Academic literature on the topic 'Female costumes'
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Journal articles on the topic "Female costumes"
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Sullivan, Jacqueline, Erin Hipple, and Lauri Hyers. "Female Disempowerment Disguised as a Halloween Costume." Open Family Studies Journal 9, no. 1 (2017): 60–75. http://dx.doi.org/10.2174/1874922401709010060.
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Objective:We explore the relationship between gender stereotypes and North American Halloween costumes.Method (Study 1):Extending Nelson's analysis of gender-markers in mass-produced children’s Halloween costumes, Study 1 explored gender-typing in children’s costumes (n = 428), also adding a sample of adult’s costumes (n = 428) from major retailers, coding for character archetypes (heroes, villains, and fools), active-masculinity/passive-femininity, and for degree of disguise.Results (Study 1):Compared to boys’/men’s costumes, girls’/women’s costumes represented more ornamental feminine-passivity.Method (Study 2):Ornamental feminine-passivity was explored in an additional sample of baby girls’ (n = 161), child girls’ (n = 189), teen girls’ (n = 167), and women’s (n = 301) costumes, coded for character archetypes and markers of infantilization and sexualization.Results (Study 2):In addition to age differences in character archetypes, women’s costumes were most likely to be sexualized (especially heroes), girls’ and teenage young women’s costumes were most likely to combine both infantilization and sexualization, and baby girls’ costumes were least likely to incorporate either gender-markers.Conclusion:Costumes reinforce gender stereotypes differentiating boys/men and girls/women and the ways in which girls/women are stereotyped varies across the lifespan. Patterns are discussed with regard to how gender stereotypes embedded in holiday traditions reinforce messages of disempowerment for women and girls.
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Roy, Suddhabrata Deb. "The Indian Superheroine costume: Analysing Indian comics’ first superheroine." Film, Fashion & Consumption 10, no. 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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Kjellmer, Viveka. "Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915‐18)." Studies in Costume & Performance 4, no. 2 (2019): 179–91. http://dx.doi.org/10.1386/scp_00003_1.
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In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915‐18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.
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McCafferty, Sharisse D., and Geoffrey G. McCafferty. "The Conquered Women of Cacaxtla." Ancient Mesoamerica 5, no. 2 (1994): 159–72. http://dx.doi.org/10.1017/s0956536100001127.
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AbstractThe vividly painted “Battle Mural” of Cacaxtla (Tlaxcala, Mexico) depicts the gory results of a battle between racially distinct factions, characterized by their opposing jaguar and bird insignia. The two central Bird figures that remain standing are shown as captives, and in both cases they are attired in elaborate costumes that include diagnostic items of female clothing, including thequechquemitlcape and long skirt. Other figures are nude or are shown in simple male costumes, including themaxtlatlloincloth. This paper considers arguments of whether the two central figures were biological females, or rather, that the presence of female apparel on male actors was used within a context of conquest, symbolically transmitted through a gender ideology of male dominance and female subordination. While the evidence is inconclusive, we employ a contextual analysis of pre-Columbian pictorial manuscripts and Mexican cosmology to argue that these individuals were female. Furthermore, we suggest that the elaborate costume elements associated with these female figures, and their recurrence with the Jaguar Lord 3 Deer Antler “Tlaloc mask,” indicates that this was a noblewoman destined for marriage as a means of binding the Jaguar and Bird dynasties. Thus the Battle Mural depicts the capture of the “founding queen,” with the subsequent union demonstrated by the complementary depictions of Jaguar and Bird lords on Building A.
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Kim,Soo-Kyong. "Characteristics of the Female Idol Groups' Costumes." Journal of Korea Design Forum ll, no. 33 (2011): 329–42. http://dx.doi.org/10.21326/ksdt.2011..33.030.
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Ying, Zheng. "Big heroine dramas in contemporary China: Costume, authenticity and an alternative history of women of power." Studies in Costume & Performance 5, no. 2 (2020): 211–38. http://dx.doi.org/10.1386/scp_00026_1.
