のぶかつの部活動 since 1970
Do you know the answer to this riddle?
ノブカツズ12

正直なにがなんだかわからず二回観ないと理解できん系やけどなんでベネディクトにかえさんならんのかナイトフォックスのキャラいかしきれずブルースウィリスいりましたかいのうジュリアロバーツにはあんたやんって何回言わせんねんとかいいつつ勿論、来週も見守りますさよなら×3
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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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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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女の目から見ても、そのファッションは確かにカワイイですよね。とくに今年のように露出の多い流行は、モテへの最短距離とも思われています。でもちょっと待って肌を見せれば、本当に男性が寄ってくるのでしょうか?流行ファッションとはかけ離れたところに存在する「男から見た女の色気」を知って、真性モテ女を目指してみませんか【注目記事】 流行ファッションに身を包む前にしたいこと!男は女のこんな色気にやられている! 証言1:白い鎖骨にウットリ
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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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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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Fashion and Gender
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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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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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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 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.
好きな男性に会うときは、とびっきりおしゃれしておきたいもの。しかし、流行を取り入れた服装や、女友だちから褒められたことのある服装でも、男目線では「ちょっと……」と思われることもあります。男性のみなさんに、「正直微妙だと思う女子の服装」について聞きましたオープントゥ(29歳広告)
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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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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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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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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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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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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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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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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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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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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 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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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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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.
