のぶかつの部活動 since 1970
Do you know the answer to this riddle?
お待たせしました!待機中DEATH.



3eaee38476c6025b77a0dd9d36c652ef_400[1]









































どうも、のぶかつデス

e0068159_033395[1]










人の「フェチ」と呼ばれるものが細分化されすぎてて引くという話なんでっけど、







絶対領域だのネコミミだのメガネだのメイドだのまぁいろいろありましたけど、

今、巷で出回っているものに、こんなのがありました。











410v49ph9dL[1]











水中ニーソ。。。。。。。。



どこに需要があるのかわかりまへん。









でももっとすごいのがありました。

















!!!!!!!!!!!!


51p4CJnv1UL[1]



















2c0c9cc3[1]









18573156[1]















b9311fd1[1]









ソラリーマン。。。。。





空中に浮かぶジジイを見て誰が喜ぶというんでっか。。







すげーな。







良くも悪くも選択肢が増えた豊かな時代に突入したのでしょうな。













多岐に渡るといえば、昨今の「◯◯系男子」っていうのも、すげー増えてて引きました。











・カシミア男子……甘いルックスとサラサラヘアー。見た目と中身にギャップ

・草食男子……恋愛に消極的でおとなしい

・肉食男子……積極的で恋愛もガツガツ攻める

・ハイエナ男子……一見草食風。肉食男子との恋に疲れた女子を狙う

・魚食系男子……狙った獲物をじっと待つ。知的で冷静

・飽食系男子……モテモテで女子を食べ飽きている

・絶食系男子……しばらく恋愛をしておらずモテない

・雑食系男子……女子のタイプのストライクゾーンが広すぎ

・植物系男子……100%受け身で恋愛も女子のなすがまま

・カフェオレ様……女性的な行動と「俺様」な性格がミックス

・ロールキャベツ男子……見た目は草食系、中身は肉食系

・アスパラベーコン巻き男子……見た目は肉食系、中身は草食系

・ピーマンの肉詰め男子……外見は草食系だけど下心が丸見え

・肉巻きおにぎり男子……見た目は派手だけど中身は田舎者っぽい

・餃子男子……ベールを脱ぐと中身はカオスで優柔不断

・クリーミー系男子……外見は甘く優しく存在感がある

・豆乳系男子……女性のような習慣を持っている

・昆虫系男子……虫=無視。女性が近づかず非モテ

・戦国系男子……闘志に満ち、自分の力を誇示したがる

・化石系男子……亭主関白タイプで自立した女性に冷ややか

・夜会系男子……セクシーで女子の妄想をかき立てる

・吸収系男子……ひたすら意見を吸収し打っても響かない

・カイジ系男子……仕事も私生活もグダグダで快楽に弱いが逆境に強い

・臆病系男子……奥手で恋愛もちょっとしたことでくじける

・仙人男子……いつも笑顔でなんか楽しそう、器が大きい










多すぎるよ。。。。。

























945c7f5f-500x366[1]




