailing into night-time darkness was already ‚conceived’ when passengers first stepped onto the gangway. The Cruise is a mix of genres (as was known from the ancient geneological theory of genus mixtum), because situational comedy and sociodrama co-create a genre as broken as tragicomedy, hence „If Rejs is considered a comedy, do not forget that it is a mocking comedy, streaked with despair, as bitter as gall” (Marek Hendrykowski).

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Rosenberg, Douglas. "Self Portraits (As a Jew)." TDR/The Drama Review 55, no. 3 (September 2011): 68–71. http://dx.doi.org/10.1162/dram_a_00096.

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How does one pass as Jewish? What are the signs? How many layers of costume and persona does it take to be perceived as Jewish? The bearded Jew, devil horns, Jewish noses, and other such accouterments and myths are the materiality of this series of self portraits.

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34

Diamond, Catherine. "Cracks in the Arch of Illusion: Contemporary Experiments in Taiwan's Peking Opera." Theatre Research International 20, no. 3 (1995): 237–54. http://dx.doi.org/10.1017/s0307883300008683.

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Textual and performance innovation in twentieth-century Peking Opera is not new and the experiments by practitioners in Taiwan today demonstrate approaches that both reflect past attempts and contemporary variation. There has been resistance to change in the art form, however, because it was supposed to have reached perfection with Mei Lanfang (1894–1961), who, because of his artistic pre-eminence and international status, was able to introduce several daring innovations that revolutionized the medium without upsetting its parameters. Mei not only experimented by acting in contemporary non-traditional plays, but also within the Peking Opera tradition and was responsible for shifting the limelight away from that of the old man role (laosheng) to that of the young woman (dan), his own role. He and his playwright collaborator, Qi Rushan, wrote new style Peking Opera scripts that made best use of Mei's unique performing talents. Instead of the stylized costume evolved from Ming and Qing, dress, Mei would occasionally use historically accurate costumes from earlier dynasties. He introduced the use of classical dances and encouraged the inclusion of the eihu, the second, lower pitched fiddle into the accompanying orchestra.

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35

Kolchevska, Natasha, Alfred Krautz, and Bujor T. Ripeanu. "International Directory of Cinematographers, Set and Costume Designers in Film." Slavic and East European Journal 29, no. 4 (1985): 492. http://dx.doi.org/10.2307/307483.

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36

Geddes, A. G. "Rags and Riches: The Costume of Athenian Men in the Fifth Century." Classical Quarterly 37, no. 2 (December 1987): 307–31. http://dx.doi.org/10.1017/s0009838800030524.

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At the beginning of the fifth century there was a change in the style of clothing worn by Athenian men.1 When Thucydides speaks of it,2 he first describes how the Greeks of ancient times used to carry weapons in everyday life, just as the barbarians of his own day still did. The Athenians were the first to lay weapons aside and to take up a relaxed and more luxurious way of life.

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37

Britland, K. "The Early Stuart Masque: Dance, Costume, and Music. By BARBARA RAVELHOFER." Review of English Studies 57, no. 232 (July 11, 2005): 800–801. http://dx.doi.org/10.1093/res/hgl094.

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38

Dickinson, Swift. "Sam Selvon's "Harlequin Costume": Moses Ascending, Masquerade, and the Bacchanal of Self-Creolization." MELUS 21, no. 3 (1996): 69. http://dx.doi.org/10.2307/467976.

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39

Nevadomsky, Joseph, and Ekhaguosa Aisien. "The Clothing of Political Identity: Costume and Scarification in the Benin Kingdom." African Arts 28, no. 1 (1995): 62. http://dx.doi.org/10.2307/3337251.

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40

Manning, Susan. "Nelisiwe Xaba: Dancing between South Africa and the Global North." TDR/The Drama Review 64, no. 2 (June 2020): 8–15. http://dx.doi.org/10.1162/dram_a_00912.

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Nelisiwe Xaba has spent her career creating and touring works between South Africa and the Global North. Signature elements of her work include small-scale formats (solos, duets, trios), the use of objects that blur the distinction between costume and set, the repurposing of everyday materials, and the deliberate play with the performer’s and spectators’ gaze. In this cluster of articles writers based in South Africa, Germany, and the US explore how her works take on different meanings for different spectators in different cultural contexts.