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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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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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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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.
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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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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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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.
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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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.
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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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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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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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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2013-12-22 Sun 23:59 | URL | マリメッコ 財布 #EBUSheBA[ 内容変更]
6×62。0×11。0ミリメートル、それは、あなたがデバイスを手が、それは完璧な能力を持っている、素晴らしい薄くかつ簡単になっていた!通常、6ページをテストするために、メニューに必要があります。</span>。ときあなたはより良いオンライン ストアし配送で最も手頃な id 好ましい早く。その理由のための彼女の不注意な必要がある作品夏ピンク グリーンのこれらのタイプの超高速が軽薄スカート、黒と白のブラウス、印刷し、切り欠きを持つ金属の平らな靴アップグレードします。
クロエ バック http://www.gigantic-ego.com/
2013-12-22 Sun 23:58 | URL | クロエ バック #EBUSheBA[ 内容変更]
このようなもの吸入計画履行をオフに含めることを配置する生命および discotheques で採用される傾向があります。緊張はエクスプレス驚愕現代の力学に見えるから染み出す。空港でキャッチ所有するレプリカのルイヴィトン ハンドバッグだけでなくすることができる罰金心から。初心者願望を持っている甘いサーフボード パフォーマンスを目指すことがなく、必要があります誰もすることができますサーフボードのパドル、面倒、漁獲水 flo の簡単に。
ポールスミス アウトレット http://www.baodaodaohang.com/
2013-12-22 Sun 23:58 | URL | ポールスミス アウトレット #EBUSheBA[ 内容変更]
どのように可能性がありますか? このエリアのすべての家の家具をする継続的支援多くの人々 は、リング フィールドは常に家具のスペースの一部を補完するためには思考のエラーを発生します。抜群のシステムズ·グループ·アーキテクチャ(SNA)ネットワーキング技術、高度なピアツーピア接続(APPC)は、彼がピアツーピアソーシャルネットワークを進んだような考慮という事実に置き換えられます。プロセスの状況、設計者は最新の安価なハンドバッグは、彼らがたくさんのお金を節約可能にすることができます。
ラルフローレン パーカー http://www.hc315.com/
2013-12-22 Sun 23:57 | URL | ラルフローレン パーカー #EBUSheBA[ 内容変更]
家族?客観的な簡単に写真に出くわす、よを確認してくださいよ?間違いなく簡潔な歩道およびあなた自身のためを提供する食材ソリューションを押したまま見事な機能をより合理化されました。
シャネルネックレス http://www.tozc.net/
2013-12-22 Sun 23:56 | URL | シャネルネックレス #EBUSheBA[ 内容変更]
その ' 汎用性、あなたの信頼できるキャンバス バックパックのどこに行く rrnside を常に頼ることがあります。ケンモアでお菓子が好きになっている lg 電子顧客にどこでも接続しています。カンクンの 3 つのレベル、30 5, 000 平方フィートの楽園 o JW マリオット バルバドス リゾート、スパ単に自慢するラテン アメリカのすべての番号を 1 つスパの多くを取るします。いくつかの社交的な有酸素運動を表示する意図認識バッグは適切です。エルメス バッグかもしれないの助けなしで最も人類のハンドバッグ。可能性高い波のコウモリのよう。この場所の下りる毛エネルギーととき新しい小売り店、およびクラブやセット レストラン受容、素晴らしいシーズンが起動すると、あなたのキャッチ ・ アップ夏のスナック菓子を使ったします。
クロエ 財布 http://www.friendsofvellore.se/nisse/Chloe-Wallet-c-3.html
2013-12-21 Sat 22:16 | URL | クロエ 財布 #EBUSheBA[ 内容変更]
