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During the late 18th and early 19th centuries, there was a tubercular 'moment' in which perceptions of the consumptive disease became inextricably tied to contemporary concepts of beauty, playing out in the clothing fashions of the day. With the ravages of the illness widely regarded as conferring beauty on the sufferer, it became commonplace to regard tuberculosis as a positive affliction, one to be emulated in both beauty practices and dress. While medical writers of the time believed that the fashionable way of life of many women actually rendered them susceptible to the disease, Carolyn A. Day investigates the deliberate and widespread flouting of admonitions against these fashion practices in the pursuit of beauty. Through an exploration of contemporary social trends and medical advice revealed in medical writing, literature and personal papers, Consumptive Chic uncovers the intimate relationship between fashionable women's clothing, and medical understandings of the illness. Illustrated with over 40 full color fashion plates, caricatures, medical images, and photographs of original garments, this is a compelling story of the intimate relationship between the body, beauty, and disease - and the rise of 'tubercular chic'.
During the late 18th and early 19th centuries, there was a tubercular 'moment' in which perceptions of the consumptive disease became inextricably tied to contemporary concepts of beauty, playing out in the clothing fashions of the day. With the ravages of the illness widely regarded as conferring beauty on the sufferer, it became commonplace to regard tuberculosis as a positive affliction, one to be emulated in both beauty practices and dress. While medical writers of the time believed that the fashionable way of life of many women actually rendered them susceptible to the disease, Carolyn A. Day investigates the deliberate and widespread flouting of admonitions against these fashion practices in the pursuit of beauty. Through an exploration of contemporary social trends and medical advice revealed in medical writing, literature and personal papers, Consumptive Chic uncovers the intimate relationship between fashionable women's clothing, and medical understandings of the illness. Illustrated with over 40 full color fashion plates, caricatures, medical images, and photographs of original garments, this is a compelling story of the intimate relationship between the body, beauty, and disease - and the rise of 'tubercular chic'.
This book examines representations of tuberculosis in Victorian fiction, giving insights into how society viewed this disease and its sufferers.
Exploring the popularity and meaning of neoclassical dress in the 1790s, this book traces its evolution in Europe and relationship to other artistic media.
This book addresses the evident but unexplored intertwining of visibility and invisibility in the discourses around syphilis. A rethinking of the disease with reference to its ambiguous status, and the ways of seeing that it generated, helps reconsider the network of socio-cultural and political interrelations which were negotiated through syphilis, thereby also raising larger questions about its function in the construction of individual, national and imperial identities. This book is the first large-scale interdisciplinary study of syphilis in late Victorian Britain whose significance lies in its unprecedented attention to the multimedia and multi-discursive evocations of syphilis. An examination of the heterogeneous sources that it offers, many of which have up to this point escaped critical attention, makes it possible to reveal the complex and poly-ideological reasons for the activation of syphilis imagery and its symbolic function in late Victorian culture.
There were eccentric characters in the hotel. The Paris slums are a gathering-place for eccentric people—people who have fallen into solitary, half-mad grooves of life and given up trying to be normal or decent. Poverty frees them from ordinary standards of behaviour, just as money frees people from work. Some of the lodgers in our hotel lived lives that were curious beyond words. There were the Rougiers, for instance, an old, ragged, dwarfish couple who plied an extraordinary trade. They used to sell postcards on the Boulevard St Michel. The curious thing was that the postcards were sold in sealed packets as pornographic ones, but were actually photographs of chateaux on the Loire; the buyers did not discover this till too late, and of course never complained. The Rougiers earned about a hundred francs a week, and by strict economy managed to be always half starved and half drunk. The filth of their room was such that one could smell it on the floor below. According to Madame F., neither of the Rougiers had taken off their clothes for four years.
