DOCSLIB.ORG

University Microfilms, Inc., Ann Arbor, Michigan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University Microfilms, Inc., Ann Arbor, Michigan 70- 14,040 HUEPENBECKER, Agatha Louise, 1930- PRE-COLUMBIAN PERUVIAN COSTUME: CHARACTER­ ISTICS AND VARIATIONS IN THE PONCHO-SHIRT. The Ohio S tate U niversity, Ph.D., 1969 Home Economics University Microfilms, Inc., Ann Arbor, Michigan (0 Copyright by Agatha Louise Huepenbecker 1970 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED PRE-COLUMBIM PERUVIAN COSTUME: CHARACTERISTICS AND VARIATIONS IN THE PONCHO-SHIRT DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Agatha Louise Huepenbecker, B.8,, M.S, ****** The Ohio State University 1969 Approved by ^ Adviser School of Home Economics ACKNOWUCDGM'ÎNTS Thn writer wiehee to extend her aincera upprociution to the fol­ lowing people who provided her with the incentive, the encouragement, and the special talents essential to the completion of this study; To Dr. Loin Gilmore and Mr. James Baughman fo r th e ir sustained interest in the study from its inception as well as to the other mem­ bers of the graduate committee. Dr. Mary Lapitsky and Dr. Erica Bourguignon, for their guidance; To Dr. Margaret Warning, Chairman, Department of Textiles and Clothing, Iowa State University for originally stimulating an interest in the study of historic textiles; To Mrs. Ruth Hlbbs for the fjne line drawings; To M.L3S Irene Emery and Dr. M j r y Elizabeth King of The T extile Museum, Washington, D.C., for the Infectious nature of their enthu­ siasm fo r the study of Peruvian te x tile s and p a rtic u la rly to Dr. King for her constructive critic of the manuscript. The writer is indebted to the following museum directors and curators for the privilege of working with the Peruvian textiles in their collectionss Dr. Junius Bird, The American Museum of Natural H istory; Mrs. Dudley Easby, J r . , The Brooklyn Museum; Miss Elizabeth Benson, Dumbarton Oaks; Dr. Frederick Dockstader, The Miseum of the American Indian; Miss Julie Jones, The Miseum of Primitive Art; and i l Dr. Clifford Evans, Smithsonian Institution. A special note of appreciation is accorded Mr. Alan Sawyer, Director of The Textile Museum and Miss Nora Fisher, Assistant Curator, Western Hemisphere . Textiles, who were especially helpful during the extended period of study at that museum. The financial support provided by Iowa State University through a Faculty Improvement Grant, by Dr. Helon R. Le Baron, Dean of the College of Home Economics, Iowa State University through a special grant and by The General I'bods Fund, In c ., through a graduate study fellowship are gratefully acknowledgal. i l l VITA November 23, 1930 Bom - Port Wayne, Indiana 1952 ......................... B.S., Indiana University, Bloomington, Indiana 1952-55 ................. Home Eoonoraloo Teacher, Valparaiso Public Schools, Valparaiso, Indiana 195 5 .........................Research Assistant, Textiles and Clothing Depart­ ment, Iowa S tate College, Ames, Iowa 195 6 ......................... M.S., Iowa S tate College, Ames, Iowa 1956-1959 .... Instructor, Textiles and Clothing Department, Iowa S tate U niversity, Amos, Iowa 1959-1965 .... Assistant Professor, Textiles and Clothing Depart­ ment, Iowa State University, Ames, Iowa 1965-1967 .... Graduate Student, The Ohio S tate U niversity, Columbus, Ohio 1968 ..................... Associate Professor, Textiles and Clothing Depart­ ment, Iowa State University, Amos, Iowa FIELDS OP STUDY Major Field; Textiles and Clothing Studies in Pino A rts. Professors Baughman, Berendsen, Mealy, Rubright and Sandberg Studies in Sociology. Professors Bourguignon, Clarke, Knudson, Schwirien and Warshuy Studies in Textiles and Clothing. Professors Gilmore and Ivjpltcky l . v TABIE OF CONTENTS Page ACKNOWLEDGMENTS........................ i i VTTA................................................................. Iv LIST OF TAJJJJL'J............................................ v ll LIST OF ILJUSTRATIONG ......................................................... v i l i Chapter I . INTRODUCTION ...................................................................... 1 I I . REVIEW UP LITERATURE...................................................... 10 Technical Analysis Single Textiles or Small Textile Collections Functional Aspects of Textiles I I I . PROCEDURE............................................................................... 24 Objectives Sample Hrofjontation of Findings IV. EARLY m tlO D ....................................................................... 34 North Coast South Coast Summary V. MIDDIE PERIOD....................................................................... 98 Highland Style: Wari-Tluhuanaco Coastal Style Summary IV. !ATE PERIOD........................................................................... 