Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

International Scientific Committee

Revista Volumen 9, Número 16

This article addresses the role of women in Russian art during the 19th and early 20th centuries, focusing on decorative arts and the relationship between applied arts and fine arts. Initially, it discusses the establishment of the first secondary schools for girls in Russia in 1858, which provided women with access to education, albeit with an emphasis on subjects deemed appropriate for their societal role, such as language, religion, and manual skills. The article also examines the restrictions faced by women in relation to higher education and the hierarchy between visual arts and decorative arts at the time. Women were often directed towards decorative arts, considered more suitable for their abilities and gender roles. However, some artists began to explore and blend traditional techniques with more modern styles, paving the way for design and the integration of art into everyday life. The article concludes by highlighting the importance of these professional women artists in the development of the Russian avant-garde and the introduction of avant-garde motifs into fabrics and embroideries, as well as emphasizing the role of these initiatives in the context of Russian nationalism and the revival of folk arts.

This article explores sartorial symbolism in Tanzimat-era literature (1860-1896) within the Ottoman Empire. The research analyzes sartorial choices as narrative devices in three pivotal Tanzimat novels: The Carriage Affair (Araba Sevdası) by Recaizade Mahmut Ekrem, Mister Felâtun and Master Râkım (Felâtun Bey ve Râkım Efendi) by Ahmet Mithat Efendi, and Dandy (Şık) by Hüseyin Rahmi Gürpınar. Drawing on Barthes’ semiotic framework, it positions fashion as a performative act that inscribes cultural myths onto the body, articulating narratives of identity, power and transformation. By analyzing sartorial symbolism as a visual grammar, the study employs a comparative character analysis of the alafranga and the Ottoman gentleman (alaturka) archetypes. The research further offers a novel interpretation of Tanzimat novels by combining sartorial symbolism with Homi Bhabha’s postcolonial theories of mimicry and hybridity (third space). It introduces three novel concepts -superficial mimicry, excessive mimicry, and harmonious hybridization- symbolized by the characters in the novels. This interdisciplinary approach aims to bridge literary analysis, historical context, postcolonial theories and fashion studies.

Fashion is a form of cultural, creative and personal expression, which allows us to communicate, innovate and claim our individuality. Through a specific visual language, constructed from signs present in clothes and accessories it is possible to transmit information about the profile, the social status, aspirations and transformations of individuals and social groups. Therefore, the objective of this study is to discuss women’s fashion from the interdisciplinary perspective of Semiotics and Psychoanalysis, highlighting how the symbolic representations of clothing reflect the construction of women’s identity over time. We hope to contribute to a greater understanding of women’s fashion and the messages and meanings that clothing conveys, promoting reflection on its impact on the construction of women’s subjectivity, as well as on the reproduction or deconstruction of stereotypes and cultural standards.

This paper outlines some aspects of micro-level interpersonal communication concerning politeness and good manners, as stated in “Good Manners”, a 1930s manual of etiquette and civility by Carmen D’Ávila. The goal is to outline how some apparently insignificant everyday communicative interactions are, actually, acutely planned by people towards the best possible social performance in every occasion. Drawn on a reading of the book grounded mainly on Goffman’s approach, the paper argues that polite micro-interaction, as stated by the book, depends on three main elements: (1) the conditions that allows a polite interaction as part of a bigger picture of urban convivence in Modernity, (2) the dynamics and boundaries of each interaction and (3) the goal of speech, gestures and body expressions in a given situation.

Understanding that costumes in cinematic works are used for the subjective and objective construction of characters, this article aims to analyze the meanings attributed to costume design in the symbolic shaping of the protagonists in the film Passing (2021). To achieve this, a semiotic reading—both denotative and connotative—was conducted on four costume images from the film, highlighting that the clothing in the selected scenes played a significant role in the narrative. The film is set in 1920s New York, a context marked by racial segregation, and its English title, Passing, symbolically addresses the issues of color- ism. The narrative follows Black characters who pass as white to access spaces from which they are otherwise excluded. Regarding the main findings, the costume design—comprising long dresses, stockings, gloves, and hats—functions as a mask that conceals true identities.

This article is a report on the experience of undergraduate students at the UEMG School of Design in developing costumes for the commercial show O Toró, a Brazilian version – with strong cultural influences from Minas Gerais – of the original work The Tempest by William Shakespeare, produced by the collective Trupe de Teatro e Pesquisa in partnership with the group Cia da Farsa. This is a pedagogical experiment conceived within the scope of the optional discipline Costume Design based on the fundamental principle of university education of the inseparability of teaching, research, and extension, which allowed students to experience a stage creation project and a supervised theoretical/practical experience within the field of theater.