Book — xviii, 217 pages, 16 unnumbered pages of plates : illustrations (some color) ; 26 cm.
Table of Contents
List of figures and plates
1.`Paper hangings for Rooms': the arrival of wallpaper
2. A contested trade
3. Imitation and the cross-cultural encounter: `India' and `mock India' papers, pictures and prints
4. In search of propriety: flocks and plains
5. Challenging the high arts: papier mache, stucco papers and `landskip' papers
6. `Our modern paper hangings': in search of the fashionable and the new
List of principal wallpapered rooms discussed, c.1714-c.1795.
List of eighteenth-century London paper hangings tradesmen discussed.
(source: Nielsen Book Data)
Wallpaper's spread across trades, class and gender is charted in this first full-length study of the material's use in Britain during the long eighteenth century. It examines the types of wallpaper that were designed and produced and the interior spaces it occupied, from the country house to the homes of prosperous townsfolk and gentry, showing that wallpaper was hung by Earls and merchants as well as by aristocratic women. Drawing on a wide range of little known examples of interior schemes and surviving wallpapers, together with unpublished evidence from archives including letters and bills, it charts wallpaper's evolution across the century from cheap textile imitation to innovative new decorative material. Wallpaper's growth is considered not in terms of chronology, but rather alongside the categories used by eighteenth-century tradesmen and consumers, from plains to flocks, from China papers to papier mache and from stucco papers to materials for creating print rooms. It ends by assessing the ways in which eighteenth-century wallpaper was used to create historicist interiors in the twentieth century. Including a wide range of illustrations, many in colour, the book will be of interest to historians of material culture and design, scholars of art and architectural history as well as practicing designers and those interested in the historic interior. (source: Nielsen Book Data)
Oxford : Clarendon Press ; New York : Oxford University Press, 2003.
Book — 254 p.
1. 'Coveted Pleasures': Inverts and Perverts at the Fin de Siecle--
2. 'A New Perverseness': Female Cross-Gendering and Theories of Fetishism 1915-1930--
3. 'I am Her': The Cross-Gendered Woman as Fetish Object in H. D.'s HER--
4. 'She is Myself': Djuna Barnes's Nightwood and the Exhaustion of Female Fetishism--
5. 'Becoming Djuna': Anais Nin's Diaries and Fiction-- Afterword-- Bibliography.
(source: Nielsen Book Data)
Clare L. Taylor investigates the problematic question of female fetishism within modernist women's writing, 1890-1950. Drawing on gender and psychoanalytic theory, she re-examines the works of Sarah Grand, Radclyffe Hall, H.D., Djuna Barnes, and Anais Nin in the context of clinical discourses of sexology and psychoanalysis to present an alternative theory of female fetishism, challenging the clinical perspective that denies the existence of the perversion in women. The author identifies a distinctive writing practice: fetishism, as envisioned by modernist women writers, is both sexual and textual. She shows how these writers produce a discourse that speaks of the very literariness of fetishism, bringing to the fore questions of gendered embodiment, women's writing, and sexual difference, and demonstrating how the cross-gendered woman as both the subject and the object of desire lies at the centre of this discourse. (source: Nielsen Book Data)