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Big heroine dramas (da nü zhu jü) – a specific category of Chinese costume dramas – have been popular recently, due to the big market of female audiences/consumers in China, and brought up fierce debates on feminism. The shows, written by female authors, are about the stories of powerful women in imperial China. A critical hypothesis here is that the shows combine the figuration of ancient, powerful women and a persona of neo-liberalist feminism. Why do audiences accept the anachronism of big heroine dramas, and how does historical authenticity become coherent with a modern narrative? With costume as an analytical corpus, this article involves the approaches of feminist theory, historical theory and costume studies. The costumes of big heroine dramas are a hybridity of authentic antique and imaginary design. They contribute to building up historical authenticity and the neo-liberalist ideas of power and hierarchy. Costumes thus become the field where the authenticity of the past folds with the reality of the present. Meanwhile, big heroine dramas rewrite an alternative history of powerful women for women audiences. The assemblage of historiography and modern feminist fiction offers rebellious narratives that disturb the state-advocated notion of heterosexual romantic relationships, marriage and family.
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Tiuteleva, Sofia. "Iconography of the Turkish female headwear in theatricalized images of the late XVI – XVII centuries." Культура и искусство, no. 5 (May 2020): 130–39. http://dx.doi.org/10.7256/2454-0625.2020.5.32824.
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This article presents the results of research of visual sources related to oriental, and namely Turkish headwear, as well as varieties of its reception by the European painters of the late XVI – XVII centuries. The subject of this research is the perception of visual and scenic European traditions of certain forms of female headware of that time. The author examines different visual sources that describe the European representations on the Turkish female headwear, as well as scenic and allegorical costumes of the period in question. Such multi-symbolic item as theatrical costume requires application of semiotic method of research. The article also used the traditional for art history methods, historical and formal analysis. The study of similar instances allows seeing the overall picture of sources of creation of forms of the contemporary scenic European costumes. The conclusion is made on the positive and diverse application of the shapes of Turkish headwear in theatricalized and allegorical images of the late XVI – XVII centuries, their gradual transformation and shifting away from perceptions of these shapes as purely ethnic.
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Sazykina, Irina A., and Irina L. Sirotina. "Updating traditional ethnic symbols in the design of a modern Finno‑Ugric costume." Finno-Ugric World 13, no. 2 (2021): 180–92. http://dx.doi.org/10.15507/2076-2577.013.2021.02.180-192.
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Introduction. In modern design, there is a relevant topic of creating original stage costumes using ancient sacred Finno-Ugric symbols. Materials and Methods. The choice of goals and objectives, which is based on the principle of consistency, determined the methodology of the work that is based on the synthesis of cultural and art history analysis. Results and Discussion. In line with the interdisciplinary research, the article considers the use of artistic techniques that allow us to preserve the code of recognition of the passing epochs in the current design: in the forms of symbols and signs of the Finno-Ugric peoples, color solutions, textures of fabrics and materials, decor, and the location of sacralization. It gives the author’s classification of modern collections of ethno-costume: conditionally authentic; folklore; pop; competitive. It considers the female complex of the northern Komi-Permians as a source for the creation of conditionally authentic costumes for the folk ensemble “Samorodky” (“Nuggets”). All theoretical findings are illustrated by their practical use in the creation of author’s collections. The main emphasis is made on the Udmurt costumes. Conclusion. The design of a modern Udmurt costume will be most effective and will reach a high-quality level. For this purpose, it is important to reveal sacred, semiotic and aesthetic content of the traditional costume and be scientifically understood and adequately adapted to today’s style and functional requirements both in design and in the semantic characteristics of decorative elements and accessories.
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Nelson, Adie. "Halloween Costumes and Gender Markers." Psychology of Women Quarterly 24, no. 2 (2000): 137–44. http://dx.doi.org/10.1111/j.1471-6402.2000.tb00194.x.
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A content analysis of 469 children's Halloween costumes explored the extent to which children's fantasy dress reproduces and reiterates more conventional messages about gender. Based on the presence of gender markers, masculine, feminine, and gender-neutral costumes were identified and reanalyzed using a modified version of Klapp's (1962) categorization of heroes, villains, and fools. Both male and female costumes contained a high proportion of hero costumes. However, feminine costumes were clustered in a narrow range depicting beauty queens, princesses, and other exemplars of traditional femininity and contained a higher proportion of costumes of animals and foodstuffs. Masculine costumes emphasized the warrior theme of masculinity and were more likely to feature villains, especially agents or symbols of death. Gender-neutral costumes accounted for less than 10% of costumes examined.
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Azizah, Farah Nur, and Yudha Wirawanda. "Makna Female Masculinity dalam Kostum Wayang Srikandi Red Batik Solo." Jurnal Komunikasi 11, no. 1 (2019): 52. http://dx.doi.org/10.24912/jk.v11i1.2499.
