Relevant bibliographies by topics / Spanish Costume

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Spanish Costume'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Spanish Costume"

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Wright, Sarah, and Lidia Merás. "The transitivity of costume in That Lady (Terence Young, 1955)." Film, Fashion & Consumption 8, no. 2 (October 1, 2019): 129–45. http://dx.doi.org/10.1386/ffc_00003_1.

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Released during the heyday of the costume drama, La princesa de Éboli (That Lady) (Young, 1955) is an Anglo-Spanish co-production about Ana de Mendoza, Princess of Éboli (1540–92), a prominent figure at Philip II’s court who was accused of treason. Based on Kate O’Brien’s novel, the film adaptation was eventually made into two different films for Spanish- and English-speaking audiences owing to the restrictions of Spanish censorship. Modifications to the script, film-edit and ending of the film offered a reversed interpretation of the fate of the protagonist in the Spanish version. Focusing on the costumes of the Princess of Éboli (played by Olivia de Havilland), we explore the shifting meanings that are brought to bear between the Spanish and the English versions. In contrast to costume films of nationalistic glorification in which the heroine sacrifices her personal desires for the more noble cause of patriotic ambitions, the English version disturbed official views of the past by celebrating female pleasure.
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Torpy, Janet M. "The Comtesse d’Egmont Pignatelli in Spanish Costume." JAMA 302, no. 19 (November 18, 2009): 2066. http://dx.doi.org/10.1001/jama.2009.1551.

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Alba, Francisco Fernández de. "Fashioning Spanish Cinema. Costume, Identity, and Stardom by Jorge Pérez." Hispanófila 194, no. 1 (March 2022): 170–72. http://dx.doi.org/10.1353/hsf.2022.0019.

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Slivchikova, Yu V. "Clothing as a symbol of the political protest in Spanish political and journalistic discourse." Cuadernos Iberoamericanos, no. 2 (June 28, 2015): 94–99. http://dx.doi.org/10.46272/2409-3416-2015-2-94-99.

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The article considers the costume description as an efficient political tool. The study sets out to show by comparing the clothing description of the representatives of the opposing parties that the vestimentary elements obtain new meanings affecting the image of the person that is nothing else but the way of the public control.
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Arana, Ana Balda. "Cristóbal Balenciaga. Explorations in Traditional Spanish Aesthetics." Costume 53, no. 2 (September 2019): 161–85. http://dx.doi.org/10.3366/cost.2019.0119.

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This article investigates how the traditional attire and religious iconography of Cristóbal Balenciaga's (1895–1972) country of origin inspired his designs. The arguments presented here build on what has already been established on the subject, provide new data regarding the cultural context that informed the couturier's creative process (with which the Anglo-Saxon world is less familiar) and conclude by investigating the reasons and timing of his exploration of these fields. They suggest why this Spanish influence is present in his innovations in the 1950s and 1960s and go beyond clichéd interpretations of the ruffles of flamenco dress and bullfighters’ jackets. The findings derive from research for the author's doctoral thesis and her curatorial contribution to the exhibition Coal and Velvet. Balenciaga and Ortiz Echagüe. Views on the Popular Costume (Balenciaga Museum, Getaria, Spain, 7 October 2016–7 May 2017).
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Suárez Muñoz, Rosa María, María del Mar Ortiz Camacho, and Antonio Baena Extremera. "El traje escénico en la Danza Española: importancia y simbolismo." Revista de Humanidades, no. 41 (December 30, 2020): 11. http://dx.doi.org/10.5944/rdh.41.2020.22907.

