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embroideries; black velvet and black silk with gold embroideries; danced in a straight line on the dance floor with each partner's arms wrapped around.
Actes des congrès de la Société française Shakespeare 32
The soft touch of the black velvet reinforces this eroticised portrait of. Rosaline. Beyond the rhetoric of this anti-Petrarchan portrait
Clothing and the colonial culture of appearances in nineteenth
6 mars 2015 Century Philippine Costumes from the National Museum of Ethnology Leiden
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boo~ based on U~i~-sponsored co~renc~ concerning national securi~ affa~s. OpinionG conc~s~ns in Africa
EXPRESSIONS OF NATIONHOOD: NATIONAL SYMBOLS AND
means of a systematic investigation of national symbols and ceremonies In line with this argument
1990 ANNUAL REPORT National Gallery of Art
1 janv. 1990 and black ink and yellow watercolor with applied black ink and washes 1989.81.1
The Orchestra on Record 1896-1926
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Goya: Images of Women
The National Gallery of Art takes great pleasure in joining with our colleagues at the Museo Nacional del Prado in presenting the exhibition Francisco de.
Dress and Cultural Difference in Early Modern Europe
The Emergence of a Polish National Dress and Its Perception 1668 the advocate James Cumming bought a black velvet gown laced with gold.
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Thèse
de Doctorat d'Histoire pour obtenir le grade deDOCTEUR DE L'UNIVERSITÉ NICE
SOPHIA
ANTIPOLIS
Présentée et soutenue publiquement
le 3 octobre 2014 parBtèpLVnNè ñVrNè ke 8
Volume I
Directeur
de thèse :Xavier
HUETZ DE LEMPS
g'k. 3 M meMaria Luisa T.
C AMAGAY, professeure d'histoire contemporaine, University of thePhilippines
M meMarí
a Dolores E LIZALDE PÉREZ-GRUESO, directrice de recherches, Consejo Superior de Investigaciones Científicas, Instituto de Historia, Madrid MXavier
H UETZ DE LEMPS, professeur d'histoire contemporaine, Université Nice SophiaAntipolis
M meClaire
L AUX, professeure d'histoire contemporaine, Institut d'Études Politiques deBordeaux
M meSilvia
M ARZAGALLI, professeure d'histoire contemporaine, Université Nice SophiaAntipolis
CLOTHING AND THE COLONIAL CULTURE OF APPEARANCES IN NINETEENTH CENTURY SPANISH PHILIPPINES (1820-1896) For my mother, Liza R. Coo and my brother, Winston "Tonchi" Coo, w ho passed away during the course of writing this work... v9,y0 é5 8éfv0fvB yABv é5 v9,y0B A98jfé'y06í0ñ0fvB
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IIData Processing Method
22Design and Strategy
23Bxopè VnG yNàNtVtNons
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tIThe Colonizers
44The Colonized
46Between Colonizers and Colonized
47The Evolving Colonial Class System
49Late 19
th century Colonial Class System 53Clothing and Appearance in the Context of Evolving Social Relations 58 Connecting Clothing and Appearance with Race and Class 66
Social and Sartorial Mobilities 69
Clothing, Catholicism and Civilization 72
NonChristianized Natives
75Non
Christianized Women
80Moros 81
Lowland, Christianized Natives 83
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C2 Evolution of Lowland, Christianized Women's Fashions 87Philippine Style: Late 18
thCentury to 18
30s89
Women from Northern Luzon and the Visayas 96
1840s1860s
98
1860 onwards: The Tapís on the Discourse on Race and Class 105
Religious Accessories
120Jackets and Overcoats
121Women from the Common Classes
121Evolution in the Context of the Changing Roles and Images of Women 130
The Education of Women
130Cultural Representations of
Talented, Upper
Class Women
134La india rica: The Look and Qualities of Urbanized, Wealthy Women 140
Fashion and the Feminine Character
146Clothes in the Context of Evolving Gender Roles and Relations 148 Evolution of Lowland, Christianized Men's clothing 161 1820
1840
164
1840 onwards
167Tucked out
171Evolution of the Attires of Common Men
175The Relationship between Labor and Clothes 183
Late 19
th century Clothing Changes: Signs of Progre ss or Unrest? 189Convergence Explained
192Mestizos
194Mestizo Women's Fashions: Reconciling Clothes, Class and Race 196
The Two Mestizas
198Mestizo Men
201Racial, Cultural and Sartorial Hybridity 203
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Il2Europeans
207Clothing of Creole Men
208Clothing of Creole Women
212Peninsular and Other European Women
216Spanish Governor
Generals
223Peninsular and Other European Male Professionals 227
Other Europeans
232Section Conclusion
240Chinese in the Philippines
242The Manchu Style: In Brief 244
The Clothing and Appearance of the Chinese Men in the Philippines 245John Chinaman: The Wealthy chino comerciante 251
The Middling and Lower Classes
256Chinese Women
261Section Conclusion
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Ioo Cultural Values relating to Clothing and Appearance 267Hygiene
