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Carole Turbin 《Gender & history》2002,14(3):470-491
This essay is about the Arrow Man, one of the most successful advertising images in early twentieth–century America, and a visual representation of the New Man. The Arrow Man was created by a noted artist, J. C. Leyendecker, to sell the Arrow collar, a new version of detachable collars, a wardrobe staple for most US men and all but working–class men in Britain and Europe since the 1840s. The Arrow Man’s story is part of the transformations in masculine ideals and physical appearance, heightened by the new visual and consumer culture. He carried messages of men’s self–management of appearance and public performance from the nineteenth century into the early twentieth, where it changed from a mark of European gentility into that of the typically American white–collar man. His story is part of fundamental shifts in the US: new occupational and social class configurations and emerging American popular culture. 相似文献
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Carole Pateman 《Australian journal of political science》1979,14(2):304-307
Colin Crouch (ed.), Participation in Politics, British Political Sociology Yearbook, Vol. 3, Groom Helm, London, 1977; $38.50. 相似文献
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There are many restrictions placed on researchers studying Paleolithic Cave art due to the constraints of conservation that
limit direct contact with the original works. This paper discusses how recent advances in technology have revolutionized the
study and interpretation of Paleolithic cave art. The interpretation of Paleolithic symbolic systems is a complex process
and hypotheses must be applied to cave art with the greatest of precision. A detailed analysis of the painted or engraved
surfaces leads to a greater understanding of both the techniques employed and the actual sequence in which parietal compositions
were executed. By unlocking the creative process followed by Upper Paleolithic artists we are able to glimpse the artist’s
motivations and to understand a portion of the art’s hidden meaning.
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Carole FritzEmail: |
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