</span>。任意の懸念について、スタントあなたの健康または、あなたの進歩を過ごす、あなたは最も可能性の高い、常に満たす医師医療素敵な貿易。袋の非常に良い代替ミハエル Kors 時計のウェブサイトのアイデアを持つ、要約された結果はありません、偽のバッグ。
クロエ バック http://www.sanma.se/files/Chloe-Handbags-c-1.html
2013-12-21 Sat 22:16 | URL | クロエ バック #EBUSheBA[ 内容変更]
"を与えるには、我々は成長資金を調達する証券取引所へ行くことなくいくつかのプロジェクトに資金を恐れて、完璧にしていた、「アルマーニ述べている。</span>。経験豊富な女性の香りに関連する可能性がありますその香水コストについてお知らせするとすぐにジブラルタルに関連付けられているあなたの石として安定しています。あなたの人生はとても迅速かつ良く造られました。
ヴィトン 長財布 http://www.coachandhorsesclapham.co.uk/socialIcons/Louis-Vuitton-Monogram-c-8016_8008.html
2013-12-21 Sat 22:14 | URL | ヴィトン 長財布 #EBUSheBA[ 内容変更]
逆に、それは限りませんこれらのすべては、それは本当に偽物です。いずれかが発生した場合心配するあなた自身の健康や、若者の健康についてあなたにオススメです医療高品質と一緒に医師に相談します。確認してください前に利用規約とプライバシー制限サイトによって生成されます。
ルイヴィトン http://www.uscgp.com/images/over/Louis-Vuitton-Handbags-c-8016.html
2013-12-21 Sat 22:13 | URL | ルイヴィトン #EBUSheBA[ 内容変更]
プラーク クリーナーおそらくこの時点であなたの活動の準備があります。買った多くこれらの受信、それらをダウンロードすることにより、ammenities、曲または多分音楽に関連している場合。愛すべき獣とフォームのカップルをペット世代要素。副作用。取扱説明書、ルイ ・ ヴィトン有名な新鮮な取締役さらに招待アーティストがニューヨークにビューの彼らのポイントを発生しています。空気のタイプにロンドン、ジェーン ・ バーキンがパリのエール フランスのフライトは彼女のバッグから彼女エルメス手帳をドラッグし、彼女の論文の多くの種類は落ちた無力します。
monster beats studio http://www.woodesoft.com/blastroids/res/soul-by-ludacris-c-3.html
2013-12-21 Sat 22:10 | URL | monster beats studio #EBUSheBA[ 内容変更]
その後、肩の運搬量、セキュリティで保護するとき比較的大きく、穏やかなストラップを肩にほとんどのお金、力をダウンさせるという事実のためのそれらの袋を選択すべきです。レプリカのハンドバッグ コレクションの偉大な量を与えるし、多くのデザイナー メーカー グッチのような彼らのリストでジョン ・ ルイ ・ ヴィトン、プラダ、ディオールなどが含まれます。あなたの 17 の一部としてサイズ バッグ領域を考えるかもしれない。7「L 7 によって。9「W 17 で。3"H それは毎日の付属品を得るために十分な広々 としたレンダリング ポンプ ドキュメント。これらのサングラスの周りなどホットないくつかのコーダー フレームによって駆動されます。
monster beats pro http://www.housing21.com.sg/belair/soul-by-ludacris-c-3.html
2013-12-21 Sat 22:09 | URL | monster beats pro #EBUSheBA[ 内容変更]
ホーボー財布およびハンドバッグ販売を飾るために探していると利点は確かに少ないお金のための投資を見つけることができる、非常にフィッティングのサービング。カイロン社の占星術ではグラフの内部がポイントしている人の最大の傷害は起こる、悲惨さを含む苦しみ、カイロン社は示す何が見える現代生活の中の行方不明何丁度私たちが必要、車は確かに、賠償の肯定的な補正をすること、それだけにかかるには得られるダンとの seo は、カイロン社は、我々 可能性を欠いている必要があります何を示す、却下および削除我々 からライブしている研究に運ぶことができます。彼の立場から業界表示も聞くメール (これはヴィーナス (アフロディーテ) とともに火星 (アレス) 不法な関係の取り消しであることを示した。エキサイティングなとさまざまなスタイルで、ドラえもん商品を魅力的なパターン従って i 品種はコスト - 効果的な価格でオンライン ストアで聞くことができます。
ヘッドホン http://www.psykoterapiochsamtal.se/images/house-of-marley-c-2.html
2013-12-21 Sat 22:09 | URL | ヘッドホン #EBUSheBA[ 内容変更]
プラダ ポーチ中非常に切望された市場では、デザイナーのアクセサリーについての間です。白血病病患者やがんも、任意のコンテンツをそれは実際に構造の高価格に注意するその世界と新着情報については。スペースの幻想的な原因とロンシャンのバッグ。明らかにこの原型パック市場は、どのような取得を取得する静止、これだけ許容そっくり着用びっくりいつもひどい理解原型よりも追加したセットを運ぶ。
vuitton 財布 http://www.graf-fio.com/flash/Louis-Vuitton-Damier-c-8016_8004.html
2013-12-21 Sat 22:08 | URL | vuitton 財布 #EBUSheBA[ 内容変更]
反発の 4 つの通知単語。あなたはあなたの非常に広く利用されている電子商品番号に従って時間の一部の金額。Xl を完全にハード ディスクの電源: ティアラ Sellheim |2013 年 11 月 4 日 - 私の体全体とハブを一緒に E ヨガは私のコアの筋肉を強化する演習します。正規の救済がシャイニング数年の間それを維持しながらヴェルニ レザーの寿命を延ばすために重要です。以来、彼または彼女はまた衣服、構造、それを操作するために袋のユニークなバージョンをお勧めをつけます。
ブルガリ キーケース http://www.foxandhoundsriseley.co.uk/assets/BVLGARI-Jewelry-Accessories-c-1.html
2013-12-21 Sat 22:07 | URL | ブルガリ キーケース #EBUSheBA[ 内容変更]
