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Blu-rayネーミングの勝利?

新聞で毎日のように東芝のHD DVDの記事が目につくようになり、「次世代DVDの事だったの?」とやっと理解してもらえたのではないだろうか?
感心のないコンシュマーは案外こんなものではないかと思う。
今思うに、この「HD DVD」のネーミングはいささか解り辛かったんではないだろうか。
我々業界の人間でさえも「SD」作品ですか?「HD」作品ですか?などの話の中で比較のため「エッチディー」という言い方をするがほとんどの場合「ハイビジョン」を使う。
ましてや「ハイディフニッション」など未だに舌を噛みそうで言えない。
それに勘違いしやすい「HD」という略文字は「HDD」を「HD」という事が多々あるし、レコーダーは「HDD」を搭載しているのが普通になってきているからややこしい。
間違う事はないと思うが、オートバイ野郎は「ハーレーダビッドソン」経済界では「ホールディングズ」を「HD」と好んで使ったりする。一文字違うが「HP」は「ホームページ」と「ヒューレットパッカード」で一般的に使われ、コンピューターを扱うものにはややこしい。このように勘違いが起こる可能性のあるアルファベットを商品のネーミングに使うのはやはり間違いではないだろうか?ただ、「HD DVD」が覇者になった後の話として言うならばはこれ以上シンプルな商品名はなかっただろう。

一方の「Blu-ray Disk」は何かよくわからないけど新しい技術、未来感がある名前に聞こえる。LEDのブルーを連想して好印象も与えたようだ。商品のマーケティングにおいてこの差は大きかったように思う。デファクトスタンダードにならないと意味がないのかもしれないが、東芝の撤退はなかなか厳しい現実をあらわしている。
しかし、「Blu-ray Disk」は覇者になったのだろうか?
フジのんさんも何度も書かれているが、「Blu-ray Disk」の真の敵はインターネットのインフラに乗っかった膨大なストレージサーバー内のコンテンツである。何も大容量ディスクに録画して家に置いておかなくてもよい時代が来ている。私個人の話であるけど何百本ものVHS、Hi8、DVDディスクは録画後何度も見たことがあるのは1%もない。この現実に消費者はそろそろ違う形での映像の楽しみ方を見いだしてきている。
Appleの音楽配信からまさにその様子が一変してきている。そのAppleが映像にも本格参入するというし、オンデマンドやストリーミングが一般化となるとコンテンツのあり方を根本から考えなおさなければならない。ソニーは「PS3」で「Blu-ray Disk」のゲームコンテンツは間違いなく売れるだろうが、問題は圧倒的な量の映像コンテンツがどうなって行くか?に本当の覇者に成り得るかどうかがかかっているように思う。

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コメント (382)

さすがに文章力が違いますねぇ。。
と、カンケーないとこに感心してしまいました(笑)

datajiro:

いやあ、先日この事とでしゃべった人がいるのですが、「ブルーレイは売れるよ」との事。何か一本にしぼれる事でつかえていたものが取れて仕事がしやすくなったらしい。メーカーもブルレイ搭載した複合商品を出すからあまり必要じゃなくても買っとこか。
と言う事になるらしい。比較するのは何だけど携帯も必要ないものくっ付けて売れた経緯があるから世の中解らない。
まあ、良いもので消えて行くものもありゃあ、しょうもないのに残っているという変な現実が真実。今のうちにHDDVD買っておこうか(笑)なんて。閉鎖環境なら何でもいいってこともある。何処かで投げ売りしてるかも。逆に売れだして、品薄とか?

This really my very own Other set of elder scrolls online gold. These have become nice and type.

Michael Kors Jet Set Totes:

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).

