This research entails a close analysis of the contemporary home environment. The study of the home environment and the relationship between domestic spaces and residents is a noteworthy trend in design studies. This opens up the possibility of investigating gender influence on interior design. This study focuses on the role of women in designing living spaces’ interiors, to unveil the women's role and participation in their home environment. The main focus of this study is the design role of women in family living rooms, particularly in the context of Jeddah city, Saudi Arabia. The study articulates how women leave identity footprints on the space they have designed and used. My research indicates that the interior design of any space is more complex than simply shaping the use of space; it also reinforces the woman’s influence. The methodological framework has been structured into two main approaches: a case study approach, which involved in-depth case studies of living spaces, and an ethnographical approach, which involved in-depth interviews with middle-class housewives in their living rooms. The latter approach aimed to seek information about experiences, performances, interactions and values in the home environment, and enables identity presentation in the family living room. In addition, associated methods, such as photographic and video records, coding the living space features and visual observation of the living room were used to document every detail of the living space, to enrich data collection and unpack the environmental meanings. These mixed methods helped to understand the reality of women’s home experiences and provide a compelling portrait of women’s roles and identities within their living spaces. The main theoretical paradigms are Judith Butler’s theory of gender performativity and Erving Goffman’s work on the presentation of self in social interaction, to investigate the gender roles and types of performance in the domestic living rooms. The practice of structuring the living room, furnishing and decorating the space interiors and the spatial arrangement illustrate the different circumstances in which women play their roles and have influence in distinct ways in the living rooms’ contexts. How Saudi women use the living space for their private activities and social relationships is examined, to investigate the presentation of Saudi women’s identity and position in the home and beyond. This research has explored Saudi women’s performativity through their design experience and everyday engagement with the interior space and objects within their domestic living rooms; these performances represent their priorities in various roles through which social visibility is assumed. This research has established a new understanding of what goes on behind the closed doors of Jeddah homes. It has been found that Saudi housewives (with no formal interior design education or qualifications) dominate the design of domestic interiors. A new group of designers has been identified, who need to be recognised and acknowledged. In this research context, these Saudi housewives in Jeddah are amateur homemakers and interior designers, designing their home spaces and doing the job like any other professional designers. In this case, they must be acknowledged socially.

In the small town of Assisi in Italy, there is a chapel dedicated to Mary Magdalen. This well known figure from the New Testament Gospels is an anomaly. To many she is the prostitute turned disciple: to others she is a key witness to the resurrection. The frescoes show this Magdalen, but they also show her in strange scenes not found in the Bible. The Gospels tell us that Mary Magdalen was with Jesus in his ministry, at the crucifixion and at the resurrection. Early church fathers picked up on this and linked her with other unnamed women in the Gospels to develop an ideal model of discipleship. From there, legends developed this conflated Magdalen into the embodiment of chastity, penitence and devotion. As such, she became the focus of one of the greatest cult followings of the Middle Ages and her relics where at the heart of the fourth most visited pilgrimage site in Christendom. In the thirteenth century, a young man, Francis of Assisi helped to revolutionise and revive the life of the Church by his personal example of poverty, benevolence and pure devotion; virtues embodied by the Magdalen. It is then understandable that a chapel dedicated to her should be found in the basilica built to honour Francis. However, the reasons behind the chapel's existence and location also have a great deal to do with the power and influence of the secular (Angevin) and religious establishment of the time as well as the controversies burgeoning within the Franciscan Order including the roles of second order women and the influence of the two factions of Franciscanism, Spirituals and Conventuals. Finally, it must not be forgotten that the Magdalen chapel, a means of theological and political dogma, was also a very tangible and real visual sermon to the masses of pilgrims who flocked to visit the shrine of Francis. This project is an attempt to uncover the identity of the woman in and the meaning of the Magdalen Chapel in the Lower Church of the Basilica of St Francis in Assisi.

This thesis examines the networks involved in the production of the wardrobe of Robert Dudley, Earl of Leicester (1532/3-1588). It is clearly demonstrated that Leicester’s dress placed him alongside his contemporaries within the nobility. A successful and well functioning wardrobe network was crucial to achieving the required standard of dress. Establishing the identity of the individual members of the network enables the further examination of each person’s role within the network, and in dressing Leicester. Comprised of English masters embedded in their livery company politics and punctuated with foreign masters, the network provides an insight into business practice and social interaction in sixteenth century London.