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41

Godfrey, Sima. "Rien que ton costume, on te met à la porte:The Importance of Being Fashionable in 19th century French Literature." Law & Literature 7, no. 2 (September 1995): 245–56. http://dx.doi.org/10.1080/1535685x.1995.11015774.

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42

Osinkina, Lyubov. "The Representation of Literary Motifs in Visual Arts (in Connection with the Magic Belts of Job and His Daughters)." Scrinium 14, no. 1 (September 20, 2018): 328–33. http://dx.doi.org/10.1163/18177565-00141p22.

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Abstract Medieval literature and visual art provide one area of cross-fertilization. The current paper pays special attention to the analysis of the relations between the iconography of Job and its links with oral and written literary tradition. I examine interrelationship between the apocryphal tradition and iconography as illustrated by reference to the 'magic belts' of Job's daughters. I propose that the ability of Job's daughters to understand the language of angels may be linked with their wearing lor(os) which was part of the Byzantine imperial costume and also the angels' attire. In addition, the ribbons commonly found on the heads of angels may be linked with such glossolalia.

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43

Wilcox, Emily E. "Meaning in Movement: Adaptation and the Xiqu Body in Intercultural Chinese Theatre." TDR/The Drama Review 58, no. 1 (March 2014): 42–63. http://dx.doi.org/10.1162/dram_a_00327.

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Zhuli xiaojie (adapted from Strindberg's Miss Julie) and Xin bi tian gao (from Ibsen's Hedda Gabler) are two works in a recent series of intercultural xiqu productions by playwrights William Huizhu Sun and Faye Chunfang Fei. In these works, the xiqu body serves as a medium for theatrical expression, where music, costume, movement, and props come together in a super-expressive acting technique that foregrounds qing (情), or sentiment. In these adaptations, the xiqu body compensates for what is necessarily cut from the text in the transformation from spoken drama to xiqu performance.

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44

Godfrey, Sima. "Rien que ton costume, on te met à la porte: "The Importance of Being Fashionable in 19th Century French Literature"." Cardozo Studies in Law and Literature 7, no. 2 (October 1995): 245–56. http://dx.doi.org/10.2307/743523.

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45

Godfrey, Sima. "Rien que ton costume, on te met a la porte: "The Importance of Being Fashionable in 19th Century French Literature"." Cardozo Studies in Law and Literature 7, no. 2 (October 1995): 245–56. http://dx.doi.org/10.1525/lal.1995.7.2.02a00080.

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46

Piponnier, Françoise. "Chaucer and Costume: The Secular Pilgrims in the General Prologue. Laura F. Hodges." Speculum 77, no. 4 (October 2002): 1316–18. http://dx.doi.org/10.2307/3301264.

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47

Parani, Maria G. "Cultural Identity and Dress: The Case of Late Byzantine Ceremonial Costume (With eight plates)." Jahrbuch der Österreichischen Byzantinistik 57 (2007): 95–134. http://dx.doi.org/10.1553/joeb57s95.

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48

Morgan, Gerald, and Laura F. Hodges. "Chaucer and Clothing: Clerical and Academic Costume in the General Prologue to the 'Canterbury Tales'." Modern Language Review 102, no. 3 (July 1, 2007): 834. http://dx.doi.org/10.2307/20467459.

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49

Wilson, Bronwen. "“il bel sesso, e l'austero Senato“: The Coronation of Dogaressa Morosina Morosini Grimani." Renaissance Quarterly 52, no. 1 (1999): 73–139. http://dx.doi.org/10.2307/2902017.

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The Venetian printmaker Giacomo Franco produced several engravings for the 1597 coronation of Morosina Morosini, the wife of doge Marin Grimani (1595-1605). Focusing on three of these prints in which a bird's-eye view of the city is framed with illustrations of the festivities, this essay explores relations between space, gender, allegory and costume as they were manifested in this rare female procession. An examination of the pictorial conventions used by Franco and other artists to depict the event suggests that Morosina's coronation functioned both to resist existing codes of gender but also to reassert female patrician status.

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50

Wild, John-Peter. "Georges Losfeld: Essai sur le costume grec. Pp. 415; 8 figs. Paris: Éditions de Boccard, 1991. Paper." Classical Review 42, no. 2 (October 1992): 462–63. http://dx.doi.org/10.1017/s0009840x00285028.

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