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In Germany, 1969, Eugen Fink's Fashion: Seductive Play was published. This first English language edition, updated with an introduction by Stefano Marino and Giovanni Matteucci, makes available Fink's philosophical investigation into fashion to an English-speaking audience. One of the greatest figures in the “phenomenological movement,” Fink here investigates fashion at various philosophical levels - aesthetic, ethical, social - and in relationship to other forms of human culture, especially contemporary culture. Although there have been many transformations and changes in the world of fashion since the late 1960s, from prêt-à-porter to fast fashion, fashion's connection to both high culture and popular culture, and the new relationship between fashion and the advent of social media, Fink's insights allow wide-ranging and far-reaching inquiries into fashion's philosophical essence. Fink's extraordinary lucidity and his unique conceptual capacities have made his work crucial to the study of the philosophy of fashion today. His work, like that of Simmel's, Veblen's or Benjamin's, is as essential and important now as when it was first published.
Eugen Fink's deep engagement with the phenomenon of play saw him transcend his two towering mentors, Edmund Husserl and Martin Heidegger, to become a crucial figure in early 20th-century phenomenology. The Phenomenology of Play draws on Fink's concept of play to build a picture of his philosophy, from its foundations to its applications. The book's three sections focus on the building blocks of Fink's phenomenology of play, how his work maps onto the broader history of philosophy, and finally how his writing can be applied to contexts from education and care to politics and religion. This rich account of Fink's contribution to theories of play demonstrates its immense value and fundamental importance to human existence. Relating Fink's work to that of his contemporaries and predecessors like Husserl, Heidegger, Schiller, Gadamer, Nietzsche and Sartre shows the range and importance of his ideas to modern European thought. The Phenomenology of Play also features newly translated material including notes from conversations between Fink and Heidegger, and Fink's own essay 'Mask and Cothurnus' on ancient theatre – which shed new light on his philosophical enquiries.
In Germany, 1969, Eugen Fink's Fashion: Seductive Play was published. This first English language edition, updated with an introduction by Stefano Marino and Giovanni Matteucci, makes available Fink's philosophical investigation into fashion to an English-speaking audience. One of the greatest figures in the “phenomenological movement,” Fink here investigates fashion at various philosophical levels - aesthetic, ethical, social - and in relationship to other forms of human culture, especially contemporary culture. Although there have been many transformations and changes in the world of fashion since the late 1960s, from prêt-à-porter to fast fashion, fashion's connection to both high culture and popular culture, and the new relationship between fashion and the advent of social media, Fink's insights allow wide-ranging and far-reaching inquiries into fashion's philosophical essence. Fink's extraordinary lucidity and his unique conceptual capacities have made his work crucial to the study of the philosophy of fashion today. His work, like that of Simmel's, Veblen's or Benjamin's, is as essential and important now as when it was first published.
Seduction is the first book to explore the sensual style of the seductress, from Marie Antoinette and Madame de Pompadour in pre-revolutionary France, through the screen queens of 1930s Hollywood, such as Jean Harlow and Marlene Dietrich, to the contemporary sex sirens of today, Madonna and Jennifer Lopez. In chronological, themed chapters, international fashion authority, Caroline Cox explores the art of seduction, examining the many ways in which women have used their environment, clothes, and behavior to create a seductive allure. The lively and authoritative text is accompanied by gorgeous new and vintage images. Seduction is a visual feast and a fascinating study of the development of a woman's means of sedecution throughout the centuries.
Winner of the Art Association of Australia and New Zeland prize for Best Edited Book, 2010. Fashion: Critical and Primary Sources is a major multi-volume work of reference which brings together seminal writings on Fashion. The geographical range of the essays crosses Europe, Asia and North America. The essays reveal the wide set of methodological approaches which all bear on the study of Fashion - Sociology, Art History and Cultural History, Anthropology, Social Theory, Dress and Textile Studies. Ordered chronologically, the four volumes cover Late Medieval to Renaissance, the Eighteenth Century, the Nineteenth Century and the Twentieth Century to today. Each volume is separately introduced and the essays structured into coherent sections on specific themes. Fashion: Critical and Primary Sources will prove a major scholarly resource for any researchers involved in the study of Fashion, Dress and Costume.
When we think of Italian fashion, Gucci, Max Mara and the meteoric rise of Prada immediately spring to mind. But Italian fashion has a dark history that has not previously been explored. The Fascism of 1930s Italy dominated more than just politics - it spilled over into modes of dress. Fashion under Fascism is the first book to consider this link in detail.Fashion often functions as a tacit means of making a social statement, but under Mussolini it vividly reflected political tyranny. Ones allegiance to the regime was choreographed by the dictatorship with the intent of creating a new national consciousness. Women in particular were manipulated through fashion ideals to create an authentic Italian femininity. Paulicelli explores the subtle yet sinister changes to the seemingly innocuous practices of everyday dress and shows why they were such a concern for the state. Importantly, she also demonstrates how these developments impacted on the global dominance of Italian fashion today.This fascinating book includes interviews with major designers, such as Fernanda Gattinoni and Micol Fontana, and sheds new light on the complicated relationship between style and politics.
Contains 640 alphabetized, cross-referenced entries on clothing and fashion, covering such disciplines as fashion design, anthropology, sociology, business, history, and art history.
Baudrillard's culture of simulation destroys our sense of paramount reality. It has created, as Chris Rojek puts it, a "huge refugee camp in which viewers, dissociated from place and community, are caught up in global indexing and dragging processes which no one controls." What is thus also, perversely, inscribed within the cultural landscape is a nostalgia for authenticity, for the dissimulated spaces and places which, though no longer there, stimulate their semiotic reconstructions and reproductions. And yet "[t]he possibility of lying is the prioprium of semiosis," as Umberto Eco has once remarked. Truth and falsity are inherent in the sign and in representation generally, subverting the tertium non datur principle. This book is an attempt to unmask representation, to see through the signs of the real, and through the real itself, at the realm of simulation. Those signs are not only signs of what they signify, but also signs of culture, of the cultural real which the articles included in the volume try to penetrate from various theoretical and philosophical perspectives.