JIGGY type square からクロノグラフモデルが登場。クロノグラフの小窓が自転車のパーツを思わせる立体ダイヤル。バンドサイド、秒針、りゅうずにビビットなアクセントカラーを加え、ストリートファッションや遊びのギアにマッチするモデル。/日常生活用防水/精度:平均月差20秒/秒針停止機能/日付修正機能/24時間表示/クロノグラフ機能(1/1秒、60分計)/電池寿命約2年(使用電池280 39)。CKエンターテイメント

見た場所はたくさんの人が乗り換える、通勤時間帯とその帰りの大手町駅ですだから社会人か早く行ってる大学生?

新商品のクチコミ情報満載。これからのトレンドをいち早くチェック!ビューティまにあ

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.

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.

しかしもみちゃんが着ている写真はなくすみませんがお洋服だけのものをアップいたします

この相談に対して、みんなのウェディングユーザーから沢山のコメントが寄せられました似合っていれば問題ない!

レディースファッションについて紹介します!

I exploit my elder scrolls online gold for casual, comfort and ease deliver. I like them!

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.

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).

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.

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).

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.

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.

──なんにせよ、サンデーで荒川先生の、しかも青春ものが読めるということですね!

といった意見も多く、いつまでも若々しくいるためには、流行を取り入れつつも、トータルバランスや自分に似合うスタイルを客観的な目を持って着こなすことが大事なのかもしれませんねBIGLOBE Kirei Styleでは今後もアラフォー女性の趣味嗜好が分かる特集を掲載していく予定ですアンケート調査概要

センター分けも似合うかもと言われ、試しにしてみたら意外にしっくり来て、好評でした同じパッツンでも、ご自身に似合う前髪を、きっと提案して下さると思いますご質問者様は、黒髪ロングとのことでしたので、髪の毛のダメージもパーマやカラーリングで痛むことなく、パッツン前髪にされても、サラサラできっと素敵だなぁと思いました(^o^)☆

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.

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.

これから、海外から参入する大手ファッション企業、国内の好調ファッション企業と競っていく上で、私が常々ブログを通じて訴えていること・・・よくお読みになっている方はおわかりだと思いますが

今回の調査からも分かるように多くの人が「虫歯」を気にしていますよね1。歯のエイジング要素は様々ありますが、何気なくしている行動が、気づかない内に歯にダメージを与え、機能的にも見た目的にも悪影響を及ぼしてしまうことがあるのです皆さん、「酸蝕歯」をご存知ですか?これは、食べ物や飲み物に含まれる“酸”によって、歯の表面にあるエナメル質が溶け、ダメージを受けてしまった状態のことです。日本人の6人に1人が「酸蝕歯」の可能性があると言わています(i)。他人事ではありませんね。しかし、今回の調査からもわかるように、「酸蝕歯」を知っている人はわずか23%で、日本ではまだまだ知られていません5「酸蝕歯」は機能面だけではなく、段々と見た目にも大きな影響を与えます。「酸蝕歯」が加速して、エナメル質がダメージを受け続けると、黄ばんで見えたり、白濁や欠けが生じてしまい、見た目に大きな影響を与えてしまうのです美容健康意識の高い人ほどなりやすい、身近に迫る「酸蝕歯」リスク

アイメイクやつけまつ毛をするなというわけではなく、年相応で自然な感じに見えるものにしてほしいのです。濃いアイメイクにボリュームたっぷりのつけまつ毛は正直、ドン引きされること間違い無しですいかがでしたか? 若い時に着ていた洋服やメイクをそのまま続けているとしたら、ちょっと痛い女度が高めかも。若い時にはできなかった、大人だからこその雰囲気を演出して、素敵な女性を目指しましょう【NGファッション】

一方、中期計画、年月期で年商億円が射程に入ったというポイント社自身の今後の課題はグローバルプレーヤーとしての生き方です。「マッドメン」に見る…60年代N

高級ブランドのバッグや、スーツ等を揃えるのは逆効果です。高級ブランドが好きな女性は多いですが、高級ブランドを身に着けた男性を好む女性は、余り多くありません。スーツスタイルで高級ブランドアイテムを取り入れるなら、さりげなくネクタイ程度にしましょう◎ 3:目立ちすぎない

フロントドアに設けられたフォトフレームは、開発時には必要性や安全性などの面から賛否が分かれたたとのこと。スズキのラパンのスペシャルWebサイトではフォトフレーム用の台紙を配信しており、プリントアウトして利用できる。また、結城氏によれば今後継続して毎月更新することも検討していると言う

Blu-rayネーミングの勝利? (P100Project blog Digitalの叫びとつぶやき)
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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.

