Academic literature on the topic 'McQueen, John'

John Lambert, who celebrated his 60th birthday in 1986, is known better as a teacher than as a composer, and despite a formidable list of past pupils, which includes the likes of Javier Alvarez, Simon Bainbridge, Gary Carpenter, Oliver Knussen, Jonathan Lloyd, Ian McQueen, and Mark-Anthony Turnage, that is a situation he and many others view as slightly unfair. His output is not especially prodigious—excluding the chamber opera, A Family Affair, to be performed at the Brighton Festival this year the numbered oeuvres run to 26 in all—yet the quality and frequently the bold originality of his music, readily acknowledged by colleagues like Ligeti and Dutilleux, surely merits wider acknowledgement than it has as yet received.

Christine de Pizan, uma das principais representantes da Querelle de Fem-mes – um debate literário que no fim da Idade Média reivindicou a virtude natural das mulheres – composta em 1429, e, portanto, na vida do homenageado, a sua Ditié de Jehan-ne d’Arc, originou um dos mitos femininos mais antigos da história. O presente trabalho examina como Joana d’Arc, que se tornou ícone da força, da liberdade, da virilidade e do espiritualidade da mulher, tem sido desde então uma constante no mundo do vestuário e da moda, com protagonismo especial na passarela contemporânea conferido por alguns dos principais designers internacionais, como Paco Rabanne, Jean Paul Gaultier, Alexan-der McQueen, John Galliano e Donatella Versace, que fizeram da Donzela de Orléãns uma combinação perfeita de história, lenda e estética, demonstrando o valor semiótico e sim-bólico da moda como expressão artística e instrumento de comunicação não verbal.

This article presents the results of a hermeneutic analysis of the work of British designer Alexander McQueen. Corporeality is a system of signs applied to the human body. Clothing is the most important part of corporeality constructed by designers. An outfit is an ensemble of clothing elements that is an artistic statement. McQueen was aware of the overload of the body with symbolic meanings. His task as a designer was to construct a fashionable corporeality, which means controlling body parts with vestimental tools - silhouette, material, colour, fit, etc. McQueen’s aesthetic program is problematized through the image of the “strong woman”. The author analyzes the meaning put into the concept by the designer. The conceptual heroines of McQueen’s work inhabit the extremes of logocentric society: prostitutes, saints, aristocrats, the mentally ill and others. The analysis is produced in the context of other concepts of the “strong woman” created by European, American and Japanese designers. It is noted and emphasized that the conceptual heroines of McQueen’s work inhabit the extremes of logocentric society: prostitutes, saints, aristocrats, the mentally ill and others. One exists in the lower zone (vampires, witches, criminals, etc.), while others, like Joan of Arc and Catherine the Great, find themselves at the very peak of the male order, contradicting its structure by their existence. The loneliness of Alexander McQueen’s women, settled on social points of extremity, correlates little with the usual images of strong women broadcast by contemporary culture. The author hypothesizes that McQueen creates the image of a strong woman through the construction of a “doomed” and “prominent” corporeality, which is most precisely expressed in the concept of “martyr”. By constructing images of strong heroines, McQueen invented a woman who does not undermine the logocentric order, but strengthens it thanks to her flexibility and adaptability to any circumstances. A woman is thus a “substitute man”, solving those problems that men fail to cope with.

ABSTRAK Bencana kebakaran memberikan dampak yang mempengaruhi kehidupan dan harta benda. Besarnya dampak semakin parah di tempat-tempat dengan tingkat kesiapsiagaan bencana kebakaran yang rendah. Kesiapsiagaan bencana salah satu elemen penting dalam pengurangan risiko bencana dan meliputi kesadaran masyarakat, kesiapan memberikan tanggapan yang tepat dan pemulihan yang cepat. Masyarakat memiliki peran dalam mengurangi resiko kebencanaan kebakaran. Komunitas dan masyarakat perlu memperkuat dan meningkatkan kemampuan dalam kesiapsiagaan bencana pada daerah dan tingkat komunitasnya. Tujuan penelitian ini untuk mengetahui kesiapsiagaan masyarakat di Kelurahan Pekauman Banjarmasin dalam menghadapi bencana kebakaran. Penelitian ini menggunakan rancangan deskriptif kuantitatif. Penggumpulan data menggunakan kuesioner. Sampel sebanyak 74 kepala keluarga di Kelurahan Pekauman RT.09 RW.01 yang diambil dengan total sampling. Analisa data menggunakan distribusi frekuensi. Dari hasil penelitian diperoleh kesiapsiagaan masyarakat dalam menghadapi kebakaran mayoritas berada dalam kategori sangat siap sebanyak 44 (59,5%), dan paling sedikit berada di kategori hamper siap sebanyak 7 (9,5%). Pemberdayaan masyarakat dapat mencegah terjadinya bencana dan meningkatkan kesiapsiagaan jika terjadi kebakaran. Kata kunci: kebakaran, kesiapsiagaan, komunitas. DAFTAR PUSTAKA Arismawati, M.D & Wijaya, O. (2019). Analisis Kesiapsiagaan Masyarakat dalam Menghadapi Bencana Kebakaran Pada Kawasan Pemukiman Padat Penduduk (Studi Kasus Kelurahan Prawirodirjan Yogyakarta). Artikel Kesehatan Masyarakat, Universitas Ahmad Dahlan. Badan Nasional Penanggulangan Bencana. (2019). Daftar Bencana Informasi Indonesia (Dibi). Jakarta:BNPB Baker, L. R., & Cormier, L. A. (2012). Disaster Preparedness and Families of Children with Special Needs: A Geographic Comparison. Journal of Community Health, 38(1), 106–112. Chan, E. Y. Y., Kim, J. H., Lin, C., Cheung, E. Y. L., & Lee, P. P. Y. (2012). Is Previous Disaster Experience a Good Predictor for Disaster