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Dressed 'as if for a Carnival': Solving the Mystery of the Origins of Children's Fashion. A New Perspective on the History and Historiography of Children's Dress

机译:穿着'好像是狂欢节':解决儿童时尚的起源的谜团。儿童衣服历史与史学的新视角

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The article has a double focus: explaining the so-far obscure origins of children's fashion in the later eighteenth century and putting its emergence in the context of the 'grand narrative' concerning the 'discovery of childhood' during this pivotal period. Contrary to Rousseau's famous dismissal of the hussar suit, the role of 'fancy dress' inspiration in the development of children's fashions for the first time purposefully meant to distinguish the (male) child from the grown-ups and, concurrent with the Enlightenment's ideas on childhood, emerges as central rather than marginal. The repertory of styles adopted for boys' wear is shown to have been inspired by various ethnic and historical dress traditions rooted in the fascination with masquerade characteristic of the Rococo culture but harnessed to express the emerging new attitudes. Among them, special attention is given to inspirations by Polish national dress. Second, the article takes on the argument presented by Daniel Thomas Cook in his inspiring article in Textile History, 42, no. 1 (2011). Having acknowledged the foundational role of fashion history in the emergence of childhood studies, Cook regards its present status as peripheral. He dismisses the underlying premise of its principal 'grand narrative' as based on a fruitless distinction between utility (and functionality) and fashion rather than the invention or discovery of the 'child' and 'childhood'. While partially accepting Cook's criticism, the article argues that the 'grand narrative', thus modified and expanded, retains its usefulness. In the nineteenth century, the 'fancy dress' and 'playfulness' theme continued, reflected in the most popular children's styles (sailor suit, Little Lord Fauntleroy suit) and a range of others, temporarily or locally prominent, and intertwining with multifarious cultural, artistic, social and commercial developments.
机译:本文有一个双重重点:在十八世纪后,解释了儿童时尚的上行模糊起源,并在这个关键期间的“盛会”的“盛大叙事”的背景下。与Rousseau的着名解雇了HUSSAR诉讼,“花哨的着装”启示在儿童时尚的发展中首次有目的意味着将(男)儿童区分开,并同时与启蒙的思想同意童年,出现为中央而不是边缘。男孩佩戴的曲目的再培养是由各种民族和历史连衣裙的传统引发,这些传统引起了与洛可可文化的化妆舞会特征的迷恋,但利用了表达新兴的新态度。其中,特别注意波兰民族服饰的灵感。其次,文章采用了Daniel Thomas Cook在他鼓舞人心的历史上烹饪的论据,42,不。 1(2011)。承认时尚历史在童年研究的出现中的基本作用,烹饪将其现状视为外围地位。他根据公用事业(和功能)和时尚之间的果实区分而不是“孩子”和“童年”的果实区别,驳回其主要的“宏观叙事”的潜在前提。虽然部分接受厨师的批评,但该文章认为,“宏伟的叙述”被修改和扩展,保留了其有用性。在十九世纪,“花哨的衣服”和“嬉戏”主题继续,反映在最受欢迎的儿童风格(水手套装,小主教Fauntleroy Suits)以及各种各样的其他人,暂时或局部突出,并与多种文化交织,艺术,社会和商业发展。

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