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From the author of the acclaimed Queen of Fashion--a brilliant look at the glittering world of turn-of-the-century Paris through the first in-depth study of the three women Proust used to create his supreme fictional character, the Duchesse de Guermantes. Geneviève Halévy Bizet Straus; Laure de Sade, Comtesse de Adhéaume de Chevigné; and Élisabeth de Riquet de Caraman-Chimay, the Comtesse Greffulhe--these were the three superstars of fin-de-siècle Parisian high society who, as Caroline Weber says, "transformed themselves, and were transformed by those around them, into living legends: paragons of elegance, nobility, and style." All well but unhappily married, these women sought freedom and fulfillment by reinventing themselves, between the 1870s and 1890s, as icons. At their fabled salons, they inspired the creativity of several generations of writers, visual artists, composers, designers, and journalists. Against a rich historical backdrop, Weber takes the reader into these women's daily lives of masked balls, hunts, dinners, court visits, nights at the opera or theater. But we see as well the loneliness, rigid social rules, and loveless, arranged marriages that constricted these women's lives. Proust, as a twenty-year-old law student in 1892, would worship them from afar, and later meet them and create his celebrated composite character for The Remembrance of Things Past.
Captain Alfred Dreyfus, a French Jewish army officer, spent twelve years from 1894 to 1906 in solitary confinement for a crime he did not commit. Amidst the dramatic and shifting revelations of what would come to be known throughout the world as the Dreyfus Affair, four influential authors reassessed their moral convictions on the civic questions posed by this abuse. Emile Zola, Maurice Barrès, Bernard Lazare, and Marcel Proust offered fictive articulations of response to these questions. Among them, national citizenship and the roles of secularism and public education, as well as tolerance of Jews and other immigrants to France, loom largest. The four authors considered dilemmas still unresolved in the modern democratic cultures of Europe today. Moreover, as this critical study illuminates, the writers in effect were teaching readers to negotiate individual desires and collective purpose and to assess their own values as the effects of Dreyfus continued to ripple through society.
Whether you're investigating fashion as a material object, an abstract idea, a social phenomenon, or a commercial system, qualitative techniques can further your understanding of almost any research topic. Doing Research in Fashion and Dress begins by guiding you through a brief history of fashion studies, and the debates surrounding it, before introducing key qualitative methodological approaches, including ethnography, semiology, and object-based research. Detailed case studies demonstrate how each methodology is used in practice. These case studies include Japanese subcultures, fashion photography blogs and semiotic studies of fashion magazine shoots and advertisements. This second edition also features a new chapter on internet sources and online ethnography, reflecting the adoption of social media tools not only by industry practitioners but also by academics. By contextualizing history, theory and practice Doing Research in Fashion and Dress offers: -A systematic examination of qualitative research methods in fashion studies in social sciences. -A practical guide for anyone wishing to conduct fashion research in academia or in the business world. -An accessible grounding in contemporary fashion studies literature.
In 1978, while collecting documentary photographs of the artists' community in Montparnasse from the first decades of the century, Billy Kluver discovered that some previously unassociated photographs appeared to be related. The photographs, showing Picasso, Max Jacob, Moise Kisling, Modigliani, and others at the Cafe de la Rotonde and on Boulevard du Montparnasse, all seemed to have been taken on the same day. But the identity of the photographer and the occasion being recorded remained a mystery. Investigation eventually allowed him to identify the photographer as Jean Cocteau and to determine the day that Cocteau had taken the photographs: August 12, 1916. In a tour de force of art historical research, Kluver then reconstructed the precise scenario to which Cocteau's camera bore witness. With an investigator's eye for detail - noting when Picasso no longer carries an envelope or Max Jacob has acquired a decoration in his lapel - Kluver recreates a single afternoon in the lives of Picasso and friends. Besides the central "portfolio" of photographs by Cocteau, the book contains additional photographs and drawings, short biographies of all the subjects, and a historical section on the events and activities in the early-twentieth-century Montparnasse art world.
Osip Mandelstam was one of the major Russian poets of the twentieth century. His first works were published before the October Revolution and, after the Bolsheviks came to power, although his reputation was high, he was never fully in accord with the new literary establishment. He was arrested in 1934 after reciting a poem denouncing Stalin and began the harrowing journey to his death, recorded so movingly in his widow's memoirs Hope Against Hope and Hope Abandoned. Mandelstam, as well as being a poet, was a brilliant critic and prose-writer and this collection of autobiographical essays, reviews and personal reflections embodies many of the same themes as his poetry - the nature of history, the continuity and yet fragility of cultural traditions, and the value of poetry itself. It is an essential volume for all admirers of Russian literature in general and the poetry of Mandelstam in particular.

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