By Joanne Entwistle, Elizabeth B. Wilson
The physique has lately turn into a favored topic for research, but the position performed by way of gown in defining the physique has been principally missed. This e-book examines the way gown acts at the physique and is necessary to our event of embodiment. a lot of gown research to this point has targeted too seriously at the textual and has missed the sensual nature of donning outfits and their half in our adventure of embodiment. How outfits 'feel' at the physique is as very important in certain cases as how they appear or what they may 'mean'. Exploring gender, images, cultural historical past and modernity, this ebook bargains with an enormous diversity of questions inherent in dressing up the physique. From style images and ads within the Sixties to modern queer model and switch of the century tailoring, this can be a attention-grabbing and far-reaching assortment.
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Extra info for Body Dressing (Dress, Body, Culture)
1992), Three Guineas, London, World’s Classics. ’ However, what Turner omits in his analysis is another obvious and prominent fact: that human bodies are dressed bodies. Dress is a basic fact of social life and this, according to anthropologists, is true of all human cultures that we know about: all cultures ‘dress’ the body in some way, be it through clothing, tattooing, cosmetics or other forms of body painting (Polhemus 1988, Polhemus and Proctor 1978). Conventions of dress transform flesh into something recognizable and meaningful to a culture and are also the means by which bodies are made ‘decent’, appropriate and acceptable within specific contexts.
For example, the existence of the corset in the nineteenth century and the discourses about the supposed morality of wearing one (the terms ‘loose’ and ‘straightlaced’ used to describe a woman refer to the wearing of a corset and illustrate, if metaphorically, the link between this article of clothing and morality) tell us little or nothing about how Victorian women experienced the corset, how tightly they chose to lace it, and what bodily sensations it produced. However, it would seem that by investing importance in the body, dress opens up the potential for women to use this for their own purposes and experience pleasures that are perhaps the ‘reverse’ of dominant ones.
So fundamental is dress to the social presentation of the body and the social order that it governs even our ways of seeing the naked body. According to Hollander (1993) dress is crucial to our understanding of the body to the extent that our ways of seeing and representing the naked body are dominated by conventions of dress. As she (1993: xiii) argues, art proves that nakedness is not universally experienced and perceived any more than clothes are. At any time, the unadorned self has more kinship with its own usual dressed aspect than it has with any undressed human selves in other times and other places.