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40 . Flügel, Psychology of Clothes 17.<br />
41 . For details, see Ableman 25-31, and Hurlock 13-44.<br />
42 . See, for example, Rudofsky, Unfashionable Human Body 27; Ableman 20.<br />
43 . See Robinson, Body Packaging 31.<br />
44 . The nude human form has extraordinary symbolic power, both in art and in communication. For an outstanding<br />
discussion of the significance of the artistic nude in American culture, see Ableman 48-61.<br />
45 . Greeley 74, 83, 105, 108-09.<br />
46 . Story, "Comparison of Social Nudists." See also Hartman et al.<br />
47 . See Jones et al., esp. 11, 18, 223, 229; "Look & Function" 5; "Nude Beaches Help" 5.<br />
48 . Baxandall, "Jock Sturges" 96.<br />
49 . Cunnington 23.<br />
50 . See, for example, Ableman 85-86; Laver, Modesty in Dress 12; Renbourn 512.<br />
51 . Robinson, Body Packaging 32. See also Flügel, Psychology of Clothing 192-93.<br />
52 . See, for example, Glynn; Ableman 32-33; Flügel, Psychology of Clothes 25-26.
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