Monday, April 30, 2012

Coco Chanel (Critical Lives)


The name Chanel brings immediately to mind the signature scent of No. 5 and the understated but sophisticated glamour of a simple black dress and pearls. But to label Gabrielle ‘Coco’ Chanel (1883–1971) solely as a fashion designer is to overlook her social and cultural significance. Chanel was an iconoclastic entrepreneur, who rebelled against and manipulated gender expectations of her time. With her menswear-inspired designs, her loose jersey sweaters and her svelte, unadorned gowns, she changed the female silhouettes and became known as a champion of women’s freedom. From 1913, when she first opened a hat shop in the holiday resort of Deauville, until her death in 1971, Chanel sold more than just fashion – she sold a myth that became as attractive to many women as her coveted outfits, accessories and perfumes.Linda Simon teases apart the myth that Chanel and her adoring public collaborated to create, and explores its contradictions – Chanel was a self-proclaimed recluse who emerged as one of the most spectacular personalities of her time; she was a brilliant businesswoman who signed away 90 per cent of her company; a genius who claimed she was nothing more than an artisan. Simon examines the world both reflected and shaped by Chanel, setting her life and work within the context of events in France and America from before the First World War to the profound social changes of the 1960s. Simon’s lively book is a clear-eyed perspective on a woman whose influence and legend transcend the world of fashion.

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Saturday, April 28, 2012

As She Likes It: Shakespeare's Unruly Women (Gender in Performance)




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As She Likes it: Shakespeare's Unruly Women: Shakespeare's Unruly Women (Gender in Performance)


As She Likes It is the first attempt to tackle head on the enduring question of how to perform those unruly women at the centre of Shakespeare's comedies. Unique in both Shakespearian and feminist studies, As She Likes It asks how gender politics affects the production of the comedies, and how gender is represented, both in the text and on the stage. Penny Gay takes a fascinating look at the way Twelfth Night, The Taming of the Shrew, Much Ado About Nothing, As You Like It and Measure for Measure have been staged over the last half a century, when perceptions of gender roles have undergone massive changes. She interrogates, with rigour and great insight, the relationship between a male theatrical establishment and the burgeoning of feminist approaches to performance. As illuminating for practitioners as it will be enjoyable and useful for students, As She Likes It is critical reading for anyone interested in women's experience of theatre.

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