The Clothed Body

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Bibliography —— and Wilkes, Andrew (1998), ‘Cine/moda’, in Moda/cinema, Catalogo della Mostra della Biennale di Firenze, Milano: Electa. Marx, Karl (1844), Ökonomisch-philosophische Manuskripte aus dem Jahre 1844, It. tr. by G. Della Volpe, Manoscritti economico-filosofici del 1844, in Opere filosofiche giovanili, Roma: Editori Riuniti, 1971 4 . —— (1867), Das Kapital, It. tr. by D. Cantimori, Il capitale, libro I, Roma: Editori Riuniti, 1970. McCracken, Grant (1988), ‘Il potere evocativo delle cose’, in E. Di Nallo (ed.), Il significato sociale del consumo, Roma and Bari: Laterza, 1997. McDermott, Catherine (1987), Street Style. British Design in the 80s, London: The Design Council. Molho, Renata (1998), ‘Riflessioni’, in Moda/cinema, Catalogo della Mostra della Biennale di Firenze, Milano: Electa. Moltedo, Adriana (1998) (ed.), Pelle di donna. Moda e bellezza, Roma: Stampa alternativa. Morris, Charles (1964), “Signification and Significance”, It. tr. by S. Petrilli, “Significazione e significatività”, in Segni e valori, Bari: Adriatica 1988. Mulvey, Laura (1989), Visual and Other Pleasures, Bloomington and Indianapolis, Indiana University Press. Museo Salvatore Ferragamo (1998), Cenerentola, Milano: Electa, Biennale di Firenze. Negroponte, Nicholas (1995), Being Digital, It. tr. by F. and G. Filippazzi, Essere digitali, Milano: Sperling & Kupfer, 1995. O’Hara, Georgina (1986), The Encyclopaedia of fashion, It. tr. by R. Panuzzo and J. Valli, Il dizionario della moda, Bologna: Zanichelli, 1990. Pastoreau, Michel (1991), L’etoffe du Diable, It. tr. by M. Scotti, La stoffa del diavolo, Genova: Il Melangolo, 1993. Perniola, Mario (1988) (ed.), Estetica News 3, “Moda e mondanità”. —— (1990), Enigmi. Il momento egizio nella società e nell’arte, Genova: Costa & Nolan. —— (1994a), Il sex-appeal dell’inorganico, Torino: Einaudi. —— (1994b) (ed.), L’aria si fa tesa, Genova: Costa & Nolan. Piccinini, Laura (1991), ‘C’è un generale nel mio armadio’, Il Manifesto, 9 February. Poe, Edgar Allan (1840), The Man of the Crowd, It. tr. by G. Sardelli and M. Gallone, L’uomo della folla, in Racconti del mistero e dell’orrore. Arabeschi, Milano: Sugarco, 1974. Polhemus, Ted (1994), Street Style, London: Thames & Hudson. —— (1996), Style Surfing, London: Thames & Hudson. —— and Procter, Lynn (1978), Fashion & Anti-fashion, London: Thames & Hudson. Ponzio, Augusto (1995), I segni dell’altro, Napoli: ESI. —— (1997), Elogio dell’infunzionale, Roma: Castelvecchi. —— (1997), Metodologia della formazione linguistica, Roma and Bari: Laterza. ——, Calefato, Patrizia and Petrilli, Susan (1994), Fondamenti di filosofia del linguaggio, Roma and Bari: Laterza. 163
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DRESS, BODY, CULTURE Oxford • New
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Acknowledgements I would like to th
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Introduction An image in Marguerite
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Introduction between signs and thei
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The Clothed Body between its variou
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The Clothed Body ence to one of the
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The Clothed Body sense - but are ra
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The Clothed Body system of images,
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Dress and Social Identity In 1937 t
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Dress and Social Identity open, ‘
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Dress and Social Identity back thei
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Dress and Social Identity came out.
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Dress and Social Identity to see a
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Dress and Social Identity 4. Transl
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The Clothed Body well beyond the no
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The Clothed Body tattooing are tran
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The Clothed Body The opening scenes
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The Clothed Body at prohibitive cos
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The Clothed Body Caronia (1994) giv
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The Clothed Body cartoons, in any c
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Taste between Common Sense and Rece
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Taste: Common Sense and Received Me
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In The Fashion System Barthes write
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Everyday Models Clothing fetishisms
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Everyday Models Classic examples of
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Everyday Models in this passage the
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The Face and the Gaze The fascinati
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The Face and the Gaze Indeed El-Hou
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The Face and the Gaze their exagger
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The Face and the Gaze (an occasion
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The Face and the Gaze Nature and ar
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The Clothed Body smallest detail, m
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The Clothed Body reveals this aware
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The Clothed Body outside normal pub
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The Clothed Body for contemporary f
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Intertextual Strategies and Contemp
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Intertextual Strategies and Mytholo
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Fashion and Cinema At the beginning
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Fashion and Cinema better, as a sys
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Fashion and Cinema backdrop both to
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Fashion and Cinema individual and s
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Fashion and Cinema A film that may
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Fashion and Cinema On each wrist is
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Fashion and Cinema 1992b). These co
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Fashion and Cinema Today the imager
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Fashion and Cinema the same time. I
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The Clothed Body In the Italian com
Page 117 and 118: The Clothed Body their collections:
Page 119 and 120: The Clothed Body veritable universe
Page 122 and 123: Mass Fashion: The Role of Fashion i
Page 128 and 129: Time Barthes writes that fashion su
Page 130 and 131: Time The past returns, but the retr
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Page 134 and 135: Time regulated by public convention
Page 136 and 137: Time firstly, who knows?) the desig
Page 138 and 139: Time important protagonist on this
Page 140 and 141: Fashion Intertexts The great Italia
Page 142 and 143: Fashion Intertexts the criminal’s
Page 144 and 145: Fashion Intertexts relegated to ‘
Page 146 and 147: Fashion Intertexts uniforms, some o
Page 148: Fashion Intertexts Notes 1. The fou
Page 151 and 152: The Clothed Body In 1900, 88 per ce
Page 153 and 154: The Clothed Body yourself from the
Page 155 and 156: The Clothed Body loved by teenagers
Page 157 and 158: The Clothed Body band, which can st
Page 159 and 160: The Clothed Body It is certainly tr
Page 161 and 162: The Clothed Body are no longer simp
Page 164 and 165: Bibliography Arendt, Hanna (1982),
Page 166 and 167: Bibliography Costa & Nolan, 1987.
Page 170 and 171: Arendt, Hanna, 46-9, 54, 54n1 Ash,
Page 172: Negroponte, Nicholas, 35, 120, 131
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