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While there are refined creations, vulgarised Zimdancehall has been a subject of academic, political and cultural concern. It is widely disparaged as abominable and culturally subversive music. How...

Critical reception of Marcel Duchamp since the 1970s has tended to elevate him into the very figure of the Artist he sought to attack. One aspect of this domestication has involved neglecting Duchamp’s fin de siècle ‘eroticism’ with its sexual innuendos and double-entendres. Yet this very readymade vulgarity allows us to recover a Duchamp still capable of disrupting the genres of Art and the gendered Artist, by revealing a theory embedded in his work which continually reverses and displaces phallocentrism in a game consisting of the confusion of genders and genres. We argue that Duchamp’s disruption of the discursive typologies of the genre of art can be profitably read through this apparently trivial sexualized wordplay, particularly in the transgender passage into Rrose Sélavy. Reading this aspect of Duchamp after, i.e. within and against, Lacan demonstrates how Duchamp’s singular regime of signs governed by equivocity and indetermination subverts the ‘phallic function’ of the signifier.

While there are many refined musical productions, Zimdancehall is epitomised by the use of explicit vulgar lyrics. This article attempts to make sense of vulgarity in the musical genre against the ...

This article follows the figure ofTV hostess and beauty queen Carolyne Aquino, to trace different forms of agency amidst what Maurizio Lazzarato calls "the indebted economy". By deploying Marcia Ochoa's concept of "spectacular femininity" and Preciado's concept of "potentia gaudendi" I analyze Aquino's performance as TV hostess, her use of cosmetic technologies and in-corporation of spectacular notions of female beauty, and her management of vulgarity -intended here as a limit imposed to the presentation of female bodies in Dominican television- to stress and test these boundaries.

In his essay New York (1920-30), the Uruguayan painter Joaquin Torres-Garcia analyzes the tight connection between advertising industry and the spiritual vulgarity of consumer society. Despite his enthusiasm far the visual aesthetics of advertisement, Torres-Garcia denounces how the materialist logic that operates at the heart of advertising results in a vulgarization of capitalist societies. The advertising industry aspires to disciplining subjectivities and transforming individuals into an anonymous mass. This is achieved through discursive strategies based on psychological manipulation that banalize human affectivity by transforming it into a commodity.

The discussion of vulgarity features prominently in both Nabokov and Qian’s creative writing. In this essay, their notions of vulgarity will be compared and contrasted. Nabokov and Qian have surprisingly similar understandings of vulgarity. To be more specific, both identify pretense/ affectation and triteness/ mediocrity as its fundamental characteristics. Moreover, both authors believe that the quintessential feature of vulgarity lies in its downplay of individual consciousness. The two authors’ understandings of vulgarity also differ in major ways. Qian’s Fortress Besieged, though showing deep social and moral concerns, did not seem to suspect a direct causal link between vulgarity and cruelty. By contrast, Nabokov frequently indicates that vulgarity can lead to severe moral or political consequences, and he perfectly illustrates the point in novels such as Invitation to a Beheading and Bend Sinister. Despite the above difference, both acknowledge the great potential of the vulgar to be transformed into aesthetically pleasing artworks. This essay therefore explores the techniques Nabokov and Qian adopted—among them the most important are defamiliarization and irony—to turn vulgarity into a reservoir of materials for serious literature.