Preparedness in Extreme Poverty Households in Remote Muslim Minority Based Community in China?. Journal of Immigrant and Minority Health, 16(3), 466–472. Dantzler, D. (2013). Basic household disaster preparedness decisionalInfluences among male federal employees in the national Capital region. Dissertation Doctor of Philosophy Capella University. ProQuest LLC. UMI Number:3559889. Farisa, F.C. (2018). BNPB: Selama 2018, Ada 1.999 Kejadian Bencana Kebakaran. Kompas.com. Retrieved 5 November 2020 at 13:20 WITA From Https://Nasional.Kompas.Com/Read/2018/10/25/22572321/Bnpb-Selama-2018ada-1999-Kejadian-Bencana Gowing, J. R., Walker, K. N., Elmer, S. L., & Cummings, E. A. (2017). Disaster Preparedness among Health Professionals and Support Staff: What is Effective? An Integrative Literature Review. Prehospital and Disaster Medicine, 32(03), 321–328. Haswar, Andi. M. (2021). Ada 45 Kasus Kebakaran dalam 5 Bulan di Banjarmasin, 2 Orang Meninggal Dunia. Retrieved from https://regional.kompas.com/read/2021/05/20/215702278/ada-45-kasus-kebakaran-dalam-5-bulan-di-banjarmasin-2-orang-meninggal-dunia. Hermon, Dedi. (2015). Geografi Bencana Alam. Jakarta Jaslow, D., Ufberg, J., Yoon, R., McQueen, C., Zecher, D., & Jakubowski, G. (2005). Fire Safety Knowledge and Practices Among Residents of an Assisted Living Facility. Prehospital and Disaster Medicine, 20(02), 134–138. Kuntoro, C. (2017). Implementasi Manajemen Risiko Kebakaran Berdasarkan (Is) ISO 31000 PT Apac. Inti Corpora. HIGEIA, 1(4), pp. 109-119 Martanto, C., Aji, A., & Parman, S. (2017). Kajian Kesiapsiagaan Masyarakat dalam menghadapi Bencana Kebakaran di Kelurahan Kembangsari Kecamatan Semarang Tengah. Edu Geography,2LIPI-UNESCO/ISDR. (2006). Kajian Kesiapsiagaan Masyarakat dalam mengantisipasi Bencana Gempa Bumi dan Tsunami. Nakao, R., Kawasaki, R., & Ohnishi, M. (2019). Disaster preparedness of hillside residential area in Nagasaki city, Japan: evaluations regarding experiences related to a fire. Journal of Rural Medicine, 14(1), 95–102. National Fire Protection Association (NFPA). (2018). Standar for Portable Fire Extinguisherts. USA Nugroho. (2015). Preparedness Assessment Tools For Indonesia. Jakarta: Humanitarian Forum Indonesia & MDM. Pahriannoor, Fauzan, A., & Hadi, Z. (2020). Relationship Of Knowlage And Nurse Attitude With Fire Prevention And Management Of Fire Ar RSUD Ulin Banjarmasin In 2020. Artikel Kesehatan Masyarakat. pdf Thomas, Tracy N., Griffith, Michelle Leander ., Harp, Victoria., Joan P. Cioffi. (2015). Influences of Preparedness Knowledge and Beliefs on Household Disaster Preparedness. 64(35); 965-971 Yulia, F. C. (2020). Kesiapsiagaan Masyarakat Dalam Menghadapi Bencana Kebakaran di Kampung Pelangi Kota Semarang Tahun 2020. Retrived 7 Mei 2021, from http://lib.unnes.ac.id/41191/1/3201416048.

ABSTRACT Islamic banking is undoubtedly faced with several potential financing risks, with the three largest financing contracts (Mudharaba, Musharaka, and Murabaha) that reduce the financial performance of Islamic banks. The potential risk is strengthened if the stability of national economic growth is contracted. Therefore, this research aims to investigate the impact of Mudharaba, Musharaka, and Murabaha financing on Financing Risk moderated by the business cycle and the relationship between Financing Risk and the Financial Performance of Islamic Commercial Banks. The sample of this study was 12 Islamic Commercial Banks in Indonesia during the period 2017-2021. The Data were then analyzed using the technique of Moderated Regression Analysis (MRA). Researchers found that Musharaka financing has a significant positive effect on Financing Risk, Mudharaba and Murabaha Financing has an insignificant effect on Financing Risk, and Financing Risk has a significant negative effect on Financial Performance. The Business Cycle does not moderate the Financing of Mudharaba, Musharakah, and Murabaha on Financing Risk. The results can encourage the Islamic Commercial Bank to evaluate the distribution strategy of Musharaka financing, optimize the distribution of Mudharaba and Murabaha financing, and prepare financing strategies that do not depend on macroeconomic conditions. Keywords: Financing Risk, Financing, Business Cycle, Financial Performance. ABSTRAK Perbankan syariah dengan tiga akad pembiayaan terbesar (Mudharaba, Musharaka, dan Murabaha) dihadapkan pada sejumlah potensi risiko pembiayaan yang menurunkan kinerja keuangan Bank Syariah. Potensi risiko tersebut menguat jika stabilitas pertumbuhan ekonomi nasional juga terganggu atau mengalami kontraksi. Oleh karena itu, penelitian ini hendak mengkaji pengaruh Pembiayaan Mudharaba, Musharaka, dan Murabaha terhadap Risiko Pembayaran dengan dimoderasi oleh Siklus Bisnis, dan sekaligus menguji hubungan antara Risiko Pembayaran dan Kinerja Keuangan Bank Syariah. Sampel penelitian ini adalah 12 Islamic Commercial Bank di Indonesia selama periode 2017-2021. Data tersebut kemudian dianalisis dengan menggunakan teknik Moderated Regression Analysis (MRA). Peneliti menemukan bahwa Pembiayaan Musharaka berpengaruh positif signifikan terhadap Risiko Pembiayaan, Pembiayaan Mudharaba dan Murabaha tidak berpengaruh signifikan terhadap Risiko Pembiayaan, dan Risiko Pembiayaan berpengaruh negatif signifikan terhadap Kinerja Keuangan. Adapun Siklus Bisnis tidak dapat memoderasi Pembiayaan Mudharaba, Musharaka, dan Murabaha terhadap Risiko Pembiayaan. Hasil penelitian ini dapat menjadi evaluasi bagi Islamic Commercial Bank agar dapat mengevaluasi strategi penyaluran pembiayaan Musharaka, mengoptimalkan penyaluran pembiayaan Mudharaba dan Murabaha, dan mempersiapkan strategi pembiayaan yang tidak bergantung pada kondisi makro ekonomi. Kata Kunci: Risiko Pembiayaan, Pembiayaan, Siklus Bisnis, Kinerja Keuangan. REFERENCES