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.

某ぽっちゃり系雑誌でも「可愛いな」と思うコーディネートはたくさんあるのですが、普通の人が見たらどうなのか…

Michael Kors Cases Accessories:

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.

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.

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.

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.

私は今日からメガネ女子。今までもファッションとしてメガネはかけていたけど、仕事でかけるようになるとは思わんかったほんとに!ぜひグラビアやってほしいwwwスプーン本誌?はファッション誌みたいだしwはふはふまこちゃん可愛すぎ//// 女子力高すぎぃ>メガネかけて誘惑しますねw

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.

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.

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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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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絵柄は「パワーパフ ガールズ」のようなカートゥーンアニメ風。内容はゴーストハント物で、“パンスト姉妹”が活躍。インパクトのあるネーミングだが、設定も突き抜けており、姉のパンティ(名前)は、ブロンドヘアーのセレブで、ゴースト退治よりイイ男探しに夢中の問題児。着用しているパンティを脱いでメインウエポンの銃を“変成”して戦うという凄い戦闘準備方法。妹のストッキング(名前)は、ブルネットのロングヘアーにゴスファッションで、口を開けば毒舌まみれというお約束キャラ。こちらも脱いだストッキングを双剣に変成させて戦うというサービス設定だいろいろと突き抜けた作品のようだが、それもそのはず、監督が今石洋之氏、メインキャラクターが錦織敦史氏、制作がガイナックスと、宇宙規模に“突き抜けた”傑作「グレンラガン」のスタッフによる新作。ガイナックスらしい“こだわり”と“爽快な映像”に期待が高まる。設定は男性向けだが、絵柄的に男女問わず楽しめる作品になりそう罵られたり暴力を振るわれると、理性ではいけないと思いつつ、至福を感じてしまう前代未聞の主人公。原作はMF文庫Jのライトノベルだ。ヒロインであるドS少女・美緒らの手を借りて、性癖を治すというのが1つの主題だが、太郎以外にも様々な、一般的ではない性癖や趣味趣向を持ったキャラクターが登場。それぞれの問題を乗り越えながら、太郎とヒロイン達との若干偏った恋愛模様が描かれていく基本的には笑える作品だが、そうした趣向に目覚めるには様々な原因があり、それゆえの悩みもある。キャラクターの内面を深く描く作品でもあるため、感情移入しやすい作品になるかも。もう1人のヒロイン・嵐子との恋愛描写にも期待だ。個人的には主人公・太郎の母・智子と、姉・静香の超絶ブラコン

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Fashion and Gender

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JR池袋駅から埼京線で2駅、東京都北区十条。十条駅前には北区最大のアーケード商店街・十条銀座が広がっている。十条銀座は200以上の店舗で構成され、いつも多くの人で賑わう。その特徴はどのお店もとにかく安いこと。そこかしこから「本日は大特価!」「ただいまタイムセール!」などなど、安さをアピールする声が飛んでくるそんな年中大バーゲン状態の十条銀座だが、中でもひときわ異彩を放つ商店がこちら、全品209円(一部399円もあり)の古着店「ごきげんバザール」十条銀座本店である209円と聞いて「ホントに着られるの!?」と思う人もいるかもしれないが、ご安心を。同店の商品はすべて日本国内から買い付けており、美品である細長い店内には子供服・若者向けから年配向けまでの衣服、シャツ・セーター・ワンピース、ギャル・コンサバ・森ガール、果てはバッグや靴などの小物まで、幅広い年齢層かつあらゆるジャンルの商品がびっしり陳列されている。すべてのファッションアイテムを網羅していると言っても過言ではない。圧巻である。そして商品は毎日大量入荷。毎日通いつめても飽きないのだ!