In most scientific papers, female sexuality is represented from the point of view of physiology. In "History of Sexuality", Michel Foucault introduces the term "superknowledge of sexuality," stating that this notion "is not developed at the level of the individual, but at the level of culture and society." According to Foucault, the knowledge of contemporary society of sexuality coexists with the inability to realize our own sexuality. Knowledge of sexuality is rather theoretical, philosophical, analytical, but not personal.We will explore the nuances of female sexuality in the works of classics, as well as in some modern works. Even in the biblical scripture of the creation of the woman and of the original sin, Eve is present, tempting and challenging. She provokes Adam to pick up the forbidden fruit. She is chosen to commit the Fall. She gives in to the temptation. She persuades Adam to taste the fruit of the tree.How does a woman express her sexuality, is she equal in dignity to a man, is only she subject to sin, is she submissive to the man, is not she stronger than him with her emotionality?We will look for answers to these questions in Otto Weinginger's "Gender and Character", who tragically interrupted his life at the age of 23. His different views on the character of the woman, the absolute superiority of the man, her role as a pimp, are later developed or refuted in various literary and scientific works.Female sexuality is expressed in a different way. A woman is fragile, timid, even innocent in the literary works of the Marquis de Sade, but her fate is fatal. Seduction through sincerity and repentance, through obedience and the power of emotions - all this leads to a fatalism so beautifully reproduced in the feminine images of the Marquis de Sade.In the originally forbidden novel "Lady Chatterley's Lover", D. Lawrence presents a new world of love and freedom. Here, female sexuality is in conflict with the irresistible desire to break the constraints of society at that time. Society is vulgar to the open expression of female sexuality and despises the woman's desire to devote herself entirely. In the novel, sexuality is not ostentatious but interwoven with romanticism and dedication. Lawrence sharpened the contrast between the cynicism of modern thinking and the spontaneity of love. The year is 1928, the novel is like a bang.In the fifties of the last century, appeared Vladimir Nabokov`s Lolita. The novel scandalizes with its sophisticated perversity, but that is only at first glance. Nabokov is fascinated by the idea of love, love as madness, as self-forgetting, as obsession. Sexuality is devastating, the little "nymphet" is charming, dangerously seductive and insidious. Sometimes Lolita in her newly awakened sexuality is even vulgar.At a later stage, P. Modiano envelops sexuality in mystery. The character of “Villa Triste” sinks into a mysterious veil, the memories come back, everything is like in a fog, like in a slow-motion. Yvonne is vulnerable and confused, delightful in her disdain for the others, only a few steps away from the audience, a slight smile, and the magic is here. No action is required from her, only a perfect gait, a casual head, a dreamy look, and all are captivated. Beauty and perfection. The woman conquers only with her presence. Sexuality consists in the challenging smile, in the dance of the golden-red hair. Discretion and mystery. Eroticism.We finish with the novel by P. Buvivalda "Bonita Avenue". Characters are bright, memorable, non-standard. We are entering the depths of sexuality, with its cynical manifestations, but described gently and intriguingly.

The end of British rule in Zimbabwe which happened through a protracted liberation struggle against the white regime was celebrated by many across Africa and beyond. The ascendancy of the late president Robert Gabriel Mugabe to the helm of power brought hope for the economic, religious, linguistic, and socio-political freedoms. The attainment of independence was indeed a moment of celebration after several decades of colonial suppression and brutalities against the indigenous black Zimbabweans. What is most troubling is that the euphoria that was triggered by the attainment of independence in 1980 gradually died as the realities of economic, religious, linguistic and socio-political problems resurfaced. This study seeks to interpret NoViolet Bulawayo’s depiction and thematisation of religion and politics in her debut novel We Need New Names. The study mainly focuses on how Bulawayo fictionalises and captures the sordid realities of the religious and socio-political problems that haunt the postcolonial subjects in Zimbabwe under Mugabe’s leadership. Postcolonial thoughts from Spivak and Achille Mbembe inform the readings of the text. The fictive landscape that is captured in the selected novel shows the hollowness of flag independence attained in Zimbabwe. The postcolonial period during the reign of Mugabe inscribes conditions of subjectivity and subalternity. The studied text also problematises religion and uncovers charlatanisms of the prophets and traditional healers who are portrayed as the biblical wolves in sheep’s cloth exploiting those in distress.

The article discusses the phenomenon of vulgarity. The definition of the concept corresponding to this phenomenon is given and the features of its manifestation in modern education and culture are analyzed.

This chapter looks at the recent phase of Bhojpuri cinema, which many scholars trace back to the unexpected success of Sasura Bada Paisawala, the cinema’s emergence resonates with recent changes in the urban ecology, particularly in relation to the migrant working classes. The most resilient accusation by the middle classes against Bhojpuri cinema is that of vulgarity. In Bhojpuri films, the provincial remains a direct as well as indirect referent; it uses the province as a place but also as a metaphor. Another remarkable aspect of Bhojpuri film audiences is that the theatre compound, displaying various posters of the films to be released in the next few weeks, often becomes a space which regular spectators approach to merely stare at the posters. There are two primary types of complaints launched against Bhojpuri films: lamenting the loss of traditional bourgeois morality through culturalist nostalgia; and lamenting the slow maturity of the film industry.