にんともかんともいかんともにんにんです。





全部が全部何かに収まると思うんじゃねーぞこのやろうがという気持ちが沸々と湧き上がる中、



まあいいやとすぐに溜飲を下げ、終わります。











では、股。















そういやキラキラネームも半端じゃない事になってますね。 マジかよ「大男」で、「ビッグマン」。。。
5d3465887f502f9e9352453d803a2991_12272[1]
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, "Signs are only meaningful on the basis of their relations to all other signs" (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society's expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person's gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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The 'gaze' plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The 'gaze' (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of 'looking' and being 'looked at' does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are 'normal'. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries' famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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Gaultier's design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women's restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.
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High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to 'strut' to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women's appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman's Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society's fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia's November 2004 issue of Cosmopolitan an article was run entitled 'Anorexia for Sale'. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as 'pro ana' sites, that is, websites supporting anorexia as a 'lifestyle choice' as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell 'ana bracelets' and 'ana necklaces' which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan 'Save Mary Kate' and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words 'Save Mary Kate' could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be 'Save Mary Kate from the rehabilitation clinic'. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.
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Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
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Madonna has been a 'sex symbol' for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden's in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) 'Master' (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier's corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.
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A woman wearing men's clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society's belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.
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In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men's fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud's assertion that "visual impressions remain the most frequent pathway along which libidinal excitation is aroused" (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women's clothing section is distinct from the men's. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.
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・ヲ・ィ・ケ・ソ・ッ。「・゙・ヘゥ`・ー・鬣爨ォ、鴉x、?ニヨヘヤレ、キ、ハ、、、ヌ、ッ、タ、オ、、、゙、ソ、マ、ス、?ヤヘ筅ホ因コマ、ハ、、 BidPay。」・、・ル・ネ、ヌ、マメサー羞ト、ハハケモテ、ヒネ?テ、ニタエ、ソ、隍?。、オ、、ネョ、\、ヨ、ウ、ネ、ヒ、隍テ、ニラノ、オ、?ソヒシソシ、ネ・ケ・ソ・、・?ケ・ネ、マフリ?、ハ・ネゥ`・ネ・ミ・テ・ー、ホアヒ、゙、ソ、マアヒナョ、ホムuヤ?_ハシ。「・ラ・愠ミ・、・タゥ`、マ嵭トソ、ホ・皈ス・テ・ノ、隍熙竇g、ハ、?マ・ノ・ミ・テ・ー、ネ、ハ、テ、ソ。」、「、ハ、ソ、ヒ騅、キ、ニ、マ。「、ス、ホ、隍ヲ、ハ、「、ハ、ソ、ホオアテ讀ホ、ウ、ホトレイソ、マ、ケ、?ト、筅?シ・敎ネン^オトホ?Z、ヨ、ト、ウ、ネ、ヒ、ハ、熙゙、ケ。」" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">、「、ハ、ソ、ャ、ウ、?侃ト、ア、?ハ、鬢ミ。「、ウ、?マ瓶。ゥば、ヌ、ケ。」" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">・皈テ・サ・ク・罠`・ミ・テ・ー、筵ッゥ`・?ィ・ミ・テ・ー、マ。「、ス、?ャノマ、ホ・マ・ノ・ミ・テ・ー、d、サミリ、ホ摂、サヨワ1・ケ・ネ・鬣テ・ラ、ォ、鯣ャキス、ホシ遉ホノマ、ヒラナモテ、オ、??ノトワミヤ、ャ、「、?熕丶ホ・マ・ノ・ミ・テ・ー、ヒ騅4メサカネ、ネ、キ、ニヨェ、鬢?ニ、、、゙、ケ。」
・ンゥ`・ソゥ` ・ミ・テ・ー http://www.betonrossi.it/dbmng/tools/Porter-Series-Rawa-line-c-20625.html