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This research is a study about the meaning of female masculinity in fashion. The object of analysis is the Javanese figure, Dewi Srikandi in the Red Batik Solo Costume Carnival. This Javanese figure, Dewi Srikandi is interesting to study because she has strong myths about masculinity. Beside that, the researcher also interested in how this female warrior figure looks masculine which is observed from the costumes and accessories worn. The purpose of this study is to find out how does Dewi Srikandi gives the meaning by the costume into the visual of the Red Batik Solo carnival. The analysis uses semiotics Roland Barthes with a qualitative approach and the theory of Female Masculinity Halberstam. The analysis shows that Srikandi is a female character or role that has masculine characteristics that can be observed from analysis of the color, meaning of denotation and connotation and also meaning of myth, such as red, black, white, brown and dark colors. Masculine also can be shown from Srikandi costumes which are related with syntagmatic and paradigmatic, such as red can be replaced with dark colors (black or brown). In addition, costume accessories such as ricikan (crown, sumping, necklace, bracelet, belt or belt, arrow, and shoes) also give masculine meaning which are indicated by the characteristics of masculine generally, for example strength, courage, aggressiveness, leadership, assertiveness, domination, and violence. Penelitian ini menganalisis mengenai makna Female Masculinity. Objek penelitian ini pada kostum wayang Srikandi yang dibuat oleh Red Batik Solo. Tokoh wayang Jawa Dewi Srikandi ini menarik untuk diteliti karena mempunyai mitos yang kuat tentang karakter wanita yang memiliki sisi maskulin. Tujuan dari penelitian ini adalah untuk mengetahui bagaimana makna yang disampaikan Dewi Srikandi kedalam bentuk visual fashion kostum karnaval Red Batik Solo. Analisis yang digunakan adalah analisis semiotika oleh Roland Barthes dengan pendekatan kualitatif dan teori Female Masculinity Halberstam. Selain itu, peneliti juga tertarik tentang bagaimana tokoh prajurit wanita ini terlihat maskulin yang diamati dari kostum dan aksesoris yang dikenakan. Hasil analisis menunjukkan bahwa Srikandi adalah tokoh puteri yang memiliki sifat maskulin yang dapat diamati dari analisis warna, makna denotasi dan konotasi serta makna mitos, seperti warna merah, hitam, putih, coklat dan warna gelap. Sifat maskulin juga dapat ditunjukkan dari kostum Srikandi yang dihubungkan dengan sintagmatik dan paradigmatik, seperti warna merah dapat diganti dengan warna gelap (hitam atau coklat). Selain itu, aksesoris kostum seperti ricikan (mahkota, sumping, kalung, gelang, ikat pinggang atau sabuk, panah, dan sepatu) juga memberi makna maskulin yang ditunjukkan dari karakteristik yang umumnya dianggap maskulin, misalnya menunjukkan kekuatan, keberanian, agresivitas, kepemimpinan, ketegasan, dominasi, dan kekerasan.
Dissertations / Theses on the topic "Female costumes"
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Neckman, Karolina, and Elgé Petrulyté. "Historical fashion and modern action : Historical accuracy in female costumes in games." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-18967.
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This thesis will investigate how developers can create recognizable and historically realistic female game characters while balancing historically accurate aspects and creative aesthetics.This paper is meant to give a better understanding of the importance of accurate historical female costumes in games, and investigate whether or not these are preferable to a gaming audience. The results will be reached by analysing the results collected from two online surveys where six 3D models’ turnarounds from two different eras with different levels of historical accuracy will be represented.
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Lundström, Catarina. "Fruars makt och omakt : Kön, klass och kulturarv 1900-1940." Doctoral thesis, Umeå University, Historical Studies, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-563.