Tras contrastar Madame Bovary con el telón de fondo romántico, se considera la presentación de la vulgaridad y del espacio de lo mediocre en la novela, para analizar a continuación la personalidad de Emma Bovary. Ésta vendría definida, más que por la rebeldía frente a las limitaciones sociales del entorno, por la perpetua contraposición entre fantasía y realidad, que torna imposible cualquier satisfacción

In the 1880s, the New York-based Century Magazine was a regular home for Henry James’s fiction and criticism. His first major intervention on the theory of fiction in the magazine is his July 1883 essay on Anthony Trollope (published over a year before Century printed his now canonical consideration ‘The Art of Fiction’). The essay represents, perhaps unsurprisingly, a highly nuanced view of the literary scene in which allegiances circle and return and reputations are diminished and then rebuilt. Trollope’s posthumously-published autobiography appeared three months after James’s essay and seemed to confirm many of the latter’s anxieties about the business of writing. This chapter explores James’s contorted reading of Trollope as a literary precursor who is both criticised for his immoderate, promiscuous productivity and, at the same time, recuperated as a moderate sensibility standing opposed to the scientific avant-gardism of the French naturalist tradition. By exploring the complex national allegiances of an American author writing in a proudly American journal about a recently-deceased, and highly popular, English novelist, I consider the ways in which James attempts to carve out for himself a transatlantic space where the metaphoric possibilities of moderation and its antonyms find a restless purchase.

The story of the half-peas is a folk tale and the story of the Magician of the Oz, written and translated with a very solid plot in children’s literature, shows a great deal of similarity and homogeneity; from a functional and language attitude point of view, the story of the half peas and the magician of Oz, after praising and indispensable of pragmatism, the possibility of similarity and commonality of popular and childish ideas in the quest for self-knowledge, truth and braveness, socialization and joining the community, manifest. In this descriptive-analytical research, it is shown that this continuity corresponds not only in simple expression and language but also in basic principles and ideas, and inductive findings indicate that there is an archetype of hero’s journey, with three stages of separation, arrival and return, in both stories, and this common point of the myth connects vulgarity with childhood. Contrary to the simplicity of their language, which facilitates the transmission of the heritage of the past and the live experiences of human beings, popular and childish literature is thought provoking and full of knowledge, and carries the heavy burden of passing on cultural themes and concepts from generation to generation.

L’érotisme c’est tout ce qui, à partir d’une représentation liée à la sexualité, provoque une excitation aussi bien émotionnelle et sensuelle que physique et mentale. Cette étude se donne la tâche d’examiner l’érotisme selon que nous la présente la célèbre écrivaine nigériane Ifeoma Mabel Onyemelukwe dans Uwaoma et le beau monde, un roman féministe africain postcolonial. Pour ce faire, nous nous appuyons sur la méthode descriptive. Nous constatons qu’Ifeoma Onyemelukwe a largement dépeint des scènes érotiques dans Uwaoma et le beau monde dont se distinguent deux catégories, à savoir, l’érotisme précédé de la pornographie et l’érotisme sans pornographie. Nous concluons grosso modo qu’Onyemelukwe figure parmi les nouveaux romanciers africains. Pourtant, en créant les effets de la beauté esthétique, elle se sert de cette technique pour épargner sa créativité littéraire de la grossièreté, de l’érotisme. Elle dénonce l’accouplement bestial dans son roman, ceci pour enseigner aux lecteurs, surtout les jeunes, qu’il faut se méfier de tel comportement car c’est une chose odieuse, grossière et immorale.English AbstractEroticism is, from the view point of representations linked to sexuality, all that causes emotional, sensual as well as physical and mental excitement. This study sets out to examine eroticism as presented by the famous Nigerian writer, Ifeoma Mabel Onyemelukwe in Uwaoma et le beau monde, a feminist African postcolonial novel. To achieve this, we rely on the descriptive method. We observe that the erotic scenes depicted by the author in Uwaoma et le beau monde are distinguished in two categories, namely, eroticism preceded by pornography and eroticism without pornography. We conclude roughly that Onyemelukwe figures among the new African novelists of our time. However, while creating the effects of cosmetic beauty, she uses this technique to save her literal creativity of vulgarity and eroticism. She denounces the beastly mating in the novel to educate her readers, especially the young people, of the need to be wary of such acts which she considers heinous, rude and immoral.

