1. Besung, specializing in the production of sexy underwear for 20 years.

an intimate affair: women, lingerie, and sexuality.

by:Besung     2020-03-23
Intimacy: Women, underwear and sex.
Jill field (
University of California, Berkeley Press, 2007.
Xvi plus 375 pp. $21. 95 paperback).
Jill Field wrote an impressive piece in her distinguished book, intimacy: Women, underwear and sexHistory.
She set herself a daunting task to explore the history of \"modern American underwear, whether as manufactured items or cultural idols, interweaving their manufacturing and distribution
The object of the commodity and material culture produced, whose structure and circulation are the manifestations of the female body and meaning producers \"(5).
She made it.
While most fashion, sexual, and physical historians focus on consumption or production, field studies these issues at the same time and never deviates from key power issues.
In fact, she believes that at the beginning of the 20th century, a new transnational \"fashion --
\"Industrial Complex\" is the product of the Second Industrial Revolution.
Just as the garment workers sew underwear and a piece of land together, the fields sew together the complex and intertwined things.
Subject level 2 literature, including oral history, popular movies, fashion magazines, novels, trade magazines, advertising and substance products, with different and rich documentary evidence.
It starts with the history of four specific underwear: drawers, bodice, bras and black underwear, then turns to the theme analysis of the advertising, clothing industry, the new look of Kristin Dior, closing overview of \"feminist intimate clothing Art.
\"Sometimes the breadth of research and ideas in the field is difficult to carry out, and the overall narrative is a bit choppy, but it is very worthwhile to take the time to read the book.
While fields present a narrative of chronological order, each chapter presents complex self-
This paper is worth reading carefully.
In Chapter 1, \"drawer\", Field explained that in the 19th century, when women first began to wear separate clothes, the opening of the drawer delineated the gender difference (
Men wear closed drawers)
Modest (
Open Drawer No scandal for women with \"no passion)and eroticism (
Sexual accessibility once married).
But by 1920 seconds, the closed drawer became a form. Why the shift?
\"Field\" investigates everything from existing underwear to silent movies, believing that modern women\'s sexual concepts and new women have opened the drawer.
Similarly, in her analysis of the \"bodice and waist\", she believes that with the social change of the 20th century, the \"need\" for women to wear bodice is reduced \", manufacturers have rapidly developed race and gender in order to protect and improve their profits.
Manufacturers use niche marketing, standardized size and bodice to sell women against the \"evil without cordon \".
Where the bodice used to prevent \"moral corruption\", they now offer protection against aging, illness
Health, body defects and confusion with uncivilized, \"thick\" bodies that are not racial.
\"Brassiers\" is a 20th-century garment, \"detailing the evolution of the garment, from the corset and camper to the cup size of 1930s and the Maidenform padded bra of 1940s (81).
Highlight \"pin-
\"Hollywood\'s charm and the young geographic information system are overseas, and Field believes that bras are obsessed with big, company, and separation. Any woman can use the power of\" magician \"to attract.
In doing so, women not only won the attention of men, but also because pornography has changed from \"breast to sweater to charm, \"They now have a way to empower them as they cannot be ignored \"(112).
Field\'s treatment of black underwear from the discussion of the historical accident between 19th century funeral, death and sex is related to the detailed exploration of the 20th century \"black, black women\'s cultural construction, and black clothing \"both show its specific historical significance and changes that occur over time (133). Several mini-
In this chapter, history can exist on its own, including the section on saralje Bateman (
Hottentot of Venus)
, The history of black underwear in popular films, and the psychoanalytic theories of Lacon, Freud, and bataya, but standing at the center of all this, it is a provocative discussion of the racial content of black underwear in production and consumption in the last three chapters and the conclusion, which focuses more on representative issues.
\"Invisible Woman\" highlights the way underwear advertisers remove women\'s bodies from copies (
Through cuts, contours, parts of the body, etc. )
This removes the \"sign from the body\" so that the \"underwear becomes human \"(216).
Therefore, women, whether they are missing bodies in advertisements, \"female audience \"(
And her potential gay desires)
Or clothing workers and her harsh working conditions are replaced by underwear that is increasingly \"Obsessed (216).
The production of glamour sets out the key role of garment workers in the literal production of underwear, as well as their love and political use for their own fashion.
Field pointed out that \"the intimate garment workers who openly claim the charm and fashion blur. . . distinctions [
Between fashion and clothing
Destroying the naturalisation of ideologies that restrict workers from shaping the cultural meaning of clothing they make \"(255).
Field title her last chapter \"repressed Regression \"(Waist), 1947-
1952 \"to show the limitations and conservative nature of Kristin Dior\'s New Look (
Even if women mediate this design in a way that also brings them joy)
This is a particularly sad twist in the more specific and robust fashion of World War II.
She believes that \"this new look has been successful thanks to the post-war economic and labor problems of France and the United States;
Re-establishing gender differences, relying on the practice of women\'s physical presentation, as a means of addressing the difficult transition to a peacetime economy and culture \"(258).
Based on this political angle, the conclusion gives a profound and vivid overview of \"feminist intimate clothing Art.
\"Even with the great efforts of the feminist movement over the last 40 years, Fields suggests,\" as feminists seek greater joy and Joy by trying to understand, compete, contradictions remain, beyond the appeal of feminine material culture and its power to bind women in many ways \"(288).
In addition to its many advantages, field\'s research also has weaknesses.
First of all, she sometimes establishes a direct causal relationship between the specific changes in intimate clothing and the social or political status of American women, which requires more explanation.
In relation to drawers, for example, she suggested that \"when women openly claim their claims for sexual fun, power and economic independence, the open crotch is no longer respected. \" (42)
While it may be intuitive, there is a lack of explanation for explicit interlinkages.
My second concern, though the field aims to \"show how women shape their lives and bodies according to their desires and designs, \"We rarely actually find women\'s actual feelings or perceptions of intimate clothing or body (14).
Therefore, the issue of women\'s subjectivity is still an area to be further studied.
It is best to enjoy this wonderful volume during this period.
Margaret A Bridgewater State College
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