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<p>This thesis deals with the space for action available to women of the regional elite. The interaction of such categories as gender and class are discussed. The overall purpose is to describe and analyze the role of the county governor’s wife during the period 1900- 1940. The study takes its point of departure in the lives of Ellen Widén and Hanna Rydh, both wives of county governors, and especially treats the area of cultural heritage as the potential public arena for women. Special attention is focused on the cultural heritage as a possible public sphere of activity for women at that time. Cultural heritage has been defined as the cultural and material expressions that were regarded as possessing symbolic value and that have therefore been the focus for various kinds of preservation. Cultural heritage is associated here with a growing field for professional interest and work.</p><p>Women in general were given specific tasks within the nation. One of these was to safeguard aesthetic and cultural characteristics within the nation, the province and the home region. By working within the sphere of cultural heritage, with arts and crafts and with the preservation of the home region, women were regarded as links between the older and younger generations. The specific characteristics of the home region could be expressed through various textiles. The work of creating specific parish costumes can be seen as one of many examples of a female cultural heritage.</p><p>The study has shown that the wives of county governors could have a direct and immediate influence on activities in the area of cultural heritage. This research has established that these women formed a more independent power factor than earlier research has maintained. The county governor’s wife did not automatically gain a position of power. She had potential power, an opportunity derived from both class and gender. To transform this potential into power and influence demanded success and skill in the field.</p><p>When Hanna Rydh, the wife of a county governor, declared herself a candidate for the position of county governor in 1938, it was too much of a challenge to the prevailing gender order. Through a form of ”tyranny of difference” women were prevented from establishing themselves within public spheres that were more masculine by tradition. This could be true of specific fields or of the formal power exercised by the parliament, the government and public offices. If the female elite challenged the men of their own class, their opportunities were circumscribed. I have chosen therefore to speak of both power and “non-power.” Within certain contexts there were good opportunities for the regional female elite to obtain their own space for action. Yet, in other situations the limitations were greater than the opportunities; “non-power” also existed. </p>
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Johnson, Lauren Marie. "Fashioning the Goddesses: Idealizing and Celebrating the Female Form." Miami University Honors Theses / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1178301027.
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van, Dam Bianca. "Disney's Fashionable Girls : Signs and symbols in the costume dress of Disney's female characters." Thesis, Stockholms universitet, Centrum för modevetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105532.
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Disney’s princesses and heroines have long captured the minds and hearts of young girls with their magical dress. This thesis researches the fashion symbols in a chosen set of animated movies and relate this to children’s reception, sexuality and gender issues and narrative identities. A semiotic analysis of the movies and relating them to read literature will shine a new light on this subject.
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Stamoolis, Leslie Anne Wise. "The Body Underneath: A Method of Costume Design." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1177096688.
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Shin, Layoung. "Teenage female iban in South Korea gender and sexual identity formed by performance of fan-costume-play /." Diss., Online access via UMI:, 2009.
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Alabed, Alnaef Soobhi. "Étude ethnographique du costume féminin dans la vallée de l'Euphrate : utilisation pour un dépassement créatif." Paris 1, 1998. http://www.theses.fr/1998PA010576.
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La présente recherche a pour but de montrer comment nous sommes passé d'un art folklorique mineur a cet art majeur qu'est la peinture. Nous sommes parti de la réalité visuel d'un espace déterminé : la vallée de l’Euphrate par l'étude du costume féminin, sans trahir l'héritage traditionnel, au travers d'une enquête ethnographique et plastique, nous avons mené notre recherche personnelle à la fois sur le plan de l'analyse et sur le plan de la création plastique, en pratiquant la technique de l'aquarelle. Nous avons élaboré, à partir des tissus et modèles féminin, une création personnelle figurative, point de départ de notre évolution vers une création non figurative, pour atteindre une synthèse plastique fortement expressive qui s'inscrive dans la modernité. Dans notre étude nous avons cherché à expliciter comment nous, avons, abouti à cette œuvre moderne et qu'elles ont été les opérations psychologiques et mentales qui ont aidé à la réaliser.
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Guimbard, Catherine. "Reggimento e costumi di donna de francesco da barberino : recherches." Paris 4, 1986. http://www.theses.fr/1986PA040099.