It is commonly recognized that Oscar Wilde’s main contribution to the late-Victorian drama is his dramatic dialogue. The present paper attempts to explore the linguistic features of Wilde’s social comedy The Importance of Being Earnest, which is summed up here as trivialization and exquisite sensationalism. It shows that Wilde’s special skill of trivialization was in fact formed in his journalistic career during the 1880s under the influence of “New Journalism”. “Trivialization” helped Wilde to come close to the theatrical audience in a most comprehensible way. Besides, Wilde was also innovative in using a sort of refined and elegant linguistic articulation. His dramatic dialogue possessed a special exquisiteness which enabled him to get rid of the vulgarity of the journalistic trivialization and to create a dramatic discourse of his own. I use the term “exquisite sensationalism” to reveal this feature in contrast to the “vulgar sensationalism” of the late-Victorian journalism and to show that in the theatre Wilde’s linguistic paradox was geared towards the most indulgent and sophisticated end. Contextually speaking, the spectacular theatre’s commitment to fashion and respectability provided a historical occasion for Wilde to exhibit his exquisiteness. The perfect combination of triviality and exquisiteness in his epigrammatic dialogues not only produced great sensations on stage but also met the need of social elevation of the theatre of the time.

In Agency and Embodiment, Carrie Noland describes gesture as &ldquo, a type of inscription, a parsing of the body into signifying and operational units&rdquo, considering it as a means to read and decode the human body. Through an analysis of James Joyce&rsquo, s collection of Epiphanies, my paper will examine how gesture, as a mode of expression of the body, can be transcribed on the written page. Written and collected to record a &ldquo, spiritual manifestation&rdquo, shining through &ldquo, in the vulgarity of speech or gesture, or in a memorable phase of the mind itself&rdquo, Joyce&rsquo, s Epiphanies can be considered as the first step in his sustained attempt to develop an art of gesture-as-rhythm. These short pieces appear as the site in which the author seeks, through the medium of writing, to negotiate and redefine the boundaries of the physical human body. Moving towards a mapping of body and mind through the concept of rhythm, and pointing to a collaboration and mutual influence between interiority and exteriority, the Epiphanies open up a space for the reformulation of the relationship between the human body and its environment. Unpacking the ideas that sit at the heart of the concept of epiphany, the paper will shed light on how this particular mode of writing produces a rhythmic art of gesture, fixing and simultaneously liberating human and nonhuman bodies on the written page.

Evidence from the first surviving manuscript of Frankenstein to the 1831 edition suggests that Mary Shelley, and, to a slightly lesser extent, Percy Shelley, tried to exclude all mirth, vulgarity, or anything that might, by established standards of literary and social decorum, be considered low. The various manifestations of decorum cast fresh light on Frankenstein at its best while vindicating passages whose existence has hitherto seemed hard to justify. Consideration of a wide range of material, including Horace’s Ars Poetica, farces cited by the earliest critics, Horace Walpole’s The Castle of Otranto, and my own theatrical practice, helps to explain the multitude of critical and creative responses, from Frankenstein’s first appearance to the present day, that deplore, exploit, and celebrate its multi-faceted generic potential.

Michael Stevenson’s A Life of Crudity, Vulgarity, and Blindness, 2012, an installation at Frankfurt’s Portikus, remains one of the artist’s most poetic works. Continuing Stevenson’s long-running investigation into politics in the margins of imperial power, A Life of Crudity is one of a series of artworks examining the political history of Panama during the Cold War. The installation transformed Portikus into a building-sized camera obscura. While the work related a specific political history, in this article I describe how the structure of the camera obscura also functioned as an analogy for perception, addressing ideas of fate, political agency and the limits of knowledge. I present Stevenson’s A Life of Crudity as exemplary of an epistemological depth model, in which what can be seen is merely the tip of the iceberg. I use the formal structure of the camera obscura to anchor a sweeping historical view, connecting intellectual life in Christian early modern Europe to contemporary digital culture. Juxtaposing my analysis of Stevenson’s A Life of Crudity with a discussion of works by Marcel Duchamp, Ryan Gander, Taryn Simon and Simon Denny, I offer a view of contemporary political and cultural life that has surprising commonalities with the perspective of a religious believer or a conspiracy theorist.

