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A cut above: Fashion as meta-cultur...

Durst, Elizabeth M.

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A cut above: Fashion as meta-culture in early-twentieth-century Russia.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	A cut above: Fashion as meta-culture in early-twentieth-century Russia./
作者:	Durst, Elizabeth M.
面頁冊數:	368 p.
附註:	Adviser: John E. Bowlt.
Contained By:	Dissertation Abstracts International65-05A.
標題:	Design and Decorative Arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3133262
ISBN:	9780496805020

A cut above: Fashion as meta-culture in early-twentieth-century Russia.
Durst, Elizabeth M.

A cut above: Fashion as meta-culture in early-twentieth-century Russia. - 368 p.

Adviser: John E. Bowlt.

Thesis (Ph.D.)--University of Southern California, 2003.

In my dissertation I seek to explore the role of visual and narrative representations of the "new woman" in fostering modes of collective feminine identity in urban Russia in the early twentieth century. Though much scholarship has asserted the limited political activism of Russian women in the pre-Revolutionary period, I argue that in the first decades of the twentieth century reformist attitudes were widely disseminated in Russia on an aesthetic level, through the vehicle of dress fashions, and that in this guise such behavior was more readily emulated. These fashions reflected a transition to a more creative, independent, at times explicitly sexual, and overtly feminine ideal, and to patterns of behavior that were more disruptive of traditional dictates regarding the appropriate role of women in culture.

ISBN: 9780496805020Subjects--Topical Terms:

1024640
Design and Decorative Arts.

A cut above: Fashion as meta-culture in early-twentieth-century Russia.
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502 $a Thesis (Ph.D.)--University of Southern California, 2003.
520 $a In my dissertation I seek to explore the role of visual and narrative representations of the "new woman" in fostering modes of collective feminine identity in urban Russia in the early twentieth century. Though much scholarship has asserted the limited political activism of Russian women in the pre-Revolutionary period, I argue that in the first decades of the twentieth century reformist attitudes were widely disseminated in Russia on an aesthetic level, through the vehicle of dress fashions, and that in this guise such behavior was more readily emulated. These fashions reflected a transition to a more creative, independent, at times explicitly sexual, and overtly feminine ideal, and to patterns of behavior that were more disruptive of traditional dictates regarding the appropriate role of women in culture.
520 $a I approach this topic through an examination of literature, film, and artwork of the period, which, I propose, reveal a heightened interest in fashion in Russia and a growing awareness of the importance of imported fashions in conditioning women's collective behavior. I consult several Russian women's magazines to determine the types of fashionable images proliferated at the time and the contexts in which they were presented. I further pursue this task by examining several popular melodramatic Russian silent films of the late pre-Revolutionary period. In addition, my analysis of select works of several women artists and writers seeks to reveal an emerging self-consciousness regarding gender among creative women and a willingness both to embrace and to subvert expectations. The discourse of dress, I argue, is often central to this process.
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