{"title":"Objects, People, Politics: From Perestroika to the Post-Soviet Era","authors":"Djurdja Bartlett","doi":"10.1080/1362704X.2022.2055918","DOIUrl":null,"url":null,"abstract":"Abstract This article offers a political reading of the status of the object during the Perestroika years (1986–1991) and the immediate post-Soviet period in the early 1990s. Long-established Soviet cultural values and practices underwent a dramatic upheaval in everyday life and economy, as well as in art and fashion, which radically changed the ontological status of the object, and the relationship between the subject and the object. Focusing on three distinctive kinds of objects—austere, fragile and unruly—the article analyzes these changes through the practices of some leading players in art and fashion. Primary visual and textual research, as well as oral-history testimonials, are embedded in theoretical frameworks from art history, and fashion and cultural studies.","PeriodicalId":51687,"journal":{"name":"Fashion Theory-The Journal of Dress Body & Culture","volume":"26 1","pages":"525 - 544"},"PeriodicalIF":0.7000,"publicationDate":"2022-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Fashion Theory-The Journal of Dress Body & Culture","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/1362704X.2022.2055918","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract This article offers a political reading of the status of the object during the Perestroika years (1986–1991) and the immediate post-Soviet period in the early 1990s. Long-established Soviet cultural values and practices underwent a dramatic upheaval in everyday life and economy, as well as in art and fashion, which radically changed the ontological status of the object, and the relationship between the subject and the object. Focusing on three distinctive kinds of objects—austere, fragile and unruly—the article analyzes these changes through the practices of some leading players in art and fashion. Primary visual and textual research, as well as oral-history testimonials, are embedded in theoretical frameworks from art history, and fashion and cultural studies.
期刊介绍：
The importance of studying the body as a site for the deployment of discourses is well-established in a number of disciplines. By contrast, the study of fashion has, until recently, suffered from a lack of critical analysis. Increasingly, however, scholars have recognized the cultural significance of self-fashioning, including not only clothing but also such body alterations as tattooing and piercing. Fashion Theory takes as its starting point a definition of “fashion” as the cultural construction of the embodied identity. It provides an interdisciplinary forum for the rigorous analysis of cultural phenomena ranging from footbinding to fashion advertising.
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