This essay provides a broad narrative of how the screens designed by architect and designer George Gilbert Scott and made by metalworker Francis Skidmore for the cathedrals of Hereford, Lichfield, and Salisbury, have been regarded since they were produced. It examines debates surrounding removal, retention and rescue, and the twists and turns in the reception history of the Hereford Screen in particular. The article quotes lesser-known voices who influenced the fate of the Hereford Screen, and draws on new research conducted in the archives of Hereford Cathedral and Lichfield Cathedral. An index describing some of the documentation relating to the history of the Hereford Screen in the cathedral archive is available at the bottom of this article as a downloadable appendix.

Gli Squallor: La risata triste e le pernacchie La satira sociale e politica nella musica italiana durante la Prima Repubblica Anche se spesso viene catalogato con il marchio onnicomprensivo di ‘Rock demenziale’, il gruppo musicale italiano degli Squallor rappresenta uno dei fenomeni piu incisivi di satira politica e sociale nell’Italia moderna. Cio appare evidente se si esaminano i numerosi pezzi contenuti nei loro album, che presentano brillanti e corrosive parodie di noti partiti e politici, nonche di tendenze culturali e sociali dominanti. Se consideriamo inoltre il periodo in cui gli Squallor raggiunsero il massimo successo (verso la meta degli anni Ottanta), essi possono anche rappresentare l’importante voce di dissenso che caratterizzo gli ultimi decenni della cosiddetta Prima Repubblica. In questo articolo viene esplorata una selezione dei loro piu importanti testi, con lo scopo di analizzare le dinamiche della loro particolarissima satira in relazione alle tendenze culturali, sociali e politiche allora in voga in Italia. Ci si sofferma inizialmente sulle varie allusioni politiche presenti in modo generico in pezzi come Alluvione , per poi passare all’analisi di pezzi che presentano una satira politica piu esplicita contro noti partiti (come i Verdi) e politici dell’epoca, quali Gianni De Michelis (con Demiculis ) e Umberto Bossi ( in Berta II ). Gli Squallor hanno creato parodie di famose canzoni utilizzando il nonsense, un umorismo surreale ed iperbolico e spaziando tra sperimentazioni linguistiche ed un linguaggio osceno. In questo modo, l’articolo sostiene che gli Squallor si sono dedicati alla ‘metasatira’, deridendo con successo l’industria musicale e radiotelevisiva italiana. Alla fine offre una riflessione sulla complessita della loro satira che anche se si e affermata come simbolo emblematico dell’anticonformismo, rimane nel contempo un fenomeno difficilmente catalogabile, perche in continua dissacrazione del canone e, in definitiva, anche di se stesso.

The fact that vulgarity was a principal concern in Wilde’s scandalous novel is evident in one of the book’s first reviews, which dismissed Dorian Gray when it first appeared in the pages of Lippincott’s magazine because of the “contaminating trail of garish vulgarity” that characterized the novel’s plot and its aesthetic,borrowing Lord Henry’s condemnation of vulgarity in literature and directing it against Wilde himself:So begins the June 30, 1890 unsigned book review in the Daily Chronicle. These two sentences leave little more to be said about the book, and, indeed, the review continues only a little longer, managing to state again in the next few lines how the book embodies “every abomination of vulgarity and squalor.”

Contents: Introduction: varieties of vulgarity, Elsie B. Mitchie and Susan David Bernstein Part I Vulgar Words: The vulgarity of elegance: social mobility, middle-class diction, and the Victorian novel, Beth Newman Wulgarity and witality: on making a spectacle of oneself in Pickwick, James Buzard Rudeness, slang, and obscenity: working-class politics in London Labour and The London Poor, Ellen Bayuk Rosenman. Part II Common Places: Vulgar Christianity, Elsie B. Michie Breeding, education, and vulgarity: George Gissing and the lower-middle classes, Rosemary Jann Too common readers at the British Museum, Susan David Bernstein 'A religion of pots and pans': Jewish materialism and spiritual materiality in Israel Zangwill's Children of the Ghetto, Meri-Jane Rochelson. Part III Vulgar Middles: Gross vulgarity and the domestic ideal: Anthony Trollope's The Small House at Allington, Carolyn Dever 'It went through and through me like an electric shock': celebrating vulgar female desire and the realist novel in Trollope's Ayala's Angel, Deborah Denenholz Morse Vulgarity, stupidity, and worldliness in Middlemarch, Joseph Litvak. Part IV Visual Vulgarity: Poison books and moving pictures: vulgarity in The Picture of Dorian Gray, Ronald R. Thomas James Tissot's 'coloured photographs of vulgar society', Nancy Rose Marshall Vulgar India from nabobs to nationalism: imperial reversals and the mediation of art, Julie F. Codell Afterword: how Victorian was vulgarity?, John Kucich Index.

