Renaissance Dress, Cultures of Making, and the Period Eye

Rublack, Ulinka

doi:10.1086/688198

Cited by 9 publications

(10 citation statements)

References 7 publications

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“…[…] The body, bodily memory, and aspects of subjectivity thus were known and experienced in relation to matters of dress." 29 If "[a]ffect arises in the midst of in-between-ness," how did circulating textiles shape global in-betweenness as the realm within to situate and negotiate "the capacities to act and be acted upon"? 30 This line of research brings the study of early modern textiles, for the first time, into a conversation with critical cultural theory and Bhabha's work in particular.…”

Section: In-between Textilesmentioning

confidence: 99%

1. Subjectivities In-Between Early Modern Global Textiles

Marín-Aguilera¹,

Hanß²

2023

In-Between Textiles, 1400-1800

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Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. For Amalia"At a time when the fabric of democracy is rent by xenophobic zealotry, this outstanding volume provides us with the warp and woof of historical exchange and cultural co-existence. These enthralling essays engage with material practices of weaving across genres and geographies, displaying the travelling world of textiles as they record the shifting global communities of a 'woven imaginary.' Reading In-Between Textiles, brought to life the migratory memory of my mother's Parsi garas: a traditional sari, commissioned in Bombay from Chinese sailors who offered her a range of silks and motifs, and brought her the sari, months later, when they docked again in Bombay harbor. Set out on this wondrous voyage of the woven world." Homi K. Bhabha, Harvard University."Ranging across five centuries, six continents, and an impressive range of fields, from chemistry-based technologies to ethnographic fieldwork, this broad collection of textile studies recovers the place of subalterns in history, and the varying meanings that early modern textiles took on depending on the communities that used them.

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Section: In-between Textilesmentioning

confidence: 99%

1. Subjectivities In-Between Early Modern Global Textiles

Marín-Aguilera¹,

Hanß²

2023

In-Between Textiles, 1400-1800

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“… 100 Evelyn Welch, “Furs and Feathers in the Early Modern World: Moving Fashion across Global Borders,” paper given at the THINGS Seminar at CRASSH, University of Cambridge, 11 March 2015. On feathers in early modern dress, see Rublack, 2016; Ulinka Rublack and Stefan Hanß, .…”

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confidence: 99%

Common Medicine for the Common Man: Picturing the “Striped Layman” in Early Vernacular Print

Taape

2021

Renaiss. Q.

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The disruptive figure of the “striped layman” appeared in printed texts and images around the year 1500 in the southern German lands. This essay shows how it came to represent a new kind of reader of vernacular medical publications. Exploring the illustrated books of the Strasbourg surgeon-apothecary Hieronymus Brunschwig, their local context of humanist discourse, and the visual practice of their publisher, Johann Grüninger, I argue that their oft-neglected woodcuts of people in striped clothes constitute powerful visual commentary of Brunschwig's (and others’) mission to impart medical agency and expertise to the “common man” at the eve of the Reformation.

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“…Focusing on beards in sixteenth-century Central Europe, I reconsider the matter of hair in a society which was 'intimately involved with how things were made and what they were made from'. 2 In the Renaissance, craft expertise and the body were significant means through which to experience subjectivity in relation to material and visual cultures of making. 3 This observation invites historians to rethink the significance of hair in regard to the embodied aspects of a material and visual culture that made up the Renaissance symbolic universe.…”

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confidence: 99%

Face‐Work: Making Hair Matter in Sixteenth‐Century Central Europe

Hanß

2021

Gender & History

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Bringing gender history, the history of the body and art history into a conversation with material culture studies, this article argues that the sudden fashionability of beards in Renaissance Europe has been intricately linked with a culture of material and visual experimentation. I propose shifting perspectives from a focus on the symbolism of beards towards examining how early modern ways of material engagement with the matter of hair crafted a visual attention to facial hair that made up the sociocultural significance of beards. Focusing on how people made hair matter, I suggest working with the concept of face-work. In particular, this article maps how the Reformation upheavals and the rise of new visual practices dynamised Renaissance protagonists' creative engagement with facial hair as a means for staging the self. Crafting the visual attention to renaissance beardsIn 1610, the Augsburg art dealer Philipp Hainhofer sent a drawing to Philipp II of Pomerania that portrayed the duke with an elegant beard. A close view reveals that the beard was a literally telling attribute as it was composed by pious wordings that visualised Philipp's religious sovereignty. 1 How was it possible, culturally speaking, that beards functioned as speaking attributes in the material Renaissance? To answer this question, this article brings gender history, the history of the body and art history into a conversation with material culture studies. Focusing on beards in sixteenth-century Central Europe, I reconsider the matter of hair in a society which was 'intimately involved with how things were made and what they were made from'. 2 In the Renaissance, craft expertise and the body were significant means through which to experience subjectivity in relation to material and visual cultures of making. 3 This observation invites historians to rethink the significance of hair in regard to the embodied aspects of a material and visual culture that made up the Renaissance symbolic universe. I thus propose a shift of perspective in research on the history of hair. While previous scholarship has focused on the symbolic meanings of hair, I examine how early modern ways of material engagement with the matter of hair crafted a visual attention to facial hair that made up the sociocultural significance of beards. 4 Instead of solely focusing on the symbolism of hair in sixteenth-century Central Europe, I focus on how people made hair matter. I argue that the increasing fashionability of beards in the Renaissance has been intricately linked with an age of material and visual experimentation and the

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Renaissance Dress, Cultures of Making, and the Period Eye

Cited by 9 publications

References 7 publications

1. Subjectivities In-Between Early Modern Global Textiles

1. Subjectivities In-Between Early Modern Global Textiles

Common Medicine for the Common Man: Picturing the “Striped Layman” in Early Vernacular Print

Face‐Work: Making Hair Matter in Sixteenth‐Century Central Europe

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