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Cette these de doctorat d'etat intitulee "recherches sur le reggimento e costumi di donna de francesco da barberino", fait figure de plaidoyer en faveur de la coherence non plus entre l'ecriture et l'action d'un personnage (ce fut le premier temps de notre recherche presentee sous forme de doctorat de 3eme cycle), mais entre l'oeuvre et son temps. Coherence que nous nous sommes efforcee de demontrer au niveau le plus apparent de la concordance entre le traite et le cadre qui l'a vu naitre, puis au niveau plus souterrain de la similitude des demarches politique, juridique et philosophique dont fait preuve la construction du traite. L'interpretation que nous donnons de la dynamique de l'oeuvre, resultant d'une double discontinuite de fond et de forme, est celle d'un temoignage d'hesitation. Le reggimento e costumi di donna se veut a la fois l'echo de la prise de conscience qui a produit le thomisme, en tant que revalorisation de l'humain, et de la degenerescence consecutive, en termes d'individualisme, de l'homocentrisme primitivement triomphant. Ce traite a l'usage des femmes, est a lui seul, tel est le sens de notre demonstration, le resume d'un moyen age pre-humaniste qui voit parallelement la substitution d'une conception ascendante, laique, du pouvoir ("particularia regimina") a une conception descendante, divine ("monarchia") respectivement theorisees par l'ecole des commentateurs et des glossateurs, et le glissement de la systematisation thomiste, securisante, a l'atomisation defiante de l'ockhamisme. Le reggimento e costumi di donna rend l'echo du changement de cap specifique de la fin du xiiie siecle: d'universaliste, la pensee medievale devient particulariste<br>This doctorate thesis, entitled "research on reggimento e costumi di donna by francesco da barberino", presents the case for finding consistency, not so much between the written work and the activity of a character (as in the first phase of our research presented as a ph. D. ), as between the work and its period. We have endeavoured to show this consistency in its most obvious form, ie the close parallel between the treatise and the circumstances in which it originated and, further, at the more subjacent level of the similarity between the political, legal and philosophical procedures conveyed by the construction of the work. Our interpretation of the forces behind the treatise, which emerge from the twofold discontinuity of content and form, is one of hesitancy. "reggimento e costumi di donna" sets out to be at one and the same time a reflexion of the awareness which produced thomism, as a revalorisation of the human element, and the degeneracy, in terms of individualism, resulting from the initial triumph of homocentrism. This treatise, intended for women, is in itself - according to our demonstration - the epitome of a pre-humanist mediaeval period during which we find at the same time the substitution of an ascending, secular conception of authority ("particularia regimina") for an descending, divine conception ("monarchia") - these theories being represented respectively by the school of commentators and glossators - and a shift from the reassuring systematisation of thomism to the distrusful atomisation of ockhamism. "reggimento e costumi di donna" reflects the specific change of course at the end of the xiiith century, when mediaeval thought, abandoning universalism, turns to particularism
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Anthore-Baptiste, Soline. "La Esselentissima Casa Donada deve dare..." Les pratiques vestimentaires féminines à Venise au XVIIIe siècle, au travers des textes, de l'iconographie et des collections conservées : l'exemple des Donà di Riva di Biaisio." Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAH023.
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Le costume est un vecteur d’identité, et les choix que firent les Vénitiennes ont sûrement été dictés par la représentation qu’elles cherchaient à donner d’elles-mêmes. Mais le costume oriente également l’image que l’étranger pouvait se faire des habitants de Venise. Il apparaît comme un moyen d’expression, au travers duquel une société montre ce qui la représente, voire ce qu’elle aimerait être, ses goûts, son rapport au pouvoir, etc. La présente recherche vise à décrire le contexte dans lequel des vêtements ont été créés, choisis et portés, et l’identité culturelle et sociale qu’ils ont pu véhiculer. Ce travail interroge l’image de la Cité-Etat qu’est Venise au XVIIIe s. à travers l’habillement et les accessoires vestimentaires choisis et portés par les Vénitiennes, afin de déterminer s’ils correspondent à l’expression ou à l’affirmation d’une identité forte, dans le contexte politique, social et économique de la Sérénissime. Nous étudions pour cela à la fois les métiers de la mode et les usages des consommatrices autour de la mode afin de comprendre comment les vêtements peuvent matérialiser l’expression de besoins sociaux et culturels, mais également représenter une réponse "économique" face à ces besoins. Nous choisissons de centrer notre travail sur le costume féminin d’une part en raison de la diversité des sources, de leur richesse, et d’autre part en raison du rôle moteur joué par les femmes dans le domaine de la mode. Nous nous attachons à confronter une ample palette de sources disponibles, c'est-à-dire les sources d’archives, les sources imprimées, l'iconographie et les pièces de collection conservées dans les musées. En choisissant d’étudier plus particulièrement la famille Donà di Riva di Biaisio au travers de leurs dépenses vestimentaires, et en nous appuyant sur une double échelle de valeurs, avec d’une part la culture matérielle (conditions de production, de circulation des objets, etc.), et d’autre part l’imaginaire et la culture intellectuelle (évolution des mentalités, image de soi, etc.), nous avons cherché à évaluer la manière dont, dans la Venise du