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Francesco da Barberino e l’educazione delle ragazze in età di matrimonio

100%
Głusiuk A.
Saeculum Christianum. Pismo Historyczne
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2016
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vol. 1
93-102
EN
Francis from Barberino is an author of one of the few female etiquette texts composed in the Middle Ages. In this period, writers wrote some texts about dress etiquette but the most of them was dedicated to the male reader and there are only some text written for women. In his works, Barberino shows the dress etiquette appropriate for a girl at the age of marriage coming from a family of high social status. Thanks to his work, it is possible to see which virtues was appreciated, what was allowed and which behaviors was not accepted by the society of that time.
2
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Kostiumy w japońskim teatrze kyōgen: estetyka komizmu

100%
Zalewska A.
Przegląd Orientalistyczny
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2021
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issue 1-4 (277-280)
48-57
EN
Japanese kyōgen theatre is a comedy, and it has developed alongside nō drama from the 14th century on. Both types of theatre are performed even today and new plays for them are written, but the performances take place on a traditional stage, where the stage set and the costumes are traditional, as well. Kyōgen theatre costumes boldly combine humour with elegance and beautiful design. The article introduces the most important elements of basic types of kyōgen costumes and discusses the ornaments used on them, their meaning, and in what way they influence the atmosphere on the stage. The ornaments are both geometrical, from quite simple to more complicated ones (often grid patterns, stripes), and representational, in multiple forms and very rich imagery. The images on the costumes represent animals (often rabbits and hares), birds, fruit and vegetables (who would think a common turnip might look so interesting!), insects and crabs; all sorts of inanimate objects: fishing nets, houses, ox carts, fans, musical instruments etc. These costumes are fascinating examples of Japanese aesthetics: its asymmetry, overlaying of the images, taking part for the whole.
3
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Ubiór, strój i kostium w kontekście ubieralnej elektroniki (wearable electronic)

72%
Gruchoła M.
Zeszyty Naukowe KUL
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2018
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vol. 61
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issue 4
375-392
EN
The aim of the paper was an attempt to describe clothing of the wearable electronics domain, defined as smartmode, techmode, e-confection, equipment togs, dresstronics, electronic clothes or electronic fancy goods, constituing a symptom of the accomplishment of socio-cultural and technological transformation in the sphere of dress, attire and costume. Three questions were formulated in the research process: first, regarding the methodological status in the domain of wearable electronics; second, whether it is methodologically acceptable to define it as dress, attire or costume; third, which of the three afore-mentioned expressions may and ought to be used in referring to wearable electronics. The thesis was accepted that, despite semantic similarity, it is methodologically unwarranted to define clothing, which fulfils the function of dress, as wearable electronics. The thesis was confirmed. The historical and analytical descriptive methods were applied.  
PL
Celem publikacji jest próba opisu odzieży z zakresu ubieralnej elektroniki, określanej jako: smart clothing, smartmoda, techmoda, e-konfekcja, sprzętciuchy, ubiorotronika, elektrodzież czy galanteria elektroniczna jako przejawu dokonujących się przeobrażeń społeczno-kulturowych oraz technologicznych w zakresie ubioru, stroju i kostiumu. W procesie badawczym sformułowano trzy pytania: jaki jest status metodologiczny odzieży z zakresu ubieranej elektroniki? czy zasadne jest metodologicznie określanie jej jako ubiór, strój lub kostium? który z trzech powyżej wymienionych terminów można i należy stosować w odniesieniu do wearable electronic? Przyjęto tezę, że wbrew semantycznemu podobieństwu nieuprawnione metodologicznie jest określanie ubieralnej elektroniki jako „ubiór”. Teza została potwierdzona. Zastosowano metodę historyczną oraz analityczno-opisową.
4
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„Die eine aus dem Westen, die andere aus dem Süden“. Eine kleine Studie zu Fibeln in der Vekerzug-Kultur

72%
Kozubová A.
Materiały i Sprawozdania Rzeszowskiego Ośrodka Archeologicznego
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2022
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issue 43
135-158
EN
This study deals with the finds of fibulae from the Hallstatt period sites of the Vekerzug culture from Eastern Hungary and Southern Slovakia. The majority of the fibulae come from graves, the rest are either stray or settlement finds. Providing a more complex overview of the fibulae was at the centre of our interest, focused mainly on a cultural and spatial analysis, their possible relation to the specific gender or age category of the burial individuals and on possible importance of the fibulae for the costumes of the Vekerzug culture. Two main origin groups of the fibulae were identified, namely the fibulae of the Hallstatt type and the fibulae of Balkan origin. The fibulae were predominantly found in the graves of adult females. Their costumes do not differ from the female costumes of the Vekerzug culture without fibulae.
5
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Rekonstruktorzy profesjonalni czy hobbystyczni? Rola i znaczenie stroju w świecie rekonstrukcji historycznej epoki średniowiecza

72%
Pietrzyk-Jagielska M., Zakład Socjologii Płci i Ruchów Społecznych I. S., malwina.pietrzyk@gmail.com
Acta Universitatis Lodziensis. Folia Sociologica
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2015
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vol. 55
PL
Stopień poprawności historycznej odtwarzanych przez rekonstruktorów strojów staje się obecnie jednym z czynników różnicujących odtwórców historycznych. Artykuł stanowi próbę analizy dwóch skrajnych podejść kobiet i mężczyzn do kwestii projektowania własnego ubioru: podejścia profesjonalnego, charakteryzującego się dbałością o historyczną poprawność ubioru oraz podejścia hobbystycznego, przejawiającego się w braku staranności i nie przywiązywaniu wagi do wyglądu stroju. Artykuł będzie ponadto próbą określenia znaczenia ubioru, jego elementów oraz wiedzy na jego temat dla budowania własnej pozycji, autorytetu oraz władzy w świecie rekonstrukcji historycznej epoki późnego średniowiecza.
EN
Historical incorrectness of reenactor’s costumes is one of the main reasons for rejection and exclusion from the social world of historical reenactment. In this article I will try to analyze two extreme women’s and men’s approaches to designing their own clothing: professional approach, characterized by attention to historical accuracy of clothing, and hobby approach, manifested in lack of diligence and historical awareness. The article will also attempt to determine the significant role of both clothes, it’s elements and knowledge in building position and authority in social world of medieval historical reenactment.
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