Mozart's bawdy canons and use of scatalogical parlance in his letters have been described as indicative of a personality given to crass expression. Moreover, his association with Emanuel Schikaneder's supposedly dissolute Theater auf der Wieden, a boisterous venue for German stage works, has been taken as further evidence of his profligate tendencies. A review of the original source materials reveals that these views are apocryphal, originating after Mozart's death and embellished in nineteenth-century commentary and scholarship. Examples of even raunchier canons, composed by musicians with connections to Mozart, Schikaneder and the Theater auf der Wieden, provide new insight into the genre. An examination of surviving bawdy Viennese canons in their social context, together with a reconsideration of the Mozart family letters and attitudes toward vulgarity in Viennese popular theatre, reveals that lewd expressions on the stage were relatively uncommon in this period, that Mozart's use of scatalogical language was relatively mild for the time and that accounts of the composer's debauchery in his last years have little evidentiary basis.

Chopin creates four scherzos throughout three creative periods in his lifetime, which grasp the essence of humor and make it connected with characteristics like satire, dignity, sublimity, heroism, tragedy, etc. These four works get rid of vulgarity and sensationalism, improving the aesthetic category of scherzo to a more prominent level and equipping it with more profound ideological contents and philosophy on basis of humor. This paper focuses on the discussion of how sublimity and heroism are implanted into Chopin's scherzos. Text After the French Revolution, some new characteristics such as the change of tone, emotional excitement and open artistic conception appeared in European romantic trend. In all kinds of art like music, fine art, poetry and drama, representation of "hero" has already become France's special contribution to the 19 th century romanticism, but heroes are always closely linked with tragedy. One kind of tragedy is heroic tragedy, the theme of which is usually closely related to society, politics and national struggle. In such kind of theme, suffering from the threat of hardship or death, strong will and endless courage in the heart of the leading character will be aroused to defeat the tragic emotion and therefore form the heroic spirit. In general, heroes are equipped with sublime quality, shouldering the historical burden related to national prosperity and decline. With indomitable spirit, they are able to reach "everlasting victory" after suffering from all kinds of torture. In musical field, the pursuit of heroism has never been interrupted. It is not an initial attempt for Chopin to represent the connotation of heroism and sublimity in form of scherzos. This exploration began in Beethoven period. During the 18 th century classical period when the wave of the French Revolution swept Europe, bourgeoisie's power was even stronger, and the whole society was praising heroes and pursuing eternal truth, "heroism" is a significant and inevitable aspect in the work of Beethoven who was the model of that age. However, at the earlier stage of romanticism in the first half of 19 th century when the aftermath of the French Revolution had not gone, the national-democratic revolution trend of European countries arose as surge. Pursuit of heroes is still the dream unchanged in people's heart, but the image and connotation of "heroes" has been changed quietly. At that time, Dionysian Spirit gradually occupied the dominant position and composers paid the most attention to the hottest expression of inner feeling. A French symbolistic poet, named

