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Zbornik Radova (PDF) ................................................................................... U povodu 36 godina Odsjeka tekstilnog dizajna u Bihaću / 1978 - 2014 ......................................................................... zbornik radova sa medunarodnog naučnog skupa pažnja! odjeca, umjetnost, identitet 7. i 8. oktobar 2013. tehnički fakultet univerziteta u bihacu / odsjek za tekstilni dizajn ................................................................................... Urednik dr.sc. Irfan Hošić Izdavač Tehnički fakultet Univerziteta u Bihaću Recenzenti dr.sc. Žarko Paić dr.sc. Sarita Vujković Lektor i korektor dr.sc. Hrvoje Jurić dr.sc. Šeherzada Halkić Prijevod na engleski Merima Zulić Likovno oblikovanje Štampa labvisual Grafičar, Bihać, Bosna i Hercegovina Web stranica Tiraž Eldin Okanović 500 Administracija Maida Galić © Tehnički fakultet Univerziteta u Bihaću Besima Midžić Štampano u augustu 2014. godine Organizator Tehnički fakultet Univerziteta u Bihaću Partner-organizator Gradska galerija Bihać Predsjednik naučnog skupa dr.sc. Irfan Hošić Organizacioni odbor dr.sc. Refik Šahinović dr.sc. Atif Hodžić dr.sc. Irfan Hošić dr.sc. Šeherzada Džafić mr.sc. Bajro Bolić Adnan Dupanović Naučni odbor dr.sc. Aida Abadžić Hodžić (Univerzitet u Sarajevu) dr.sc. Žarko Paić (Sveučilište u Zagrebu) dr.sc. Asja Mandić (Univerzitet u Sarajevu) dr.sc. Mirela Ljevaković (Max Planck institut, Firenca) http://simp2013.tfb.ba CIP - Katalogizacija u publikaciji Nacionalna i univerzitetska biblioteka Bosne i Hercegovine, Sarajevo 391:316.7(063)(082) 7.05:687(063)(082) NAUČNI skup "Pažnja! Odjeća, umjetnost, identitet" (2013 ; Bihać) Zbornik radova / Naučni skup "Pažnja! Odjeća, umjetnost, identitet", Bihać, oktobar 2013. ; urednik Irfan Hošić. - Bihać : Tehnički fakultet Univerziteta, 2014. - 199 str. : ilustr. ; 23 cm Bibliografija i bilješke uz tekst. ISBN 978-9958-624-39-1 COBISS.BH-ID 21447174 Sadržaj ............................................................................................................................ 11 Uvod Irfan Hošić 13 Prilog poznavanju povijesti odijevanja: zakoni protiv raskoši i njihov utjecaj Katarina Nina Simončič 29 Kad kupovina nije razonoda. Ženstvenost, moda i potrošnja u FNRJ (1952–1961) Danijela Velimirović 43 Zakon o zabrani nošenja zara i feredže iz 1950. godine u NR Bosni i Hercegovini Kujraković Nusret 55 Analiza utjecaja novije zabrane ženskih muslimanskih odjevnih praksi u Evropi Ðermana Šeta 65 Moda i ideologija. Stilsko-odjevni trendovi u politici Hajrudin Hromadžić 73 “Nevjernik prve klase” – moderna vojna uniforma kao pozornica sukoba kultura Aleksandar Pašagić 83 Trenerka i zlatni lanac Armina Galijaš 93 Moda i odijevanje kao sredstvo čovjekove identifikacije i socijalizacije Elvira Islamović 101 Wonderingmode Dobrila Denegri 107 Modni advertising, umjetnost i muškost: semiotička, ikonološka i povijesna perspektiva Krešimir Purgar 7 ............................................................................................................................ 125 Umjetnost, moda i mediji 19. i 20. vijeka u prizmi skandala i šoka Irfan Hošić 137 Moda, tradicija i/ili modernost. Srpsko slikarstvo 1918-1941 Simona Čupić 147 Sukob u prikazima odjeće u opusu Ivane Kobilca Mateja Maučec 153 Više od uniforme. Radna odeća stjuardesa Jugoslovenskog aerotransporta nekad i sad Suzana Lazarević 167 Kabanica ili ljubavnica. Uspostavljanje fikcionalnih identiteta pomoću odjevnoga predmeta Šeherzada Džafić 177 Je li vladajuća moda moda vladajuće klase? Ili: što je marksizam naučio od strukturalizma? Katarina Peović Vuković 189 Veo i grudi: kada odjeća pokriva jedno, otkriva drugo Nadia Capuzzo Ðerković 197 Galerija fotografija Irfan Hošić Uvod ............................................................................................................................ Naučni zbornik Pažnja! Odjeća, umjet- obrascima današnjih događaja. Time se nost, identitet nastao je na temelju otvara nekoliko težišnih tema kroz koje izlaganja održanih na istoimenom naučnom se obrađuju uloga i značaj odjevnih skupu u oktobru 2013. godine, koji je u zabrana nekad i sad, čija recentnost se svojstvu domaćina i organizatora ugostio ogleda u činjenici da su takve prakse Odsjek za tekstilni dizajn Tehničkog bile dio određene politike i na našim fakulteta Univerziteta u Bihaću. Zbornik prostorima. Bilo da je dress code deter- obuhvata sedamnaest priloga istraživača miniran neoliberalnim konzumerizmom i istraživačica širokog naučnog spektra ili medijskom konstrukcijom, iz čega oko tema odijevanja, mode i umjetnosti. proizlaze klasne napetosti i latentni Tražeći otklon od konvencionalnoga razu- konflikti unutar društva, ili zakons- mijevanja odjeće kao isključivo tekstil- kom i pravnom regulativom