XVIIIe s., le vêtement a pu être un véritable lieu de stratégies féminines, apte à nous renseigner sur la vie sociale des femmes de cette période et son évolution<br>The costume is a vector of identity, and the representation that they sought to give of themselves surely dictated the choices that Venetian made. But the costume also directs the image the foreigner could have of the inhabitants of Venice. It appears as a means of expression, through which a society shows what represents it, what the society would like to be, its tastes, its relationship to power, etc. The present research aims to describe the context in which clothes were created, chosen and worn, and the cultural and social identity they conveyed. This work questions the image of the city-state as was Venice in the 18th century, through the clothing and accessories chosen and worn by the Venetian women, to determine whether they correspond to the expression or affirmation of a strong identity, in the political, social and economic context of the Serenissima. To do this, we study both the fashion professions and fashion consumer habits in order to understand how clothes can express the expression of social and cultural needs, but also represent an "economic" response to these needs. We choose to focus our work on the female costume firstly because of the diversity of sources, and secondly because of the leading role played by women in the field of fashion. Focusing on the Donà di Riva di Biasio family, we worked confronting a wide range of available sources, that is, archival sources, printed sources, iconography and collectors' items held in museums. By relying on a double scale of values, on the one hand material culture (conditions of production, circulation of objects, etc.), and on the other hand the imaginary and the intellectual culture (evolution of mentalities, image of ourselves, etc.), we sought to evaluate the way in which, in Venice of the eighteenth century, the garment could be a real place of feminine strategies, able to inform us about the social life of the women of this period and his evolution
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Ximenes, Maria Alice. "A saia motriz : um percurso nos misterios da vestimenta e da representatividade espanhola." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284669.
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Previous issue date: 2009<br>Resumo: A presente pesquisa tem como objetivo fazer uma homenagem à forma. A forma que forma e deforma, que reforma e transforma, que transcende e que tem vida. Que faz e desfaz, que nasce e morre. A forma que desenha o espaço, o corpo e o movimento. A forma pesquisada é a forma da saia na dança flamenca e seu movimento helicoidal. Movimento semelhante ao das galáxias, ao da cadeia de DNA, semelhante também à anatomia humana, o desenho dos ossos e músculos. Na capacidade de ser efêmera e jamais apreendida é que reside seu encanto. Também há uma forte razão em pesquisar a saia e a Espanha, terra dos meus precedentes, cultura em que cresci, além da paixão pelo vestuário, especialmente os de Andaluzia. O percurso nos mistérios e representatividade da vestimenta espanhola permitiu-me mergulhar nas mais incríveis histórias, desde as reais até as mitificadas no tempo. Conhecer a construção do país e entender como ele se formou permitiram-me desdobramentos de possíveis intersecções no resultado dos trajes. O mosaico de culturas trouxe descobertas incríveis na representação da mulher espanhola principalmente através de registros dos pintores dos séculos XVIII e XIX. Há uma natureza histórica na busca de identificar a formação da composição da roupa feminina espanhola, que, desde publicações vindas da Espanha, bibliografias de história da dança e do traje, até a profunda observação do corpo em movimento esculpindo formas delirantes que parecem um ciclone a desenhar os desenhos da dança. Palavras-chave: Corpo Feminino, História da Arte, História da Moda, Dança, Artes Plásticas, Espanha<br>Abstract: The present research aims to pay tribute to the shape. The shape that forms and becomes deformed, that reforms and transforms, that transcends and which has life. That does and undoes, that is born and dies. The shape that draws the space, the body and the movement. The shape of the present study is the shape of the skirt in the flamenco dance and its helicoidal movement. This movement is similar of those of the galaxies, the DNA chains, also similar to the human anatomy, the design of bones and muscles. It's in the capacity of being ephemeral and never understood that lies its charm. There's also a strong reason to research the skirt and Spain, home of my ancestors, culture in which I grew up, as well as the passion for the costume, especially from Andaluzia. The route in the mysteries and representativity of the Spanish costume, allowed me to immerse in the most incredible histories, from the real to the mythical ones of time. Knowing the construction of the country and understand how it was formed, enabled me to see the developments of possible intersections in the result of the costumes. The mosaic of cultures brought amazing discoveries in the Spanish woman's representation mainly through the records of the painters in the 18th and 19th centuries. There's a historical nature in the search of identifying the formation of composition of the Spanish woman's clothes, that from publications came from Spain, bibliographies of the history of dance and of the costume, to the profound observation of the body in movement sculpting delirious shapes that look like a cyclone drawing the designs of dance. Key Words - Female body; History of Art ; History of Costume ; Dance ; Fine art ; Spain<br>Doutorado<br>Artes<br>Doutor em Artes
Books on the topic "Female costumes"
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Sheffield, Elisabeth. Joyce's abandoned female costumes, gratefully received. Fairleigh Dickinson University Press, 1998.