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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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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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ダイバーシティは、ユニクロ、、、フォーエバー、アメリカンイーグルなど国内外のの大型店が集結する商業施設として、業界では、昨年から注目されていました。オールドネイビーの他に、アーバンアウトフィッターズグループのアンソロポロジーやアバクログループのホリスターの日本号店の出店もあるのでは?と話題になっていたものでした。

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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.

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.

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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6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.

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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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Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.

It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!

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ライブドアのメディア戦略とファッション流通やはり毎日目を話せないニュースが、ライブドアによるニッポン放送、フジテレビ買収劇ですね基本的には、新世代代表として、堀江氏を応援してはいます。資本主義のしくみをつかって、巨額にモノを言わせて何かを動かすことは、場合によっては、悪いことだとも思いません。しかし、買収することが目的に見えてしまい、なかなか買収後の具体的な戦略が見えてこないのが、ちょっと、というのが、多くの方の本音ではないでしょうか?

5:47 A graphic just flashed that Paul George is the first Indiana Pacer to start the season with seven straight 20 plus point games since Clark Kellogg in the 1985 86 season. I would be very interested to know what the odds are of him winning an MVP award before Andrew Luck does with the Colts.

って男性の方ここでまず自分のファッション誌診断してみてくださいファッションの系統診断

asics sensei 3:

Les puedo decir que estoy más ansioso por 7 años a algunos modelos de tanques. después de la investigación y todo lo que me enteré de que el leopardo 2 tiempos para algunas cosas que el Abrams estadounidense. a continuación, después de que se reveló el 90 t. Les puedo decir (por experiencia) que la mejor es la de 90 t. ¿sabes por qué? entonces, como los sistemas de defensa del leopardo 2 tiene el humo y blindaje reactivo (cos blindaje reactivo si usted consigue un misil, estalla blindaje reactivo, la destrucción de los misiles y la prevención de la entrada en el tanque. conocido si el blindaje reactivo tiene la forma de mattonele) la Abrams tiene el humo y el blindaje reactivo. y el t90 tiene el humo y un sistema de blindaje reactivo que desvía los misiles guiados. ah también hay blindaje reactivo para el t90 todavía en el diseño. Te puedo decir que (de nuevo después de años de investigación) que el nuevo blindaje reactivo el t90 será pulso electromagnético. nn + entonces necesitaremos un caparazón que explota, destruyendo el misil (tenga en cuenta que el misil se destruye, sin embargo, decir que siempre ccs explosión en el tanque que es la armadura reactiva) resumir el pulso va a destruir el cohete tal vez incluso distancias de 10 metros 20.

足首でクロスする華奢なストラップがポイントになったレディムードを薫らせるデザイン。・何気ない立ち姿もサマになるハイヒール。・安定感のあるウェッジソール。・インソールにクッション入りRay BEAMS / シルケット パフTシャツ

11年に続き「分包・アソート」「炭酸ガス」の入浴剤が好調に推移し、市場を牽引した。また近年は、湯船入浴だけでなく、若年層を中心に増えているシャワー入浴に対応したシャワー剤や、バスタイムそのものの満足度アップを図る製品に対する需要も高まってきている中でも、シャワー剤は使用率の向上とともに、商品数も増え、今年も2ケタ成長を見込む。ヘアボディのインバス製品で進展しているパーソナルケアの流れが入浴剤市場でも強まってきていると言える12年市場のタイプ別構成比は、「炭酸ガス」が1ケタ後半の伸長率で約160億円、「薬用」が2減の約140億円、「スキンケア」が5減の80億円となった。3タイプで市場全体の9割以上を占める【提供元週刊粧業】

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.