2014-04-08 Tue 01:39 | URL | ・ンゥ`・ソゥ` ・ミ・テ・ー #EBUSheBA[ 内容変更]
サ睨隨F瓶オ网ヌ、ッ、ル、ュ・ム・ユ・ゥゥ`・゙・ケ、侃サ、ニ、、、゙、ケ、ャ。「・?`・タゥ`、オ、?ニ、、、?「ミ靨ェ。「・マ・ノ・ミ・テ・ー、ホヨミ、ホユ謖g、ス、ホ・「・ッ・サ・オ・熙ホ・ォ・ニ・エ・遙」、ウ、?ャニウ、?ネ、ュ。「、「、ハ、ソ、ホクホト?、ホメ患キ、ヌ、ュ、゙、ケヌアヤレオトヌヨツヤユ゚、トヘヒアセオア、ヒユ?ウ」、ヒ。「イ。壥。「イサーイ。「・ケ・ネ・?ケ、ネヘャ?、ホュhセウ、ネス。ソオ、ホ?蕓、ヌ、マ、ハ、ッ、キ、ハ、、マ゙、?イネォ、キ、ソ、ホ、ヌ。」、ウ、ホ瓶オ网ヌ。「・ク・罕ア・テ・ネ、マ。「、ス、?ヒ、筅ォ、ォ、?鬢コ?ムナ、ヒセォヘィ、キ、ニ、ッ、タ、オ、、?ケ訷?e、ホ・ケ・ネ・?`・ネ・クゥ`・コ、ヌ、ケ、ヒコマ、?サ、ニ゚x談、ケ、?ウ、ネ、ャ、ヌ、ュ、゙、ケ。」" onmouseover="this.style.backgroundColor='#ebeff9'" onmouseout="this.style.backgroundColor='#fff'">・ケ・、・ケ、ホ・?キ・螂筵ォ・ム・ヒゥ`・キ・ィゥ`・??キ・螂筵A」ィ・?キ・螂筵ゥ、マ馮゚`、、、ハ、ッ・ケ・、・ケ・ルゥ`・ケ、ホヤツエホ?クキ・ロゥ`・?ノ、ヌ、ケ。」
・ォ・キ・ェ 瓶モ ・ラ・愠ネ・?テ・ッ http://www.da-capo-rueti.ch/Musikladen/Musikauswahl/emporio-armani-woman-c-54211_54218.html
、ス、?ヒ、筅ォ、ォ、?鬢コ。「ク?ヒゥ`・コ、ュ、?、ア」、チ。「、ス、ホ・?テ・ッ・ケ、ホチシ、オ、Sウヨ、ケ、?ィニレオト、ハヨホッ濤ィ、隍熙篌ホ、隍?シ、、。」・ユ・鬣テ・ネハヒノマ、イ、ホ・ユ・ゥゥ`・゙・?ハム・・ユ・ゥゥ`・゙・?ハキ?ラー、ネメサヨツ、キ、゙、ケ。」、ェ、ス、鬢ッラ釥簟メ゚\、ハ―ソヘ、ヤキヨ、ヌ携ミミ、キ、ニ、、、?マ、筍「・ラ・?`・ネ、ホ・ヌ・カ・、・ォ、鮃ヌセ痔゙、?ソエ?ヌモ犢ヨ、ハ・ェ・鬣、・ホ僂サ皃侃ト、ア、?ウ、ネ、ャ、ヌ、ュ、?ャ、「、熙゙、ケ。」コマタ昉ト、ハハヨハ?チマ、ヌ・ヲ・ィ・ケ・ソ・ ・、ゥ`・ー・?ヌ、ウ、?ホ・レ・「、。オテ、ヌ、ュ、゙、ケ。」アヒ、マイミ、熙ホカ爨ッ、ホモムネヒ、皺ク、キ、゙、ケ。」・オゥ`・ミネォフ蠢ノトワミヤ、ャ、「、熙゙、ケ、タ、ア、ヌ、ス、?鬢ホ・ッ・鬣、・「・ネ、ォ、 put 、ワ、アネ???「ラモケゥ、ホメェヌホ?マネ嶸ホサ、ヒ樟、テ、ニ・ュ・蟀`スKチヒ、キ。「・ヌ・ミ・、・ケ、ャオ羞ニ、キ、゙、ケ。」
・サ・、・ウゥ` ヘrモ http://www.bmx-zugerracer.ch/galerie/Shows/emporio-armani-woman-c-54211_54218.html
2014-04-08 Tue 00:58 | URL | ・サ・、・ウゥ` ヘrモ #EBUSheBA[ 内容変更]
、「、?リカィ、ホシシミg、ヌ・モ・ヒゥ`・??マシ?-、ウ、ホ矣ハケモテ、ケ、?、、コ、?ォ、ホヘチオリ、リ、ホ・?ッ、ャ、ハ、ッ、ハ、?゙、ソ、マツ囗I・?オ・、・ッ・?ャ、爨ネヘャ、ク、ヌ、ケ。」・、・ソゥ`・ヘ・テ・ネノマ、ヌ。「ム・、キ、隍ヲ、ネ、キ、ニ、、、?ス・?蟀`・キ・逾ホウノケ訷ネ、ケ、?ウ、ネ、ャ、ヌ、ュ、゙、ケ。」、キ、ォ、キ、ノ、ホ、隍ヲ、ハ因コマ。「ソ?m、ハラI、ホミ゙ユ?、ヌ、ケ、ォ」ソ、ウ、ウ、ヌ、マ 1 、ト、ホラキ」コ 、ス、ホ・ニ・」ゥ`・ミ・テ・ー。」ヌーキス、ホスU、ホヘサネサ、ホ、ワ、荀ア、ホトソオト、ォ。」、ウ、ホ・「・ッ・ニ・」・モ・ニ・」、マ。「ヒス、マ、ケ、ハ、?チ。「?。ゥ 、ヒク{、オ、?ニ、、、?、・ル・ネ、換ヨ、ア、?ウ、ネ、ャ、ヌ、ュ、?隍ヲ、ヒ拳場、ケ、?ウ、ネ、マ、ヌ、ュ、゙、サ、」ケ愑般ス、ホコテ、゚、マ・ィ・?ォ kors 、ィ、ク、ニヨァナ茹ェ・鬣、・省?ケ、?_、ハラ隯。マ゙、ヒメヨ、ィ、?「、オ、?ニチ筵鬣、・ユ ・ケ・ソ・、・?モセAテラケ嶹リモホラ。ネヒ、隍ッ・ミ・テ・ッ、ホ・ヌ・カ・、・オ・テ・ォゥ`、ユ、鬢ケテォ、熙テ、、、ソ。」
tory burch リ抜シ http://www.ahorn-braunwald.ch/net/Autor/TORYBURCH-accessory-c-5108.html
2014-04-08 Tue 00:28 | URL | tory burch リ抜シ #EBUSheBA[ 内容変更]
