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Genetically Baroque Beings: Cybergender, Transexuality and Natrificiality

Adam Geczy

Source: The Artificial Body in Fashion and Art. Marionettes, Models, and Mannequins, 2018, Berg Fashion Library

Book chapter

Take La CicciolinaLa Cicciolina. Is there any more wonderful embodiment of sex, of the pornographic innocence of sex? She has been contrasted with MadonnaMadonna, the virgin product of aerobics and a glacial aesthetic, devoid of all charm and sensuality, a muscled android, ripe for precisely that reason for conversion into a computer-generated idol on account of the strange deterrence she generates. But, if we think about it, is not La Cicciolina also a transexual? Her long, platinum-blonde hair,

Introduction

Adam Geczy

Source: The Artificial Body in Fashion and Art. Marionettes, Models, and Mannequins, 2018, Berg Fashion Library

Book chapter

PlutarchHegel, Georg, Wilhelm FriedrichZizek, SlavojIt is not difficult to credit that statues may have appeared to ooze with sweat, shed tears, or exude something which resembles drops of blood, since wood and stone often gather a mould which produces moisture, and not only display various colours themselves, but take on other tints from the atmosphere, and there is nothing to prevent us from believing that heaven sometimes employs such portents to foreshadow the future. It is also possible that

Dress and Physical Appearance

Sharron J. Lennon, Kim P. Johnson and Nancy A. Rudd

Source: Social Psychology of Dress, 2017, Fairchild Books Library

Book chapter + STUDIO

In this chapter we discuss aspects of our physical selves and dress. Two particular aspects of our physical selves affect our own and others’ perceptions of us; these two aspects are our faces and our bodies (shape or size) and both contribute to attractiveness. We will see that our faces and bodies also affect others’ behavior toward us, as well as our own behavior toward ourselves and toward others. Faces and bodies are stimuli in social cognition, or how we think, perceive, judge, and make inf

Plastic and Cosmetic Surgery

Vern L. Bullough

Source: The Berg Companion to Fashion, 2010, Berg Fashion Library

Encyclopedia entry

Cosmetics and Beauty Culture in Australia

Jennifer Craik

Source: Berg Encyclopedia of World Dress and Fashion. Australia, New Zealand, and the Pacific Islands, 2010, Berg Fashion Library

Encyclopedia entry

Cosmetics and beauty culture are forms of body modification that have a place in the language of all cultures of fashion and dress. Australia has both indigenous and European traditions of body modification and aesthetics. In precontact times indigenous traditions were centrally connected with ritualistic practices, but they were also about making the body attractive. After European settlement colonists largely followed the cosmetic practices and beauty cultures of Europe and America. Among Europ

Beauty, Nature, and Equality

Ingun Grimstad Klepp

Source: Berg Encyclopedia of World Dress and Fashion. West Europe, 2010, Berg Fashion Library

Encyclopedia entry

In the Greek mythical universe, beauty was a gift from the gods, associated with order and cosmos. This mentality was later discredited in Western culture, as physical beauty became considered superficial or even sinful. The situation today is paradoxical: in the world of fairytales, literature, and magazines, beauty is worshipped, yet there is no theoretical reflection around this. One of the main ideals of democracy is the individual’s opportunity to achieve status through actions; hence, empha

Body Art

Therèsa M. Winge

Source: Berg Encyclopedia of World Dress and Fashion. The United States and Canada, 2010, Berg Fashion Library

Encyclopedia entry

Body art decorates, adorns, emphasizes, and transforms the human body in temporary, semipermanent, and permanent ways with the use of body modifications or supplements. Throughout history, body art has been practiced and displayed not only in the United States and Canada but also by members of all cultures. Body art serves a range of purposes, from indicating social and cultural status to commemorating special occasions and from displaying daily aesthetic adornment to performing theatrical art. W

Epilogue: Fashioning the Body Today

Susan J. Vincent

Source: The Anatomy of Fashion. Dressing the Body from the Renaissance to Today, 2009, Berg Fashion Library

Book chapter

Cancer, Breast Reconstruction and Clothes

Anna van Wersch

Source: Through the Wardrobe. Women’s Relationships with Their Clothes, 2001, Berg Fashion Library

Book chapter

In recent years, the surgical treatment of breast cancer has made significant advances: from radical mastectomy, in which both pectoral muscles are removed en bloc with the breast and axillary lymph nodes; to modified radical mastectomy in which no muscles are removed; and to breast-conserving therapy, which combines lumpectomy and axillary lymph node dissection, followed by radiation of the breast. Studies comparing the psychological impact of mastectomy and conserving therapy show advantages fo

Hard(core) Images: Orlan’s Carnal Art, the Monstrous-Feminine, and Spectatorship

Kate Ince

Source: Orlan. Millennial Female, 2000, Berg Fashion Library

Book chapter

The acclaimed transsexual and cultural theorist Sandy Stone makes the following comment on the relationship between performer and audience established by Orlan’s surgical project ‘The Reincarnation of Saint Orlan’: ‘It’s a fine edge to walk between holding one’s audience in thrall, or sending them rushing for the exits, or making them puke on their shoes. The trick is to hold them in thrall and still have them puking on their shoes. Orlan approaches this ideal more closely than any performer I ha

Cyborg Women, Posthumanity, and Technological Body Art

Kate Ince

Source: Orlan. Millennial Female, 2000, Berg Fashion Library

Book chapter

Zizek’s monstrosity theory is a historical one, formulated around modernist and postmodernist ideas of subjectivity. His survey of monstrous figures in the art and literature of the nineteenth and twentieth centuries takes in Maupassant, the stories of Kaspar Hauser and The Flying Dutchman, the paintings of Edvard Munch, films by Hitchcock, and David Lynch’s The Elephant Man. Monsters are conventionally positioned as the object rather than the subject of literary and film narratives, but how thei

In my discussions of Orlan’s art practice in previous chapters, I have often described her works and performances as postmodern, without discussing further the contested history of this term. For many people, ‘postmodern(ist)’ and ‘postmodernism’ are words that have acquired so many multiple and conflicting meanings that they have become overinflated and lost their currency. In one sense too, ‘postmodern’ has simply turned into a conventional way of historicizing the contemporary, and to tag Orla

Sexualities and Genders

Claudine Griggs

Source: S/he. Changing Sex and Changing Clothes, 1998, Berg Fashion Library

Book chapter

If gender identity is the private experience of gender role, then for transsexuals genital surgery is an improvement in that experience. The degree of improvement will vary from individual to individual, just as, predictably, surgery on non-transsexuals would be disturbing to varying degrees.

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