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Resumen: El vestuario teatral, en la génesis de un proyecto escénico de danza, se considera un elemento más cuya importancia radica en su significación. El objetivo general de este trabajo ha sido constatar la importancia del traje escénico como herramienta transmisora de conceptos y como elemento simbólico que aporta un sentido a la interpretación de la Danza Española. Se ha estudiado el uso de este vestuario desde una perspectiva profesional (Ballet Nacional de España (BNE), intérpretes y coreógrafos de reconocido prestigio) y desde una perspectiva educativa (Conservatorios Profesionales de Danza de Andalucía-España (CPDA)). Se ha realizado una triangulación metodológica combinando investigación cuantitativa y cualitativa utilizando como instrumentos básicos el cuestionario y entrevistas previamente validadas. Como conclusión, resalta la importancia otorgada al uso del vestuario teatral en la Danza Española como herramienta comunicativa intencional, así como su aportación a la interpretación en la representación escénica, confirmándose así las hipótesis planteadas.Abstract: The theatrical costumes, in the genesis of a scenic dance project, are considered one more element whose importance lies in its significance. The aim of this paper has been to verify the importance of it as a communicating tool of concepts and as a symbolic element that contributes a sense to the interpretation of Spanish Dance.The use of this costume has been studied from a professional perspective (National Ballet of Spain (BNE), renowned performers and choreographers) and from an educational perspective (Professional Dance Conservatories of Andalusia (Spain) (CPDA)),making a methodological triangulation that combines quantitative and qualitative research, using the questionnaire and previously validated interviews as basic instruments. As a conclusion, the importance given to the use of theatrical costumes in Spanish Dance as an intentional communicative tool stands out, as well as their contribution to the interpretation in the scenic representation, confirming the hypotheses raised.
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Meier, Cecile, Isabel Sanchez Berriel, and Fernando Pérez Nava. "Creation of a Virtual Museum for the Dissemination of 3D Models of Historical Clothing." Sustainability 13, no. 22 (November 15, 2021): 12581. http://dx.doi.org/10.3390/su132212581.

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Museums have been the main centers for the dissemination of cultural heritage throughout history. In recent years, they have been increasingly digitizing their content, so that it is now common for each museum to have free digital content available on the Web. This can be photographs of the works with detailed information or even objects created in three dimensions. It is also common to find virtual museums, which might be a representation of an existing museum that has been digitized or a museum created only in digital format. This paper describes the creation of a virtual museum of Spanish clothing from the 16th century, one that exists only in digital format, accessible from a computer or digital tablet. In order to create the museum, various documentation and drawings or pictures of the clothing of that time were studied. The costumes were then created in a specialized 3D costume-modeling program called Marvelous Designer. A 3D model of the exhibition hall was created in Blender, and finally, everything was assembled in the Unity videogame engine, where the interactive part was also added, allowing the virtual visitors to walk through the hall as if they were visiting a real museum.
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Siles-González, José, Laura Romera-Álvarez, Mercedes Dios-Aguado, Mª Idioia Ugarte-Gurrutxaga, and Sagrario Gómez-Cantarino. "Woman, Mother, Wet Nurse: Engine of Child Health Promotion in the Spanish Monarchy (1850–1910)." International Journal of Environmental Research and Public Health 17, no. 23 (December 3, 2020): 9005. http://dx.doi.org/10.3390/ijerph17239005.

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In Spain, the wet nurse increased the survival of children through care and breastfeeding of other women’s children. They had a great development together with the Spanish monarchy between 1850 and 1910. The aim is to identify the role of wet nurses in the Spanish monarchy and the survival of the royal infants (s. XIX–XX). A scoping review is presented to study documents about the wet nurse in the Spanish monarchy. Applying the dialectical structural model of care (DSMC). Recognizing five thematic blocks that shape the historical-cultural model. Books, decrees and databases were analyzed: Scopus, Scielo, Dialnet, Cuiden, Medline/Pubmed, CINAHL, Science Direct and Google Scholar, from January to July 2020. The selection process was rigorous because it was difficult to choose. They had to overcome medical and moral exams. The selected rural northern wet nurses emigrated to Madrid. The contract was regulated by laws and paid. Wet nurses were hired by the monarchy due to health problems of the biological mother and a need for greater offspring. The wet nurse wore a typical costume, a symbol of wealth. The northern wet nurses hired by the monarchists have been the engine that has promoted the health of infants through the breastfeeding process.
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Pietsch, Johannes. "The Burial Clothes of Margaretha Franziska de Lobkowitz, 1617." Costume 42, no. 1 (June 1, 2008): 30–49. http://dx.doi.org/10.1179/174963008x285179.