unutar neke noga ili odjevnoga tehnološkog problema, države, ono što zabrinjava u navedenoj ovaj zbornik afirmira ideju širenja konstelaciji jeste činjenica da odnos interpretacijskog polja odjevnih znakova odijevanja, tj. mode, medijske slike i i njihovih sklopova, s akcentom na kon- umjetničkog artefakta prerasta granice tekst krize, napetost i sukob. Predznak funkcionalnoga, estetskog i umjetničkog "pažnja" ukazuje na globalnu krizu u te prelazi u prostor simboličkog s kojoj suprotstavljene ideologije i svje- izraženim intencijama napetosti, krize tonazori određuju društvenopolitičku i sukoba. današnjicu koja se pak reflektira u praksama odijevanja, modi i vizualnoj Nakon zbornika Odjeća kao simbol iden- umjetnosti. titeta, koji je objavljen 2012. godine, naučni zbornik Pažnja! Odjeća, umjetnost, Zbog veoma različitog i gotovo ambiva- identitet nastoji ukazati na važnost lentnog razumijevanja odijevanja u bavljenja odjećom i modom u okviru različitim sredinama – u kojima su vizualnih umjetnosti. Kao takav, ovaj individualne ili kolektivne odjevne zbornik mapira nekoliko važnih tematskih prakse vezane uz porast ili reduk- područja otvarajući nove mogućnosti i ciju demokratskih vrijednosti – jedna ohrabrujući stručnjake različitih pro- od karakteristika ovog zbornika jeste fila za bavljenje ovim i sličnim temama interdisciplinarnost. Fokusirajući se u budućnosti. na percepciju odjeće i odjevnog znaka, zbornik okuplja teoretičare odijevanja i mode, historičare umjetnosti, antro- pologe, teoretičare kulture, sociologe, kustose i druge. Sedamnaest priloga bavi se vremenskim i prostornim fenomenima u kojima odjeća na različite načine zadobiva političko značenje, postajući time medijator ideološkog naboja. Prilozi objavljeni u ovom zborniku koriste se iskustvima i primjerima iz prošlosti, ali također tragaju za mogućim interpretacijskim 11 Katarina Nina Simončič Sveučilište u Zagrebu Prilog poznavanju povijesti odijevanja: zakoni protiv raskoši i njihov utjecaj ............................................................................................................................ Tijekom povijesti odijevanja, odjeća i moda nije bila samo puka razonoda, već je ujedno poslužila kao vizualni znak upozorenja te kao sredstvo društvene restrikcije i marginali-zacije. Pravila o odijevanju, ukrašavanju te klasnom razlikovanju na temelju odjeće prvi puta se spominju u starom Rimu, te se u različitim vremenskim odmacima pojavljuju sve do sredine 19. stoljeća. Poznati pod nazivom zakoni protiv raskoši, u službi vladajuće aristokracije utjecali su na ritam i smjer modnih prom- jena od rane renesanse pa nadalje. U ovome radu kroz povijesni pregled na primjerima odjevnih oblika i artefakta, analizirat će se njihova šira društvena uloga, kao i pitanje njihovoga utjecaja na slojevito značenje odjeće i ostalih pokrivala tijela. Ujedno će se nastojati ukazati na prisutnost povijesno uhodanih obrazaca zabrana i upozorenja odjećom i u suvremenoj kulturi. ............................................................................................................................ U zapadnoj kulturi, u različitim intervalima, zakoni pratnju, osim ako su bile u alkoholiziranom stanju. protiv raskoši prisutni su sve do 19. stoljeća. Ovisno Ženama je zabranio i zadržavanje na javnim trgov- o stilskom razdoblju i zemlji porijekla, nalazimo ih ima u kasnim noćnim satima. No zakonom im je pod različitim terminima: latinski leges sumptuar- propisao i odjevni izgled, limitirajući količinu zlat- iae, talijanski leggi suntuarie, francuski lois somp- nog nakita i raskošnih tkanina. Zabranio je časnim tuaires, engleski sumptuary law, law against luxury, ženama ukras na tkanini od purpurnih linija, koje acts of apparel, njemački Aufwandgesetz, hrvatski su bile obilježje nečasnih žena – prostitutki. Lokri- zakon o raskoši ili zakon protiv raskoši. Njihovi jski zakon odnosio se i na muškarce, zabranivši im utjecaji na modu – i obrnuto, utjecaji mode na za- i raskošan nakit i tkanine "poput onih izrađenih u kone – bili su intenzivni, učestali i uzajamni. Proma- Miletu".2 U Ateni u 6. stoljeću prije Krista kralj So- trati povijest odijevanja, a zanemariti u sveukupnoj lon, donoseći pravila žalovanja za pokojnikom, dot- analizi njihovu prisutnost, znači zapostaviti važan akao se i miraza: "mlada donosi stvari male vrijed- segment razumijevanja modnog ozračja određenog nosti i ništa više".3 Kasnije se u povijesti najčešće razdoblja. Bili oni ekonomski ili ideološki obojeni, ipak spominju spartanski zakoni (5. stoljeće prije diktirali su ritmove promjena i asimilacije modnih Krista) te propisi koji su Spartancima zabranjivali izraza. Propisivali su tipove odjeće (kvaliteta i boja sudjelovanje na razuzdanim zabavama, posjedo- tkanine, određeni odjevni oblici i ukrasi)
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