135 Coastal Style Incu Style Summary VII. SUMMARY, OBSERVATIONS AND IMPLICATIONS........................ 267 APPENDIX A, Map and Chronology Chart ......................... 283 APMNDIX B, Data Shoot ......................................................................... 286 APffiNDIX C, Platoa................... 288 APIIÏNDIX D, C a ta lo g .............................................................................. 322 BIBLIOGRAPHY.............................................................................................. 506 Vi LIGT OP TABIEG Tublo Page 1. Burly Petiocl Shoulder Ponchon and J’onchoa .................... 41 2. Paracaa Poncho-Sh.lrts ..................................... 54 3. Nazca P oncho-S hirta ................................................................ 72 4. Tiahuanaco Style Tapeatry Shirta ......................................... 103 5. Coaatal Stylo Poncho-Type Garraenta of the Middle Period .......................................................................................... llS 6. Late Period Plain Weave and Warp Striped Sleeveless Shirts. .............................................................................. 144 7. Late Period Extra Weft Patterned Ponoho-Shirts. 154 8. Lute Period Tapestry Ponoho-Shlrta ........................... l6 l 9. la te Period Poncho-Typo Garments, A V ariety of Weaves......................................................................... 168 10. late Period Sleeved Ponoho-Shirts ..... 178 11. Feather Ponchos ......................................................................... 203 12. Padded and Lined Ponoho-Shirts ............................................. 210 13. Horizontal Nock Slit Poncho-Shirts .................................... 223 14. Inca Style Tapestry Shirts ........................................... 233 15. Inca Style Poncho Garments, A Variety of Weaves . 243 v ii LIST OF ILLUSTRATIONS Figure Page 1. lüürly Period Shoulder Ponchofj .......................................... 44. P. J'ur'icao PonohoQ....................................................................... 50 3. Paracuo Single Kloment Ponoho-Shlrte .............................. 57 4. Parao.'iu Plain Weave Embroidered Poncho-Shlrtn . 6l 5. Paracao Plain and Gauze Weave I’oncho-Shlrto .... 66 6. Early Nazca Plain Weave Embroidered Poncho-Shirts . 75 7. Late Nazca Waist Length P oncho-S hirts .................. 81 8. Lute Nazca Plain Weave Embroidered Poncho-Shirts. 85 9 . Tiahuanaco Style Tapestry Poncho-Shirts .................... IO9 10. Tiahuanaco Style Tapestry Poncho-Shirts ...... 114 11. Coastal Style Poncho-Shirts of the Middle Period. 124 12. Coastal Style Tie-Dyed Poncho-Shirts of the Middle Period .............................................................................. 127 13. lit to Period i'lain Weave and Warp Striped Poncho- S h i r t .............................................................................. 147 14. Late Period Extra Weft Patterned Poncho-Shirts. 157 15. la te Period Poncho-Type Garments, A Variety of Weaves. ..................... 170 16. Late Period Sleeved Poncho-Shirts with Mutched Costume Items ...................................................................... 182 17. late Period Sleeved Poncho-Shirts .................................. 192 18. Padded and Idned I'oncho-Shirts .................................. 212 v lil 19. Horizontal Nook Slit uhIrtu............................................... 221 20. Horizontal Nook Slit S hirta ..................... 22^ 21. Inoa Stylo Tapestry Shirts ................................................... 237 22. Inca Style Pcnoho-Stylo Garments ....................................... 24-6 ix CHAPTER I INTRODUCTION The area of the Andes provides a fertile field for research for the student of historic textiles end costume. The unusual circum­ stances of climate in this region, particularly along the Peruvian coast, together with the prevailing burial customs combined to supply some of the earliest extant evidence of a textile industry. Only in Egypt have similar geographic and cultural conditions combined to pre­ serve such a highly perishable aspect of a comparably ancient civili­ zatio n . The study of ancient textiles from the Andean region, unlike that from Egypt, is complicated by the fact that there are no written records to clarify the historic sequence or to indicate the nature of the re­ lationships which existed among the network of highly developed pre­ historic cultures which made up the area. Thus, textile artifacts along with the more durable remains of ceramics, sculpture, architec­ ture, and metal found in the region have become the basis of the archaeological data for Andean studies. The quantities of textile products found
Load more

Recommended publications
