By E. Burns
The numerous cultural features of gown, textiles, and clothwork are utilized in this choice of essays to envision long-standing assumptions concerning the center a long time. At one finish of the spectrum, questions of costume name up feminist theoretical investigations into the physique and subjectivity, whereas broadening these questions to comprise theories of masculinity and queer id to boot. on the different severe, the creation and distribution of textiles contains us into the area of financial background and the examine of fabric commodities, alternate and cultural styles of trade inside of western Europe and among east and west. members to this quantity characterize a vast array of disciplines presently keen on rethinking medieval tradition by way of the fabric global.
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Extra resources for Medieval Fabrications: Dress, Textiles, Clothwork, and Other Cultural Imaginings
3), Velkenisse (fig. 4), Nieuwland (fig. 5), and Leiden. 9 The earlier Dordrecht and Leiden fragments are dated to the second half of the fourteenth century. 10 The Velkenisse, Mechelen, and Nieuwland fragments are dated to 1400, the first half of the fifteenth century, and 1450 respectively. The fragments were therefore produced over a span of about eighty years from 1370 to 1450. During this period, Dordrecht, Leiden, and Mechelen were particularly important political and economic centers in the Low Countries, one of the most heavily urbanized areas of Western Europe.
As Larry Clopper notes, although it is now often applied to medieval biblical plays, the use of pageant to refer to drama is a secondary meaning, derived from its initial use to designate something that was painted or ornamented. 21 In medieval dramatic records, the word can refer to the decorated mobile object that could function as a stage-set ("pageant wagon") or to a decorated object, such as a painted cloth, that could be carried in a procession. Thomas More used pageant, as A. S. G. 5), refers to "vi payentis iic.
Only a single extant medieval artifact, in addition to the Mechelen fragment, portrays a visual representation of this version. It is a carved wooden comb from the middle Rhein region dated to the first half of the fifteenth century, and thus contemporary to Der Minnen Loep and the later shoes.