By E. Burns
The numerous cultural capabilities of costume, textiles, and clothwork are utilized in this choice of essays to ascertain long-standing assumptions in regards to the heart a while. At one finish of the spectrum, questions of costume name up feminist theoretical investigations into the physique and subjectivity, whereas broadening these questions to contain theories of masculinity and queer identification to boot. on the different severe, the creation and distribution of textiles consists of us into the area of financial background and the examine of fabric commodities, exchange and cultural styles of trade inside of western Europe and among east and west. members to this quantity characterize a wide array of disciplines presently excited by rethinking medieval tradition by way of the cloth international.
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Extra resources for Medieval Fabrications: Dress, Textiles, Clothwork, and Other Cultural Imaginings
Example text
The nature of the artifacts is not unusual, for footwear comprises one of the largest categories of personal objects that have come down to us from the Middle Ages. 4 These slipper fragments are intriguing, however, because of their decoration, and specifically their use as a medium for the transmission TRISTAN SLIPPERS 2l of this particular image from the story ofTristan. Why were lovers from a courtly romance mapped onto shoes? Why were these shoes so popular? Who wore them? This chapter examines the ways in which the symbolic and cultural meaning of shoes overlaps with the implications of the orchard scene depicted on them.
Regalye"(2:630-48, 103-105). Although we do not know what was depicted on these pieces of cloth, their images might well have amplified, supplemented, or served as backdrop to the performances unfolding in front of them. Spoken verses, tableaux, tapestry images, and verses displayed in writing all combined to shape the performance. " Lydgate himself seems to have been alert to the power of visual representation. On at least three occasions he remarks on the impact that images had on him, particularly as provocations to take up his pen and write.
Instead, these utterances seem to draw specifically on the story of Tristan, and refer directly to this scene of eavesdropping and deception in the text. One needs to know the story in order to understand the point of reference. The later images on the Mechelen and Velkenisse fragments thus portray tableaus that, on the one hand, are more dependent on the textual tradition of the story, and on the other, function independently as visual narratives that emphasize the lovers' restraint and their efforts to maintain their honor by keeping their love private.