相關主題
商品描述
This book offers a comprehensive review of concepts from general Structuralist Semiotics, and their application to the study of fashion systems and the objects they originate. It goes beyond the visual aspect of images and material culture, exploring the relations of narrative and meaning that crystallize the "mechanism of change" that governs fashion systems. Furthermore, the author argues that the system of dress, accessories, and self-presentation are not the only manifestations of a fashion system, interrogating the pertinence of the model developed throughout its sections to the study of knowledge. The book presents three case studies. The first focuses on the construction of body and dress as agents, and their dynamic interaction as the core of fashion changes. In the second case study, the foundations of cultural opposition between Western practices and the "Islamic Other" are challenged, utilizing the semiotic analysis to test the semantic pertinence of this "false contrariety". The book closes with the reassessment of the assumption that fashion occurs only in dress and, perhaps, other objects and forms of life belonging to consumable culture.
Through these case studies the book makes a statement about the value of cross-discipline and cross-paradigm explorations. As the three sections of this work present the results of a search for a "theory of everything", this manuscript demonstrates the comprehensiveness and urgency of semiotic studies that cross areas and push the limits of the theory.
商品描述(中文翻譯)
這本書提供了對一般結構主義符號學概念的全面回顧，以及這些概念在時尚系統及其起源物件研究中的應用。它超越了影像和物質文化的視覺層面，探索了敘事和意義之間的關係，這些關係凝聚了支配時尚系統的「變化機制」。此外，作者主張，服裝、配飾和自我呈現的系統並不是時尚系統的唯一表現，並質疑在各部分中發展的模型對知識研究的相關性。這本書呈現了三個案例研究。第一個案例專注於身體和服裝作為代理者的建構，以及它們作為時尚變化核心的動態互動。在第二個案例研究中，挑戰了西方實踐與「伊斯蘭他者」之間的文化對立基礎，利用符號學分析來檢驗這種「虛假的對立」的語義相關性。這本書以重新評估時尚僅發生在服裝中，或許還有其他屬於消費文化的物件和生活形式的假設作結。
透過這些案例研究，這本書對跨學科和跨範式探索的價值發表了聲明。由於這部作品的三個部分呈現了對「萬有理論」的探索結果，這份手稿展示了跨領域的符號學研究的全面性和緊迫性，並推動了理論的界限。
作者簡介
Marilia Jardim is a Semiotician, Researcher, and Educator based in London, UK. A graduate of Communication of the Arts of the Body at the Pontifical Catholic University of São Paulo (2006), she is a former stage artist and costume designer. MPhil in Communication and Semiotics at the same institution (2014), she completed her qualification at the Socio-semiotics Research Centre (Centro de Pesquisas Sociossemióticas - CPS), directed by Eric Landowski and Ana Claudia de Oliveira. After six years lecturing on Communication, Culture and Identity for Art and Design subjects at the University of the Arts, London (UK) and the University for the Creative Arts (Epsom, UK), she completed a PhD in Communications and Media at the University of Westminster (2021). A former practitioner of both fashion and the body, her undergraduate art studies were polymathic, including the study of anthropology, philosophy, social sciences, religious studies, anatomy and modalities of bodywork that bridge dance and healing, such as Gerda Alexander's eutony, alongside the traditional learning of art history and theory. Her semiotic works are interdisciplinary, searching the dialogue with art and fashion history, philosophy, and post-colonial studies, as well as intersections between the French, Russian, and North-American semiotic paradigms. Since 2012, she has collaborated with collective projects at the Socio-semiotics Research Centre (Brazil) and was a guest researcher/speaker at the University of Turin (Italy), having published dozens of journal articles in influential fashion, communication, and semiotics journals. Her work focused on the interactions between body and dress as the engine of a fashion system, the complex identity dynamics and "false oppositions" constructed between Western fashion and Islamic techniques of femininity, and the wider grasp of a "fashion system" over cultural behaviours that extrapolate the sartorial--including the environmental crisis and the crisis of knowledge and truth. As an educator, she supervised more than 200 undergraduate dissertations in fashion studies and related subjects. At present, she is an Associate Lecturer at the Royal College of Arts, London, where she teaches the interdisciplinary module AcrossRCA.
作者簡介(中文翻譯)
Marilia Jardim 是一位符號學家、研究者和教育工作者，現居英國倫敦。她於聖保羅天主教大學（Pontifical Catholic University of São Paulo）獲得身體藝術傳播學位（2006年），曾是一名舞台藝術家和服裝設計師。她在同一機構獲得符號學與傳播學的碩士學位（2014年），並在社會符號學研究中心（Centro de Pesquisas Sociossemióticas - CPS）完成資格，該中心由 Eric Landowski 和 Ana Claudia de Oliveira 主導。在倫敦藝術大學（University of the Arts, London）和創意藝術大學（University for the Creative Arts, Epsom, UK）教授藝術與設計相關的傳播、文化和身份課程六年後，她於威斯敏斯特大學（University of Westminster）獲得傳播與媒體的博士學位（2021年）。作為一名曾從事時尚和身體的實踐者，她的本科藝術學習涵蓋多學科，包括人類學、哲學、社會科學、宗教研究、解剖學以及連結舞蹈與療癒的身體工作方式，如 Gerda Alexander 的「優音」（eutony），同時也學習了藝術史和理論的傳統知識。她的符號學作品是跨學科的，探索藝術與時尚歷史、哲學及後殖民研究之間的對話，以及法國、俄羅斯和北美符號學範式之間的交集。自2012年以來，她在巴西的社會符號學研究中心參與集體項目，並曾在意大利都靈大學擔任客座研究員/演講者，發表了數十篇在影響力時尚、傳播和符號學期刊上的文章。她的研究重點在於身體與服裝之間的互動，作為時尚系統的動力，西方時尚與伊斯蘭女性技術之間構建的複雜身份動態和「虛假對立」，以及「時尚系統」對超越服裝的文化行為的更廣泛理解，包括環境危機和知識與真理的危機。作為一名教育者，她指導了200多篇時尚研究及相關科目的本科論文。目前，她是倫敦皇家藝術學院（Royal College of Arts, London）的副講師，教授跨學科模塊 AcrossRCA。
