African Dress, Fashion, Agency, Performance by Karen Tranberg Hansen | | Booktopia
Masafumi Monden. Fadwa El Guindi. Joanne Entwistle. Leigh Summers. Irene Guenther. Karen Tranberg Hansen. David Muggleton.
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- African Dress: Fashion, Agency, Performance by Karen Tranberg Hansen.
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Fashion, Agency, Performance
Jennifer Craik. Adam Geczy. Eric Silverman. Home Contact us Help Free delivery worldwide. Free delivery worldwide. Bestselling Series. Harry Potter. Popular Features. New Releases. Description Dress and fashion practices in Africa and the diaspora are dynamic and diverse, whether on the street or on the fashion runway. Focusing on the dressed body as a performance site, African Dress explores how ideas and practices of dress contest or legitimize existing power structures through expressions of individual identity and the cultural and political order.
Drawing on innovative, interdisciplinary research by established and up and coming scholars, the book examines real life projects and social transformations that are deeply political, revolving around individual and public goals of dignity, respect, status, and morality. With its remarkable scope, this book will attract students and scholars of fashion and dress, material culture and consumption, performance studies, and art history in relation to Africa and on a global scale.
Product details Format Paperback pages Dimensions x x Other books in this series. Fashion and Museums Marie Riegels Melchior. Add to basket. The Culture of Sewing Barbara Burman. Goth Paul Hodkinson. The Japanese Revolution in Paris Fashion: v. Mann Clothing or jewellery, then, in being destined to become a residue of the living person, can also figure as memento mori.
What seems, in virtue of our mortality, to be foregrounded about clothing is its separable and even alien quality. We are struck by the anomaly of our condition as biological creatures who live our lives so unnaturally bedecked. But if it is the uncannily artificial quality of clothing and adornment that posthumously asserts itself and causes a tremor of angst, this is no more than the antithesis we would expect to the intimacy of the connection in life between the human body and its garb. Indeed, so close is this intimacy that we may well wonder quite where to draw the line between nature and artifice.
It is this question which is wittily raised by several of Magrittes paintings, or by Elsa Schiaparellis and Meret Oppenheimss glove-hands or Pierre Cardins shoe-feet: what exactly counts as clothing where does the body end and the accoutrement or decoration begin? Is there, indeed, a way in which garments, as we say, become the wearer? Mens shoes with toes Brown leather 11 Gift of Richard Martin.
Table of Contents for: African dress : fashion, agency, perform
Photo: Irving Solero. Proust captures something of this quandary in a satirical passage in Recherche du Temps Perdu where the item of adornment in this case the monocle is presented as metonymic of the wearer. The Marquis de Forestells monocle was minute and rimless, and, by enforcing an incessant and painful contraction of the eye over which it was incrusted like a superfluous cartilage, the presence of which there was inexplicable and its substance unimaginable, it gave to his face a melancholy refinement, and led women to suppose him capable of suffering terribly when in love.
But that of M. Proust Black suede, red snakeskin cording. Philadelphia Museum of Art. Gift of Elsa Schiaparelli. Photo: Lynn Rosenthal In this rather astonishing confounding of the biological eye and its glassy accountrement, it is as if we have an analogue for the superficial and vacuous being of the monocle wearers themselves a being which has no deeper level of existence than the artificial tropes and conventions through which it makes its social appearance.
Indeed, even as the passage charts the idiosyncratic modes wherein the monocle wearers have become their monocle or their monocle has become a part of them. It thus points to the equivocations of fashion itself to turn now briefly to this, in conclusion. Dressing in fashion is in this respect quite distinct from using ones clothing as a form of individual expression.
One can be very concerned, for what might be called Kantian reasons, with what one wears without caring a fig-leaf about what is in fashion or whether ones clothing conforms to that. Fashion certainly offers the individual some novelty, the escape from repetition and the cyclical mode of being.