With the rapid development of society, economy, culture and lifestyle changes. The function of the modern garment packing garments are not limited to the human body, it is a form of human minds. The demand for clothing is also more and more people, about style and form of changes are also continuously improve the aesthetic. This paper first expounds the background of the ceremonial dress, combing the status quo of the dress in the contemporary, and for the dress style of art and design variable forms of diversity are analyzed and integrated. Focused on its features and the mutual transformation relationship, dress style, color, fabric and the importance of consumer psychology. Finally tells the story of this graduation design train of thought, its artistic style and design form integral used in the dress. The introduction Tell us about the different style characteristics through different angles, thus will converge to form new element, make the style of the dress and the design more diversification. From the contemporary situation analysis, the development of China in recent years, the increasing of people's living standard, prompted the rapid development of domestic clothing, dress also follow the fashion trends. Element with the improvement of China in the international status, China has become the latest must-haves in the clothing design, how to apply Chinese elements better dress in at the end of the paper is about a chapter. The development trend of future dress also need designers continue to work hard to create a better work, to meet the market demand. The artistic style of the dress Generalized the artistic style of art is the artist or some defined groups formed in activity using the relative stability of artistic style, quality, style and air. It is the embodiment of the artists of different creative personality, contents, patterns, and artistic works contains thinking and artistic unity. In this art style refers to the clothing style, also is the reflection of art style in clothing. In the book "fashion design", written by xiao-gang liu pointed out that in the modern fashion design, to separate clothing style has the very vital significance. Product sales in the market, the division of the style of clothing is the clothing categories, can be more convenient in production and sales, more accord with the demands of consumers and the interests of the highest effect. Can be seen from Mr Xiao-gang liu text in the expression of the artistic style of clothing to locate the significance of its relationship with the consumer with a preference for individual be fond of, determine the sales direction and development. Art style element is the clothing fabrics, color, outline shape and materials, an element of split eventually applied to the basic form of the costume design. Classical style, it is to point to draw lessons from ancient European style, and conveys has the charm of elegant temperament. A style of the main is X, and more use the beautification clothing, such as bustle, breast pad shape with a special focus on women's three-dimensional shape, decoration and various, lace and silk fabric is more frequently used. Romantic style, the formation of the main style of evolved from evening dress, reflects the women's gentle, multi-purpose and fluent line in shape, decorated with lace, embroidery and so on, the choice of fabrics are also more gentle, like bud silk, silk, romantic amorous feelings. Luxuriant style: often appeared in the haute couture dress, the whole clothes do manual work is delicate, multiple-choice gloss, good fabric, use more is hand embroidery, all kinds of technological means such as figure, falbala, with pearls, form the three-dimensional effect, looks 2nd International Conference on Economy, Management and Education Technology (ICEMET 2016) © 2016. The authors Published by Atlantis Press 437 noble gorgeous. Hale style: simple lines, simple features, USES the most were surface shape and body shape, not too much decoration, choose the fabric texture is thick, make dress partial neutral. Avant-garde style: mainly influenced by the thoughts of the postmodern art, modelling is more strange, use more is asymmetric structure, local modelling hyperbole, emphasize contrast effect, the pursuit of a kind of novel design, is the style of strong personality. In integral style ways, started by the elegant classical 20 s to noble and free from vulgarity in the 50 s, to the active and open is the mainstream of fashion in the 80 s. And now many designers will dress as a new hobby, design combination of popular elements, created a more modern dress, such as: fashion dress, free style dress, national dress, etc. Depending on the region, the style of dress in a different country also deduce different types, such as Japanese, Korean and Chinese. In the form of dress design The main content of design form. Design elements are the basic unit in the design, according to different industries have different design elements, and design elements are different for different design style, design form. Ceremonial dress is between people wore clothes in social situations, but what is the essential difference between the dress according to the wearing time points, can be divided into two categories: day wedding dress and evening dress. Day dress (day dress) of different have different ways of dress, women can choose to have different design and color of dress, or a handmade suits, very elegant and chic two suits, etc. Traditional dress color monotone, which is more formal, black black at formal celebrations such as grand occasion can show most solemn and atmosphere. But in a friend's birthday party, opening ceremony, the atmosphere is lively, then dress color will be more bright. Evening dress formal dress usually dress is in the evening, mostly appeared in the dinner, dance and other formal occasions. Evening dress is formal dress, in the classification of all dress is the most characteristic, the most can show female charm of clothing. Evening dress is used for communication at night because it is over, so choose the fabric is organza, bud more flash, noble and gorgeous fabric. Color options is more elegant, deserve to go up in consistent with clothing color sequined, embroidered beads, magnificent diamonds and so on, all show the elegant evening dress, and free from vulgarity. Cocktail dress (dress, half a formal dress) to 6 PM usually, guest friend exchanges between informal dress dress, because of the different occasions, generally do not prepare too much seat, mostly stand eating and talking. On such occasions, therefore, women's dresses tend to choose the design of short and hard working. There are a lot of can be used in a cocktail dress fabrics, such as the natural pure silk, brocade, blending, worsted fabrics, etc., now there are more and more new types of fabrics used in dress. Wedding dress (dress) white dress first pass from the west, more used to get married, is a favorite of all women. White represents the pure and holy. Wedding dress make more for the fabric is silk, thin organza, lace, etc. Will use some polyester satin, in terms of modelling, shandong silk, brocade, etc to fold, handmade flowers. Craft decorations, make more is hand sewing, embroidery, drawnwork, cutwork hollow out, collage, and Mosaic technique, the production of fine craft to make dress more rich stereo feeling, aesthetic feeling more. The classification of the design form and use. There are many kinds of the design of the dress form classification, according to the dress style to have a strapless style, with big scoop-back design, single straps neck, etc.; Points according to the outline shape have A type and H type, bitter fleabane bitter fleabane skirt, fish, etc. For dress get model is the key to a successful about design, it occupies the important position of the design of dress, round collar, the collar and lead, collar, V collar, heart-shaped collar, boat (arc), neck hung led, irregular get model is the most commonly used "collar modelling; Back in dress design modelling is changeful, v-shaped, u-shaped, round collar line, more exaggerated is back above all show the charm of the human body wearing large area; Whether the model of traditional or modern modelling, the design of the two shoulder is an important detail, perfect the design of the integral style of the dress can be better. Shoulder in modern dress design can be alone again, change the shape, but the actual mostly according to the

