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He traces the elite reaction against fashion that followed the example of the king, Frederick the Great, who dressed poorly - in worn and even dirty clothes - to separate himself from the francophile fastidiousness typical of absolutist armies.
This collection of chapters endeavour to explore the consumption, governance, potency and patronage of attire in the context of social, socio-economic and fashion philosophies.
"This volume is the first to explore fashion as a critical aspect of modernity, one that paralleled and many times converged with the development of Impressionism, starting in the 1860s and continuing through the next two decades, when fashion attracted the foremost writers and artists of the day. Although fashionable subjects have been depicted throughout history, for many artists and writers, including Charles Baudelaire, Stéphanie, Mallarmé, Êmile Zola, Gustave Caillebotte, Edgar Degas, Édouard Manet, Claude Monet, Berthe Morisot, and Pierre-Auguste Renoir, fashion became integral to the search for new literary and visual expression."--Book jacket.
Ch. 10 (pp. 381-454), "Fromm, Neumann, and Arendt: Three Early Interpretations of Nazi Germany", discusses the views of Franz Neumann and Hannah Arendt on Nazi antisemitism. Neumann, in his "Behemoth" (1942), stated that the Nazis needed a fictitious enemy in order to unify the completely atomized German society into one large "Volksgemeinschaft". The terrorization of Jews was a prototype of the terror to be used against other peoples. Arendt contends in "The Origins of Totalitarianism" (1951) that it was imperialism which brought about Nazism, Nazi antisemitism, and the Holocaust. Totalitarianism is nothing but imperialism which came home. Insofar as imperialism transcends national boundaries, racism may be very helpful for it, because racism proposes another principle to define the enemy. Jews and other ethnic groups (e.g. Slavs) became easy targets as groups whose claims clashed with those of the expanding German nation. Terror is the essence of totalitarianism, and extermination camps were necessary for the Nazis to prove the omnipotence of their regime and their capability of total domination.
THE LURE OF PERFECTION: FASHION AND BALLET, 1780-1830 offers a unique look at how ballet influenced contemporary fashion and women's body image, and how street fashions in turn were reflected by the costumes worn by ballet dancers. Through years of research, the author has traced the interplay between fashion, social trends, and the development of dance. During the 18th century, women literally took up twice as much space as men; their billowing dresses ballooned out from their figures, sometimes a full 55 inches, to display costly jewelry and fine brocade work; similar costumes appeared on stage. But clothing also limited her movement; it literally disabled them, making the dances themselves little more than tableaux. Movement was further inhibited by high shoes and tight corsets; thus the image of the rigidly straight, long-lined dancer is as much a product of clothing as aesthetics. However, with changing times came new trends. An increased interest in natural movement and the common folk led to less-restrictive clothing. As viewers demanded more virtuosic dancers, women literally danced their way to freedom. THE LURE OF PERFECTION will interest students of dance and cultural history, and women's studies. It is a fascinating, well-researched look at the interplay of fashion, dance, and culture-still very much a part of our world today.
A Times Literary Supplement’s Book of the Year 2020 A New Statesman's Best Book of 2020 A Bloomberg's Best Book of 2020 A Guardian Best Book About Ideas of 2020 The world-renowned philosopher and author of the bestselling Justice explores the central question of our time: What has become of the common good? These are dangerous times for democracy. We live in an age of winners and losers, where the odds are stacked in favor of the already fortunate. Stalled social mobility and entrenched inequality give the lie to the American credo that "you can make it if you try". The consequence is a brew of anger and frustration that has fueled populist protest and extreme polarization, and led to deep distrust of both government and our fellow citizens--leaving us morally unprepared to face the profound challenges of our time. World-renowned philosopher Michael J. Sandel argues that to overcome the crises that are upending our world, we must rethink the attitudes toward success and failure that have accompanied globalization and rising inequality. Sandel shows the hubris a meritocracy generates among the winners and the harsh judgement it imposes on those left behind, and traces the dire consequences across a wide swath of American life. He offers an alternative way of thinking about success--more attentive to the role of luck in human affairs, more conducive to an ethic of humility and solidarity, and more affirming of the dignity of work. The Tyranny of Merit points us toward a hopeful vision of a new politics of the common good.
Called upon to inventory the estate of a wealthy woman, Emilia Brown, a frugal and unnoticed woman in small-town Rhode Island, discovers an exquisitely tailored Oscar de la Renta dress in the woman's collection and changes her life to be able to purchase the dress.
A brilliant study on the nature of choice and how limitless freedom can lead to despair.
During the era of the French revolution, patriots across Europe tried to introduce a national uniform. This book, the first comparative study of national uniform schemes, discusses case studies from Austria, Bulgaria, England, France, Germany, Hungary, Italy, the Netherlands, Spain, Sweden, Turkey the United States, and Wales.
Historical Style connects the birth of eighteenth-century British consumer society to the rise of historical self-consciousness. Prior to the eighteenth century, British style was slow to change and followed the cultural and economic imperatives of monarchical regimes. By the 1750s, however, a growing fashion press extolled, in writing and illustration, the new phenomenon of periodized fashion trends. As fashion fads came in and out of style, and as fashion texts circulated and obsolesced, Britons were forced to confront the material persistence of out-of-date fashions. Timothy Campbell argues that these fashion texts and objects shaped British perception of time and history by producing new curiosity about the very recent past, as well as a new self-consciousness about the means by which the past could be understood. In a panoptic sweep, Historical Style brings together art history, philosophy, and literary history to portray an era increasingly aware of itself. Burgeoning consumer society, Campbell contends, highlighted the distinction between the past and the present, created an expectation of continual change, and forged a sense of history as something that could be tracked through material objects. Campbell assembles a wide range of writings, images, and objects to render this eighteenth-century landscape: commercial dress displays and David Hume's ideas of novelty as historical form; popular illustrations of recent fashion trends and Sir Joshua Reynolds's aesthetic precepts; fashion periodicals and Sir Walter Scott's costume-saturated historical fiction. In foregrounding fashion to trace eighteenth-century historicism, Historical Style draws upon the interdisciplinary, multimedia archival impressions that fashionable dress has left behind, as well as the historical and conceptual resources within the field of fashion studies that literary and cultural historians of eighteenth-century and Romantic Britain have often neglected.