、隍ヲ、ヒ、メ、ノ、、・ヲ・ゥ・?゙ゥ`・ネ、ヌ・ユ・?`・ッ、マノル、ハ、、・ィ・ラ・愠ノ、ホヤ陀フニキ、篩ノトワミヤ、ャ、「、熙゙、ケ、隍??m、ハヒリ筏、ハネ皃鬢ォ、、・ム・ホ・ム・ヒイミ、熙ホイソキヨ、ヒヤSソノ、オ、?ソ、ネ、ュ、Qカィ、ケ、?ウ、ネ、ャ、キ、ミ、キ、ミ、ヌ、マ、ハ、、、ヌ、ケ、ォ」ソ矣。「、マ、?ォ、ヒミ。、オ、、リ怏モ、ホ、ェスホ・ネ・M、荀ケハウチマニキ、ホエ?ホイサラ「メ筅ハトミ、ホラモ、ヒ、「、ハ、ソ、ホラモケゥ、ソ、チ、ホツム、ッ・鬣テ・ッ、オ、?ニ、、、?ウ、ネ、kメ侃ケ、?タ、ア、「、ハ、ソ、ホラ。セモ、ヒ諾、?ロ、キ、ニ、、、ハ、、、ォ」ソト熙^、エ、キ、ソ 4 ハウチマニキエ?側眥囗I、ヌラヤキヨラヤノ惕ス、マミナ、ク、ニ、マソノトワ、ハチミワ?コ、オ、ハ・ム・テ・ォゥ`、ホ馮、ヒ溂チメ、ハトソ、ヨ、テ、ニ、、、゙、ケ。」
・ネ・?`・ミゥ`・チ ・ッ・鬣テ・チ http://www.bmx-zugerracer.ch/images/themen/TORYBURCH-outlet-c-5106.html
ホメ。ゥ 、マハケモテ、キ、ニ、筅ス、?鬢ホ、ソ、皃ホエ?ケ・ソ・ノ、ャ、獏uニキア」エ貶筍「ヘチオリ。「。「セモミトオリ、ホチシ、、タ艫?ホノ妤ュホ?テ、゚、゙、ケ。」カ爨ッ、ホ differenet 、ホトミミヤオト、ハマ网熙ャ、「、?貪釥ハ・ホゥ`・ネネ、?イ隍゙、ソ、マ・ウゥ`・メゥ`。「・キ・ハ・筵「アセホ?ホトセ、ホ・ェ・?`・ヨ。「・ソ・ミ・ウイン。「・爭ケ・ッ。「・゚・?鬢Sウヨ、キ、゙、ケ。」?ネヒ、マ、ス、ホコノホ?└、、ソ、ウ、ネ、マ。「杉、、ュhセウ、ャ・ケ・ニゥ`・ネ・皈ネ、ヌ、ホハツ携、シ、ィ、ニ、゚、゙、キ、遉ヲ」ソ、ウ、?鬢マ。「・モ・ヒゥ`・??、、テ、ム、、、ホ・タ・ラ、ネ、「、ハ、ソ、ケ、?リメェ、ャ、「、熙゙、ケ、オ、?「1000 ネヒ、マ、キ、ミ、鬢ッ、ホ馮、ォ、ハ、?タ牡、ェ、テ、ニ、、、゙、キ、ソ。」
574 new balance http://www.zmz-luzern.ch/templates/include/new-balance-running-c-22018.html
2014-04-08 Tue 00:27 | URL | 574 new balance #EBUSheBA[ 内容変更]
ナョミヤ。「・ン・ラ、メゥ`・?゚ス~拳、ホ、ェ、ス、鬢ッ、ロ、ネ、ノイサソノヌキムuニキ。」ム}ハ?ハケモテ・ェゥ`・ャ・カ ・ュ・罕?「、ホ・ネゥ`・ネ・ミ・テ・ー。「ラ鋕゚?タ鍰x談、ホヘ簽Q。「カ爨ッハウ、ル、?ア矣矣マエ峭、ケ、?g?、ホキN、ヨ、ト。「トヘセテミヤ、ホ、ソ、皰Fヤレル省?箋m、キ、ニ、、、゙、ケ。」ニレマ゙トレ・ミゥ`・ミ・?`モ興ュ、「、ハ、ソ・ッ・鬣ヲ・ヌ・」・「 ・ヤゥ`・ソゥ`・ケ pshiffer ・、・ッ・鬣、・ ・オ・ラ・鬣、・茫` natrium uefa ・ハ・ェ・゚ ? ・ュ・罕ル・?vハ?・ミゥ`・ミ・?`ラマ、ヌ、ュ、?隍ヲ、ヒ所ユ{、ケ、?ミテ訷ハ・ミゥ`・ミ・?` ・ュ・罕?`、ネ牢、キ、、キヌウ」、ヒ、隍ッ、ス、?ノ、キヒ?イ、?マニキ、ハテラケ妤ホキN譿ヤOカィ、ャ、「、熙゙、ケ・ミゥ`・ミ・?`ミミ、ッミナユ゚、篥_、ヒキエモウ 」。・ミゥ`・ミ・?`゚x談ヨォ・ノ・?ケ、ャヨリメェ、ハテラ、ハ・?、・ウゥ`・ネ。「コ」ワ冠ヤ・ッ ・モ・?ノ饑ハシメヤヌーメケ、ホ瓶馮、ヒ、マ Ugg ・「・ヲ・ネ・?テ・ネ ・ユ・」ゥ`・?ノ。「ャFエ妤ホエ?籃J、皃ソ・ヌ・ヒ・ ・ク・罕トチマ、ホヨハマ网熙ホ・ォ・テ・ラ・?ヒモミテ訷ハメ竃ム、ィ。」、ウ、?マ。「、ォ、ハ、熙ホ・タ・ラ、ネ co2 、簧カ、ヌ、ュ、゙、ケ。」アカヒルエメハツ、ヌ、「、 DDR ヌ驤寨ヘヒルカネヒルカネ 2 アカ、ヒ、ハ、熙゙、ケ。」、ウ、?鬢ホ・ユ・。・テ・キ・逾ミ・テ・ーユ賽?|イトチマ、ニモキ。「ク゚ニキル|、ホハウニキ、ネメサセw、ヒテタ、キ、ッ・ケ・ニ・テ・チ ・ィ・?ャ・ネ、ハャF携、侃ニ、、、゙、ケ。」ヒス、マス~拳、ヒエ・、?ニ、、、ハ、、、「、ハ、ソ、ホネヒノ妺ミ・?゙・遉ネ・ォ・キ・゚・「、ホ・ネ・テ・ラ・ケ。「エ柴」、ハ・皈筵熙ホ?クキ、゙、ケ。」メヤタエ。「アヒ、鬢ホ・ミ・テ・ー、ャ。「、ウ、?鬢マ?、ハ、?筅ノ、ホ、ッ、鬢、、ホ、ェスホ?n、ャ、「、?ォ、ネネヒ壥、ホ、「、?カルY、タ、アル省?ホム・ aren。」
・ネ・?ミゥ`・チ ・ミ・テ・ー http://www.maennerchor-uetendorf.ch/photos/TORYBURCH-outlet-c-5106.html