Abdillah, W., & Hartono, J. (2015). Partial least square (PLS) alternatif structural equation modelling (SEM) dalam penelitian bisnis. CV. Andi Offset. Abdul-rahman, A., & Nor, S. M. (2016). Challenges of profit-and-loss sharing financing in Malaysian Islamic banking. Malaysian Journal of Society and Space 12, 2(2), 39–46. Adzimatinur, F., & Manalu, V. G. (2020). The impact of mudharabah and musharakah based financing to credit risk. 1st Annual Conference of Ihtifaz: Islamic Economics, Finance, and Banking, 127–134. Aiyubbi, D. E., Widarjono, A., & Amir, N. (2022). The impact of sectoral financing diversification on non-performing financing of Islamic rural banks. Jurnal Ekonomi Syariah Teori Dan Terapan, 9(2), 140–155. https://doi.org/https://doi.org/10.20473/vol9iss20222pp140-155 Al-Harbi, A. (2020). Banks’ profitability in an Islamized financial system: Comparative study between Iran and Sudan. International Journal of Islamic Banking and Finance Research, 4(1), 8–14. https://doi.org/10.46281/ijibfr.v4i1.498 Alarussi, A. S., & Alhaderi, S. M. (2018). Factors affecting profitability in Malaysia. Journal of Economic Studies, 45(3), 442–458. https://doi.org/10.1108/JES-05-2017-0124 Alper, D., & Anber, A. (2011). Bank specific and macroeconomics determinant of commercial banks profitability empirical evidence from Turkey. Business and Economics Research Journal, 2, 138–152. Anik, A., & Prastiwi, I. E. (2019). Macro economic challenges and third party funds of Islamic commercial banks in Indonesia. Shirkah: Journal of Economics and Business, 3(1), 127-151. https://doi.org/10.22515/shirkah.v3i1.208 Arikunto. (2006). Metode penelitian: Prosedur penelitian suatu pendekatan praktek. PT. Rineka Cipta. Azizah, S. N., & Mukaromah, S. (2020). The Effect of murabaha financing, profit sharing financing, intellectual capital, and non performing financing (NPF) on financial performance. Jurnal Reviu Akuntansi Dan Keuangan, 10(1), 150–160. https://doi.org/10.22219/jrak.v10i1.11323 Belkhaoui, S., Alsagr, N., & van Hemmen, S. F. (2020). Financing modes, risk, efficiency and profitability in Islamic banks: Modeling for the GCC countries. Cogent Economics and Finance, 8(1), 1-25. https://doi.org/10.1080/23322039.2020.1750258 Ben Bouheni, F., Obeid, H., & Margarint, E. (2022). Nonperforming loan of European Islamic banks over the economic cycle. Annals of Operations Research, 313(2). https://doi.org/10.1007/s10479-021-04038-8 Bodie, Z., Kane, A., & Marcus, A. J. (2014). Investments. Mc Graw Hill Education. Booth, J. R., Officer, D. T., & Henderson, G. V. (1985). Commercial bank stocks, interest rates, and systematic risk. Journal of Economics and Business, 37(4), 303–310. https://doi.org/10.1016/0148-6195(85)90024-4 BPS. (2021). [Seri 2010] Laju Pertumbuhan PDB Seri 2010, 2010(September), 1–10. https://www.bps.go.id/indikator/indikator/view_data/0000/data/104/sdgs_17/1 Danlami, M. R., Abduh, M., & Abdul Razak, L. (2022). CAMELS, risk-sharing financing, institutional quality and stability of Islamic banks: evidence from 6 OIC countries. Journal of Islamic Accounting and Business Research, 13(8), 1155–1175. https://doi.org/10.1108/JIABR-08-2021-0227 Enqvist, J., Graham, M., & Nikkinen, J. (2014). The impact of working capital management on firm profitability in different business cycles: Evidence from Finland. Research in International Business and Finance, 32, 36–49. https://doi.org/10.1016/j.ribaf.2014.03.005 Fianto, B. A., Gan, C., & Hu, B. (2019). Financing from Islamic microfinance institutions: evidence from Indonesia. Agricultural Finance Review, 79(5), 633–645. https://doi.org/10.1108/AFR-10-2018-0091 Financial Service Authority. (2021). Snapshot perbankan syariah September 2021. In Financial Service Authority. Financial Service Authority. (2022). Sharia Banking Statistic. Hasanah, R., & Septiarini, D. F. (2020). The effect of CAR, ROA, BI 7-day rate, and inflation on non-performing home financing in sharia general banks for the 2016-2018 period. Jurnal Ekonomi Syariah Teori Dan Terapan, 7(4), 774–794. https://doi.org/https://doi.org/10.20473/vol7iss20204pp774-794 Hosen, M. N., & Muhari, S. (2019). Non-performing financing of Islamic rural bank industry in Indonesia. Banks and Bank Systems, 14(1), 20–28. https://doi.org/10.21511/bbs.14(1).2019.03 Ijaiya, M., Jimoh, A. T., Attah, J. A., Nafiu, A. I., Polytechnic, F., & State, K. (2021). Murabaha-related credit risk and financial performance of Islamic banks in Africa. International Journal of Islamic Banking and Finance Research, 5(1), 60–69. https://doi.org/10.46281/ijibfr.v5i1.1279 Lisa, O., Dahlan, A., & Gustopo, A. A. (2022). Non-performing financing as a medium of sharia cooperative performance in East Java non-performing financing sebagai pemediasi kinerja koperasi syariah di Jawa Timur. Jurnal Ekonomi Syariah Teori Dan Terapan, 9(6), 863–873. https://doi.org/10.20473/vol9iss20226pp863-873 McQueen, G., & Roley, V. V. (1993). Stock prices news and business conditions. The Review of Financial Studies, 6(3), 683–707. Mutamimah, M., & Saputri, P. L. (2022). Corporate governance and financing risk in Islamic banks in Indonesia. Journal of Islamic Accounting and Business Research, Vol. ahead-of-print No. ahead-of-print. https://doi.org/10.1108/JIABR-09-2021-0268 Nosheen, & Rashid, A. (2019). Business orientation, efficiency, and credit quality across business cycle: Islamic versus conventional banking. Are there any lessons for Europe and Baltic States? Baltic Journal of Economics, 19(1), 105–135. https://doi.org/10.1080/1406099X.2018.1560947 Ogunleye, R. W. (2001). Sensitivity of bank stock return to market and interest rate risks. NDIC Quarterly, 11(1), 57–77. Omer Mustafa, O. A. (2020). Why do Islamic banks concentrating finance in murabaha mode? performance and risk analysis (Sudan: 1997-2018). International