東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Who controls culture? Power, craft a...

Aspelund, Karl.

Linked to FindBook

Google Book

Amazon

博客來

Who controls culture? Power, craft and gender in the creation of Icelandic women's national dress.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Who controls culture? Power, craft and gender in the creation of Icelandic women's national dress./
Author:	Aspelund, Karl.
Description:	341 p.
Notes:	Source: Dissertation Abstracts International, Volume: 72-06, Section: A, page: .
Contained By:	Dissertation Abstracts International72-06A.
Subject:	Anthropology, Cultural. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3451768
ISBN:	9781124569284

Who controls culture? Power, craft and gender in the creation of Icelandic women's national dress.
Aspelund, Karl.

Who controls culture? Power, craft and gender in the creation of Icelandic women's national dress. - 341 p.

Source: Dissertation Abstracts International, Volume: 72-06, Section: A, page: .

Thesis (Ph.D.)--Boston University, 2011.

This dissertation is a historical and ethnographic investigation of Icelandic women's national dress. It is based on archival research along with ethnographic fieldwork and interviews of participants in the national dress movement in several locations in Iceland, mainly in 2009 and 2010. It claims that the five "national" costumes represent five distinct facets of Icelandic identity and that these can be placed in three categories: "invented tradition," "refined vernacular," and "revived historical." It shows that they developed in these categories in response to needs presented by nationalistic culture creation, construction of class codes through ethnic dress, and the tension between attachments to local ethnic identities of kinship and internationalized modern modes.

ISBN: 9781124569284Subjects--Topical Terms:

735016
Anthropology, Cultural.

Who controls culture? Power, craft and gender in the creation of Icelandic women's national dress.
LDR:03356nam 2200325 4500 001 1398712
005 20110914100030.5
008 130515s2011 ||||||||||||||||| ||eng d
020 $a 9781124569284
035 $a (UMI)AAI3451768
035 $a AAI3451768
040 $a UMI $c UMI
100 1 $a Aspelund, Karl. $3 855950
245 1 0 $a Who controls culture? Power, craft and gender in the creation of Icelandic women's national dress.
300 $a 341 p.
500 $a Source: Dissertation Abstracts International, Volume: 72-06, Section: A, page: .
500 $a Adviser: Charles Lindholm.
502 $a Thesis (Ph.D.)--Boston University, 2011.
520 $a This dissertation is a historical and ethnographic investigation of Icelandic women's national dress. It is based on archival research along with ethnographic fieldwork and interviews of participants in the national dress movement in several locations in Iceland, mainly in 2009 and 2010. It claims that the five "national" costumes represent five distinct facets of Icelandic identity and that these can be placed in three categories: "invented tradition," "refined vernacular," and "revived historical." It shows that they developed in these categories in response to needs presented by nationalistic culture creation, construction of class codes through ethnic dress, and the tension between attachments to local ethnic identities of kinship and internationalized modern modes.
520 $a The historical account reveals active and transparent dialogue between modernizing globalized western culture and a marginal traditional culture over the course of two centuries. The factionalized Icelanders, resisting international style, struggled to maintain national identity through female symbolism, even while they sought to modernize and assimilate into the dominant European/Danish culture. This ambivalent effort was undertaken by politically-oriented elites in Iceland, as well as among expatriate communities, who engaged in the invention of tradition and culture during the "long nineteenth century" (c. 1790--1914.)
520 $a The meaning and position of this highly symbolic and meaningful aspect of Icelandic culture is, as ever, in flux. In the hands of a small network of women, political and nationalistic motivations have given way to underlying kinship identification and communal handcraft practices. A revival of 18th century dress points to re-alignments of cultural emphasis and a turning away from both the nationalistic and modernist programs rooted in the 19th century.
520 $a The Icelandic case reveals that the motivations driving the dress-practices of the women involved are not necessarily concurrent with those of political and cultural elites, but rather those of kinship, community, and devotion to craft. It also exemplifies issues pursued worldwide: the internal politicizing of "national" imagery appropriated from a people's everyday life by upper-class elites and the complex maintenance of local identity through boundary creation in the face of an overwhelming culture-invasion.
590 $a School code: 0017.
650 4 $a Anthropology, Cultural. $3 735016
650 4 $a Design and Decorative Arts. $3 1024640
650 4 $a Scandinavian Studies. $3 1674007
690 $a 0326
690 $a 0389
690 $a 0613
710 2 $a Boston University. $3 1017454
773 0 $t Dissertation Abstracts International $g 72-06A.
790 1 0 $a Lindholm, Charles, $e advisor
790 $a 0017
791 $a Ph.D.
792 $a 2011
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3451768