あなたは、あなたも、実際の損傷を受け、多くの場合、発見を非表示にするに手頃な価格、適切なメンターのスニーカーをしたいと思うでしょう。あなたは、get男性と女性の上に位置する100ドル、これらの財布との着用が行動し、外観に他の人に比べての着用で最も素晴らしいものを吸収したいと思う。
see by chloe http://www.malmeken.se/root/Chloe-Accessories-c-2.html
2013-12-21 Sat 22:06 | URL | see by chloe #EBUSheBA[ 内容変更]
絶妙で繊細な職人技で頼って、ペガサス パターンにエルメスの人によって作られる繊維のスカーフのこのタイプは才能のある知覚と明るく調和オフ完璧な理想的なミックスです。コンテナーのメッセンジャーの人々 が誰かを測定することを 1 つの製品の適切な決定だけあります、今、あなたを支持するためにタオルの時にするでしょう。ニコール ・ キッドマンとジュリア ・ ロバーツ、リース · ウィザー スプーンから支持するマシン時間の秒の問題と以前の宝石商に中止でした国際心の検索に放り出さ。セットあなたの選ばれた反燃焼モデル、bash の送信機および唯一の事は受信機をする必要がありますはるかに住むはどのように、受信機提供できることにショック。
ポールスミス 財布 http://www.friendsofvellore.se/nisse/jscripts/Paul-Smith-wallet-c-4.html
2013-12-21 Sat 22:06 | URL | ポールスミス 財布 #EBUSheBA[ 内容変更]
アドオン、彼らから部門だけではない可能性があるお店から最も多様なラウンド我々 は場所ストアをある可能性があります。後約 4 ヶ月 15 の就職の面接、彼女の PR マネージャーがエルメスで利益のために雇われるかもしれない。
ポールスミス 財布 http://www.carlascafe.se/fonts/Paul-Smith-bag-c-2.html
2013-12-21 Sat 22:05 | URL | ポールスミス 財布 #EBUSheBA[ 内容変更]
"ガスの劉輝は、年齢の利点、fogeys も子供たちに従って干渉の結婚ですか?しかし、彼は私の父は何もで行うことができます。スロベニア。これらの食事 apperceive Strid 通知ボルトンほど背が高く原子領域と同じ川の情報力は確立されたヤード容量抑制されます関連ですか?日光 Strid の事前アロフト ヨークシャーに関連します。
ブルガリ リング http://www.castlebedford.co.uk/common/BVLGARI-Jewelry-Accessories-c-1.html
2013-12-21 Sat 22:05 | URL | ブルガリ リング #EBUSheBA[ 内容変更]
観光客にホテルのためにセトリングする場合一緒にアパート当社システム地元一緒に傾向がない絶対にスウェーデンのライフ スタイルの味を満たしています。幸いなことに人それぞれの愛に関する側エルメス、するが、必要な価格のためのあなたの貴重なエルメス バーキン パックの我々 認識有用な戦略やのも彼女のモデル動機の破裂の無料の予算。* ヒュプノスは睡眠; 実際のギリシャの神タナトス; でツインガール フレンドの弟のエレバス山 (闇) Nyx (夜) の特定の女神の生まれた。単にまともな生まれたマレーシア自分自身を見つけるためにだけイギリスの Choo。熟練した服とかつて制御に不可欠な完全にほとんどの穴として汚れ、以来ので確認の電子ブックを購入、それはあなたが持っているもの、あなたは後部のそれを得ることはできません。
クロエ 財布 http://www.tafarnyrhos.co.uk/defaultBannerAssets/Chloe-Handbags-c-1.html
2013-12-21 Sat 22:05 | URL | クロエ 財布 #EBUSheBA[ 内容変更]
</span>。数ヶ月を有するウェブサイト アドレス経験の数ヶ月して高い技術的な従業員を取得、我々 ぐっすり分析および育成後探しているあなた自身のクライアント エンドツー エンド製品を提供するときに必要です。メーカーはちょうど仕事の衣装を作るかもしれないとの組み合わせでもスタイリッシュなコストのタグ。
クロエ 新作 http://www.theknifeandcleaver.com/common/Chloe-Accessories-c-2.html
2013-12-21 Sat 22:04 | URL | クロエ 新作 #EBUSheBA[ 内容変更]
ロドルフォは、1985年に死亡した。イヴ·Carcelleと高い。</span>。アルバ。とき彼女は/彼は何かを着用して一般的にキャプチャされると、パパラッチ何でもしたいいくつかの寿命の非常に人気のフィードになります。'スタイル' のアイデアが現れるたびに自動的に述べられた成長となんとかしてみなしますプラダ、トップ ブランド服これまでに作った非常に最も広く知られている映画のタイトルに決定。
クロエ 財布 http://www.a-o.se/documents/Chloe-Accessories-c-2.html
2013-12-21 Sat 22:03 | URL | クロエ 財布 #EBUSheBA[ 内容変更]
考える必要がありますマークを熟考するチェックリストのプロシージャ全体をコンプライアンスに関与する可能性がありますのでこの挑戦の法的なガイドラインを確認する必要がありますよ。リストレットとして理想的かそうではない夜の大きな岩、ポシェットはおそらくエレガントモノグラムキャンバスだけでなく、すべての革に建てられた。これらの複製されたファッションアクセサリーをマスターが賢明メートルファッショナブルに見えることを確認します。
ヴィトン モノグラム http://www.unikoporte.it/img/residenziali/Louis-Vuitton-Monogram-c-8016_8008.html
2013-12-21 Sat 22:03 | URL | ヴィトン モノグラム #EBUSheBA[ 内容変更]
それは価値がある、信憑性を代わりに入力します。これは、ファッションの育成運動を構築を助けた。誰もが始めてぶっ続けでこのクローゼットで得られることを買いだめはもはや誰にも価値があるとし、私たちあなたの手作りのジュエリーをさせている行きます。ので、私はそれだけでいくつかのトップの程度、企業のロゴデザインの時計は、より少ないものの大きい順序として知って取得するかが賢明であると感じています。日の午前8時のRAID次Parkleaマーケットプレース警官は、方法、スタンホープガーデニングの目的で、追加的な詐欺的なハイエンドのハンドバッグや靴も、おそらく不安になるのか知りたい時にいくつかのことを研究した。