  • Warp the Loom •Fi Wrap the Dead Trapezoid Shaped Textiles from The
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2008 Warp the Loom – Wrap the Dead Trapezoid shaped textiles from the Chiribaya culture, South Peru, AD 900-1375 Wynne Minkes Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Minkes, Wynne, "Warp the Loom – Wrap the Dead Trapezoid shaped textiles from the Chiribaya culture, South Peru, AD 900-1375" (2008). Textile Society of America Symposium Proceedings. 232. https://digitalcommons.unl.edu/tsaconf/232 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Warp the Loom – Wrap the Dead Trapezoid shaped textiles from the Chiribaya culture, South Peru, AD 900-1375 Wynne Minkes Trapezoid shaped garments are not common in the Andean Pre-Columbian cultures. Generally, men and women wore sleeveless tunics made from the whole woven fabric without cutting and sewing it into any shape as did the Europeans for instance. The lengths of these tunics ranged from chest to ankle. Often the shorter tunics were complemented by loincloths or skirts. The number of fabrics needed to make these garments would vary: one web folded in half or two or more webs sown together. The warps were hardly ever cut from the loom bar and wefts would be inserted up to the heading cord with the use of a needle.
    [Show full text]
  • Clothing Terms from Around the World
    Clothing terms from around the world A Afghan a blanket or shawl of coloured wool knitted or crocheted in strips or squares. Aglet or aiglet is the little plastic or metal cladding on the end of shoelaces that keeps the twine from unravelling. The word comes from the Latin word acus which means needle. In times past, aglets were usually made of metal though some were glass or stone. aiguillette aglet; specifically, a shoulder cord worn by designated military aides. A-line skirt a skirt with panels fitted at the waist and flaring out into a triangular shape. This skirt suits most body types. amice amice a liturgical vestment made of an oblong piece of cloth usually of white linen and worn about the neck and shoulders and partly under the alb. (By the way, if you do not know what an "alb" is, you can find it in this glossary...) alb a full-length white linen ecclesiastical vestment with long sleeves that is gathered at the waist with a cincture aloha shirt Hawaiian shirt angrakha a long robe with an asymmetrical opening in the chest area reaching down to the knees worn by males in India anklet a short sock reaching slightly above the ankle anorak parka anorak apron apron a garment of cloth, plastic, or leather tied around the waist and used to protect clothing or adorn a costume arctic a rubber overshoe reaching to the ankle or above armband a band usually worn around the upper part of a sleeve for identification or in mourning armlet a band, as of cloth or metal, worn around the upper arm armour defensive covering for the body, generally made of metal, used in combat.
    [Show full text]
  • Introduction
    INTRODUCTION In publishing the Kluger Collection, presently held in the collections of the Cracow Archeological Museum, the present author has made use of the model developed in earlier publications belonging to the series Corpus Antiquitatum Americanensium. Two catalogues of collections of Peruvian pottery that were available during the work on the Kluger Collection (S. Purin 1978, 1980; I. Schjellerup 1986) proved to be of great use. Both these publications dealt with single-culture collections (Moche and Chimú respectively), and were prefaced by a lengthy introduction regarding the history of scholarship, the chronology, and the manufacturing technology used to make the pottery of both these cultures. In the case of the present catalogue, however, such an approach would not seem to serve any purpose, in view of the heterogeneity of the materials that make up the collection, as well as the present author's frequent doubts concerning the cultural attribution of a significant number of these vessels. The limited time available to prepare this publication has prevented more intensive study on each of the cultures represented. In many cases, these cultures have in any event been studied only to a limited extent to date, and the literature is not easily accessible. The Kluger Collection is the largest collection in Poland of artifacts from the Pre-Columbian cultures of ancient Peru; nevertheless, the pottery material included in the Collection may appear to be rather modest, in comparison to other world collections, or European collections, for that matter, which often number hundreds or even thousands of vessels. Created over 120 years ago, often kept under poor conditions, inexpertly maintained for many years, the Collection has suffered many quantitative and qualitative losses.
