Experimental Fashion: Performance Art, Carnival and the Grotesque Body: Dress Cultures
Autor Professor Francesca Granataen Limba Engleză Hardback – 22 feb 2017
Toate formatele și edițiile | Preț | Express |
---|---|---|
Paperback (1) | 162.07 lei 22-36 zile | |
Bloomsbury Publishing – 10 mar 2021 | 162.07 lei 22-36 zile | |
Hardback (1) | 594.17 lei 22-36 zile | |
Bloomsbury Publishing – 22 feb 2017 | 594.17 lei 22-36 zile |
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Specificații
ISBN-13: 9781784533786
ISBN-10: 1784533785
Pagini: 232
Ilustrații: 52 integrated bw
Dimensiuni: 156 x 234 x 25 mm
Greutate: 0.48 kg
Editura: Bloomsbury Publishing
Colecția I.B.Tauris
Seria Dress Cultures
Locul publicării:London, United Kingdom
ISBN-10: 1784533785
Pagini: 232
Ilustrații: 52 integrated bw
Dimensiuni: 156 x 234 x 25 mm
Greutate: 0.48 kg
Editura: Bloomsbury Publishing
Colecția I.B.Tauris
Seria Dress Cultures
Locul publicării:London, United Kingdom
Cuprins
Notă biografică
Francesca Granata is Associate Professor in the School of Art and Design History and Theory at Parsons the New School for Design, New York. She is the editor and founder of the journal Fashion Projects. Her work has appeared in Fashion Theory, Fashion Practice, and The Journal of Design History, The Atlantic as well as in a number of books and exhibition catalogues.
Descriere
The fashion body unbound.
Caracteristici
Examines the work designers and performance artists at the turn of the 21st century - such as Georgina Godley, Bernhard Willhelm, Rei Kawakubo, Lady Gaga - to explore how experimental fashion challenged codes of what represents the fashionable body
Recenzii
This is a timely book in that many of the concepts discussed resonate strongly with the current cultural context: gynophobia and fear of the fat feminine body; neoliberalism, corporate greed and the "enterprising self"; and fear of border crossings and the breakdown of cultural categories.
The strengths of this book are two-fold, both reframing Bakhtin's theory of the Grotesque body as a tool for the analysis of fashion and also its ability to theorize the very edges of fashion [...] [I]n doing so, Granata does both fashion studies and design history a great service.
A very welcome contribution to the field of fashion studies, not least through its attention to an aspect of fashion-experimental fashion-that has so far been given little attention.
[H]er work begins to bridge a gap in literature concerned with the intersections of fashion practice and performance art. [...] While Granata's work is both methodologically and theoretically complex it is presented with absolute clarity and this level of accessibility is highly commendable.
Granata continually reconsiders the grotesque within the contexts of different fields of both culture and academe. Borrowing from psychoanalysis, feminist theory, performance and film studies, she creates a vivid narrative that inspects grotesque corporealities in a variety of cultural forms through meticulous analysis of primary sources.
The strengths of this book are two-fold, both reframing Bakhtin's theory of the Grotesque body as a tool for the analysis of fashion and also its ability to theorize the very edges of fashion [...] [I]n doing so, Granata does both fashion studies and design history a great service.
A very welcome contribution to the field of fashion studies, not least through its attention to an aspect of fashion-experimental fashion-that has so far been given little attention.
[H]er work begins to bridge a gap in literature concerned with the intersections of fashion practice and performance art. [...] While Granata's work is both methodologically and theoretically complex it is presented with absolute clarity and this level of accessibility is highly commendable.
Granata continually reconsiders the grotesque within the contexts of different fields of both culture and academe. Borrowing from psychoanalysis, feminist theory, performance and film studies, she creates a vivid narrative that inspects grotesque corporealities in a variety of cultural forms through meticulous analysis of primary sources.