<p>The aim of this thesis is to examine the impact that clothing has in Margaret Atwood’s novel <em>The Blind Assassin</em> from 2000. The essay begins with a brief overview of how clothing has been acknowledged in different areas of research. The overview leads up to the conclusion that fashion, as well as clothing in large, has been overly ignored as a potentially fruitful subject of academic status. This is much due to the fact that fashion is traditionally regarded as being a classically feminine subject, as well as it can be said to be a result of fashion’s very elusive character. In the analysis of the novel the text first discusses the role that clothing has in a societal perspective as a means of power, partly in relation to Girard’s erotic triangle, as well as in relation to gender and Atwood’s dystopian parallel story. The essay then focuses on the naked body, which is found to be non-existing in Atwood’s novel, and goes on to discuss the suggestive qualities that clothing is given in the novel. In the concluding part, the results of the research is summed up and I am able to draw the conclusion that clothing has a great significance in <em>The Blind Assassin</em>, together with the notion that literary criticism is in need of a discourse that acknowledges clothing and fashion theory as academic subjects.</p>

The aim of this thesis is to examine the impact that clothing has in Margaret Atwood’s novel The Blind Assassin from 2000. The essay begins with a brief overview of how clothing has been acknowledged in different areas of research. The overview leads up to the conclusion that fashion, as well as clothing in large, has been overly ignored as a potentially fruitful subject of academic status. This is much due to the fact that fashion is traditionally regarded as being a classically feminine subject, as well as it can be said to be a result of fashion’s very elusive character. In the analysis of the novel the text first discusses the role that clothing has in a societal perspective as a means of power, partly in relation to Girard’s erotic triangle, as well as in relation to gender and Atwood’s dystopian parallel story. The essay then focuses on the naked body, which is found to be non-existing in Atwood’s novel, and goes on to discuss the suggestive qualities that clothing is given in the novel. In the concluding part, the results of the research is summed up and I am able to draw the conclusion that clothing has a great significance in The Blind Assassin, together with the notion that literary criticism is in need of a discourse that acknowledges clothing and fashion theory as academic subjects.

Woven within fashion and dress is the innate ability to create atmosphere and transformative experiences. Architecturally, the façade of a building acts as its skin, having responsibilities that exceed the functions of shelter and materiality. The process of dressing buildings create and shape dynamic relationships with all the elements of its surroundings. Beyond the basic need for convenience and protection, both practices operate as part of a larger world of personified and tailored objects that create ambience and space. This thesis, entitled unDressing Spectacle, explores the parallels between the fashion and architecture within the context of their own industries as well as each other’s. Themes of dress and undress are juxtaposed onto both crafts - literally and metaphorically - at three different scales: the adornment of the individual; the design object within society and the urban fabric; and the discourse between branding and the economic condition. Creating the framework for fantastic events within the urban fabric, this thesis takes the form of a Fashion & Design Event Centre upon which the discourse between user and the design object unfolds. Placed in Toronto’s vibrant west end, the building is a symbol of permanence and an icon for fashion and design. The proposed design is the manifestation of the inherent conflict within the thesis, juxtaposing fashion’s ability to seduce and manufacture desires with the complex structuring of neutral spaces to allow for a multiplicity of users and events. At the city scale, the luminous and dynamic layers of building skin attracts and lures; as users approach and ultimately enter the building, the imagery is transformed into unique atmospheric experiences. This thesis harnesses the glamour of fashion as the medium to ignite the re-imagination of architecture’s value and the interpretation of beauty and style, providing the means for experiences to transcend into a world of spectacle.

Univ., Diss.--Basel, 2005.

Detta arbete undersöker vilken grad av fysisk sexualisering utav kvinnliga spelkaraktärer som föredras av kvinnliga-respektive manliga spelare samt vilka attribut som främst anses bidra till sexualisering/objektifiering. Arbetet tar avstamp från Laura Mulveys teori kring ”den manliga blicken” för att få en förståelse för hur ”casual”-spelare tänker när de omedvetet eller medvetet använder sig av normativa skönhetsideal och stereotyper vid skapandet av kvinnliga spelkaraktärer. 51 deltagare utförde den kvantitativa webbenkäten med tillhörande ”dress up”-spel och 4 informanter deltog i kvalitativa semistrukturerade intervjuer. Intervjuernas syfte var att användas som komplimenterade svar till den kvantitativa webbenkäten. Resultatet uppvisade skillnader mellan män och kvinnors preferenser av sexualiseringsgrad samt att det attribut som ansågs ha en störst sexualiserande/objektifierande effekt var skoalternativen. I framtida arbete vore en korrigering utav artefakten nödvändig, mer data skulle behöva insamlas för ett generaliserbart resultat samt kompletteras med en manlig version utav ”dress up”-spelet för en utförlig jämförelse mellan könen.

published_or_final_version / Education / Master / Master of Education

No description available.

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This study investigates the supply, distribution and use of haberdashery wares in England in the late sixteenth, seventeenth and eighteenth centuries, with especial reference to the paired counties of Cumbria and Lancashire, Warwickshire and Leicestershire, Hampshire and West Sussex. A brief comparison is also made with London. Through examination of documentary evidence and extant examples, it aims to set the provision and use of haberdashery for dress into the context of the Early Modern period, and challenges widely held assumptions concerning the availability of wares through the country. The purpose of the argument is firstly to demonstrate that haberdashery, being both a necessity and a luxury, was an important, and historically traceable, part of traded goods in the early modern period, and secondly, with particular reference to the response of retailers to changing needs and demands, to show that the widescale availability of haberdashery for use in dress made it significant in the expression of personal identity and appearance for individuals of all social strata, while its manufacture and distribution provided employment for considerable numbers of people.

Woven within fashion and dress is the innate ability to create atmosphere and transformative experiences. Architecturally, the façade of a building acts as its skin, having responsibilities that exceed the functions of shelter and materiality. The process of dressing buildings create and shape dynamic relationships with all the elements of its surroundings. Beyond the basic need for convenience and protection, both practices operate as part of a larger world of personified and tailored objects that create ambience and space. This thesis, entitled unDressing Spectacle, explores the parallels between the fashion and architecture within the context of their own industries as well as each other’s. Themes of dress and undress are juxtaposed onto both crafts - literally and metaphorically - at three different scales: the adornment of the individual; the design object within society and the urban fabric; and the discourse between branding and the economic condition. Creating the framework for fantastic events within the urban fabric, this thesis takes the form of a Fashion & Design Event Centre upon which the discourse between user and the design object unfolds. Placed in Toronto’s vibrant west end, the building is a symbol of permanence and an icon for fashion and design. The proposed design is the manifestation of the inherent conflict within the thesis, juxtaposing fashion’s ability to seduce and manufacture desires with the complex structuring of neutral spaces to allow for a multiplicity of users and events. At the city scale, the luminous and dynamic layers of building skin attracts and lures; as users approach and ultimately enter the building, the imagery is transformed into unique atmospheric experiences. This thesis harnesses the glamour of fashion as the medium to ignite the re-imagination of architecture’s value and the interpretation of beauty and style, providing the means for experiences to transcend into a world of spectacle.