scispace - formally typeset
Search or ask a question
Author

David Jones

Bio: David Jones is an academic researcher. The author has contributed to research in topics: Narrative & Appropriation. The author has an hindex of 1, co-authored 1 publications receiving 3 citations.

Papers
More filters
Dissertation
01 Jan 2016
TL;DR: In this paper, it is argued that the development of ideas explicated through selected works from my artistic practice, and supported by the contextualisation offered by my two books, constitutes a new contribution to the field.
Abstract: In this exegesis it is argued that the development of ideas explicated through selected works from my artistic practice, and supported by the contextualisation offered by my two books, constitutes a new contribution to the field. This commentary charts the development of a language of making, developed through the process and writing about raku and high-fired ceramics; it then evolved through installation practice and appropriation to frame a new personal expressive direction to the work. The main methodological approach is an analysis through the practice itself as a tool of research. This fits the paradigm of Practice as Research (PaR) as an analytical tool that can provide revelatory insights into artistic output; the revelations derived from this analysis are read through the lens of phenomenology. This philosophical perspective is developed, through the critical tool of PaR, into a metaphoric concern, where the clay body of a ceramic vessel can also be read as a human body. The argument is developed through a critique of the narratives embodied in the work that have become evident to me through the interwoven activities of making and reflective writing. To this end, a trajectory is charted through significant submissions; this narrative commences by examining individual vessels, via an analysis of related pieces in exhibitions to an emergent installation-practice that reveals new insights and a new reading of the work as by a second-generation Holocaust survivor.

3 citations


Cited by
More filters
01 Jan 2016
TL;DR: The powers of horror an essay on abjection is available in our book collection an online access to it is set as public so you can get it instantly as mentioned in this paper, our book servers save in multiple locations, allowing you to get the most less latency time to download any of our books like this one.
Abstract: Thank you for reading powers of horror an essay on abjection. As you may know, people have look numerous times for their favorite books like this powers of horror an essay on abjection, but end up in malicious downloads. Rather than reading a good book with a cup of coffee in the afternoon, instead they are facing with some infectious bugs inside their laptop. powers of horror an essay on abjection is available in our book collection an online access to it is set as public so you can get it instantly. Our book servers saves in multiple locations, allowing you to get the most less latency time to download any of our books like this one. Merely said, the powers of horror an essay on abjection is universally compatible with any devices to read.

260 citations

Journal ArticleDOI
TL;DR: In this article, the central role of the Internet in the emergence of this "modest fashion industry" and how Internet platforms provide for a unique vantage point to not only determine what counts as modesty but to equally enable discussions in this respect.
Abstract: 270 dress embodying a sense of “ordinariness’” which also “transcends identity” (132). Rather than being pre-given, determining the “modest” or “halal” nature of a particular dress is therefore subjected to continuous discussion and interpretation (see for instance Moors (29), Cameron (145)). This is also clearly illustrated through the contribution of Barbara Goldman Carrel who offers a nice ethnography of how Boston-based Hasidic communities are involved in a continuous adjustment or “Hasidification” of manufactured and designer clothes. This ranges from learning techniques to re-adjust the dress to fit one’s standards (re-adjusting the neckline, shoulder size) to inscribing one’s preference for designer clothes into a discourse of royalty that confirm the Hasidim in their position of spiritual superiority (109). Understanding how the negotiation of these boundaries takes place would, however, be impossible without understanding the central role of the Internet in this respect. A second aim of this volume is therefore to underscore the central role of the Internet in the emergence of this “modest fashion industry” and how Internet platforms provide for a unique vantage point to not only determine what counts as modesty but to equally enable discussions in this respect. In Emma Tarlo’s contribution we are witness to how modest fashion not only enables interconfessional encounters between Jewish, Christian, and Muslim women but also how the Internet (and the anonymity it offers) plays an important role in bridging these boundaries (78–9). The importance of the Internet also lies at the heart of Reina Lewis’s contribution. Yet in this account the Internet not only acts as a passive platform but is understood through its own logic of advertising, of hyperlinking, and of restructuring the religious communities (e.g. 54). She looks, for instance, at the central role fashion bloggers play and how they not only act as main alternative to the offline fashion magazine for modest fashion style, but also how these same fashion bloggers almost emerge as semi-formal new (female) authorities in the religious field (52); see also Moors’ contribution (28–9). Finally, Liz Hogard pays attention to the media framing of “modest fashion” which highlights the way in which the female body remains a central site of surveillance—as epitomized through the Nigella Lawson burkini controversy in 2011 (187). Through the adoption of such a comparative approach, the volume nicely captures the complexity that surrounds modest fashion and for the most part manages to avoid essentializing accounts that take religion and gender as incompatible. However, not all contributions succeed this endeavour. In a remarkable intervention, Elisabeth Wilson addresses the by-now classical question of veiling and patriarchy, yet does so in a way that it reproduces many of the clichés that were criticized and deconstructed by the various contributions in the same volume. Yet aside from these unfortunate exceptions, Modest Fashion remains an interesting contribution to the literature on fashion and religion through the attention it accords to the role of the Internet, the broad interfaith approach it adopts, and the analytical reflection it offers on how through the category of modesty traditional gender roles, dominant beauty standards and interfaith relationships are continuously redefined.

102 citations

Book
01 Jan 1979

2 citations