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).

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.

How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.

Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.

Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.

Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.

6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:

あんなに好きだった彼との付き合いを考えてしまうくらいの衝撃が走りますよね?男性には申し訳ありませんが、女性は男性のファッションセンスの悪さに百年の恋も冷める衝撃が走ります!

How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.

流風は、自分のファッションには疎いが、一応、若い時から、女性のファッションには関心はある。それは変化があり面白いからだ。それに比べて、男のファッションというものは、女性のファッションに比べたら、あまり広がりはない。それに流風の世代は、あまりちゃらちゃらした服は敬遠された。確かに学生時代にジーンズは流行していたが、それから、そんなに進歩したかと言うと、疑問が多い。

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.

素材 綿100日本製洗濯機OK サイズ サイズ約58センチ 特徴 やわらかい。UVケアーにも 注意事項 画面上と実物では多少色具合が異なって見える場合もございます。ご了承ください。ご着用時には爪等に十分注意してください。 発売元・メー…

9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.

自分に似合う色・似合うファッションスタイルを知って、「自分軸」を見つけませんか?

当該問い合わせ、苦情または損害が弊社の責に帰すべき事由により発生した場合を除き、弊社は、一切責任を負いません。「満島ひかり」のプライベートファッションがやばすぎる

その協会が定めたブドウ品種から”ノヴェッロ”が作られ、

作品データ 製作年 2013年 製作国 日本 配給 松竹 上映時間 105分 映倫区分 G オフィシャルサイト

女性の髪型は多種多様だ。ショート、ミディアム、ロングといった髪の長さから、まっすぐなストレートヘア、ボリュームのあるウエーブヘア、結んでアップにしたり、そのまま下ろしたり、髪色を変えたり……とアレンジもさまざま。正直、細かい違いがわからん! と感じる方も多いだろう実は、ウェーブヘアひとつとっても、美容院で施術したパーマと、ウェーブ専用のヘアアイロンで作った即席のウェーブヘアとでは違うのだ最近、このウェーブ専用のヘアアイロン“ウェーブアイロン”が、カジュアル系ファッションの女性の間で流行っている。その日の気分でふわふわのウェーブが作れて、洗髪すればすぐに落ちるという手軽さがウケているようだでは、そんなウェーブアイロンとは、実際どのように使うのか。今回は小泉成器の「BaByliss(バビリス) ウェイビーアイロン BLW 1600/KJ」を試してみた私は髪が長くボリュームがあるため、全頭にウェーブをかけるには10分ほどかかった。時間がない時は、一度に大目の毛束を挟むことで、もっと早く仕上げている。そのぶん、少しウェーブが弱まるのはご愛嬌だ仕上がった髪は、全体的にボリュームアップした印象になった。髪のツヤは消え、乾いた質感だ。ウェーブの持ちも上々で、雨のパラつく湿気の多い日でも、ちゃんと夜まで残ってくれた。そして洗髪後には、元の通りストレートの髪に戻り、特に髪が痛んだという実感はない気に入ったのは、ウェーブアイロン全般に共通して言えることだが、その日の気分で手軽にウエーブヘアを作れる点だ。美容院で施術するパーマは、一度やると当分元に戻せない。飽きっぽい自分には、即席ウェーブを楽しめるヘアアイロンが向いていると思ったまた、BLW 1600/KJでは、温度が200℃まで上昇するため、しっかりクセ付けできるのが良かった。かなり高温にはなるが、持ち手の部分が熱くなりすぎないのも嬉しい。これまでこの手のアイロンをいくつも試してきたが、中には温度がしっかり上昇せず、クセ付けがうまくいかない製品や、温度が上がっても、持ち手が熱くなりすぎてしまう製品もあった。それらに比較すると、BLW 1600/KJは使いやすいただし、高熱を帯びるヒーター部のパイプがむき出しになっているので、手が触れないよう注意したい。私がいつも使っているウェーブアイロン「ツヤグラウェーブ」は、ヒーターの両サイドにパネルが付いた安全設計となっている。BLW 1600/KJも、ヒーター部を覆うなどの工夫があれば、なお良かった。このような理由から、BLW 1600/KJは、アイロン使いやヘアアレンジに慣れている方にオススメしたい左がこれまで使っていた「ツヤグラウェーブ」、右がBLW 1600/KJ