    [Show full text]
  • TO CLOTHE a FOOL : a Study of the Apparel Appropriate for the European Court Fool 1300 - 1700
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1979 TO CLOTHE A FOOL : A Study of the Apparel Appropriate for the European Court Fool 1300 - 1700 Virginia Lee Futcher Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4621 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. TO CLOTHE A FOOL A Study of the Apparel Appropriate for the European Court Fool 1300 - 1700 by VIRGINIA LEE FUTCHER Submitted to the Faculty of the School of th e Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirement for the Degree Master of Fine Arts Richmond, Virginia December, 1979 TO CLOTHE A FOOL A Study of the Apparel Appropriate :for the European Court Fool 1300 - 1700 by VIRGINIA LEE FUTCHER Approved: I A'- ------ =:- ::-"':'"" Advisor TABLE OF CONTENTS LIST OF ILLUSTRATIONS iii PREFACE ix CHAPTE R ONE: An Overview of the Fool 's Clothing . I CHAPTER TWO: Fools From Art. • • . 8 CHAP TE R THREE: Fools From Costume Texts . 53 CONCLUSION . 80 APPENDIX •• 82 BIBLIOGRAPHY. 88 LIST OF ILLUSTRATIONS Figure Page I. Ass's Eared Hood 1 2. One Point Hood . 1 3. Combination Eared/Pointed Hood 2 4. Ass 's Eared Hood Variation 2 5. Bird Head Hood . 2 6.
    [Show full text]
  • Teacher's Guide for APPLESEEDS
    Teacher’s Guide for APPLESEEDS February 2011: CoverUps Teacher’s Guide prepared by: Sandra K. Athans, National Board Certified Teacher, literacy author & consultant, and freelance children’s writer living in upstate New York. This guide provides practical classroom activities teachers may wish to use to supplement the reading passages appearing in this issue. Vocabulary words are highlighted (italicized words are defined in the article) and small group and independent activities/projects that address a range of learning styles are suggested. Many of these are suitable for group work or homework. Discussion questions and activities align with the Common Core National Standards (Reading for Informational Text; Writing Standards for Text Types and Purposes, Research to Build Knowledge, Presentation of Knowledge and Ideas, Vocabulary Acquisition and Use; and Literacy in History/Social Studies, Science and Technical Subjects). Objectives: To supplement the reading and discussion of this magazine, students will: 1. Investigate how trends in textiles, clothing, and style have changed over time. 2. Explore features of the fashion industry and learn how style is a reflection of what’s in our heart and soul. 3. Synthesize new information on their understanding of fashion and style. Pre-reading Activity: Introduce essential questions: (1) What role does fashion play in our society? and (2) How has our sense of style changed over time? While introducing these guiding questions, you might also wish to create some Idea Webs (to capture and organize ideas) about Fashion using headings such as “Women’s Clothing, Men’s Clothing, Children’s Clothing, Color, Accessories, or others. Students can record ideas in the webs as they read through the articles.
    [Show full text]
  • A Study of Fashion Change Related to Men's Boxer Undershorts As Depicted in Sears Annual Merchandise Catalogs 1946-1988
    AN ABSTRACT OF THESIS OF Bernadette A. Tatarka for the degree of Master of Science in Apparel, Interiors, and Merchandising presented on May 22, 1990. Title: A Study of Fashion Changes Related To Men's Boxer Undershorts As Depicted In Sears Annual Merchandise Catalogs (1946-1988) Abstract approved_Redacted for Privacy More research has been conducted regarding women's costume history than that of men's historic costume. One area in which little research has been conducted concerns men's boxer underwear. The need for additional research dealing with basic style changes of men's boxer undershorts was compelling to this researcher, as well as adding to the literature concerning men's historic costume. The purpose of this study was to research the availability of men's boxer undershorts post World War II (1946-1988). Specifically, based on pictorial underwear fashions illustrated in the Sears Annual Merchandise Catalog, this study documented and analyzed the availability of boxer undershorts as to fiber content, fabric structure, color, style features, and special design motifs during the time period studied. The objective of the study was to increase the knowledge of men's historic costume through an investigation into the styles of men's boxer undershorts. The historical continuity of fashion, as well as other theories concerning fashion change served as the theoretical framework for this study. The historical continuity process of fashion proposes that each new fashion is an evolutionary outgrowth and elaboration of the previous fashion (Blumer, 1969). Examples include past research by Young (1937), Kroeber (1919), and Robinson (1976), which indicated that changes in fashions took place in well-defined cycles.