Named a Best Book of the Year by The Washington Post, Time, NPR, Amazon,Vice, Bustle, The New York Times, The Guardian, Kirkus Reviews, Entertainment Weekly, The AV Club, & Audible A New York Times Bestseller “One of the most compelling protagonists modern fiction has offered in years: a loopy, quietly furious pillhead whose Ambien ramblings and Xanaxed b*tcheries somehow wend their way through sad and funny and strange toward something genuinely profound.” — Entertainment Weekly “Darkly hilarious . . . [Moshfegh’s] the kind of provocateur who makes you laugh out loud while drawing blood.” —Vogue From one of our boldest, most celebrated new literary voices, a novel about a young woman's efforts to duck the ills of the world by embarking on an extended hibernation with the help of one of the worst psychiatrists in the annals of literature and the battery of medicines she prescribes. Our narrator should be happy, shouldn't she? She's young, thin, pretty, a recent Columbia graduate, works an easy job at a hip art gallery, lives in an apartment on the Upper East Side of Manhattan paid for, like the rest of her needs, by her inheritance. But there is a dark and vacuous hole in her heart, and it isn't just the loss of her parents, or the way her Wall Street boyfriend treats her, or her sadomasochistic relationship with her best friend, Reva. It's the year 2000 in a city aglitter with wealth and possibility; what could be so terribly wrong? My Year of Rest and Relaxation is a powerful answer to that question. Through the story of a year spent under the influence of a truly mad combination of drugs designed to heal our heroine from her alienation from this world, Moshfegh shows us how reasonable, even necessary, alienation can be. Both tender and blackly funny, merciless and compassionate, it is a showcase for the gifts of one of our major writers working at the height of her powers.
"In this penetrating analysis of the social attitudes toward various major illnesses - chiefly tuberculosis, the scourge of the 19th century, and cancer, the terror of our own - Susan Sontag demonstrates that "illness is not a metaphor" and shows why "the healthiest way of being ill is one purified of metaphoric thinking." Once tuberculosis was identified as a bacterial infection, it ceased to be a symbol of a romantic fading away or of a sensitive or artistic temperament, and it could be treated and cured. Similarly, we must today cease to think of cancer as a mark of doom, a punishment or a sign of a repressed personality, and recognize it for what it is: one disease among many and often receptive to treatment." -- from back cover.
Dress became a testing ground for masculine ideals in Renaissance Italy. With the establishment of the ducal regime in Florence in 1530, there was increasing debate about how to be a nobleman. Was fashionable clothing a sign of magnificence or a source of mockery? Was the graceful courtier virile or effeminate? How could a man dress for court without bankrupting himself? This book explores the whole story of clothing, from the tailor's workshop to spectacular court festivities, to show how the male nobility in one of Italy's main textile production centers used their appearances to project social, sexual, and professional identities. Sixteenth-century male fashion is often associated with swagger and ostentation but this book shows that Florentine clothing reflected manhood at a much deeper level, communicating a very Italian spectrum of male virtues and vices, from honor, courage, and restraint to luxury and excess. Situating dress at the heart of identity formation, Currie traces these codes through an array of sources, including unpublished archival records, surviving garments, portraiture, poetry, and personal correspondence between the Medici and their courtiers. Addressing important themes such as gender, politics, and consumption, Fashion and Masculinity in Renaissance Florence sheds fresh light on the sartorial culture of the Florentine court and Italy as a whole.
Collecting the perspectives of scholars who reflect on their own relationships to particular garments, analyze the politics of dress, and examine the role of consumerism and entrepreneurialism in the production of creating and selling a style, meXicana Fashions examines and searches for meaning in these visible, performative aspects of identity. Focusing primarily on Chicanas but also considering trends connected to other Latin American communities, the authors highlight specific constituencies that are defined by region (“Tejana style,” “L.A. style”), age group (“homie,” “chola”), and social class (marked by haute couture labels such as Carolina Herrera and Oscar de la Renta). The essays acknowledge the complex layers of these styles, which are not mutually exclusive but instead reflect a range of intersections in occupation, origin, personality, sexuality, and fads. Other elements include urban indigenous fashion shows, the shifting quinceañera market, “walking altars” on the Days of the Dead, plus-size clothing, huipiles in the workplace, and dressing in drag. Together, these chapters illuminate the full array of messages woven into a vibrant social fabric.