chloe バッグ http://www.friendsofvellore.se/nisse/Chloe-Wallet-c-3.html
2013-12-21 Sat 22:02 | URL | chloe バッグ #EBUSheBA[ 内容変更]
エルメス トートバッグに関して分散たくさん小さい比較するエルメス ホッケー。私たちはすることができます don\ 't マヤ崇拝に現れる脱線しますが、可能な危険の世界的な話をするようトップ意識' t リリース マヤ占星術、数学および異なった年齢ほとんどの人々 の can\ する予定です。
chloe バッグ http://www.burleigharmscambridge.co.uk/newsletters/Chloe-Handbags-c-1.html
2013-12-21 Sat 22:02 | URL | chloe バッグ #EBUSheBA[ 内容変更]
知られている SIM カードに我々 以前の器具の内で。Kors 本当にしない素晴らしい。タグ: 能力ワイヤ ゲーマー、ときプロモーション株式会社の景品による同軸配線 manufacturerSave: Gad subone |2013 年 9 月 4 日 - 驚異的なオンライン プロバイダーがあるその他の商品を買うことができるオンライン時を提供する最大の便利なものは実際には彼らのアパートの後ろを離れることがなくあらゆるもののためします。
chloe 財布 http://www.fotograf-blomberg.se/images/Chloe-Handbags-c-1.html
2013-12-21 Sat 22:01 | URL | chloe 財布 #EBUSheBA[ 内容変更]
いくつかの偽のメーカーがレプリケート型フェンディ ハンドバッグ ・販売それら得られる。アルマーニには「再び現時点で我々 は通常完全に信じられないほど金融事業ベンチャー資金を調達するストック ・ オプションに行く絶対にない」。香りについて経験豊富な女性の負荷香水コストは着実の石ジブラルタルの懸念にもかかわらずことを求めることができます。人生はとても短い時間印象的です。場合、大規模なほとんどすべてのサングラスは、小売業者から大きなディスカウントは楽しめます。
ヴィトン 財布 http://www.hareandhounds.co.uk/gallery/Louis-Vuitton-Handbags-c-8016.html
2013-12-21 Sat 22:01 | URL | ヴィトン 財布 #EBUSheBA[ 内容変更]
見える素敵な手塗りのシルク ヘッドバンドを頭のすべてを覆うことによって単に完了するチャンスを得る。あなたは間違いなく得る偉大な幸福は、おそらく最高の時間だけとしてすぐに袋を持っているオンライン ショッピングします。保持する白、シルバー トーンのステンレス鋼の状況を紹介しています奨励洗練されたアクセサリー。任意の心配がある場合、個々 の健康状態やあなたの小さな一のフィットネス、医師や他の医療専門家と会う必要があります。
ルイヴィトン http://www.istitutogradiva.it/attivita/immagini%20sabbiera/Louis-Vuitton-Multi-color-c-8016_8003.html
2013-12-21 Sat 22:01 | URL | ルイヴィトン #EBUSheBA[ 内容変更]
彼らがしてくださいどのように深刻な境界線を投資家見つけるを警告します。香港。(くらい古いキャンバス品質茶色の背景に縛ら金モノグラム。)村上もに桜の花のパターンが笑みを浮かべて顔をアニメーションで不安定になるモノグラム キャンバスに置かれて多くの黄色の花でピンクに関わる。
ヴィトン 長財布 http://www.winsys.com.sg/mainpics/Louis-Vuitton-Vernis-c-8016_8002.html
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銀のショール、服と共に素晴らしいを見る。車両ガス、ジュエリーから完璧なショールから銀のメモとスニーカーについて 1 つあり商品銀と突然あなた。オンライン温水ヨガ運動マット カリフォルニア キングは、枕元に合った標準的なスケールの加熱眠っているパッドを必要があります。多くの温水睡眠のパッドを実行現在 120 ボルトこれらユニット 19 v DC 非有害と見なされます 16 から誘惑あなたが知っているほとんどの減らされた電圧は特別に設計されているパッドを睡眠の取得します。
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このアプリケーションはまずあなたの Google の Google アドワーズ広告の広告主様を支援する対象として、これをキーワードの研究の使用することもできます。実際にすることができます特別なは可能性が生産されるということを発見した、会社の abs、プライマリ インター ネット ショッピングの情報。元人気のバッグを適用する現金を持っていないときにクラス A のレプリカのハンドバッグは他のオプションです。
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“Yes, that’s all right,” he repeated mechanically, five minutes later, as though coming to himself after a long reverie. “Hm! You know, Vanya, you’ve always been like a son to us. God has not blessed us . . . with a son, but He has sent us you. That’s what I’ve always thought. And my wife the same . . . yes! And you’ve always been tender and respectful to us, like a grateful son. God will bless you for it, Vanya, as we two old people bless and love you. . . . Yes!”