The main objective of this research is to investigate the relationship between national identity and fashion among Kuwaiti women. The research findings propose that Kuwaiti women are able to use fashion to contribute to the construct of their national identity in the twenty-­first century. A multi-­method approach to the investigation was adopted. Firstly, critical analysis was used to grasp the concepts of national identity and fashion, and conclusions were drawn. Secondly, a case study method was used to collect data from a prominent, iconic Kuwaiti woman, Fatima Husain. Data was collected by undertaking critical analysis of her book and of publications about her by others, as well as an interview with her. Finally, primary data was obtained through interviews with prominent designers from Kuwait and the United Arab Emirates, and from a structured questionnaire survey of women from these two countries. Thematic analysis was used to identify the key themes that were then analysed to establish the nature of the relationship between fashion and national identity among Kuwaiti woman. Five major themes and several other sub-­ themes were identified, analysed and discussed. These five major themes are discourses on individualism, symbolism, morality, ethnicity and parochialism. The main conclusions were: (i) national identity is a complex, multi-­ perspective concept not amenable to a universal definition. The position taken in this study was the modernist perspective, that is, national identity is a socially constructed process which continues to evolve according to context. Put in simple terms, it is a process in transition; (ii) there is no universal theory to explain fashion, which can be considered multi-­‐ disciplinary. This study concluded that the theory of fashion is rooted in social theory, behavioural science theory and economics theory, and it also involves aspects such as social class, behaviour (e.g. imitation, innovation) and disposable income. An analysis of fashion trends in Kuwait showed a significant shift in women’s fashion over the last 80 years; (iii) the Kuwaiti woman is ethnic, educated, independent, moral, wealthy, modest, decent, dignified, elegant and conspicuous. She has fine taste, is able to make clothing choices, is at times parochial but is ultimately able to use fashion to communicate her image and hence construct her national identity. However, therelationship between fashion and identity appears to manifest itself in two major ways – traditional dress and day dress. The study concludes with the design of a logo as part of the practical design element of the study. The primary elements of the logo were based on the findings of this research which were taken into account in the design. The logo therefore extended the theoretical findings using visual analysis. The objective is to have the logo manufactured for commercialisation.

Textile dyes have been the subject of many studies from the varied perspectives of historians, conservators and scientists. Most of these have focused on natural compounds but nineteenth century synthetic dyes form the basis of this thesis. The dual areas of interest have been the social history of those dyes developed between the introduction of Mauveine in 1856 and the end of the century and the investigation of novel spectroscopic methods for their identification in situon textiles. Although the first synthetic dye was manufactured in England, the centre of the industry soon moved to Germany and Switzerland. Education an d contacts in Switzerland or Germany were important in advancement in the field as can be seen in the previously unresearched biography of J.J. Hummel who, through his Swiss step-father, was able to travel to Zurich to study and subsequently progressed from working as a cotton printer to become the first professor of textile dyeing at the Yorkshire College, later Leeds University. Evidence was found in newspapers and popular periodicals for three other factors which had an important influence on the attitude to synthetic dyes in England. One was English reluctance to invest in speculative ventures rather than the established textile industries. The second was the possession of colonial holdings and overseas trade networks which encouraged continued research into imported natural products. Thirdly the particular form of the Arts and Crafts movement in England emphasised the craft means of production in a way which the equivalent aesthetic in Germany did not. Nineteenth century dye manuals show that there was no exclusive use of either natural or synthetic dyes in the trade despite the fashion in artistic circles for ‘natural’ colours. The identification of synthetic dyes on textiles is important in textile history and conservation especially in the context supplied by the investigations described above into the usage of the dyes. It is highly desirable in the field of cultural heritage to devise analytical techniques which are non-destructive and non-sampling. Dyed wool and silk samples were prepared using 12 dye compounds. Different techniques were tested and Fourier transform Raman spectroscopy was able to provide diagnostic spectra for a variety of synthetic dyes. Clear features in the spectra could be used to identify the dye class and to distinguish between dyes of the same class. This technique allowed the detection of dyes on the textile for the first time and it was applied successfully to original samples from dye manuals. One unknown mauve sample was also analysed and a combination of infrared and Raman spectroscopy allowed a definite identification of the dye as a triphenylmethane and tentatively as Methyl violet. This study combines investigations into material culture and social history and demonstrates the use of science together with historical research to reveal new insights into the history of textile dyes.