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Shigurova, Tat'yana. The costume of the Mordovian people in customs and rituals. INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1070628.
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The book is a historical and cultural study of the problems associated with understanding the iconic nature and functioning of the traditional female costume of Mordva. Attempts to create a holistic picture of the use of folk costumes in the Mordovian social and family customs and rituals. Particular emphasis is placed on its ethno-social functions. The reader has the opportunity to learn about new archival material, and field observations made by the author during expeditions in various regions of Mordovians.
 Fills some gaps in knowledge on issues of material and spiritual culture of the Mordovian people, presenting factual material for subsequent research in the field of ethnic mentality. 
 Intended for historians, culturologists, art historians, researchers, teachers, postgraduates and students.
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Corona, Vicki. Belly dance costume making: Introduction to costume construction for female belly dance students. Earth Dance Intl. Pub., 1989.
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Karageorghis, Vassos. Female costume in Cyprus from antiquity to the present day. A.G. Leventis Foundation, 1999.
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Lipman, Julia. Nellie's work-box, a parlor charade and Bluebeard, or, Female curiosity: An entertainment for the parlor, with full stage directions, and hints for costumes, and decorations, carefully prepared by an old stage manager, and suitable for town or country. McLoughlin Bros., 1987.
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Colbert, Bernard. Getting into face: 52 Mondays featuring JoJo Baby and Sal-E. Schiffer Publishing Ltd., 2012.
Find full textBook chapters on the topic "Female costumes"
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Kietrys, Kyra A. "The Female Façade and the Façade of the Female in the Mini-Series El tiempo entre costuras (2013)." In Gender in Spanish Urban Spaces. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47325-3_13.
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Clare, David, and Nicola Morris. "The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin." In Cultural Convergence. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_4.
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Abstract In Gate Theatre studies, the venue’s original artistic directors, Hilton Edwards and Micheál mac Liammóir, are commonly described as ‘Englishmen’. This chapter breaks new ground by exploring the Irish roots of Edwards and mac Liammóir, and the rumours that mac Liammóir had Spanish and Jewish ancestry. ‘The Boys’ were not the only figures associated with the early Gate to have transnational backgrounds. Coralie Carmichael, the theatre’s biggest female star in its early years, was of mixed Moroccan and Scottish ancestry, and Nancy Beckh, who worked as an actor, costume designer and milliner at the Gate between 1932 and 1956, was a Dubliner of half-German descent. Using critical theories around new interculturalism, the chapter suggests that the mixed backgrounds of these artists helped them to create intercultural performances. It further demonstrates that these performances cannot be simply dismissed as those of people condescendingly engaging in cultural imperialism or shallow cosmopolitanism.
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Bird, Isabella L. "Comfort disappears—Fine Scenery—An Alarm—A Farm-house—An unusual Costume—Bridling a Horse—Female Dress and Ugliness—Babies—My Mago—Beauties of the Kinugawa—Fujihara—My Servant—Horse-shoes—An absurd Mistake." In Unbeaten Tracks in Japan. Routledge, 2019. http://dx.doi.org/10.4324/9781315788715-14.
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Patrón, Lourdes Rejón. "Tastes, Colors, and Techniques in Embroidered Mayan Female Costumes." In Crafting Gender. Duke University Press, 2003. http://dx.doi.org/10.1215/9780822384878-011.
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"Tastes, Colors, and Techniques in Embroidered Mayan Female Costumes." In Crafting Gender. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822384878-013.
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PATRÓN, LOURDES REJÓN. "Tastes, Colors, and Techniques in Embroidered Mayan Female Costumes." In Crafting Gender. Duke University Press, 2003. http://dx.doi.org/10.2307/j.ctv11314qf.15.
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Plaza, Dwaine, and Jan DeCosmo. "Women and the De-Africanization of Trinidad Carnival: From the Jamette to Bikini, Beads, and Feathers." In Carnival Is Woman. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825445.003.0002.
