Woman's Domestic Body: The Conceptual Conflation of Women and Interiors in the Industrial Age

Gordon, Beverly

doi:10.1086/496697

Cited by 21 publications

(7 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…(1993: 127). 1 FZ: Beverley Gordon (1996) makes a similar point, in relation to lace. Gordon has shown how the mass production of lace, its extensive use in interior design and, especially, as curtains at the turn of century in Europe and North America, brought the invisible/private realm of the house to the visible/public.…”

Section: Mmfmentioning

confidence: 94%

Words and Walls, Texts and Textiles: A Conversation

Fraser

Zaker

2014

Theory, Culture & Society

View full text Add to dashboard Cite

The authors explore how the multi-media artist Farniyaz Zaker uses words to establish connections betweendifferent kinds of materials in her work, andhow her workmakeswordsmaterial.Zaker's conception of dress as 'microcosmic dwelling places' enables the authors to think about veiling practices,Islamsandgendernotonlyinrelationtothefamiliardomainsofstate,piety,subjectivity, consumption, capitalism, public and private (for instance), but also with regards to some less selfevidently relevant contexts. Light, architecture and cinema, as well as walls, windows, curtains, coffins,tentsandscreens,areamongthem.Itisbywayofthesemultiplerefractionsthattheauthors are able to return to those debates that conceive of Islamic veiling in terms of embodied, material practicesandtosupportanddevelopfurtherreasonsforanunderstandingofthatmostexceptionally chargedpieceofmaterial,theveil,asmorethanasignof…

show abstract

Section: Mmfmentioning

confidence: 94%

Words and Walls, Texts and Textiles: A Conversation

Fraser

Zaker

2014

Theory, Culture & Society

View full text Add to dashboard Cite

show abstract

“…Moreover, this rural sphere of domesticity was highly gendered by relying on women’s decorative skills, with both clothing and furniture becoming playing fields to articulate social identities (Charpy 2015, 199). Thus, interiors were perceived as an extension of the female self (Gordon 1996, 282), as the following example of a generalized overview of a rural household from the 19th century shows. In an article saturated with nationalist rhetoric, Teréza Nováková (1853–1912), a writer and journalist, described a typified Czech household in Bohemia in the Czech Women’s and Girls’ Calendar of 1889 4 .…”

Section: Scrutinizing Nationalism In the Study Of Rural Materials Cul...mentioning

confidence: 99%

“Is This Not Just Nationalism?” Disentangling the Threads of Folk Costumes in the History of Central and Eastern Europe

Geering

2021

Nationalities Papers

View full text Add to dashboard Cite

This article critically examines the prevalent nationalist interpretation of historical images featuring textiles from rural regions. In an effort to disentangle the threads of folk costumes, it proposes a conscious unlearning of the way we read images of rural material culture from the late 19th century. This period has entered historiography as a period of intensifying national movements and political use of rural culture, in particular in Central and Eastern Europe. So-called folk costumes have been viewed as a symbolic representation of the nation, whereas their broader social and economic role in the history of industrial society has been overshadowed. By bringing together the production, collection, and exhibition of rural material culture, this article reveals processes in industrial society that shaped the modern history of folk costumes. It draws on late-19th-century source material stemming from a network centered in Prague that promoted textiles from rural Bohemia, Moravia, Hungary, and Galicia as ethno-commodities. Textiles were integrated into women’s industrial education and presented at events promoting national economy and the latest technological innovations. Thus, this article contributes to nationalism studies by discussing capitalism and industrialism and seeks to further scrutinize the history of nationalism in Central and Eastern Europe.

show abstract

“…Soft furnishings, often perceived as ephemeral detail and as a gendered domain, are enmeshed in the social production of the everyday, generating a range of spatial effects and pointing to complex normative contexts (Grier 1996, Gordon 1996, Kinchin 1996, Martinez and Ames 1997, McNeil 1994, Petty 2012). Makovicky's (2014) ethnography in Poland demonstrated how sartorial elements of the rural household reflected gendered categories and created a 'social skin', signaling social conformity.…”

Section: Dressed Ruins: Remembering and Forgetting Domestic Displaysmentioning

confidence: 99%

Dressing and Undressing the House

Buchczyk

2016

Home Cultures

View full text Add to dashboard Cite

Based on anthropological fieldwork with a museum collection, this article discusses the changing nature of the rural household in central Romania. Through a detailed examination of the interiors it provides an understanding of the local perspectives on the traditional households. Tracing the historical process of undressing and remaking this space, the article highlights the shifting local attitudes towards domesticity and different sentiments towards the house represented by source communities and museum professionals. It aims to illuminate the contrasting time-spaces in which rural households are embedded and to provide a context for rethinking this material in the museum setting.

show abstract

Woman's Domestic Body: The Conceptual Conflation of Women and Interiors in the Industrial Age

Cited by 21 publications

References 0 publications

Words and Walls, Texts and Textiles: A Conversation

Words and Walls, Texts and Textiles: A Conversation

“Is This Not Just Nationalism?” Disentangling the Threads of Folk Costumes in the History of Central and Eastern Europe

Dressing and Undressing the House

Contact Info

Product

Resources

About