267Propriety
272Modesty
280Applications of Colonial Values in Dress 283
Clothing in Colonial Street Spectacles 283
Bajo las campanas: Life under the Church Bells 290Death and Mourning
303Rivers and Bathing
314Leisure Time at Home
318The Spectrum between Everyday and Special Attires 323
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'VnNnJ VnG 0àèrJNnJ Xowèr mIoThe Gobernadorcillo and his Clothes 326
Children's Clothing
343Students and the Appearance of
Òmay pinag
o aralanÓ 359Convent School Girls
362Male Students
365Ilustrados
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mCmTextile Production
383Galleons and Textiles
383Lowland Weaving Traditions 387
Types and Uses of Textiles
398Textile Distribution
404Street Weavers
405Local Marketplaces 406
Provincial Exports To Manila
408Sinamayeras
410Chinese Entrepreneurs and Peddlers 417
From Cloth to Clothes
420Sastres and Costureras
425The Scrupulous and Unscrupulous Tailors
432The Maintenance and Upkeep of Clothes 434
Cost of Hygiene
434Laundry and the Lavanderas 437
Ironing and the Planchadoras
442Advancements in the Clothes Trade
443A Taste for the Imported
443Imported Textiles, Half-made and Ready-made Clothing 448
Imported Ready
Made Clothing for Provincial Orders
453New Shopping Experience
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Uipos del Oa"s
tCoTipos del pa"s
before the 19 thCentury
486Tipos del pa"s
in the 19 th century 489Tipos del pa"s
before the 1860s 489Tipos del pa"s
after the 1860s 499Photographs
501Primary Material Source: Garments 503
Primary Written Sources
505Travel Accounts.
505Periodicals
508Advertisements
513Catalogues
514Novels
516Oral Sources: Interviews
521íyéBB9k.
zII ,A,yAéík9X7. zmCX0kAé6A89yB
zMl Af60E zMo! i yABv é5 v9,y0BTABLE 1: EXISTING COLONIAL SOCIAL STRUCTURE 25
TABLE 2: PROPOSED SARTORIAL STRUCTURE 26
TABLE 3: ORGANIZATION OF PART II OF THIS DISSERTATION 27 TABLE 4: ESTIMATED POPULATION OF THE PHILIPPINES, 1890 228 TABLE 5: TEXTILE IMPORTS AND EXPORTS, 1844-1894 393 TABLE 6: VALUE OF PHILIPPINE COTTON TEXTILE IMPORTS FROM SPAIN AND THEIR RATIO TO TOTAL COTTON TEXTILE IMPORTS, 1883-1895 398TABLE 7: COST OF LABOR 424
TABLE 8: AVERAGE HOUSEHOLD BUDGET, FOR A SINGLE PERSON, 1885 436A ii98jfé'y06í0ñ0fvB
Stored in several wooden baúl were textiles of all kinds, which my grandmother collected through the years in preparation for the marriages of her seven children. It was customary among PhilippineChinese
families like ours to present betrothal gifts of textiles and jewelry to the bride's family. I grew up hearing the words hablon (a type of woven textile), piña , jusi , borda (embroidery) while surrounded by costureras (seamstresses), who came in the morning and went home at dusk. My interest in studying the socio-cultural and economic context of dress was a consequence of these childhood experiences. I would like to posthumously thank my good friend, Randolph de Jesus, who led me to combine my interests in history, textiles and clothing by studying them 'historically.' I will be forever grateful to my adviser, Dr. Xavier Huetz de Lemps - the best adviser any Ph.D. student could ever have whose wise words never failed to steer me into the right direction. Thank you for generously taking the time to read, discuss, offer comments and suggestions as I struggled to read and survive in French, do research in Spanish, transla te, organize and write my work. Heartfelt thanks to Dr. Francis Gealogo for seeing past my frivolity and for actually believing in me. His critical reading of some parts of my manuscript was truly invaluable. To Dr. Filomeno Aguilar who, in seeing that I was struggling with access to scholarly journals, made sure that the resources of the Rizal Library would be made available to me, even if I was on- leave and offshore. I am also grateful for the warm welcome and assistance that Dr. Silvia Marz agalli (CMMC) extended to me. I was extremely fortunate to have the support of the Erasmus Mundus Mobility with Asia (EMMA) during the period I was doing research and writing my dissertation. I wish to specifically thank Dr. Marc and Francine Diener for providing assistance throughout the course of my studies and my sojourn here in France I would also like to thank Ana Tomás Hernández and Ana López Pajarón of the Museo Nacional de Antropología in Madrid, who allowed me to inspect the actual 19 th century garments in their collection. I also appreciate the book on Oi-a that MNA Director, Pilar Romero de Tejada gave me. I would also like to thank Dr. Elvira González Asenjo of the Museo del Traje in Madrid, who despite the rush during fas hion week, took the time to show me, among other things, the nipis baptismal gown of King Alfonso XIII. I alsoquotesdbs_dbs26.pdfusesText_32[PDF] Black XS, Para lisbonne Tint Oil, ]ven Saint Laurent Gel Multi - France
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