But it does so only in a rather ironical and self-subverting mode.http://immortalproduce.com/includes/434/3855.php
Oscar Wilde famously described high fashion as a form of ugliness so unbearable that we are compelled to alter it every six In Elizabeth Wilsons more nuanced account: a new fashion starts from rejection of the old and often an eager embracing of what was previously considered ugly; it therefore subtly undercuts its own assertion that the latest thing is somehow the final solution to the problem of how to look. Wilson 9. The paradox of fashion, moreover, is that it presents itself as a means of self-realization, but only on condition you submit to the dictate of a collectivity you have neither willed nor authored.
In this respect its ontology is what Sartre in his Critique of Dialectical Reason terms serial: a series as opposed to a group being comprised of a plurality of isolations and lacking any concerted project of social transformation Sartre A serial formation is one brought into being through the passive agreement of separate individuals to live their interiority as exteriority; and its existence is inherently centrifugal and dispersing, or, as Sartre puts it, in flight. Individuals are thus linked in following a fashion but only impersonally and always dispensably as individuals.
It is collectivity without solidarity. To the existence of a fashion, whatever kind it be, it matters not who follows it, provided only that sufficient number do so. In the context of capitalism, high-street fashion may offer the individual a kind of way of belonging, but only in the pseudo-mode of the serial collective in the mode of the market.
Goat suede with silk-screen, hand-stitched, one of an edition of 50, h. DACS Moreover, as profits have come to derive increasingly from quick turnover and style innovation rather than from sheer volume production, this market dynamic has become ever more insistent in our lives. It provides. It promises a certain distinction while sparing the person from the social stigma of really exceptional or nonconformist behaviour.
Marx, as is known, viewed the establishment of the capitalist mode of production and its generalized system of exchange-relations as having a double-edged impact on individual needs and forms of self-realization Marx ; Soper On the one hand, in severing the personal ties and localised dependencies of the feudal order, it destroyed the erstwhile bases of self-making and reproduction, thus denying individuals a mode of self-extension or objective dimension of being in their relationship to the land, or in their particular tasks and fixed role in their community; and in being deprived of these inorganic conditions of self-extension, individuals are rendered, as Marx puts it, objectless or naked in their subjectivity.
On the other hand, Marx also presents this very deprivation or loss of the objective presuppositions of self-reproduction as the essential precondition of a much richer all-round development of the self, because it frees the individual from in his words all traditional, confined, complacent, encrusted satisfactions of present needs, and reproductions of old ways of life Marx Although, as he also emphasized, this was a potentiality for selfrealization that could never be realized so long as it was confined within the contradictory structure of capitalist relations of ownership, exchange and distribution.
Looked at from the perspective of this double but unresolved dynamic of capitalist commodification, we might see the seriality of fashion as both compensating, if only in a very partial and ultimately unsatisfactory way, for the loss of more traditional forms of self-extension and collective belonging; but also, and conversely, as offering a mode of consumption which gratifies, if again only very partially, the urge to escape from any fixed and presupposed existence and sense of self. Some of the seduction of high-street fashion, one might say, lies precisely in its combination of social seriality and personal alienation: in the fact that one can join in a kind of collective project, but entirely anonymously and without any commitment to its continuity.
Fashion attracts, paradoxically, even perversely, because it seems to solve the problem of how to belong without having to belong without any real personal investment or self-exposure.
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But if it would be a mistake to deny or overlook the seduction of this form of alterity, it would also be a mistake to deny the displaced, compensatory and superficial aspects of market-driven fashion consumption; and also very wrong to condone a form of affluent gratification so dependent on deprivation and exploitation of the poorer areas of the globe. There will always be a human need for clothing both as a protection against the elements and as self-display.
But fashion-following, although interesting in what it reveals about the resistance to fixed conceptions of selfhood, and the complexity of modern forms of narcissism and amour propre, would seem to offer to naked subjectivity only a very inadequate and threadbare mode of self-extension.