これからスカートスタイルでタイツを履く場合、

さて、今日は廃棄パソコンの発送や依頼方法についてご質問を頂きましたので、ちょっとご説明をさせていただきますこちらの「パソコン処分の廃棄deECO」のページにも記載させていただいているのですが、

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.

エミリ「男性スカウト・・・あ、Akiranのことね!」

あなたが、何かシンガーになる大きなきっかけとなるシンガーやアーティストは誰、曲はなんだったでしょうか

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のんびりとトイマニの様子を見に歩いてきたら、既に物凄い人・人・人・・・・・・

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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東条は、ぐっと返事につまり、天井を仰ぐしぐさをしてから、言った「樋口君、よく分かった。ちゃんと筋が通っている。私からも中央に対し、この問題は不問に付すように伝えておこう。」

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こーゆーパンツ日本ではなんていうっけ?

神保町の三省堂裏からすずらん通りを少し入った右側。ガストの向かい、一階がサンマルクカフェのビルの階です。

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5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.

5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.

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自分自身を時に引き上げ、守り、寂しさを癒すことから語られるフレーズ。2004年09月のブログ

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毎日特別なこともなくたんたんと暮らすように過ごしています今日からさぁのグループレッスンが始まりました今までは午前中のみセミプライベートレッスンで、午後は空いている部屋で学校の宿題をやっていましたが、今日からは午前も午後もフルに英語漬けですまた私のクラスも新しいしクラスメイトが増えました今日の英語は聞き取れなかった単語

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・AKB48 キンタローのせいで最悪の火曜曲に

置くくらいは…と思いますが具体的に検討のお部屋があるのでしたら、仲介等の販売業者に詳細を問い合わせれば管理会社や被災箇所や修繕について等

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「女の子が騒ぐほど、男ってみてない」

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How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.

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何だか・・シャツ姿のハウンを見ると泣けてきます。。。。。(T_T)

[音楽]再来日決めたポール・マッカートニーの「日本愛」

LN CCでも、エクスクルーシブ商品も含め取り扱っているコムデギャルソン、ヨウジヤマモト、イッセイミヤケが世界で好評を得る。これらのブランドが、DCブランドブームの火付け役のつになるしかし、バブルがはじけ、経済不況に入るのと同時にこのムーブメントも少しずつ現象していった【ポストDCブランド時代⇒藤原ヒロシグループのNIGO、高橋盾の裏原系ブランドの登場】

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キュアハッピーとしてだけではなく、星空みゆきという人間としても成長している事が伺えますまた今回は前半最初の下校時、宵闇迫る時期の演出が印象深かったですてゆーかてゆーかてゆーか、岡田さん今までノーマークでしたが、可愛いじゃないですか(笑)

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・「見た目に暑いので、勘弁して欲しいです」(その他自営業10年目以上)

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So all eyes would be on the Pacers when they host the Chicago Bulls on national television, right? Well, despite the 97 80 victory over a team many believe could be the best in the Eastern Conference, the talking heads the following day decided to spend their time talking about what a point guard who had missed the entire season before was doing wrong just four games in.

2:31 Paul George uses a Roy Hibbert pick on Paul Pierce to create some extra space, he runs to his right, and throws up a shot falling away from the basket that was much longer than the 15 feet the shot chart says. Does it go in? Of course it does, and George finishes the night with 24 points on 8 14 shooting with six rebounds and two assists. This Pacers team has enough depth that Paul George doesn have to absolutely demand the ball in the fourth quarter (like perhaps Kobe would), but it definitely doesn hurt the team when he gives it a shot.

