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The Lebanese photographer Marie al-Khazen seized every opportunity to use her camera during the years that she was active between 1920 and 1940. She not only documented her travels around tourist sites in Lebanon but also sought creative experimentation with her camera by staging scenes, manipulating shadows, and superimposing negatives to produce different effects in her prints. Within her photographs, bedouins and European friends, peasants and landlords, men and women comfortably share the same space. Her photographs include an intriguing collection portraying her family and friends living their everyday lives in 1920s and '30s Zgharta, a village in the north of Lebanon. Yasmine Nachabe Taan explores these photographs, emphasizing the ways in which notions of gender and class are inscribed within them and revealing how they are charged with symbols of women's emancipation to today's viewers, through women's presence as individuals, separate from family restrictions of that time. Images in which women are depicted smoking cigarettes, driving cars, riding horses, and accompanying men on hunting trips counteract the common ways in which women were portrayed in contemporary Lebanon.
The Lebanese photographer Marie al-Khazen seized every opportunity to use her camera during the years that she was active between 1920 and 1940. She not only documented her travels around tourist sites in Lebanon but also sought creative experimentation with her camera by staging scenes, manipulating shadows, and superimposing negatives to produce different effects in her prints. Within her photographs, bedouins and European friends, peasants and landlords, men and women comfortably share the same space. Her photographs include an intriguing collection portraying her family and friends living their everyday lives in 1920s and '30s Zgharta, a village in the north of Lebanon. Yasmine Nachabe Taan explores these photographs, emphasizing the ways in which notions of gender and class are inscribed within them and revealing how they are charged with symbols of women's emancipation to today's viewers, through women's presence as individuals, separate from family restrictions of that time. Images in which women are depicted smoking cigarettes, driving cars, riding horses, and accompanying men on hunting trips counteract the common ways in which women were portrayed in contemporary Lebanon.
Travel photography, amateur photography, and locality -- Were there female photographers in the region? -- Producing an alternative space : destabilizing fixed images of womanhood -- Women, politics, and portraiture during the French Mandate -- Modernity as expressed in the photographs -- "Successful failures," or, Marie a-Khazen's photographic experiments.
An invaluable resource for fashion students, teachers and designers, this book looks at research sketchbooks and the role they play in the research and design process. Demonstrating how ideas are constructed, for single garments as well as entire collections, the book looks at how pages and whole sketchbooks are put together. New Fashion Designers' Sketchbooks includes work and sketchbook pages from over 30 fashion designers, and examines a range of work from foundation fashion students through to professional designers. Included in the book is information about each designer on what inspires them, how they express this in their work, and how they use research sketchbooks in the design process.
The term arthrogryposis describes a range of congenital contractures that lead to childhood deformities. It encompasses a number of syndromes and sporadic deformities that are rare individually but collectively are not uncommon. Yet, the existing medical literature on arthrogryposis is sparse and often confusing. The aim of this book is to provide individuals affected with arthrogryposis, their families, and health care professionals with a helpful guide to better understand the condition and its therapy. With this goal in mind, the editors have taken great care to ensure that the presentation of complex clinical information is at once scientifically accurate, patient oriented, and accessible to readers without a medical background. The book is authored primarily by members of the medical staff of the Arthrogryposis Clinic at Children's Hospital and Medical Center in Seattle, Washington, one of the leading teams in the management of the condition, and will be an invaluable resource for both health care professionals and families of affected individuals.
Skin Crafts discusses multiple artists from global contexts who employ craft materials in works that address historical and contemporary violence. These artists are deliberately embracing the fragility of textiles and ceramics to evoke the vulnerability of human skin and - in so doing - are demanding visceral responses from viewers. Drawing on a range of theories including affect theory, material feminism, skin studies, phenomenology and global art history, the book illuminates the various ways in which artists are harnessing the affective power of craft materials to address and cope with violence. Artists from Mexico, Africa, China, the Netherlands and Indigenous artists based in the unceded territory known as Canada are examined in relation to one another to illuminate the connections and differences across their bodies of work. Skin Crafts interrogates ongoing material violence towards women and marginalized others, and demonstrates the power of contemporary art to force viewers and scholars into facing their ethical responsibilities as human beings.
The first survey of Richard Avedon's influential advertising work Richard Avedon was one of the most sought-after and influential advertising photographers in America from the 1940s to the beginning of the 21st century, creating work that exemplified Madison Avenue at the height of its influence in world culture. Working with a talented cadre of models, copy writers, and art directors, Avedon made images that enticed consumers to embrace the new, especially in the areas of fashion and beauty, with campaigns for Revlon, Chanel, Calvin Klein, Dior, and Versace, among many others. Avedon Advertising tells this story, reproducing memorable ads that range from the buoyant 1940s and 1950s, when post-war prosperity opened up new experiences to consumers; through the explosive '60s; and into the era defined by celebrity culture and global brand awareness.
Niche fashion magazines speak to a highly fashion literate readership and mix the codes of style magazines, glossy women's magazines and art catalogues. They are often produced and read by people engaged in the business of creating fashion taste. Through this business-to-business practice, the niche magazine genre is powerful in shaping the face of fashion. Based on unique analysis of niche fashion magazines and unprecedented access to the making of the respected Danish niche fashion magazine, DANSK, including interviews with its makers and its readers, this book unveils the behind-the-scenes of niche fashion magazines. It pays special attention to the symbolic and material cultures, as well as the values and meanings that are shared across magazine producers and their readers. It is a valuable contribution to the study and practice of fashion journalism, with appeal to students and readers of the increasingly popular high-end glossy magazines.
In contrast to most cultural histories of imperialism, which analyse Orientalist images of rather than by women, Gendering Orientalism focuses on the contributions of women themselves. Drawing on the little-known work of Henriette Browne, other `lost' women Orientlist artists and the literary works of George Eliot, Reina Lewis challenges masculinist assumptions relating to the stability and homogeneity of the Orientalist gaze. Gendering Orientalism argues that women did not have a straightforward access to an implicitly nale position of western superiority, Their relationship to the shifting terms of race, nation and gender produced positions from which women writers and artists could articulate alternative representations of racial difference. It is this different, and often less degrading, gaze on the Orientalized `Other' that is analysed in this book. By revealing the extent of women's involvement in the popular field of visual Orientalism and highlighting the presence of Orientalist themes in the work of Browne, Eliot and Charlotte Bronte, reina Lewis uncovers women's roles in imperial culture and discourse. Gendering Orientalism will appeal to students, lecturers and researchers in cultural studies, literature, art history, women's studies and anthropology.
Hair, or lack of it, is one the most significant identifiers of individuals in any society. In Antiquity, the power of hair to send a series of social messages was no different. This volume covers nearly a thousand years of history, from Archaic Greece to the end of the Roman Empire, concentrating on what is now Europe, North Africa, and the Near East. Among the key issues identified by its authors is the recognition that in any given society male and female hair tend to be opposites (when male hair is generally short, women's is long); that hair is a marker of age and stage of life (children and young people have longer, less confined hairstyles; adult hair is far more controlled); hair can be used to identify the 'other' in terms of race and ethnicity but also those who stand outside social norms such as witches and mad women. The chapters in A Cultural History of Hair in Antiquity cover the following topics: religion and ritualized belief, self and society, fashion and adornment, production and practice, health and hygiene, gender and sexuality, race and ethnicity, class and social status, and cultural representations.