No description available.

This study traces the history of debutante presentations in Dallas, Texas, from 1884 to 1976. Manuscript materials, organizational collections, interviews, and published sources were used to document and establish past and present information. The problem is organized topically and treated in chronological order within each subject. The role of four bachelors' clubs, Idlewild, Terpsichorean, Calyx, and Dervish, is emphasized and the influence of a business known as Party Service is considered. The evidence gathered for this work suggests the following conclusions: that a complicated and lavish process has evolved, that the influence of heritage and family prominence has gradually eroded, that emphasis centers now on the recently financially successful families, and that despite these changes, the ritual of debutante presentations in Dallas remains strong.

In the early 1860s, wealthy English Montrealers began to purchase property on the shores of Lake Memphremagog to build lavish summer estates. Each year, these upper-class businessmen and their families would spend a significant part of the summer at their country houses, swimming in Lake Memphremagog, boating, playing lawn tennis and visiting fellow Montrealers. The emergence of summer residences on Lake Memphremagog was part of a broader trend towards villegiature, or tourism, in Quebec, and in North America, that largely resulted from the rise of the Industrial Revolution and the Romantic Movement. This research analyses the architecture and landscaping of the nineteenth-century summer residences on Lake Memphremagog as it seeks to understand the factors that brought wealthy Montrealers to this lake in the 1860s. It also examines how their upper-class background affected the way they experienced leisure while at the lake. Through this study, it becomes evident that Romanticism and upper-class values significantly influenced the location and styles chosen by the Montrealers for their estates. Additionally, an examination of the social and recreational activities of the summer residents on Lake Memphremagog indicates that the Montrealers re-created much of their urban social sphere in the country, associating mainly with other upper-class families and pursuing many of the same activities. Nonetheless, the primary sources indicate that the relationship between the local residents and the summer residents was generally a positive one.

AbstractThe fashion industry is today one of the most interesting, exciting and fast-moving industriesin the world. On the streets we can see people wearing all kind of brands, both fast fashionbrands and luxury brands. Some people mix different brands, while some people stick toeither fast fashion or luxury brands. Today people wear different brands to express theirpersonal style but also social and class relationships.The purpose of this study is to find out why some consumers prefer to purchase luxury brandsinstead of fast fashion and what added value is given to them so they choose luxury. It alsodeals with what kind of people purchase luxury brands and if there are any differences. Tosucceed with this study I have therefore made a qualitative study where interviews were madewith several store managers at luxury brand stores in central Stockholm and observations.I found from this research that the consumers of luxury brands purchase luxury because of thequality that they receive and the service. The consumers are very quality conscious andbelieve it is more sustainable to purchase something that has good quality than buyingsomething that is cheap with poor quality. They also choose luxury brands because ofexpertise from the personnel, and personal contact between the store assistants and theconsumer. Consumers purchase a whole concept when they choose luxury. They chooseluxury because of the experience they receive that cannot be given at fast fashion stores.I also found from this research that there is a mixture of consumers who purchase luxurybrands. There is all kind of consumers, everything from upper class, brat wannabes, andmiddle class, younger consumers to old grand parents. Some purchase luxury brands for thequality and some for the status it gives them.Besides of why consumers choose luxury brands and what consumers who actually purchase Ifound that consumer of luxury brands have changed in the past ten years. It used to be onlyupper class but more and more luxury brands have widen their target group by offeringproducts that are less expensive so more people can afford it, but still in the frame of what isluxury.Key definitions: Fast fashion, luxury brands, upper class, brat wannabes, and social class. / Program: Magisterutbildning i fashion management med inriktning modemarknadsföring

Thesis (Ph. D.)--Saint Louis University, 1984. / Includes vita and abstract. Description based on print version record. Includes bibliographical references (p. 136-144).

No description available.