How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.

9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.

0:00 Quarter ends with Joe Johnson getting guarded by Paul George on the corner, George hesitated and gave Johnson just a short extra breath of space to breathe, and Johnson throws up a three that hits nothing but net at the buzzer. Not sure what more George could have done there, but Pacers take the lead 72 67 going into the quarter. On the offensive end what probably stood out the least and had the most impact is Paul George sneaky 3 4 from the field for nine points on the quarter. I think this is when you realize that somebody has taken the extra leap from pretty good player to absolute All Star, is when they use little energy to hit a 10 footer, 20 footer, and three at 25 feet, and you don necessarily think twice about what is taking place.

It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!

煽り骨の髄まで偏向、歪曲を重ね

自分の彼氏がレディースの服を買っていても、むしろ自分が選んでる時に相手が暇じゃないかとか気をつかわずに一緒に服を見れるから嬉しいと思いますねやっぱサイズ的に、良いデザインのものがメンズではないというかメンズSサイズ以下はレアですからまぁ学生の時はレディースのジャケットとか買ってましたが、就職してからはメンズのSやXSのものを買ってますね。一着万円するジャケットとか買ってますけど、同じようなデザインのレディースのものだと千円ぐらいですからねただ、女性っぽいデザインのものは何一つ選んではいないですけどね今もGパンはレディースですね。メンズではそもそもサイズが無いですから。男性が本当に見抜く女子力の高さとは

11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.

ご馳走さんといって、お帰りになってくださる方たちだ鮨屋は飲み屋じゃないんだから」

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コレクション, ヒョウ, 皮膚, 手ざわり 絵

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いつもローライズのジーンズを穿いているという20代後半のOLは、「男性の目などまったく気にならない」と言い放つ「パンツを出すのは文化です。みんな出しているから気にならないです!」

それから、長い枝を使ってリースを作りましたたくさん葉っぱが残っているので、残りはドライにしておきます(^^)

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「膝丈のスカートでもなくロングスカートでもない、中途半端な丈そのものが、おばさんぽさを醸し出してしまいます」

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会期は11月4日まで同イベントでは、アイビーファッションのアーカイブの展示を軸に、アイビーに縁のあるブランドのエクスクルーシブモデルの販売やトランクショー、トークセッションを行うメイン会場となる7階催物場では、「ブルックス ブラザーズ(Brooks Brothers)」や「リーガル(REGAL)」といったアイビーのアイコン的ブランドはもちろん、ファッションシーンをにぎわしている新進ブランドも多数登場している。中でも来場者の注目を集めていたのは「アレキサンダー・オルチ(ALEXANDER OLCH)」と「トム・ブラウン(THOM BROWNE)」のディフュージョンライン「トム・グレイ(THOM GREY)」。いずれも秋の立ち上がりから品薄の状態が続いているブランドだトム・グレイはトム・ブラウンならではのコンパクトなサイジングやストイックな色使い、さり気ないアクセントは据え置きで、手に入りやすいプライスレンジで展開しているのが特徴ニューヨーク発のネクタイブランド、アレキサンダー・オルチは定番のタイやチーフのほか、ブラックウォッチで染めたサスペンダー、ボウタイ、タイ、チーフ、メモカバーの5アイテムを木箱でラッピングしたイセタンメンズ限定セット(7万3,500円)を用意。オルチ本人がコーディネイト指南をしてくれるトランクショーやシャツのパターンオーダー会も開催するアメリカ三大スーツファクトリーに数えられる「マーティン・グリーンフィールド(Martin Greenfield)」もブースを出展。オバマ一、歴代大統領のスーツを手掛ける一方、10月に初の路面店をオープンした「バンド オブ アウトサイダーズ(BAND OF OUTSIDERS)」など気鋭のブランドの生産も一手に引き受ける同社はクラシックモダンなモノづくりに定評がある。「ナチュラルショルダーやボックス型のシルエットといったアイビースタイルをベースとしつつ、短めの着丈、気持ちシェイプさせたウエストでアップデートしているのが特徴」とマスターテーラーのスティーブ・フェリグ氏は語る会場奥には、ニューヨークのライフスタイルストア「フリーマンズ スポーティング クラブ 東京」のカフェコーナーも。キャラメルシフォンケーキ(630円)とアップルジンジャースカッシュ(1,050円)が人気だという。自家製のジンジャーウォーターとレモンシロップで仕上げたスカッシュもすっきりとした甘さまた今展の目玉企画として、ニューヨークのファッション工科大学が運営するFIT美術館所蔵のアーカイブ展も。アーカイブは戦時中のスーツやフォーマルウエア、東部8大学のブレザー、カジュアルウエアなど14体に上る。「アイビーはタイムレスでエイジレスなスタイル会場には開店と同時にトラッドな服に身を包んだ老若男女が押し寄せた。Fly Me To Minami 恋するミナミ

