I dream of a Ledaean body, bent Above a sinking fire.
This page intentionally left blank Dress Needs Dress Needs: The whole life of humanity has been elucidated: In other words, how come we have no Philosophy of Clothes?
Yet the point about the relative absence of philosophical engagement with dress could well be taken more seriously. In the first place, philosophy does, like other modes of discursive reasoning, draw quite extensively on clothing simile and metaphor in its references to veils and embroideries, folds and pleated arguments, on the one hand, bare facts and naked givens, on the other.
There are also some disputes — notably those associated with the Enlightenment in the late eighteenth century — which very consciously invoke the clothing metaphor.
Consider, for example, the terms in which Mary Wollstonecraft and Edmund Burke express their differences over Enlightenment humanism. Is all this, he asks, to be rudely torn away? To defend the idea of a commonly shared human nature is indeed, according to Burke, to strip us of all the protective clothing of custom without which we reduce to the level of beast, an animal literally without clothing.
We are referred to clothing, then, in the rhetoric of philosophical exchanges; and there are also occasions when items of clothing get caught up in philosophical debates.
The debate is a complex one: I do not intend to discuss its ramifications any further here, but simply cite it as an instance of the kind of way philosophers have at times related to matters of dress, and even developed their own shoe fetishes.
All the same, neither in the recourse to clothing metaphors, nor in such cases as the Van Gogh boots can we be said to be offered any but a rather oblique set of references to the questions about human needs for dress upon 14 Dress Needs which I want to focus here, and which I have in mind in speaking of the relative philosophical neglect of clothing.
Or perhaps repression is the apter term: This is a stance which also lends itself to a more general cultural process of gender stereotyping and masculine disassociation in Western culture, according to which it is women who are the vainer sex and the more concerned with what they wear while men are largely indifferent to questions of attire.
Yet showiness in dress is quite compatible with, even a mark of, manliness in certain contexts such as the military parade;1 and as Virginia Woolf pointed out some time ago in her Three Guineas, male attitudes to dress have been just as concerned and, if anything, even more complicated than those of women — and especially on the part of those in the academy and other areas of public life.
Whereas dress for women, she claims It not only covers nakedness, gratifies vanity, and creates pleasure for the eye, but serves to advertise the social, professional, or intellectual standing of the wearer. We might want to claim, in fact, that if there are, or have been, significant differences between the sexes in respect of their attitudes to dress they have been less to do with the degree of experienced vanity than with the extent to which the feeling has been openly acknowledged.
Men, perhaps, have been inclined to disavow an interest to which women have more readily admitted. However, all such claims are to some extent speculative and need to be scrutinized in the light of the historical evidence.
I am not in a position to offer any contribution to that kind of history here. Nor shall I be engaging in an explicitly feminist theorisation of dress and the body. My argument in what follows, however, is offered in awareness of the complex interconnection between the Platonising repudiation of the body and its post-de Beauvoirean feminist critique.
In an overall way, I shall be drawing on philosophy and literature to explore aspects of these attitudes in a way that I hope can supplement while in no way vying with their extensive treatment in sociology and cultural theory.
O, reason not the need! Our basest beggars Are in the poorest things superfluous. Act II, scene 4, ll. Well, yes and no. Yes in the sense that it is not an exigence of nature; no in the sense that it is nonetheless a human need, and in being such, as opposed to a want, on a par with the need for clothing as warmth and protection.
Clothes are in this sense definitively cultural objects closely bound up with a sense of shame, and their primary purpose is to conceal the organs of those functions sexual intercourse, lactation, excretion which have been deemed to degrade us by tying us too closely to a bestial nature.
Clothes, in short, serve us as a cardinal marker of the divide between ourselves and the rest of the animal world. By this I do not mean that the donning of clothes is essential to being human, which it obviously is not. Clothes wearing does not present itself as a possible candidate for defining humanity in the way that language or tool use or the capacity to laugh have been thought to do.William Butler Yeats wrote this poem, Among School Children, most probably in after his visit in that year to a progressive convent school at Waterfront, St.
Otteran’s heartoftexashop.com poem, Among School Children, was inspired by his senate-sponsored visit to Waterfront Convent as a sixty-year-old Senator of the free Irish State in the capacity of . Enjoy millions of the latest Android apps, games, music, movies, TV, books, magazines & more.
Anytime, anywhere, across your devices. Dubliners and the Joycean Epiphany, Thesis by Roger T Briggs, Wichita State University, Search Search. Upload. Sign In. Join. symbiosis of art and religion found in the works of fellow Irishmen William Butler Yeats and C.S.
Lewis. Joyce incorporates a great deal of thematic elements from the rest of the collection here, such as. Unlike most editing & proofreading services, we edit for everything: grammar, spelling, punctuation, idea flow, sentence structure, & more.
Get started now! Edward John Ellis and William Butler Yeats (New York: AMS Press, ). concern as we go on to consider Yeats’s stake-holding in English as the world language. and a New World aesthetic of synthesis and combination.
Yeats constructs an aesthetic of world folk. when the political binaries of colonialism are obscured by market. Thus metaphor is a union, and synthesis becomes a dialectical reduction of the twofold to the one.’95 The thematic analysis (analyse the´matique) developed by Richard in his study of Mallarme´ is reminiscent of the Genetic Structuralism practised by the Hegelian Marxist Lucien Goldmann, who attempts to understand the individual parts of a.