Business Research, 13(7), 208-223. https://doi.org/10.5539/ibr.v13n7p208 Pham, H. S. T., & Nguyen, D. T. (2020). The effects of corporate governance mechanisms on the financial leverage–profitability relation: Evidence from Vietnam. Management Research Review, 43(4), 387–409. https://doi.org/10.1108/MRR-03-2019-0136 Priyadi, U., Utami, K. D. S., Muhammad, R., & Nugraheni, P. (2021). Determinants of credit risk of Indonesian Sharīʿah rural banks. ISRA International Journal of Islamic Finance, 13(3), 284–301. https://doi.org/10.1108/IJIF-09-2019-0134 Purba, N. S., & Darmawan, A. (2018). Pengaruh pertumbuhan produk domestik bruto dan inflasi terhadap non performing finance bank syariah. Jurnal Administrasi Bisnis (JAB), 61(2), 172. Rahardja, P., & Manurung, M. (2005). Teori ekonomi makro. Fakultas Ekonomi Universitas Indonesia. Rahmah, A. Z., & Armina, S. H. (2020). Macro and micro determinants of the non-performing finance: The case of Indonesian Islamic bank. Jurnal Ekonomi & Keuangan Islam, 6(1), 34–41. https://doi.org/10.20885/jeki.vol6.iss1.art4 Ringle, C. M., Wende, S., & Becker, J.-M. (2015). SmartPLS 3. In Boenningstedt: SmartPLS GmbH. Retrieved from http://www.smartpls.com. Rizvi, S. A. R., Narayan, P. K., Sakti, A., & Syarifuddin, F. (2020). Role of Islamic banks in Indonesian banking industry: An empirical exploration. Pacific Basin Finance Journal, 62(October 2018), 101117. https://doi.org/10.1016/j.pacfin.2019.02.002 Sabrina, S., & Majid, M. S. A. (2020). The reluctance phenomenon of Islamic banks to offer profit-loss sharing financing. JEJAK: Journal of Economics and Policy, 13(2), 242–264. https://doi.org/10.15294/jejak.v13i2.23891 Sahyouni, A., & Wang, M. (2019). Liquidity creation and bank performance: Evidence from MENA. ISRA International Journal of Islamic Finance, 11(1), 27–45. https://doi.org/10.1108/IJIF-01-2018-0009 Sandika, M. T. (2013). Hubungan faktor-faktor ekonomi makro terhadap profitabilitas PT Bank Central Asia tbk periode Juli 2005 – Mei 2011. Semnas Fekon: Optimisme Ekonomi Indonesia 2013, Antara Peluang dan Tantangan. Schoon, N. (2016). Modern Islamic banking: Products and processes in practice. John Wiley & Sons Ltd. Setiawan, U. N. A., & Indriani, A. (2016). Pengaruh dana pihak ketiga (DPK), capital adequacy ratio (CAR), dan non performing financing (NPF) terhadap profitabilitas bank syariah dengan pembiayaan sebagai variabel intervening. Jurnal Riset Akuntansi & Keuangan, 5(3), 1535–1540. Sugiyono. (2014). Metode penelitian pendekatan kuantitatif, kualitatif, dan R&D. Alfabeta. Supriani, I., & Sudarsono, H. (2018). Analisis pengaruh variabel mikro dan makro terhadap NPF perbankan syariah di Indonesia. Equilibrium: Jurnal Ekonomi Syariah, 6(1), 1-18. https://doi.org/10.21043/equilibrium.v6i1.3040 Sutrisno, S., & Widarjono, A. (2022). Is profit – loss-sharing financing matter for Islamic bank’s. 10(207), 1–12. https://doi.org/10.3390/risks10110207 Suzuki, Y., Uddin, S. M. S., & Islam, A. K. M. R. (2020). Incentives for conventional banks for the conversion into Islamic banks: evidence from Bangladesh. Journal of Islamic Accounting and Business Research, 11(2), 273–287. https://doi.org/10.1108/JIABR-03-2017-0031 Tran, S. H., & Nguyen, L. T. (2020). Financial development, business cycle and bank risk in Southeast Asian countries. Journal of Asian Finance, Economics and Business, 7(3), 127–135. https://doi.org/10.13106/jafeb.2020.vol7.no3.127 Umami, D. R., & Rani, L. N. (2021). Factors affecting non-performing financing of sharia rural banks for 2015-2019 period. Jurnal Ekonomi Syariah Teori Dan Terapan, 8(4), 483–495. https://doi.org/https://doi.org/10.20473/vol8iss20214pp483-495 Warninda, T. D., Ekaputra, I. A., & Rokhim, R. (2019). Do mudarabah and musharakah financing impact Islamic bank credit risk differently? Research in International Business and Finance, 49(September 2017), 166–175. https://doi.org/10.1016/j.ribaf.2019.03.002 Widarjono, A., Anto, M. B. H., & Fakhrunnas, F. (2020). Financing risk in Indonesian Islamic rural banks: Do financing products matter? Journal of Asian Finance, Economics and Business, 7(9), 305–314. https://doi.org/10.13106/JAFEB.2020.VOL7.NO9.305 Yahya, D. R. (2019). Pengaruh pengelolaan modal kerja terhadap profitabilitas dan likuiditas dengan siklus bisnis sebagai variabel moderasi. Media Mahardhika, 17(3), 400–413. https://doi.org/https://doi.org/10.29062/mahardika.v17i3.96 Zannati, R., & Hendryadi. (2019). Determinan non performing financing perbankan syariah: Perspektif makro ekonomi. SERAMBI: Jurnal Ekonomi Manajemen Dan Bisnis Islam, 1(3), 91–100. https://doi.org/https://doi.org/10.36407/serambi.v1i3.126

At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offered whilst they were abroad and, at the same time, a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London would have a significant impact on male Australian artists, as it offered a space where they were integrated into the English art world, which enhanced their experience whilst abroad.Artists were seldom members of Australia’s early gentlemen’s clubs, however, in the late nineteenth century Melbourne, artists formed less formal social groupings with exotic names such as the Prehistoric Order of Cannibals, the Buonarotti Club, and the Ishmael Club (Mead). Melbourne artists congregated in these clubs until the Melbourne Savage Club, modelled on the London Savage Club (1857)—a club whose membership was restricted to practitioners in the performing and visual arts—opened its doors in 1894.The Melbourne Savage Club had its origins in the Metropolitan Music Club, established in the late 1880s by a group of professional and amateur musicians and music lovers. The club initially admitted musicians and people from the dramatic professions free-of-charge, however, author Randolph Bedford (1868–1941) and artist Alf Vincent (1874–1915) were not content to be treated on a different basis to the musicians and actors, and two months after Vincent joined the club, at a Special General Meeting, the club resolved to vary Rule 6, “to admit landscape or portrait painters and sculptors without entrance fee” (Melbourne Savage Club). At another Special General Meeting, a year later, the rule was altered to admit “recognised members of the musical, dramatic and artistic professions and sculptors without payment of entrance fee” (Melbourne Savage Club).This resulted in an immediate influx of prominent Victorian male artists (Williams) and the Melbourne Savage Club became their place of choice to gather and enjoy the fellowship the club offered and to share ideas in a convivial atmosphere. When the opportunity arose for them to travel to London in the early twentieth century, they met in London’s famous art clubs. Membership of the Melbourne Savage Club not only conferred rights to visit reciprocal clubs whilst in London, but also facilitated introductions to potential patrons. The London clubs were the venue of choice for visiting artists to meet their fellow artist expatriates and to share experiences and, importantly, to meet with their British counterparts, exhibit their works, and establish valuable contacts.The London Savage Club attracted many Australian expatriates. Not only is it the grandfather of London’s bohemian clubs but also it was the model for arts clubs the world over. Founded in 1857, the qualification for admission was (and still is) to be, “a working man in literature or art, and a good fellow” (Halliday vii). If a candidate met these requirements, he would be cordially received “come whence he may.” This was embodied in the club’s first rules which required applicants for membership to be from a restricted range of pursuits relating to the arts thought to be commensurate with its bohemian ideals, namely art, literature, drama, or music.The second London arts club that attracted expatriate Australian artists was the New English Arts Club, founded in 1886 by young English artists returning from studying art in Paris. Members of The New English Arts Club were influenced by the Impressionist style as opposed to the academic art shown at the Royal Academy. As a meeting place for Australia’s expatriate artists, the New English Arts Club had a particular influence, as it exposed them to significant early Modern artist members such as John Singer Sargent (1856–1925), Walter Sickert (1860–1942), William Orpen (1878–1931) and Augustus John (1878–1961) (Corbett and Perry; Thornton; Melbourne Savage Club).The third, and arguably the most popular with the expatriate Australian artists’ club, was the Chelsea Arts Club, a bohemian club formed in 1891 by local working artists looking for a place to go to “meet, talk, eat and drink” (Cross).Apart from the American-born founding member, James McNeill Whistler (1834–1903), amongst the biggest Chelsea names at the time of the influx of travelling young Australian artists were modernists Sir William Orpen, Augustus John, and John Sargent. The opportunity to mix with these leading British contemporary artists was irresistible to these antipodean artists (55).When Melbourne artist, Miles Evergood (1871–1939) arrived in London from America in 1910, he had been an active exhibiting member of the Salmagundi Club, a New York artists’ club. Almost immediately he joined the New English Arts Club and the Chelsea Arts Club. Hammer tells of him associating with “writer Israel Zangwill, sculptor Jacob Epstein, and anti-academic artists including Walter Sickert, Augustus John, John Lavery, John Singer Sargent and C.R.W. Nevison, who challenged art values in Britain at the beginning of the century” (Hammer 41).Arthur Streeton (1867–1943) used the Chelsea Arts Club as his postal address, as did many expatriate artists. The Melbourne Savage Club archives contain letters and greetings, with news from abroad, written from artist members back to their “Brother Savages” (Various).In late 1902, Streeton wrote to fellow artist and Savage Club member Tom Roberts (1856–1931) from London:I belong to the Chelsea Arts Club now, & meet the artists – MacKennel says it’s about the most artistic club (speaking in the real sense) in England. … They all seem to be here – McKennal, Longstaff, Mahony, Fullwood, Norman, Minns, Fox, Plataganet Tudor St. George Tucker, Quinn, Coates, Bunny, Alston, K, Sonny Pole, other minor lights and your old friend and admirer Smike – within 100 yards of here – there must be 30 different studios. (Streeton 94)Whilst some of the artists whom Streeton mentioned were studying at either the Royal Academy or the Slade School, it was the clubs like the Chelsea Arts Club where they were most likely to encounter fellow Australian artists. Tom Roberts was obviously attentive to Streeton’s enthusiastic account and, when he returned to London the following year to work on his commission for The Big Picture of the 1901 opening of the first Commonwealth Parliament, he soon joined. Roberts, through his expansive personality, became particularly active in London’s Australian expatriate artistic community and later became Vice-President of the Chelsea Arts Club. Along with Streeton and Roberts, other visiting Melbourne Savage Club artists joined the Chelsea Arts Club. They included, John Longstaff (1861–1941), James Quinn (1869–1951), George Coates (1869–1930), and Will Dyson (1880–1938), along with Sydney artists Henry Fullwood (1863–1930), George Lambert (1873–1930), and Will Ashton (1881–1963) (Croll 95). Smith describes the exodus to London and Paris: “It was the Chelsea Arts Club that the Heidelberg School established its last and least distinguished camp” (Smith, Smith and Heathcote 152).Streeton, who retained his Chelsea Arts Club membership when he returned for a while to Australia, wrote to Roberts in 1907, “I miss Chelsea & the Club-boys” (Streeton 107). In relation to Frederick McCubbin’s pending visit he wrote: “Prof McCubbin left here a week ago by German ‘Prinz Heinrich.’ … You’ll introduce him at the Chelsea Club and I hope they make him an Hon. Member, etc” (Streeton et al. 85). McCubbin wrote, after an evening at the Chelsea Arts Club, following a visit to the Royal Academy: “Tonight, I am dining with Australian artists in Soho, and shall be there to greet my old friends. How glad I am! Longstaff will be there, and Frank Stuart, Roberts, Fullwood, Pontin, Coates, Quinn, and Tucker’s brother, and many others from all around” (MacDonald, McCubbin and McCubbin 75). Impressed by the work of Turner he wrote to his wife Annie, following avisit to the Tate Gallery:I went yesterday with Fullwood and G. Coates and Tom Roberts for a ramble … to the Tate Gallery – a beautiful freestone building facing the river through a portico into the gallery where the lately found turners are exhibited – these are not like the greater number of pictures in the National Gallery – they represent his different periods, but are mostly in his latest style, when he had realised the quality of light (McCubbin).Clearly Turner’s paintings had a profound impression on him. In the same letter he wrote:they are mostly unfinished but they are divine – such dreams of colour – a dozen of them are like pearls … mist and cloud and sea and land, drenched in light … They glow with tender brilliancy that radiates from these canvases – how he loved the dazzling brilliancy of morning or evening – these gems with their opal colour – you feel how he gloried in these tender visions of light and air. He worked from darkness into light.The Chelsea Arts Club also served as a venue for artists to entertain and host distinguished visitors from home. These guests included; Melbourne Savage Club artist member Alf Vincent (Joske 112), National Gallery of Victoria (NGV) Trustee and popular patron of the arts, Professor Baldwin Spencer (1860–1929), Professor Frederick S. Delmer (1864–1931) and conductor George Marshall-Hall (1862–1915) (Mulvaney and Calaby 329; Streeton 111).Artist Miles Evergood arrived in London in 1910, and visited the Chelsea Arts Club. He mentions expatriate Australian artists gathering at the Club, including Will Dyson, Fred Leist (1873–1945), David Davies (1864–1939), Will Ashton (1881–1963), and Henry Fullwood (Hammer 41).Most of the Melbourne Savage Club artist members were active in the London Savage Club. On one occasion, in November 1908, Roberts, with fellow artist MacKennal in the Chair, attended the Australian Artists’ Dinner held there. This event attracted twenty-five expatriate Australian artists, all residing in London at the time (McQueen 532).These London arts clubs had a significant influence on the expatriate Australian artists for they became the “glue” that held them together whilst abroad. Although some artists travelled abroad specifically to take up places at the Royal Academy School or the Slade School, only a minority of artists arriving in London from Australia and other British colonies were offered positions at these prestigious schools. Many artists travelled to “try their luck.” The arts clubs of London, whilst similarly discerning in their membership criteria, generally offered a visiting “brother-of-the-brush” a warm welcome as a professional courtesy. They featured the familiar rollicking all-male “Smoke Nights” a feature of the Melbourne Savage Club. With a greater “artist” membership than the clubs in Australia, expatriate artists were not only able to catch up with their friends from Australia, but also they could associate with England’s finest and most progressive artists in a familiar congenial environment. The clubs were a “home away from home” and described by Underhill as, “an artistic Earl’s Court” (Underhill 99). Most importantly, the clubs were a centre for discourse, arguably even more so than were the teaching academies. Britain’s leading modernist artists were members of the Chelsea Arts Club and the New English Arts Club and mixed freely with the visiting Australian artists.Many Australian artists, such as Miles Evergood and George Bell (1878–1966), held anti-academic views similar to English club members and embraced the new artistic trends, which they would bring back to Australia. Streeton had no illusions about the relative worth of the famed institutions and the exhibitions held by clubs such as the New English. Writing to Roberts before he joins him in London, he describes the Royal Academy as having, “an inartistic atmosphere” and claims he “hasn’t the least desire to go again” (Streeton 77). His preference lay with a concurrent “International Exhibition”, which featured works by Rodin, Whistler, Condor, Degas, and others who were setting the pace rather than merely continuing the academic traditions.Architect Hardy Wilson (1881–1955) served as secretary of The Chelsea Arts Club. When he returned to Australia he brought back with him a number of British works by Streeton and Lambert for an exhibition at the Guild Hall Melbourne (Underhill 92). Artists and Bohemians, a history of the Chelsea Arts Club, makes special reference of its world-wide contacts and singles out many of its prominent Australian members for specific mention including; Sir John William (Will) Ashton OBE, later Director of the Art Gallery of New South Wales, and Will Dyson, whose illustrious career as an Australian war artist was described in some detail. Dyson’s popularity led to his later appointment as Chairman of the Chelsea Arts Club where he initiated an ambitious rebuilding program, improving