381 research outputs found

    Life Styles, Death Styles, and Posthumous Portraiture: Elite Female Burials in Iron Age Europe

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    This dissertation analyzes the grave good assemblages in 222 burial contexts from HallstattD (c. 600-400 BCE) tumulus cemeteries in west-central Europe to test the hypothesis that certain combinations of grave goods were associated with particular categories of persons based on an intersectional marking of gender, status, age and social role. The primary data set consists of high-status graves – male, female, ungendered/pre-gendered subadults, and those of indeterminate gender – in the Heuneburg interaction sphere in southwest Germany. The results of this analysis are compared to a secondary data set of comparable burials from other west-central European locations, to determine whether discernible patterns are due to regional traditions or may reflect deeper conceptions of gender ideology. The posthumous portraiture provided by these mortuary contexts is discussed in relation to identity and role, including gender, age, kin relations, and childbearing status. The distinction between lifestyles and deathstyles in identity marking and the relevance of these costume elements for accessing gender ideology in this preliterate society are presented using a visual body mapping approach that reveals the complexity of archaeologically accessing intersectional identities in the past

    The Clothes Make the (Wo)man: Gender, Dress and Virtue in “Heroic” Female Portraiture of the Roman Imperial Period

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    Private portraits of women as mythological figures in cross-gendered dress were set up in the funerary contexts of Rome especially between the late 1st and early 4th centuries A.D. This might initially seem surprising. Female-to-male cross-dressing was typically perceived as a transgressive act in Roman society; moreover, conventional portrait types tended to emphasize femininity, modesty, and passivity. As argued here, the gender-b(l)ending sartorial codes had the capacity to express particularly female forms of virtus (â€șmanlinessâ€č), both on their own terms and in connection with other visual codes. This complemented their more traditional virtues in meaningful ways

    Iterative musical collaboration as palimpsest: Suite Inversée and The Headroom Project

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    Suite inversée is a musical work, co-composed by the two authors asynchronously online by means of file transfer alone and digitally presented using a self-made web app called The Headroom Project. The Headroom Project mediates the compositional project during creation as well as allowing the listener to browse a historical thread that weaves through the developmental process: through this app, each audio file that was shared between the two composers can be heard and considered both in and out of the context of its creation. The framework of the project provided the opportunity for the authors to reflect on issues of remote digital collaboration and the palimpsest nature of a work revealed in varying stages of evolution through a novel mode of presentation. This paper discusses the mode of creation by situating it within narratives of composition and technology

    Exploring the Costume Styling and Material Composition of the Effutu Festival Costumes

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    This study investigates the costume styling and material composition of Effutu festival costumes. It is delimited to Effutu festival performance costumes. The qualitative design was adopted. The ethnography approach was employed through narrative analysis and oral history. Unstructured interviews and on-site direct observations were the qualitative data collection instrument used for the data collection. The narrative analysis was used to analyse the data. The findings revealed that historically costumes are seen as relics that can tell the story about the exploits and traditional mythologies of the communities. Again, costumes that materialise culture and identities do not just mirror pre-existing sets of ideas or symbolic systems but facilitate values as ‘they form part of an ethnohistorical repository of knowledge. The findings further revealed that, costume styling could be categorised into Royal, Ritual, Asafo (war/battle), Generational, Women ensembles (Adzewa costumes) and Fanciful costumes. The basic material composition of costumes includes fabrics (both applied and structural designs), leather, horsetail, metal helmets, pillows, kaolin, beads (plastic and glass), mpoboa (shoes), symbolic colours and other material collaboration. It is recommended that costumes used for the Effutu festival be recorded and digitalised for future reference

    Images, Perceptions and Productions in and of Antiquity

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    UIDB/04666/2020 UIDP/04666/2020authorsversionpublishe

    Wardrobes and Soundtracks: Women’s Narratives of Youth, Experienced and Remembered through Dress and Music

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    The thesis connects styled dress and music listening as youth cultural practices. It examines how dress and music act as memory resources, as conduits or companions to personal and collective experiences of youth. The study centred around women’s narratives of participation in youth culture, and the multi-sensory, cross-temporal experience of remembering youth in the present. Focused on the period 1950 to 2000, the research is framed as post-war and preinternet, when fashion and recorded music became widely available for young women, but before the spread of digital access. Youth was understood by the participants not as an age range, or a transition to adulthood, but as the time when they could access and participate in youth culture. The study transcended subcultural youth groupings, although some spectacular or alternative dress and music choices were included, to foreground everyday youth culture. In doing so, the female presence was made visible, questioning gender-biased assumptions about participation. Women were found to engage in both public (the dance hall, the cafĂ©, the rally) and private spaces (family homes), extending the geographies of female youth culture. The reflexive methodology relied on creative, narrative methods. Ten female participants from Northern England each prepared a ‘memory toolkit’ including clothing, snapshots of styled dress and music playlists for a ‘Wardrobe and Soundtrack Interview’. This sensory interaction revealed how dress and music inhabit the body in material and imagined forms, capturing narratives of participation in youth culture, and the re-experiencing of youth through imaginative remembering. The mnemonic extension of the toolkit and the vivid memories of dress and music drawn upon in the mind, are conceptualised as the ‘memory wardrobe’ and ‘memory soundtrack’. These memory resources enabled the formation of the participants’ youth stories presented in the thesis. Dress and music, experienced and remembered, were found to support biographical consistency, acting as markers or connectors to specific events or life periods. The critical density of dress and music experiences in youth forge trans-temporal connections between past and present, providing personal affirmation or validation, as what I have called ‘tokens of youth’. Dress and music are both multi-temporal and cross the private and public sphere. As biographical objects that share our lives, they age themselves and reflect our own ageing over time. The research found that dress and music, as embodied youth practices, share the ability to connect emotion and memory. Creative remembering provided opportunities for the imagination to override facts to create new meanings and emotional resonance. The thesis contributes to academic fields that acknowledge dress or music as biographical markers and emerging youth literature that argues for a focus on postyouth but takes a new stance, with youth as a dynamic touchpoint to which we return though dress and music across time. The thesis synthesises dress, music, youth and memory studies to reveal how through dress and music – youth lives with us
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