The Modernity of la Mode: a History of the French Revolution Through the Lens of Fashion, Culture, and Identity

In my thesis, I explore the cultural history of the French Revolution and its relation to the modern era which ensued. Many historians have studied the French Revolution as it relates to culture, the rise of modernity, and fashion. I combine the unique histories of all three of these aspects to reach an understanding of the history of the French Revolution and fashion’s role in bringing about change. In the majority of literature of costume history, discussion of fashion surrounds its reflective properties. Many historians conclude fashion as a reflection of the broader cultural shifts that occurred during the Revolution. I, on the other hand, propose that fashion is an active force in bringing out cultural change during this time. In exploring fashion as a historical motivator, I examine the aesthetic world of fashion from 1740 to 1815, the modern system of cultural dissemination of fashion through particular historical heroes, and the rise of “taste” and its relation to modern identity. Through aesthetics, culture, and identity, I argue that fashion is a decisive force of culture in that it creates a visual world through which ideas form and communicate.

Folklore, fad, and fashion: The concept of misconduct in science redefined

This study is an analytical investigation of the nature and implications of the current conceptions of scientific misconduct, arguing that the question of what constitutes misconduct in science is significantly more complex than what conventionally has been believed. Complicating the definitions of misconduct are the differences between professional science and non-scientific professions, in their respective norms of what constitutes valid knowledge, and what counts as appropriate and inappropriate practice. While institutionalized science claims that there is clear differentiation between its standards of validity and those of the non-scientific professions, this paper argues that, when it comes to misconduct, the perceived boundaries between the scientific and non-scientific professions are breached; the practice standards that science currently employs in self-policing misconduct have come to resemble the minimal juridical standards of practice that other professions employ. This study attempts, despite erosion of these traditional boundaries, to move from legalistic standards of scientific practice to intramural standards of practice, and in so doing, to hold scientific practice to a higher standard than ordinary public conduct. The result is a clearer understanding of scientific misconduct to aid those individual scientists who are required to make onerous determinations about the appropriateness of specific practices by their peers. ^

A new chromanone derivative isolated from Hypericum lissophloeus (Hypericaceae) potentiates GABAA receptor currents in a subunit specific fashion.

A phytochemical investigation of the lipophilic extract of Hypericum lissophloeus (smoothbark St. John's wort, Hypericaceae) was conducted, resulting in the isolation and identification of a new chromanone derivative: 5,7-dihydroxy-2,3-dimethyl-6-(3-methyl-but-2-enyl)-chroman-4-one (1). This compound was demonstrated to act as a potent stimulator of currents elicited by GABA in recombinant α1β2γ2 GABAA receptors, with a half-maximal potentiation observed at a concentration of about 4μM and a maximal potentiation of >4000%. Significant potentiation was already evident at a concentration as low as 0.1μM. Extent of potentiation strongly depends on the type of α subunit, the type of β subunit and the presence of the γ subunit.

Fashion Notes ; Modebericht

Rose Löw

Fashion Notes ; Modebericht

F. H-K

Children's Fashion ; Kindermode [Illustration]

Scan von Monochrom-Mikroform

Fashion Notes

Modebericht [[Elektronische Ressource]] / F. H-K

Fashion Notes ; Modebericht

F. H-K

Fashion Notes ; Modebericht

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Constructed Fashion: The Catwalk System as an Architectural Project

Teniendo en cuenta que no hay nada que se escape de la moda 1, y extendiendonos más allá de esta manida discusión sobre intersecciones formales, esta investigación propone la pasarela como un lugar real de mediación entre moda y arquitectura. Asumiendo esta condición, la pasarela encarna nuevos modos de producción apropiándose de su espacio y estructura, y convierténdose en una máquina capaz de generar múltiples y más bien infinitos significados. La moda es sin duda un proyecto creativo, que ha venido utilizando la pasarela como un marco para la reordenación de su narrativa visual, renovándose asi mismo como fenómeno social. Este proyecto de investigación plantea, que contrariamente las tipologías actuales de las pasarelas no nos facilitan la comprensión de una colección – que suele ser el objetivo principal. Presentan en cambio un entorno en el que se acoplan diferentes formatos visuales, -con varias capas-, conviéndolo en una compleja construcción y provocando nunerosas fricciones con el espacio-tiempo-acción durante el proceso de creación de otros territorios. Partiendo de la idea de la pasarela como un sistema, en el que sus numerosas variables pueden producir diversas combinaciones, esta investigación plantea la hipótesis por la cual un nuevo sistema de pasarela se estaría formando enteramente con capas de información. Este escenario nos conduciría a la inmersión final de la moda en los tejidos de la virtualidad. Si bien el debate sobre la relevancia de los desfiles de moda se ha vuelto más evidente hoy en día, esta investigación especula con la posibilidad del pensamiento arquitectónico y como este puede introducir metodologías de análisis en el marco de estos desfiles de moda, proponiendo una lectura de la pasarela como un sistema de procedimientos específicos inherente a los proyectos/procesos de la arquitectura. Este enfoque enlaza ambas prácticas en un territorio común donde el espacio, el diseño, el comportamiento, el movimiento, y los cuerpos son ordenados/organizados en la creación de estas nuevas posibilidades visuales, y donde las interacciones activan la generación de la novedad y los mensajes. PALABRAS CLAVES moda, sistema, virtual, información, arquitectura Considering that there is nothing left untouched by fashion2, and going beyond the already exhausted discussion about formal intersections, this research introduces the catwalk as the real arena of mediation between fashion and architecture. By assuming this condition, the catwalk embodies new modes of production that appropriates its space and turns it into a machine for generating multiple if not infinite meanings. Fashion, as a creative project, has utilized the catwalk as a frame for rearranging its visual narrative and renewing itself as social phenomena. This research disputes, however, that the current typologies of catwalks do not facilitate the understanding of the collection – as its primary goal - but, instead, present an environment composed of multi-layered visual formats, becoming a complex construct that collides space-time-action in the creation of other territories. Departing from the analysis of the catwalk as a system and how its many variables can produce diverse combinations, this research presents the hypothesis that a new system is being formed entirely built out of information. Such scenario indicates fashion´s final immersion into the fabrics of virtuality. While the discussion about the relevance of fashion shows has become more evident today, this research serves as an introductory speculation on how architectural thinking can introduce methodologies of analysis within the framework of the fashion shows, by proposing a reading of the catwalk as a system through specific procedures that are inherent to architectural projects. Such approach intertwines both practices into a common territory where space, design, behaviour, movement, and bodies are organized for the creation of visual possibilities, and where interactions are triggered in the making of novelty and messages. KEYWORDS fashion, system, virtual, information, architectural