OCTOBER 140, Spring 2012, pp. 139–164. © 2012 October Magazine, Ltd. and Massachusetts Institute of Technology. Andy Warhol’s most astute interpreters have frequently been forced to acknowledge that class plays a key role in his work, and that its manifestations may be stylistic as well as iconographic, but they have typically had a difficult time describing its specific power in any detail. In his review of Warhol’s 1962 show at the Stable Gallery, Michael Fried bemoaned “the advent of a generation that will not be as moved by Warhol’s beautiful, vulgar, heart-breaking icons of Marilyn Monroe as I am” and remarked that “Warhol has a painterly competence, a sure instinct for vulgarity (as in his choice of colors) and a feeling for what is truly human and pathetic in one of the exemplary myths of our time that I for one find moving . . . ”2 The essay is only a few hundred words long, and the repeated references to vulgarity are therefore all the more striking. Vulgarity, as T. J. Clark has convincingly shown, is fundamentally a class-based pejorative: a “betrayal, on the part of those who by rights ought to be in the vanguard of good taste.”3 What Fried immediately sees in Warhol is a breach of bourgeois taste that is somehow successfully counterbalanced by the force of Warhol’s aesthetic proficiency.4

While the “bad girls” of Pakistan's contemporary Punjabi theatre are accused of “obscenity” and “vulgarity” and punished by harsh censorship, girls from “good families” are actively promoted in Anglophone dramas. Punjabi performers reverse the gaze onto this split discourse, exposing the body politic's gender and class biases.

Levy's chosen model for how to read poems is not a literary critic but an art historian, T. J. Clark. Why? To some extent, the author is following a more generalized “visual turn” in literary studies. But Clark is also a skilled and devoted close reader who, like many in literature, modeled his critical practice in this respect on that of the New Critics. What's more, Levy claims, Clark associates close reading with the reading of poetry in particular. Poetry features only rarely in the history of modernism as retold by art historians, but as Clark writes, “Lyric cannot be expunged from modernism, only repressed.” The essay thus traces the repression and reemergence of lyric poetry in art-historical discourse from the work of Clark's precursor Clement Greenberg through Clark's later books, Farewell to an Idea and The Sight of Death. The discussion ends with an imagined dialogue between Clark and the poet and art critic Frank O'Hara—whom Clark cites prominently in Farewell—on the subject of what they call “vulgarity,” which both writers see as a signal quality of late-modern lyric.

Starting in the early 1980s, female striptease shows mounted on the backs of trucks, known as “electronic festooned vehicles” (EFVs), have been popular entertainments offered to the deities at temple festivals. The EFV takes the “realities” of contemporary Taiwanese society—sexism, capitalism, and social hierarchy—and re-presents them in an evocative/provocative form.