Two objects formed the catalyst for this project and can be used to introduce the set of parallel and converging discourses that underline the text. A pair of cross-frame stools, still found in the entrance hall at Harewood today, generate a series of questions, regarding the collection itself and the Regency period, the history of the Lascelles family in the early nineteenth century and the dichotomy clearly present between the patterns of patronage of the previous generation and that of Edward Lascelles (d. 1814). Stylistically the stools look towards Egypt, engendering an investigation into the formation of this particular revival, centred on the figure of Dominique-Vivant Denon, whose text Voyage dans la Basse et la Haute Egvpte introduced French society to the archaeological discoveries found in the conquered lands. A copy of this text is located in the Harewood collections, and it forms the foundation of a consideration of the political, semiological and social implications of the use of a particular decorative style. Questions are asked regarding the cultural implications of interior design. This leads us back to an examination of how and why the Egyptian revival was established in Britain. This has motivated a consideration of the discourses of furniture history and the methods by which we understand stylistic change, and particularly an analysis of the presentation of such collections today and the historiography of English furniture styles. Each aspect of the study coheres around the central theme of the Harewood collection. Material objects such as the cross-frame stool represent a number of social rituals and cultural practices. My aim is to use theoretical models to begin to unravel the meanings associated with such objects.

252f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-05T12:28:29Z No. of bitstreams: 3 Pessôaparte3seg.pdf: 14917280 bytes, checksum: c7ce2e7f6dd8bcb073bbf9ae2ac7402e (MD5) Pessôaparte2seg.pdf: 14135034 bytes, checksum: d8a3377692ed70c85ea28d6ae0943b45 (MD5) Pessôaparte1seg.pdf: 4894630 bytes, checksum: b9de2025cf797ce06c9dfc04b56467e6 (MD5) / Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:34:39Z (GMT) No. of bitstreams: 3 Pessôaparte3seg.pdf: 14917280 bytes, checksum: c7ce2e7f6dd8bcb073bbf9ae2ac7402e (MD5) Pessôaparte2seg.pdf: 14135034 bytes, checksum: d8a3377692ed70c85ea28d6ae0943b45 (MD5) Pessôaparte1seg.pdf: 4894630 bytes, checksum: b9de2025cf797ce06c9dfc04b56467e6 (MD5) / Made available in DSpace on 2013-04-18T12:34:39Z (GMT). No. of bitstreams: 3 Pessôaparte3seg.pdf: 14917280 bytes, checksum: c7ce2e7f6dd8bcb073bbf9ae2ac7402e (MD5) Pessôaparte2seg.pdf: 14135034 bytes, checksum: d8a3377692ed70c85ea28d6ae0943b45 (MD5) Pessôaparte1seg.pdf: 4894630 bytes, checksum: b9de2025cf797ce06c9dfc04b56467e6 (MD5) Previous issue date: 2007 / A pesquisa versa sobre a Decoração Residencial das classes média e alta na cidade de Salvador, na década de 70 do século XX, analisada nos seus aspectos materiais e simbólicos. O trabalho objetiva contribuir para o resgate da História da Decoração soteropolitana, e justifica - se pela inexistência de produção acadêmica suficiente nessa área, distinta da História do Mobiliário, tanto nacionalmente, quanto na Bahia. As informações obtidas em livros e periódicos, fotografias familiares e em entrevistas com profissionais atuantes na área e membros das classes sociais privilegiadas no período de estudo, subsidiaram o desenvolvimento do trabalho que estruturou - se em quatro capítulos.A partir da análise de questões relacionadas ao exercício profissional nas áreas de arquitetura, arte e design, estabeleceu - se o conceito de Decoração que norteou a Dissertação e que tomou forma plástica em três ambientações, reunidas sob a denominação de Tribos 70: lembrança e esquecimento.A definição da Decoração como manifestação cultural, implicou no levantamento do contexto histórico do Brasil e de Salvador na década de 70, notadamente no que se refere aos aspectos de modernização da cidade e seu rebatimento nas formas de morar e de decorar.Através da análise da proposições(“tendências”) das revistas especializadas, nacionais e estrangeiras, na sua relação com o mercado local de móveis e com as decorações das residências, é possível observar não só a pluralidade de estilos adotados em Salvador entre 1970 e 1979, como também, a existência do binômio,modernidade - tradição, reforçado pelo passado colonial da cidade. Assim, através desse estudo, podemos exemplificar a relação entre os valores sócio -culturais (representações) e a configuração (cores e formas) dos interiores residenciais. / Rio de Janeiro

This research focuses on the nature and extent of social relationships between two Late Woodland Lewis phase villages, ca. A.D. 650 to 900, in southern Illinois and western Kentucky. These villages are the Cypress Citadel site in Johnson County, Illinois (111JS76), and the McGilligan Creek site in Livingston County, Kentucky (19LV197). Relationships between the two communities are examined through a detailed comparison of their ceramic assemblages, especially the decorated pottery. Chi square and Cramer's V statistics are used along with the social interaction and information exchange theories to determine the most likely to association between the sites. The results suggest a distancing of the social relations between these sites over their 250-year occupations. With a lack of firm temporal data, however, these conclusions are only a best-fit model. Other significant similarities and differences are noted which provide clues for future avenues of study.

No description available.

No description available.