The museums of Aotearoa New Zealand hold a glorious treasure trove of clothing worn by fashionable women from 1840 to the early 1900s. From ball gowns and riding habits to tea gowns and dresses worn for presentations to Queen Victoria, these gowns help tell the story of the lives of early businesswomen, society women and civic figures, making Dressed a unique social history"--Back cover.
The Dress Circle inserts seven decades of history into the family tree of New Zealand fashion design in a landmark book that celebrates both the achievements of New Zealand fashion designers from the recent past and the high-profile success of the contemporary generation. In over 400 fully illustrated pages, authors Lucy Hammonds, Douglas Lloyd Jenkins and Claire Regnault reveal the wealth of stories that underpin the development of New Zealand s unique fashion design history. They showcase the talents and undeniable flair of a wide range of New Zealand fashion designers, from the well-known to those who have slipped out of the public eye. At the same time The Dress Circle explores the key social shifts that empowered change in fashion, offering a new view of a vital and exciting branch of New Zealand design culture. Shortlisted for the 2011 NZ Post Book Awards.
One of the most fascinating figures of seventeenth-century music, composer and singer Antonia Padoani Bembo (c.1640 - c.1720) was active in both Venice and Paris. Her work provides a unique cross-cultural window into the rich musical cultures of these cities, yet owing to her clandestine existence in France, for almost three centuries Bembo's life was shrouded in mystery. In this first-ever biography, Clare Fontijn unveils the enthralling and surprising story of a remarkable woman who moved in the musical, literary, and artistic circles of these European cultural centers.
The Science of Proof traces the rise of forensic medicine in late eighteenth- and nineteenth-century France and examines its implications for our understanding of expert authority. Tying real life cases to broader debates, the book analyzes how new forms of medical and scientific knowledge, many of which were pioneered in France, were contested, but ultimately accepted, and applied to legal problems and the administration of justice. The growing authority of medical experts in the French legal arena was nonetheless subject to sharp criticism and scepticism. The professional development of medicolegal expertise and its influence in criminal courts sparked debates about the extent to which it could reveal truth, furnish legal proof, and serve justice. Drawing on a wide base of archival and printed sources, Claire Cage reveals tensions between uncertainty about the reliability of forensic evidence and a new confidence in the power of scientific inquiry to establish guilt, innocence, and legal responsibility.
Restoring the role of theatrical performance as both subject and trope in the aesthetics of self-representation, Staging the Artist questions how nineteenth-century French and Belgian artists self-consciously fashioned their identities through their art and writings. This emphasis on performance allows for a new understanding of the processes of self-fashioning which underlie self-representation in word and image. Claire Moran offers new interpretations of works by major nineteenth-century figures such as Paul Gauguin and Edgar Degas, and addresses the neglected topic of the function of theatre in the development of modern visual art. Incarnating Baudelaire's metaphor of the artist as an actor ever-conscious of his role, the artists discussed "Courbet, Ensor and Van Gogh, among others" employed theatre as both a thematic source and formal inspiration in their painting, writings and social behaviour. Moran argues that what renders this visual, literary and social performance modern is its self-consciousness, which in turn serves as a model with which to challenge pictorial convention. This book suggests that tracing modern performance and artistic identity to the nineteenth century provides a greater understanding not only of the significance of theatre in the development of modern art, but also highlights the self-conscious staging inherent to modern artistic identity.
This book is the only introductory text to Genet in English, offering an overview of this key figure in defining and understanding twentieth-century theatre. The authors provide a comprehensive account of Genet's key plays and productions, his early life and his writing for and beyond the theatre.
NOTWITHSTANDING the date of the year in which I undertake this narrative, I shall not seek to excuse the motives which led my husband to attach himself to the person of Bonaparte, but shall simply explain them. In political matters justifications are worth nothing. Certain persons, having returned to France only three years ago, or having taken no part in public affairs before that epoch, have pronounced a sort of anathema against those among our fellow citizens who for twenty years have not held completely aloof from passing events. If it be represented to them that nobody pretends to pronounce whether they were right or wrong to indulge in their long sleep, and that they are merely asked to remain equally neutral on a similar question, they reject such a proposition with all the strength of their present position of vantage; they deal out unsparing and most ungenerous blame, for there is now no risk in undertaking the duties on which they pride themselves. And yet, when a revolution is in progress, who can flatter himself that he has always adopted the right course? Who among us has not been influenced by circumstances? Who, indeed, can venture to throw the first stone, without fear lest it recoil upon himself? Citizens of the same country, all more or less hurt by the blows they have given and received, ought to spare each otherÑthey are more closely bound together than they think; and when a Frenchman mercilessly runs down another Frenchman, let him take careÑhe is putting weapons to use against them both into the hands of the foreigner. Not the least evil of troubled times is that bitter spirit of criticism which produces mistrust, and perhaps contempt, of what is called public opinion. The tumult of passion enables every one to defy it. Men live for the most part so much outside of themselves, that they have few opportunities of consulting their conscience. In peaceful times, and for common ordinary actions, the judgments of the world replace it well enough; but how is it possible to submit to them, when they are ready to deal death to those who would bow to them? It is safest, then, to rely on that conscience which one can never question with impunity. Neither my husbandÕs conscience nor my own reproaches him or me. The entire loss of his fortune, the experience of facts, the march of events, a moderate and legitimate desire for easier circumstances, led M. de Rémusat to seek a place of some kind in 1802. To profit by the repose that Bonaparte had given to France, and to rely on the hopes he inspired, was, no doubt, to deceive ourselves, but we did so in common with all the rest of the world.
This study explores France’s preoccupation with memories of the Second World War through an examination of popular culture and one of its more enduring forms, crime fiction. It examines what such popular narratives have to tell us about past and present perceptions of the war years in France and how they relate to post-war debates over memory, culture and national identity. Starting with narratives of the Resistance in the late 1940s and concluding with contemporary crime fiction for younger readers, Gorrara examines popular memories of the Second World War in dialogue with the changing social, cultural and political contexts of remembrance in post-war France. From memories of the persecution of Jews and French collaboration to the legacies of the concentration camps and the figure of the survivor-witness, all the crime novels discussed grapple with the challenges of what it means to live in the shadow of such a past for generations past, present and future.
French journalist Claire Parnet's famous dialogues with Gilles Deleuze offer an intimate portrait of the philosopher's life and thought. Conversational in tone, their engaging discussions delve deeply into Deleuze's philosophical background and development, the major concepts that shaped his work, and the essence of some of his famous relationships, especially his long collaboration with the philosopher Félix Guattari. Deleuze reconsiders Spinoza, empiricism, and the stoics alongside literature, psychoanalysis, and politics. He returns to the notions of minor literature, deterritorialization, the critical and clinical, and begins a nascent study of cinema. New to this edition is Deleuze's essay "Pericles and Verdi," which reflects on politics and historical materialism in the work of the influential French philosopher François Châtelet. An enduring record of Deleuze's unique personality and profound contributions to culture and philosophy, Dialogues II is a highly personable account of the evolution of one of the greatest critics and theorists of the twentieth century.
This eight-volume, reset edition in two parts collects rare primary sources on Victorian science, literature and culture. The sources cover both scientific writing that has an aesthetic component – what might be called 'the literature of science' – and more overtly literary texts that deal with scientific matters.
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