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In June 2003, the remains of Margaretha Franziska de Lobkowitz, née von Dietrichstein (1597–1617), were discovered in the crypt of the parish church of Saint Wenceslas in Mikulov, Czech Republic. The coffin contained the skeleton of Margaretha Franziska and her clothes which were exceptionally well preserved. The costume is an outstanding example of early seventeenth-century women's clothing. The short life of the wearer suggests that the garments were made around 1616. The set of textiles comprises an elaborate formal gown, referred to as 'ropa' in Spanish, an exquisitely tailored doublet and a precious velvet skirt. The burial outfit includes a bonnet, a lace collar, cuffs, knitted stockings and costly garters.
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Budzik, Justyna. "The Great Theater of the World by Elżbieta Wittlin Lipton." Studia Migracyjne – Przegląd Polonijny 46, no. 3 (177) (2020): 51–60. http://dx.doi.org/10.4467/25444972smpp.20.030.12594.

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The paper takes as its focus the theatrical oeuvre of Elżbieta Wittlin Lipton – a Polish émigré artist and the daughter of an eminent Polish émigré writer Józef Wittlin. It presents a concise introduction to the artistic work of Wittlin Lipton – her costume and set designs – which she has been creating on the European (Spain) and North American continents (United States) since late seventies of the previous century onwards. Biographical facts have been outlined here along with the most charactristic features of her artistic style, with a special emphasis laid on the Spanish genius loci which should be regarded as the most outstanding trait of her total work. The paper constitutes a part of a book devoted to the life and artistic achievements of Elżbieta Wittlin Lipton which the author of this manuscript has been currently writing.
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Dissertations / Theses on the topic "Spanish Costume"

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Мисаковець, Надія Валеріївна. "Вдосконалення художньо-композиційної виразності сучасного жіночого одягу на основі дослідження іспанських традицій та національного костюма." Магістерська робота, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/19450.

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Метою даної роботи виступає розробка сучасної жіночої колекції на основі дослідження іспанського народного костюма та традицій. Було досліджено особливості художньо-композиційної виразності сучасного жіночого одягу на основі іспанських традицій та національного костюма. В роботі використано літературно-аналітичний, передпроєктний методи дослідження, метод системно-структурного та морфологічного аналізу, проведено поглиблений аналіз тектонічних та художньо-композиційних ознак Іспанського національного костюму. Виявлено засади та різноманітні аспекти художньо-образних та колористичних рішень для проектування сучасної жіночої колекції одягу.
The purpose of this work is to develop a modern women's collection based on a study of Spanish folk costumes and traditions. It was a study of the features of artistic and compositional expressiveness of modern women's clothing based on Spanish traditions and national costumes. The literary-analytical, pre-design research methods, the method of system-structural and morphological analysis are used in the work, the in-depth analysis of tectonic and artistic-compositional features of the Spanish rational costume is carried out. The principles and various aspects of artistic and color solutions for designing a modern women's clothing collection are revealed.
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Therriault, Isabelle. "'Oh! La Que Su Rostro Tapa/No Debe Valer Gran Cosa': Identidad Y Critica Social En La Cultura Transatlantica Hispanica (1520 - 1860) / 'Oh! The one who covers her face / surely is not worth much': Identity and Social Criticism in Transatlantic Hispanic Culture (1520-1860)." 2010. https://scholarworks.umass.edu/dissertations/AAI3412061.

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In 1639, a law prohibiting women any head covering; veil, mantilla, manto for example, is promulgated for the fifth time in the Iberian Peninsula under the penalty of losing the garment, and subsequently incurring more severe punishments. Regardless of these edicts this social practice continued. My dissertation investigates the cultural representation of these covered women (tapadas) in Spain and the New World in a vast array of early modern literary, historical and legal documents (plays, prose, and regal laws, etc.). Overall, critics associate the use of the veil in the Spanish territories with religious tendencies and overlook the social component of women using the veil to simply explain it as a mere fashion practice. In my dissertation, I argue that it is more than just a garment; the veil was used by women to make political statements, thereby challenging the restrictive gender and identity boundaries of their epoch. A critical analysis of early modern historical and legal peninsular texts and close-readings of Golden Age literary works, together with colonial cultural productions, allow me to identify patterns in how the tapadas were represented both artistically and culturally. Accordingly, my project attempts to reassess the significance of the tapadas in Hispanic culture for 350 years and demonstrate how their resilience to stop using the veil publicly is symptomatic of the absolutist monarchy inefficiencies in imposing social control. I move away from the tendency to investigate works including tapadas exclusively, and I conclude by reconstructing more accurately their cultural impact on the social dynamics in Spain as well as the New World.
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Books on the topic "Spanish Costume"

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Berdan, Frances. Spanish thread on Indian looms: Mexican folk costume. San Bernardino: University Art Gallery, California State University, 1988.