    [Show full text]
  • VI Congreso De La Asociación De Paleopatología En Sudamérica / Leandro Hernán Luna
    LIBRO DE RESÚMENES CONGRESO DE LA ASOCIACIÓN DE VI PALEOPATOLOGÍA EN SUDAMÉRICA VI PALEOPATHOLOGY ASSOCIATION MEETING IN SOUTH AMERICA EDITORES: Leandro H. Luna ([email protected]) Claudia M. Aranda ([email protected]) Jorge A. Suby ([email protected]) Ricardo A. Guichón ([email protected]) Gustavo A. Flensborg (gfl [email protected]) Pamela García Laborde ([email protected]) IMAGEN DE TAPA: Nativos americanos de la Florida tendiendo a sus enfermos para realizar una trepanación (a la izquierda) y eliminar sangre enferma, y realizando una fumigación (a la derecha) para eliminar las toxinas de enfermedades contraídas de los europeos, incluidas la sífi lis y la viruela. Grabado en cobre, por Theodor de Bry en su Historia Americae (1591), luego de Jacques Le Moyne de Morgues. DISEÑO Y PRODUCCIÓN INTEGRAL: M&A Diseño y Comunicación S.R.L. [email protected] / Tel.: +5411 4627-2159 Libro de resúmenes del VI Congreso de la Asociación de Paleopatología en Sudamérica / Leandro Hernán Luna... [et.al.]. -1a ed.- Ciudad Autónoma de Buenos Aires: Grupo de Investigación en Bioarqueología, 2015. 268 p.: il.; 23 x 16 cm. ISBN 978-987-27997-2-4 1. Paleopatología. 2. Enfermedades. I. Luna, Leandro Hernán CDD 560 Copyright © Grupo de Investigación en Bioarqueología (GIB) ISBN: 978-987-27997-2-4 Tirada: 300 ejemplares Derechos reservados. Queda hecho el depósito que marca la ley 11.723. Libro de edición argentina. Impreso en la República Argentina. Impreso en M&A Diseño y Comunicación en el mes de julio de 2015. Queda prohibida la reproducción total o parcial, el alquiler, la transmisión o la transformación de este libro, en cualquier forma o por cualquier medio, sea electrónico o mecánico, mediante fotocopia, digitalización u otros métodos, sin el permiso escrito de los editores.
    [Show full text]
  • Small Loincloth Dictionary
    S MALL L OINCLOTH D ICTIONARY TABLE OF CONTENTS PREFACE...................................................................3 L...........................................................................................4 A TREASURE CHEST OF WORDS.............................4 M..........................................................................................5 B...........................................................................................4 R...........................................................................................5 E...........................................................................................4 S............................................................................................5 F...........................................................................................4 T...........................................................................................5 K...........................................................................................4 APPENDIX.................................................................6 Change Log..........................................................................6 PREFACE et’s begin with trying to define a loincloth: It is a garment consisting of fabric or leather that is tied to cover and (if male) support Lthe genitals. It is usually made of a single piece of fabric or leather but can also be sewn from several pieces. That said, a loin - cloth isn’t just some piece of leather or cloth hanging down before the genitals. It is sometimes
    [Show full text]
  • Empirical Study of Loincloth Typology in Custom-Based Marriage in Congo-Brazzaville and Socioeconomic Implications
    Applied Economics and Finance Vol. 4, No. 4; July 2017 ISSN 2332-7294 E-ISSN 2332-7308 Published by Redfame Publishing URL: http://aef.redfame.com Empirical Study of Loincloth Typology in Custom-based Marriage in Congo-Brazzaville and Socioeconomic Implications Moyo Nzololo Correspondence: Moyo Nzololo, Doctor- Assistant at the Faculty of Economic Science, Marien NGOUABI University, ESGAE – Congo Brazzaville. Received: May 17, 2017 Accepted: June 1, 2017 Available online: June 21, 2017 doi:10.11114/aef.v4i4.2505 URL: https://doi.org/10.11114/aef.v4i4.2505 Abstract Traditional or custom-based marriage is a rejoicing moment that links two families: the paternal and maternal sides of the husband, along with the paternal and maternal sides of the wife. However, the husband-to-be must go through several expenses - in kind and cash – to face a set of lists he is handed over by the paternal and maternal sides of the wife-to-be. Those lists include first-stage preliminary requisites, second-stage marriage requisites, and the dowry requisites. The latter is the most expensive one, despite recommendations from the provisions of the Congolese code of family that sets fifty thousand CFA for the dowry. Such a list clearly indicates the number of loincloths, branded Super Wax, a high-quality and very expensive loincloth. It represents a relatively insuperable obstacle for the husband-to-be. This paper proposes a typology of loincloths from the main components analysis and hierarchical ascending classification applied to a data table crossing twenty-three loincloths and five criteria. It results, from this typology, six scenarios that have socioeconomic implications proposed from the category of prime quality loincloths.