2014-04-07 Mon 23:09 | URL | ・ネ・?ミゥ`・チ ・ミ・テ・ー #EBUSheBA[ 内容変更]
、ウ、ホヤOモ共マ、「、ハ、ソラヤノ惕ホ、惕ミ、ホホイ、竍惕キ、ソキスキィ、ネヘャ?、ヒヤルノ妤オ、?゙、ケ。」、ロ、ネ、ノ、ホカシハミ。ク・ッ・愰`・シ・テ・ネオ?ヒハツ。ケ、テ、?セオア、ヒキ?、ホ、ソ、皃ヒヨェ、鬢?ニ、、、?゙、タク゚?、ハヘィウ」、ネ、キ、ニ。「、ス、?鬢ワ、ア、?ウ、ネ、ャ、「、熙゙、ケ。」スYサ鮟瞑侃筅ケ、ル、ニ?ネヒサッ、オ、?ソ・ミ・テ・ーラIエ?ホ・ネゥ`・ネ・ミ・テ・ー、シ、、ク。、ミ、サ、?ケモテ myhomepage 尺ク讌皈テ・サゥ`・ク、桄セ、ケ、?「トソ、ケ、ル、ュ僂トワ、ケ、ー、ヒヤルノ妤ヌ、ュ、゙、ケ。」
・ヒ・蟀`・ミ・鬣ケ ・ケ・ヒゥ`・ォゥ` http://www.novacontrol.ch/Lieder/ConcertoRoccaverano2012/new-balance-fitness-c-22015.html
・ー・テ・チ。「アヒ、鬢マ。「・ュ・?ケ・ネスフ、ホ louboutin 、ホ・チ・罕ケ、「、ハ、ソ、ホスユ、ホキ?ラー、ホ、ヌ因コマ、x談、ケ、?ォ」ソ因コマ、ヒトミミヤ、ネナョミヤ、ホ・ー・テ・チム・・レ・「、ヨ、テ、ニ、、、?「、「、ハ、ソ、ホ・ヨゥ`・ト、ヒ、隍テ、ニネヒ馮、ホメツラー、x談、ケ、?ノトワミヤ、ャ、「、熙゙、ケ。」セネ徃イ゚・オ・、・ネ、ホリNクサ、ハフ盪ゥ、キ、ニ、、、゙、ケ。」ス?ネユ、筅゙、ソ、ウ、ホ・ウ・ミゥ`・ケ、ホキィオトテ鉎ー、ホム・、ホ、ソ、皃ホハタス逾ケ・ンゥ`・ト―スM?ネォフ螟ホ、ソ、皃ヒアヒ、鬢ホ・チゥ`・爨ネメサセw、ヒ、ス、?{、゚、ホチヲ、。オテ、キ、゙、ケ。」・ユ・?ュ・キ・ヨ・?ヒクミヨxアセオア、ヒオテ、ソ。」タ?ヘ筅ハ、ッ。「モミテ訷ハ・ミ・テ・ー ・ヨ・鬣ノコテ、ュ・ワ・テ・ニ・ャ ? ・ァ・ヘ・ソ。「・ヌ・」・ェゥ`・?「・ォ・?ニ・」・ィ、ウ、?マフ盪ゥ、ケ、?ー・テ・チ。「・ッ・、ゥ`・ ・ミ・?ク ・ヌ・カ・、・ケラノ。ク・?「・ ・ケ・ュゥ`。ケ、マ。「1 、ト、ホ琇モ「、?フカネシトモ?ケ、?レイソ、ヒク?ホチ「、テ、ニ、、、?リヌ遉鬢キ、、メサト熙盪ゥ、キ、゙、ケ。」
TUMI 3way http://elki.audacia.ch/CmsContent/Tumi-Travel-c-36001_36022.html
2014-04-07 Mon 20:41 | URL | TUMI 3way #EBUSheBA[ 内容変更]
ラ髜皃ヒヒス、マ?ネヒオト、ヒ、ウ、?鬢ホニI、ヌ・モ・ク・ヘ・ケ、ォ、鰓ニ?、オ、?ニ、、、ハ、、・チ・ァ・テ・ッ。」ホメ。ゥ 、マ・キ・遨`・゙・キ・テ・ラ、ケ、エ、、、ヲ、チ、ヌネユウ」、?ウ、ネ?ネヒキ?・ラ・愠ラ・ネ、﨧テ、キ、ソモミテ鉙ヒ?ユ゚ノマニキ、ハ・鬣ル・?マ、ス、ホハツ携、ヒ、筅テ、ネ、゙、ソ、マ、隍?ル、ハ、ッラ鋻?」カ犢ヨ、「、ハ、ソ、ホトソオト、マ。「、「、ハ、ソ、ォ、鯑?g 10 ヘェ牢、キ、゚、ッ、タ、オ、、、ヌ、マ、ハ、、、ヌ、ケ。」・ユ・ゥゥ`・ォ・ケ、ァ達、ヲ、ス、?鬢ネン^、ケ、?ネ、ュ、ヒ、ス、ホ饑ハシ、??ニ、マ、、、ア、ハ、、、ォアヒ、鬢ホ、ロ、ワ、ケ、ル、ニ、ホラエ孑、ヒラ驎m、ハ・ス・?蟀`・キ・逾キ、ニ、、、?ォヨェ、テ、ニ、、、?ウ、ネ、ャ、ヌ、ュ、゙、ケ。」
・キ・罕ヘ・ ・ウ・ケ・ http://torybuch.hft-leaders-forum.com
2014-04-07 Mon 19:36 | URL | ・キ・罕ヘ・ ・ウ・ケ・ #EBUSheBA[ 内容変更]
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
2014-04-07 Mon 03:26 | URL | Jaguars elite limited game Jerseys #EBUSheBA[ 内容変更]
Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.
2014-04-07 Mon 03:08 | URL | Louis Vuitton M91436 #EBUSheBA[ 内容変更]
There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).
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