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Berdan, Frances. Spanish thread on Indian looms: Mexican folk costume = Hilo español/telar indígena : el traje popular mexicano. San Bernardino: University Art Gallery, California State University, 1988.

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García-Bermejo, Angela López. El traje popular segoviano. Segovia: Caja de Ahorros y Monte de Piedad de Segovia, 1985.

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Glosario árabe español de indumentaria según el "Kitab al-Mujassas" de Ibn Sidah. Madrid: Consejo Superior de Investigaciones Científicas, 2005.

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Driscoll, Laura. Curious George goes to a costume party. Boston: Houghton Mifflin Harcourt, 2012.

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Díaz, Joaquín. El traje en Andalucía: Estampas del siglo XIX. Sevilla: Fundación Machado, 1995.

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Balseir, María Luisa, and Carmen González-Aguilar. Genio y figura: La influencia de la cultura española en la moda. Edited by Sociedad Estatal para Exposiciones Internacionales, Saitama Kenritsu Kindai Bijutsukan, and Expo (International Exhibitions Bureau) (2005 : Aichi-ken, Japan). [Urawa, Japan]: Saitama Kenritsu Bijutsukan, 2005.

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Museo de Bellas Artes de Valencia. Moda 8o arte?: Arte e indumentaria de la Revolución Francesa a la Belle Époque. Valencia: Pentagraf, 2013.

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Diccionario de sinónimos, antónimos y parónimos. 2nd ed. Madrid: LIBSA, 1989.

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Doezis, Michel. Diccionario de sinónimos, antónimos y parónimos. Madrid: LIBSA, 1990.

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Book chapters on the topic "Spanish Costume"

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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, 75–106. Cham: 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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"Introduction: Fashion, Costume, and Spanish Cinema." In Fashioning Spanish Cinema, 1–29. University of Toronto Press, 2021. http://dx.doi.org/10.3138/9781487539733-003.

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Fracchia, Carmen. "Props and Costume." In 'Black but Human', 91–120. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198767978.003.0004.

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I discuss the stereotypical sixteenth-century image of slaves in chains produced by Northern European artists in Spain. This traditional iconography has no resonance in topographic views and landscapes by Spanish artists. I focus on the ways that the View of Seville drawing (1573) by Joris Hoefnagel articulates the institutionalization of the local Spanish and transatlantic slave trades and I construct an account of the material culture of slavery based on archival sources and legal discussions. I also lay out Juan Fragoso’s set of recommendations for assessing the economic value of slaves at auction in his Universal Surgery. I address the ways in which the drawings of chained slaves (1529) by Christopher Weiditz represent the traditional iconography of Afro-Hispanic slave labourers and as symbolizing the black resistance forged in their confraternities against their subjugation. These forms of resistance are confirmed by Pedro de León’s experience at the royal prison of Seville.
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Hughes, Emily. "Mise-en-scène and Cinematography." In Studying Talk to Her, 21–30. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733438.003.0004.

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This chapter examines Pedro Almodóvar's mise-en-scène and cinematography. Almodóvar's mise-en-scène is rich with intertextual references, whether it be from high culture, through the pastiche of other films, or through the mise-en-scène and the symbolism of props and costume. Heavily used visual motifs, such as 'the Matador', occur frequently in Talk to Her (2002), perhaps in homage and parody of the traditional Spanish iconography encouraged under the Franco regime. Similarly, Almodóvar is renowned for drawing upon and being influenced by Hollywood directors of the 1950s, such as Alfred Hitchcock and Douglas Sirk, and one can see influences from both of these directors in the film through the performances, bright colour palettes, and themes. Like the melodrama films of the 1950s and like the cinema of Hitchcock, Almodóvar's unique and distinctive style is classified by a somewhat obsessive attention to mise-en-scène. This is most noticeable in the domestic settings. Almodóvar pays close attention to objects, colour, painting, and production design, much of which has deeper symbolism and meaning.
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"Regional Costumes." In Antonio Triana and the Spanish Dance, 99–101. Routledge, 2016. http://dx.doi.org/10.4324/9781315077154-24.