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This chapter examines the evolution of Carnival traditions in Trinidad and Tobago as they relate to the historical context in which Carnival evolved from European traditions with distinct African customs as part of its DNA. The chapter examines the evolving African content in the annual Carnival celebrations from the 1950s to the present.Evidence is presented to show thatcurrent trends across most Carnival bands in Trinidad and the Diaspora has been to move away from epic theatricalproductions that have deep cultural meaning to themes and costumes that are superficial, homogenous and intimately interwoven with the sexual objectification of female masqueraders. These trends aremost apparent in the de-Africanization ofmas’ bands.
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Scott, Suzanne. "From Poaching to Pinning." In Fake Geek Girls. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479838608.003.0007.
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If the prior four chapters survey the ways in which female fans and their creative practices have been marginalized or contained, then this one contemplates the ways in which geek girls are hailed within the convergence culture industry through fashion and beauty culture. Centrally, this chapter examines the political possibilities of conceptually moving from poaching (as a mode of feminist intervention) to pinning (as a feminine curatorial practice on sites like Pinterest) alongside efforts to route female fans towards postfeminist or neoliberal modes of engagement. The second half of this chapter addresses the growing intersections between fan fashion and cosplay as a fan practice (e.g., constructing costumes inspired by fictional characters and embodying those characters in real-world spaces such as fan conventions) by historicizing and contextualizing “everyday” or “casual” cosplay merchandising trends offered by fancentric retailers (Her Universe, Hot Topic, etc.) and considering these items as a form of fannish “drag.”
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Allen, Ray. "Harlem Carnival." In Jump Up! Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190656843.003.0004.
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Chapter 3 turns to the establishment of Harlem’s Dame Lorraine Carnival dances in the mid-1930s and the founding of an outdoor Carnival parade on Seventh Avenue in 1947. The importance of calypso music and the early steelbands in the parade is examined, and the music’s role in maintaining connections to Trinidad and uniting Harlem’s Caribbean migrants is considered. The first large-scale Carnival dances were those produced by the bandleader Gerald Clark, who called his events “Gala Dame Lorraine,” a reference to an early nineteenth-century female Carnival character who was always elegantly dressed. At these dances, bands came clad in themed costumes to compete for prize money. These events showed that New York’s Caribbean migrant communities were eager to support annual Carnival celebrations that combined three essential components of Trinidadian Carnival: dance orchestras, calypso song battles, and masquerade contests. Their success led to an outdoor Carnival parade up Harlem’s Seventh Avenue.
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MacLeod, Catriona. "Performing and Parading Gender in Guyane’s Carnival." In Locating Guyane. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941114.003.0011.
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Guyane's carnival constitutes one of the most popular and publicised elements of the territory’s cultural identity. The carnival is home to several established ‘characters’ who represent different symbolic roles or incarnate various aspects of the territory’s history. This chapter will focus on two figures whose costumes and behaviours appear intended to challenge the traditional gender roles which still dominate everyday life in Guyane: the cross-dressing male (the travesti) who takes part regularly in street parades, and the female-incarnated Touloulou of the carnival’s masked balls. This chapter first considers the travesti, an apparently-paradoxical figure common to parades in other Caribbean and Latin American carnivals. It considers this practice in the specific context of the Guyane festivities, examining competing symbolic interpretations both of the travesti’s comic appearance and actions. The second half of the chapter considers the Touloulou, a carnival figure apparently native to Guyane itself and celebrated as the ‘queen’ of the festivities. It will consider the role of the Touloulou in the carnival of Guyane, interrogating particularly the popular interpretation that this figure constitutes an exceptionally independent and powerful role for Guianese women, representative of changing gender roles in the territory since the 1950s.
Conference papers on the topic "Female costumes"
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Kisel', Vladimir. "Female ritual costume in the ancient nomadic culture of Tuva." In Monuments of archaeology in studies and photographs (in the memory of Galina Vatslavna Dluzhnevskaya). Institute for the History of Material Culture Russian Academy of Sciences, 2018. http://dx.doi.org/10.31600/978-5-907053-08-3-2018-120-127.
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Umerenkova, Ol’ga, and Larisa Bobrova. "On the problem of cultural interaction in the bronze age in the territory of the south of Western Siberia (reconstruction of decorations of female costume)." In Antiquities of East Europe, South Asia and South Siberia in the context of connections and interactions within the Eurasian cultural space (new data and concepts)18-22.11.2019. Institute for the History of Material Culture Russian Academy of Sciences, 2019. http://dx.doi.org/10.31600/978-5-907053-35-9-90-92.
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