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ファッショニング・マラガシイ-マダガスカル・ファッションと近代的身体の形成
https://kbu.repo.nii.ac.jp/records/1667
https://kbu.repo.nii.ac.jp/records/16675520749c-c803-44e5-bba0-80fc15d74c25
| 名前 / ファイル | ライセンス | アクション |
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本文（pdfファイル） (3.1 MB)
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| Item type | [ELS]紀要論文 / Departmental Bulletin Paper(1) | |||||||||
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| 公開日 | 2017-03-23 | |||||||||
| タイトル | ||||||||||
| タイトル | ファッショニング・マラガシイ-マダガスカル・ファッションと近代的身体の形成 | |||||||||
| タイトル | ||||||||||
| タイトル | Fashioning Malagasy | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| 資源タイプ | departmental bulletin paper | |||||||||
| 雑誌書誌ID | ||||||||||
| 収録物識別子タイプ | NCID | |||||||||
| 収録物識別子 | AA11291239 | |||||||||
| 著者 |
杉本, 星子
× 杉本, 星子
× SUGIMOTO, Seiko
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| 著者所属(日) | ||||||||||
| 京都文教大学人間学部 | ||||||||||
| 著者所属(英) | ||||||||||
| en | ||||||||||
| KYOTO BUNKYO UNIVERSITY Department of Human Studies | ||||||||||
| 記事種別(日) | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | 論文 | |||||||||
| 記事種別(英) | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | Article | |||||||||
| 抄録(日) | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | UNK | |||||||||
| 抄録(英) | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | In western eyes a distinction between western dress as "universal" clothing and ethnic or folkloric dress as "exotic" costume is generally assumed. The former is seen as imdergoing continual change and is considered a subject of Dress Art History, while the latter is assumed to remain stagnant in style and is treated as a subject of Ethno logical or Folkloric studies. However, we could view the historic background of this distinction itself, and reconsider ethnic or folkloric dress from an historical point of view. In this paper I shall consider the process of how fashion in Madagascar has developed in conjunction with western influence over a 200-year period, resulting in the formation of the modern body as Foucault defined. The transition in clothing styles from traditional wrapping styles fashioned from unsewn fabric called lamba to western types of dress in Madagascar began in the eighteenth century during the reign of Radama I of the Kingdom of Imerina in the central highland region. He had his hair cut in a western style and adopted western dress at the same time as he was founding a European-style army and education system; in this way he contributed to the moulding of the modern body to fit in with the nation stage. During the period of French colonial rule, the fashion of wearing lamba over western suits prevailed in the capital, and imported cloth was introduced in the production of lamba. The image of a traditional Madagascar retaining its ancient culture was maintained at this time in the architecture of the royal palace. Which was designed with a view of orientalism by a French artist. The 'traditional' woven designs of the lamba, sometimes inspired by the motifs of sculptures within the royal palace, were protected, selected and developed by art schools. Since then, the custom of wearing lamba over western dress has become the quintessential Madagascar style, especially in the area of the central plateau. We can understand that the westernized modern body was vestde with the meaning of 'Malagasy life' by the lamba. Fashions provide attractive spectacles through playing with differences, interweaving polyphonic meanings. To put on clothing means nothing less than to fashion a body with an expression of values and thought, which are contained in the style itself. In the 1990's, some Madagascar fashion designers created what they called 'original Madagascar mode', using traditional motifs from sculptures on local tombs in southern Madagascar, and using the natural wild silk and raphia native to Madagascar. This phenomenon highlighted the development of the Madagascar fashion industry, and showed the possibility of reinforcing the opposing impressions of west as "civilization" and Africa as "nature". At the same time it helped to settle the opposition between the 34 center, the capital where those designers live, and the periphery, which provides local image sources. However, what is most important is that designing the modern Madagascar mode might result in creating new bodies for Madagascar people with dress styles that transcend the deep-rooted, differences among the people of a multi-ethnic nation state. | |||||||||
| 書誌情報 |
人間・文化・心 : 京都文教大学人間学部研究報告 en : Reports from the Faculty of Human Studies, Kyoto Bunkyo University 巻 4, p. 15-34, 発行日 2002-03-25 |
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| 内容記述タイプ | Other | |||||||||
| 内容記述 | 2 | |||||||||
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| 内容記述タイプ | Other | |||||||||
| 内容記述 | KJ00009365279 | |||||||||