The Penny Post (1851–1896), a religious working-class magazine, was published following a critical time for the Oxford Movement, a High Church movement in the Church of England. The Oxford Movement's ideas were leaving the academic atmosphere of Oxford and traveling throughout the local parishes, where the ideals of Tractarian teachings met the harsh realities of practice and the motivations and beliefs of the working-class parishioners. The upper-class paternalistic ideologies of the Oxford Movement were not reflected in the parishes, and the working-classes felt distanced from their place in religious worship. The Penny Post was published and written by Tractarian clergymen and followers to "triumph in the Working Man's Home," attempting to convince a working-class audience that the upper-class Tractarian clergymen and parishioners both understood and wanted to help the poorer peoples of society. However, an analysis of the Penny Post reveals that its creators had more complex motives and were targeting a more diverse audience than they claimed. Because of these complexities, the Penny Post's creators could not reconcile the discrepancies between working-class ideologies and upper-class ideologies; the Penny Post, in the end, undermined its own intended purposes. The elements of the magazine that attempted to address working-class concerns were overshadowed by other elements that, while appearing to address working-class concerns, directly targeted an upper-class audience. This dichotomy of purpose—simultaneously addressing different classes with different, often contradictory, beliefs—reveals the multifaceted nature of the Penny Post's efforts to reach their audiences. The Penny Post is a magazine that simultaneously addresses an upper-class audience and a working-class audience, a duality that creates ideological contradictions and tensions throughout the magazine. These tensions reflect the class issues within Victorian society and the ways religious movements dealt with those tensions in periodicals like the Penny Post. The Penny Post provides an important look into how the Oxford Movement, a movement not known for its understanding of and interest in the working classes, did attempt to reach and understand the working classes through periodical literature.

Often the Italian Madrigal is associated with print and the public marketplace. Yet it originated in handwritten anthologies restrictively circulated by Florentine patricians. In recent years, print scholarship broadened Renaissance musical studies from composer and institutional analyses to those focusing on material form, usage, and meaning. Manuscript studies of the Italian Madrigal, however, are yet to receive similar methodological expansions. This dissertation explores the social world of four manuscript anthologies of madrigals crafted in 1530s Florence. I argue that they participated in a culture whose practices aligned with and projected the elite identities of their owners, remaining in use despite the advent of printed collections intended for the broad consumption and general tastes that dominated the genre’s dissemination from the 1540s onward. Through the four manuscript anthologies, I present a needed cultural history of manuscript usage and meaning in an understudied era of the genre, examining processes of self-fashioning, communal and diplomatic circulation, notational difference, and political identity. I uncover this information through paleographic, primary-source analysis of musical and epistolary documents as well as historical survey. This dissertation reveals, firstly, patrician use of manuscripts as markers of hierarchical distinction in Florentine society. Second, it concludes that manuscript madrigals should be understood alongside other Florentine manuscript practices of epistolary exchange and personal record keeping, as documents intended to accumulate new works and preserve family history and legacy. Third, this dissertation provides a comparative analysis of the music-notational and paleographic differences between contemporaneous print and manuscript versions of Florentine madrigals in the 1530s. This dissertation then concludes with an analysis of the political decorations within one of the manuscript partbook sets that offers insight into Florence’s governmental transition from a longstanding republic to Medici rule in 1530. Altogether, my project reveals particular ways in which the manuscript madrigal projected the individual and communal identity of patrician Florentines to garner distinction among other social classes, to solidify diplomatic bonds and preserve family history, to encode performance through subtle notation, and to engage with cataclysmic governmental shifts as reflected through the political views of individuals and the scribal hand.

No description available.

Within media and communications studies, questions of taste have often been associated with the dichotomy of high versus popular culture. The French sociologist Pierre Bourdieu has also used mass media products in his studies of class determined tastes and dispositions. In this paper the author uses the theoretical framwork of Bourdieu to examine aspects of social class and legitimate taste in the interior design magazine "Sköna Hem", a market leading magazine within it's genre of lifestyle magazines in Sweden. A specific type of feature article, where a real-life home is portrayed, is studied using the critical discourse analysis of Norman Fairclough. The homes portrayed are predominantly affluent and display elements of conspicuous consumtion as mediated through legitimate taste and cultural capital. Common traits are identified in writing style as well as the furnishings of the homes portrayed. Deviations from the norm are also discussed. The author also discusses text production with an emphasis on the impact of informal chriteria of quality on the selection of homes portrayed. The results show that the aesthetic ideals represented in the magazine correlate well to the "aesthetic disposition" described by Bourdieu as closely tied to haute bourgeois habitus. Shared discoursive elements include an emphasis on form as a characteristic of quality, an attitude of detachment as a way of relating to the objects of culture and a distancing from questions of economic neccessity. These elements are projected rhetorically through modality markers of high affinity, leaving the impression of a general defintion of style and beauty. Given that these results are representative of lifestyle journalism as a whole, the author interprets this as a hegemonizing process wherein a subjective defintion of taste typical of the haute bourgeois comes to represent an absolute. She proposes that this contributes to a pathologizing of powerless groups in society.