    [Show full text]
  • How to Make Boy Clothes
    How to Make Boy Clothes The size of your boy clothes can be whatever you want. You can make them small enough to fit your Corn Husk Doll or large enough to make Native American clothing for yourself! The legging and shirt pattern can be found at the end of this PDF. LEGGINGS INSTRUCTIONS STEP 1 Cut the pattern out of chamois cloth or any tan fabric. Fold according to the pattern, bringing tabs A and B together. Stitch up the side along the Stitch Lines and then stitch the top of tabs A and B together to make a loop for the belt. Once stitched, cut the fringe according to the pattern being careful not to cut the stitching. STEP 2 For the loin cloth, cut two pieces from chamois cloth or any tan-colored cloth. You can make them any size you want. Fold over the top edge and stitch to make a loop for the belt. Cut a cord, rope or leather strip for the belt. String the belt through the front loincloth, leggings and back loincloth, then tie. STEP 3 Your leggings and loincloth is now complete and should look similar to this! SHIRT INSTRUCTIONS STEP 1 After cutting out the pattern, place it on a folded piece of chamois, felt or any other tan material. Cut an open flat. STEP 2 Sew on fringe if you like around the neckline then sew up the sides and underarm areas. STEP 3 To make fringe, cut in from the edge to the stitching being careful not to cut into the sewing.
    [Show full text]
  • Is a Set of Guidelines on the Historical Costume of Duke Siemovit’S Mazowiecka Banner
    The following "Red Booklet" is a set of guidelines on the historical costume of Duke Siemovit’s Mazowiecka Banner. All of the information contained therein relate to what is required internally in our camp, and they are the choice of iconography and sources from the vast information about costumes from the period of our interest – i.e. 1390-1410. All kinds of questions and uncertainties related to the discrepancies between the guidelines of the Siemovit Banner and other Grunwald banners – should be cleared up within own camp, with persons involved in the control of the historical costume and with their costumography choices. Commander of the Siemovit’s Banner Małgorzta Rekosz-Piekarska, Red Booklet II Introduction to the reconstruction of the costume Reconstructing dresses of the bygone era we must rely on historical sources. The most reliable, are of course clothes preserved to our days, which we can, which we can freely examine and take to pieces. Unfortunately, the fabric does not stand up well to the passage of time, therefore from the late Middle Ages a little survived to our times. We therefore need to supplement our knowledge both with iconography as well as written sources. In the art of the turn of the 14th and 15th century there are plenty of depictions, which may become useful in reconstruction of the mediaeval clothing. Unfortunately there also is a lot of confusion and traps. Firstly, all depictions mainly show the higher society (founders and their entourage). Secondly the artists of this period often simplified the look of the clothing; there also was a custom of borrowing whole compositions or types of presentations from other artists (famous medieval patterns).
    [Show full text]
  • UC Berkeley UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Voyager in Question: Histories of Travel, 1930-2010 Permalink https://escholarship.org/uc/item/0bq7p5cc Author Yoshioka-Maxwell, Olivia Chidori Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Voyager in Question: Histories of Travel, 1930-2010 By Olivia Chidori Yoshioka-Maxwell A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in French in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Suzanne Guerlac, Co-chair Professor Karl Britto, Co-chair Professor Tyler Stovall Spring 2014 The Voyager in Question: Histories of Travel, 1930-2010 Copyright 2014 By Olivia Chidori Yoshioka-Maxwell Abstract The Voyager in Question: Histories of Travel, 1930-2010 by Olivia Chidori Yoshioka-Maxwell Doctor of Philosophy in French University of California, Berkeley Professor Suzanne Guerlac and Professor Karl Britto, Co-Chairs This dissertation is situated within a field of cultural studies that seeks to develop a broader understanding of the political stakes of twentieth- and twenty-first century debates over who can travel. This line of inquiry responds to the persistent tendency in travel writing over the course of the century to exclude certain subjects in movement from the role of the traveler. The question, “What is travel?” is often treated in both literary texts and criticism as a
    [Show full text]