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By Cristina Giorcelli, Paula Rabinowitz, Manuela Fraire, Micol Fontana

ISBN-10: 0816675791

ISBN-13: 9780816675791

The first within the four-part sequence Habits of Being, charting the social, cultural, and political expression of garments as visible in the street and in museums, in motion pictures and literature, and in ads and magazines, this quantity includes a close-up specialise in accessories—the shoe, the hat, the necklace—intimately attached to the body.
 
These essays, so much of that have seemed within the state of the art Italian sequence Abito e Identità, provide new theoretical and historic takes at the function of garments, costume, and add-ons within the building of the trendy topic. With contributions by means of major students in paintings historical past, semiotics, literary and picture experiences, heritage and model experiences, and with extra writings by means of psychoanalysts, fabric artists, and model designers from Europe and the United States, readers will come across a dizzying array of rules concerning the glossy physique and the ways that we costume it.
 
From views at the “model physique” to Sonia Delaunay’s designs, from Fascist-era Spanish women’s prescribed methods of dressing to Futurist vests, from Barbara Stanwyck’s anklet to Salvatore Ferragamo’s sandals, from a poet’s tiara to a worker’s cap, from the scarlet letter to the yellow famous person: Accessorizing the Body imparts startling insights into how a lot the main modest accent may possibly reveal.
 
Contributors: Zsófia Bán, Eotvos Lorand U, Budapest; Martha Banta, U of California, l. a.; Vittoria C. Caratozzolo, U of Rome “La Sapienza”; Paola Colaiacomo, U of Rome “La Sapienza”; Maria Damon, U of Minnesota; Giuliana Di Febo, U of Rome 3; Micol Fontana; Manuela Fraire; Becky Peterson, U of latest Mexico; Jeffrey C. Stewart, U of California, Santa Barbara; Vito Zagarrio, U of Rome 3; Franca Zoccoli.

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Fragmented into visual planes, Delaunay’s clad bodies appear broken up in space but in perfect tune with their environments: indeed, in the 1920s her dresses enacted the experience of fast-paced, industrialized, metropolitan life in a staccato rhythm. Like her husband who had invented the Simultaneity Movement and like her sistermodernist artist Virginia Woolf, who in Mrs. 3 4 As she wrote, “Our era is above all mechanical, dynamic, and visual. .

Who am I? ” are questions that our “I” incessantly tries to answer. It does so by means of two diƒerent psychical movements: identification and disidentification. If identification, the primary way we appropriate the Other’s image, corresponds to the desire to “be like,” to resemble, disidentification corresponds to the equally basic experience of the dismantlement of the self: the deconstruction of the identification processes through which the self was constituted, the diƒerentiation from/of the earliest models of identification represented by the parental imagos.

Who am I? ” are questions that our “I” incessantly tries to answer. It does so by means of two diƒerent psychical movements: identification and disidentification. If identification, the primary way we appropriate the Other’s image, corresponds to the desire to “be like,” to resemble, disidentification corresponds to the equally basic experience of the dismantlement of the self: the deconstruction of the identification processes through which the self was constituted, the diƒerentiation from/of the earliest models of identification represented by the parental imagos.

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Accessorizing the Body: Habits of Being I by Cristina Giorcelli, Paula Rabinowitz, Manuela Fraire, Micol Fontana


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