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Jordan, Daniel David. "Mementos of al-Andalus in Colonial Morocco." In Coros y Danzas, 64—C3F4. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197586518.003.0004.

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Abstract After a summary of the Sección Femenina’s activities abroad, Chapter 3 turns its focus to the organization’s tours and educational programs within European-controlled Morocco. Between 1951 and 1953, the Sección Femenina’s troupes of Coros y Danzas (Choruses and Dances) performed for Muslim civilians and politicians throughout the Spanish Protectorate, French Protectorate, and the Tangier International Zone. Meanwhile, the Sección Femenina organized choirs of Muslims and Catholics in Tétouan, Tangier, Ceuta, and Melilla that juxtaposed Arabic folk songs with villancicos (religious carols). Throughout their work in Morocco, instructoras remodeled their repertoire and traditional costumes to emphasize Southern Spain’s allegedly lingering cultural ties to North Africa and the Middle East. This change in the Sección Femenina’s representation of Spanish music was accompanied by a change in the organization’s representation of Spanish history. Within Spain, the Sección Femenina associated itself with Queen Isabella “the Catholic” and the “heroes” of the Reconquista who purged the peninsula of the “impurities” of Moorish civilization; however, in the Spanish Protectorate, the ancient Moors were celebrated as a cultural bridge between Spain and Morocco, and Spaniards were portrayed as the cultural heirs of medieval al-Andalus. During a time of political unrest and movements for Moroccan independence, these activities were intended to promote narratives of a Moroccan-Spanish brotherhood based on myths of medieval Muslim Iberia.
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Rubio, Natalia, Nieves Villaseñor, and Maria Jesús Yague. "Brand Equity of Store Brands and Its Effect on Customer Value." In Handbook of Research on Strategic Retailing of Private Label Products in a Recovering Economy, 154–81. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0220-3.ch007.

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This chapter develops a comprehensive analysis of the self-perception of value that the customer brings to the different retail chains present in the Spanish consumer goods retail sector. The authors incorporate a metric to determine the value that costumers have for the retail chains included in the study, and the brand equity of their store brands. The value supplied by their customers is defined as the perception of their loyal behavior and profitability on a long-term context. The measurement of this concept is based on personal judgments on repurchase intention and recommendation at present (named actual value), as well as their intention to acquire different products and brands sold by the company in the future (named potential value). Also, the chapter develops an analysis of the components that generate the brand equity of private label brands and their contribution to building customer value for the chains.
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Hudson, Dr Simon, and Louise Hudson. "Providing Customer Service through the Servicescape." In Customer Service for Hospitality and Tourism. 3rd ed. Goodfellow Publishers, 2022. http://dx.doi.org/10.23912/9781915097132-5080.

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An important part of customer service is the physical environment. Because many tourism and hospitality services are intangible, customers often rely on tangible cues, or physical evidence, to evaluate the service before its purchase and to assess their satisfaction with the service during and after consumption. The physical evidence is the environment in which the service is delivered and in which the firm and customer interact, and any tangible components that facilitate performance or communication of the service. The physical facility is often referred to as the ‘servicescape’, and is very important for tourism and hospitality products such as hotels, restaurants, and theme parks, which are dominated by experience attributes. Disney, for example, effectively uses the servicescape to excite its customers. The brightly colored displays, the music, the rides, and the costumed characters all reinforce the feelings of fun and excitement that Disney seeks to generate in its customers. In the new Shanghai Disney Resort, design and art play a major role. The park and resort cost about $5.5 billion to build and spans an area more than 11 times the size of the original Disneyland in Anaheim, Calif. Visitors can choose from six themed zones, such as Fantasyland and Tomorrowland, plus two hotels and a shopping area.
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