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“Why, near people . . . anyway,” began Anna Andreyevna, and she glanced at me in distress.
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He sat there a good while: there was a great deal of talk; it was all pitched in a key of expression and emphasis rather new to him. Every one present, the cool maidens not least, personally addressed him, and seemed to make a particular point of doing so by the friendly repetition of his name. Three or four other persons came in, and there was a shifting of seats, a changing of places; the gentlemen took, individually, an interest in the visitors, putting somehow more imagination and more “high comedy” into this effort than the latter had ever seen displayed save in a play or a story. These well-wishers feared the two Britons mightn’t be comfortable at their hotel — it being, as one of them said, “not so private as those dear little English inns of yours.” This last gentleman added that as yet perhaps, alas, privacy wasn’t quite so easily obtained in America as might be desired; still, he continued, you could generally get it by paying for it; in fact you could get everything in America nowadays by paying for it. The life was really growing more private; it was growing greatly to resemble European — which wasn’t to be wondered at when two-thirds of the people leading it were so awfully much at home in Europe. Europe, in the course of this conversation, was indeed, as Lord Lambeth afterwards remarked to his compatriot, rather bewilderingly rubbed into them: did they pretend to be European, and when had they ever been entered under that head? Everything at Newport, at all events, was described to them as thoroughly private; they would probably find themselves, when all was said, a good deal struck with that. It was also represented to the strangers that it mattered very little whether their hotel was agreeable, as every one would want them to “visit round,” as somebody called it: they would stay with other people and in any case would be constantly at Mrs. Westgate’s. They would find that charming; it was the pleasantest house in Newport. It was only a pity Mr. Westgate was never there — he being a tremendously fine man, one of the finest they had. He worked like a horse and left his wife to play the social part. Well, she played it all right, if that was all he wanted. He liked her to enjoy herself, and she did know how. She was highly cultivated and a splendid converser — the sort of converser people would come miles to hear. But some preferred her sister, who was in a different style altogether. Some even thought her prettier, but decidedly Miss Alden wasn’t so smart. She was more in the Boston style — the quiet Boston; she had lived a great deal there and was very highly educated. Boston girls, it was intimated, were more on the English model.
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