staff accommodation, refurbishing the members’ areas, and adding five bedrooms for visiting members (Bross 87-90).Whilst the influence of travel abroad on Australian artists has been noted, the importance of the London Clubs has not been fully explored. These clubs offered artists a space where they felt “at home” and a familiar environment whilst they were abroad. The clubs functioned as a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London had a significant impact on male Australian artists as it offered a space where they were integrated into the English art world which enhanced their experience whilst abroad and influenced the direction of their art.ReferencesCorbett, David Peters, and Lara Perry, eds. English Art, 1860–1914: Modern Artists and Identity. Manchester: Manchester University Press, 2000.Croll, Robert Henderson. Tom Roberts: Father of Australian Landscape Painting. Melbourne: Robertson & Mullens, 1935.Cross, Tom. Artists and Bohemians: 100 Years with the Chelsea Arts Club. 1992. 1st ed. London: Quiller Press, 1992.Gray, Anne, and National Gallery of Australia. McCubbin: Last Impressions 1907–17. 1st ed. Parkes, A.C.T.: National Gallery of Australia, 2009.Halliday, Andrew, ed. The Savage Papers. 1867. 1st ed. London: Tinsley Brothers, 1867.Hammer, Gael. Miles Evergood: No End of Passion. Willoughby, NSW: Phillip Mathews, 2013.Joske, Prue. Debonair Jack: A Biography of Sir John Longstaff. 1st ed. Melbourne: Claremont Publishing, 1994.MacDonald, James S., Frederick McCubbin, and Alexander McCubbin. The Art of F. McCubbin. Melbourne: Lothian Book Publishing, 1916.McCaughy, Patrick. Strange Country: Why Australian Painting Matters. Ed. Paige Amor. The Miegunyah Press, 2014.McCubbin, Frederick. Papers, Ca. 1900–Ca. 1915. Melbourne.McQueen, Humphrey. Tom Roberts. Sydney: Macmillan, 1996.Mead, Stephen. "Bohemia in Melbourne: An Investigation of the Writer Marcus Clarke and Four Artistic Clubs during the Late 1860s – 1901.” PhD thesis. Melbourne: University of Melbourne, 2009.Melbourne Savage Club. Secretary. Minute Book: Melbourne Savage Club. Club Minutes (General Committee). Melbourne: Savage Archives.Mulvaney, Derek John, and J.H. Calaby. So Much That Is New: Baldwin Spencer, 1860–1929, a Biography. Carlton, Vic.: Melbourne University Press, 1985.Smith, Bernard, Terry Smith, and Christopher Heathcote. Australian Painting, 1788–2000. 4th ed. South Melbourne, Vic.: Oxford University Press, 2001.Streeton, Arthur, et al. Smike to Bulldog: Letters from Sir Arthur Streeton to Tom Roberts. Sydney: Ure Smith, 1946.Streeton, Arthur, ed. Letters from Smike: The Letters of Arthur Streeton, 1890–1943. Melbourne: Oxford University Press, 1989.Thornton, Alfred, and New English Art Club. Fifty Years of the New English Art Club, 1886–1935. London: New English Art Club, Curwen Press 1935.Underhill, Nancy D.H. Making Australian Art 1916–49: Sydney Ure Smith Patron and Publisher. South Melbourne: Oxford University Press, 1991.Various. Melbourne Savage Club Correspondence Book: 1902–1916. Melbourne: Melbourne Savage Club.Williams, Graeme Henry. "A Socio-Cultural Reading: The Melbourne Savage Club through Its Collections." Masters of Arts thesis. Melbourne: Deakin University, 2013.

Ce mémoire porte sur trois défilés de mode au cours desquels furent présentées les créations du duo Viktor & Rolf, d'Alexander McQueen et de John Galliano. Il s'agit d'une étude sémiotique du défilé de mode comme « événement », comme présentation spectaculaire dans le sens théâtral du terme. Le concept d'événement est ici de prime importance, car il reconduit l'idée que le défilé est une présentation hors du commun, originale et unique des créations. Cette problématique du défilé comme événement commande une analyse minutieuse et systématisée de tous les aspects de la présentation et de tous les intervenants impliqués dans sa mise en forme, cela en tenant compte que chaque défilé se déroule dans des circonstances spatiales et temporelles spécifiques mais a toujours pour but de créer des atmosphères aptes à séduire un public bien particulier trié sur le volet par les organisateurs. Au chapitre premier, une description formelle de chacun des trois défilés de mode est développée selon trois axes définissant chacune des présentations, soit l'environnement, les vêtements et les mannequins. Ces trois pôles sont développés suivant la chronologie des événements et mettent en lumière les principaux éléments qui seront repris en profondeur au cours des analyses. Le chapitre second présente les théories d'Anne Ubersfeld publiées dans deux de ses ouvrages majeurs Lire le théâtre I et II qui traitent du modèle actantiel développé en regard du théâtre. Ce modèle, fondé sur la théorie sémiotique de Greimas, tient compte des rôles actantiels tenus par le destinateur, le sujet, le destinataire, l'objet, l'adjuvant et l'opposant, et ce sont ces paradigmes qui sont ici retenus dans le but de faire ressortir les interrelations qui se tissent au sein de chacun des défilés de mode selon des circonstances spatio-temporelles spécifiques. Le troisième chapitre, qui est essentiellement celui des analyses de cas, met le modèle actantiel en pratique mais tient également compte de trois aspects particuliers du défilé de mode: le récit, au sens théâtral du terme, les enjeux financiers et les artifices de création. Ces adaptations du modèle actantiel aux cas d'analyse conduisent, dans une certaine mesure, à la construction d'un nouveau gabarit analytique. En conclusion à ce mémoire et relativement à l'aspect séducteur du défilé de mode, ce sont les hypothèses développées par Jean Baudrillard qui servent d'assises théoriques. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Défilé, Mode, Événement, Théâtre, Spectacle, Sémiologie, Viktor & Rolf, Alexander McQueen, John Galliano.

Dissertação de mestrado em Design and Marketing de Moda
This work aims to present the relationship between art and fashion in the 20th century western culture focusing particularly on art movements and how fashion and art inspired each other throughout the years. The specific art movements which are investigated are Surrealism, Cubism, Pop art and the inspiration in contemporary designers such as Alexander McQueen and John Galliano. Notions of fashion and art have been investigated by various numbers of academics and philosophers and the relationship of the two has also been an interesting, yet a demanding topic for a research. Co-existing affair of the two terms has been pointed out by working on specific cases such as Dali and Elsa Schiaparelli, Yves Saint Laurent and several painters like Picasso and further more delving would lead to many more examples. This work intended to exhibit the bold aspects of how fashion and art interacted in terms of design, culture and performance; by some means searching for ways to evaluate art work in aesthetical term and try to measure fashion pieces in the same way. The work is constructed on explaining terms art, fashion, aesthetics and art movements and investigating them further on aspects of design and designers in order to depict the existing relationship with the help of visuals. The academic articles of scholars have also been examined to provide more evidence to the subject matter. With Worth, Poiret and other famous Parisian couturiers fashion and art relationship gained momentum in respect to the way they worked and interacted with the artists of the period. Continuing from on then, fashion and art has had considerable amount of transaction. The previous works inspired the current ones and this cycled continued until present day. Fashion is something that is worth to exhibit in museums today; having its own part. In the end, it is concluded that term investigation of fashion and art is a continuous process because each scholar reckons new perspective or criticizing the existing one, the notions are always up to date with the creation of new works, and therefore, it is best to work on specific cases to have a clear idea about the relationship. The intention of the designer and if the finished product is appealing to the aesthetics are important points to acknowledge when making a judgment of whether fashion is an art or not. From past to present, art and fashion inspired each other with a mutual benefit, they worked together though sometimes fashion has been viewed as only craftsmanship.
Este trabalho tem como objetivo apresentar a relação entre arte e moda na cultura ocidental do século XX, com particular incidência sobre os movimentos de arte, sobre a forma como estes se inspiraram e interagiram, ao longo do tempo. Os movimentos artísticos específicamente investigados são o Surrealismo, o Cubismo, a Pop arte, bem como, a inspiração de designers contemporâneos como Alexander McQueen e John Galliano, nestes e em tantos outros movimentos e artistas. Noções de moda e arte têm sido investigadas, por numerosos académicos e filósofos, sendo a sua relação interessante, embora exigente, como tema de pesquisa. A relação co-existente dos dois temas, tem sido apontada, pesquisar trabalhos em casos específicos como Dali e Elsa Schiaparelli, Yves Saint Laurent e Picasso ou Braque, bem como vários pintores e criadores de moda, o que numa investigação futura levaria a muitos outros exemplos. Assim, o objetivo desta pesquisa, foi o de apresentar os fortes aspectos de como a moda e a arte interagiram tendo, posteriormente, o design como ‘companhia’, oscultando a cultura e verificando a conexão de todos estes elementos. A busca pelas diversas formas de avaliação de obras de arte em termos estéticos e tentar perceber em que medida se poderá actuar da mesma maneira no que respeita a peças de moda. Este trabalho consiste na tentativa de explicar termos como arte, moda, estética e movimentos artísticos, investigá-los sob a perspectiva do design e de designers, a fim de mostrar, com a ajuda de recursos visuais, a relação existente entre todos os elementos. Para isso, contribuiu a ajuda de recursos visuais examinados, bem como, consulta de artigos académicos de outros pesquisadores, no sentido de fornecer mais credibilidade aos assuntos em foco. Com Worth, Poiret e outros famosos costureiros de moda parisiense, o relacionamento da arte obteve impulso, no que diz respeito à forma como os mesmos trabalharam e interagiram, com os artistas das épocas em que estavam inseridos. Sempre existiu uma considerável consonância entre moda e arte. As obras de épocas anteriores inspiraram as atuais e este ciclo continuou até aos dias de hoje. A moda, hoje em dia, é algo que vale a pena expôr em museus, possuindo um lugar próprio . Finalmente, conclui-se que a investigação da moda e arte é um processo contínuo, uma vez que, cada pesquisador avalia uma nova perspectiva ou critica a existente. As noções de moda e arte são sempre atualizadas, com a criação de novas obras, logo, entendemos ser melhor, trabalhar casos específicos para ter uma ideia mais clara sobre o relacionamento de ambas. A estética é um dos pontos a considerar, perante um produto atraente e acabado, sobretudo se tivermos um ‘julgamento’, positivo ou negativo, da ‘moda como forma de arte’. Do passado ao presente, arte e moda inspiraram-se mutuamente obtendo benefícios recíprocos apesar da moda, durante décadas, ter sido, apenas, olhada como uma frivolidade ou uma vaidade feminina.

Addressing the burgeoning of moving image installation works aimed to reinvent the forms and subjects of documentary cinema in the contemporary art scene of the twenty-first century, which has also been called the “documentary turn,” this theorizes how the gallery functions as a basis for expanding the apparatus of documentary cinema. Drawing on Francesco Casetti’s idea of “relocation” and Jacques Rancière’s “redistribution,” this chapter presents the concept of documentary’s “expanded dispositif.” It refers to the installations’ arrangement of heterogeneous technical and aesthetic elements, which results in the various moving image expressions that are linked to, but at the same time not totally identical to, the theater-based standardized documentary cinema. In order to explain the dual operation of these expressions, this chapter examines documentary installations by Ben Rivers, Steve McQueen, John Akomfrah, Isaac Julien, Chantal Akerman, Amar Kanwar, etc.