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好感度な路面店の立ち並ぶコベントガーデンやストリートカルチャーの発信地であるカーナビーストリート、パンクファッション古着屋の多いカムデンマーケットに刺激を受けながらリサーチしていたものでした。

そんな中、ヨンゴルはアンナのために高級オフィスを用意し、アンナはオフィスのオープン記念にジェヒョクを呼んでもいいかとヨンゴルに聞く。

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夜眠くないけど、早く寝ないといけません。結果時に寝て、時起床はきついです車台の収納棚が、既製品台用は、ちゃちで壊れたので鉄パイプで作る予定だったので実行しました時過ぎに、荒川沖のジョイフルホンダ本店へメートルの鉄パイプ、ミリメートルで作ることに。あらかじめ設計図を大まかに書きましたが。縦本のミリからミリの縦本の横段でセンチメートル金具ジョイントで叉がなく、叉で。地面の設置に金具個とパイプキャップを買って,円。市販品個分より高いが耐久力は倍はあるでしょう。パイプは、メートルで本円。キャップが円で個、スタンドつで円個、接続金具円で個でしたお昼食べて、ソファーで見てうたた寝しちゃいました午後時過ぎから作り始めましたが、叉金具が固定でなかったので倒れて大変でした組み立ててみると、金具が叉でなかったせいか、個不足。接地面は、コンクリート板の古いもので代用しましたやむなくまた買いに行きました。時半からペットと魚見て、金具購入。今度は度固定式で個円で,円。時前に帰宅。金具を電動ドリルで固定しました。何とか時過ぎに終わりましたタイヤを載せてみると、なんと本しか載りません。タイヤ個でメートルで足りてましたが、金具とパイプの交差でセンチとられ、結果足りなくなってしまいました。センチは必要でした段目は、用本。段目は残り本とフィットの本。段目に残り本を横に置き、ブルーシートを家窓格子にかけか所ほどワイヤーで止めました夕食後、久しぶりゴルフ練習と犬の散歩で終了です。時前今日は早く寝て明日に備えましょう。腰痛いよ・・・

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11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.

It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!

8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.

:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!

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[その他文具]よつばとダンボー展ダンボー A4クリアファイル

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.

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).

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.

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.

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.

(Has anyone ever said it weird seeing Deron Williams in a Nets jersey? Anyone?)

「ナタリー」のサービスを快適に利用するために、JavaScript を ON にしてくださいPower Push きゃりーぱみゅぱみゅ「ぱみゅぱみゅレボリューション」特別企画 3

やはり女子同士は恋バナが一番弾むようだ田中は月日(日本時間日)のブルージェイズ戦でメジャー初登板する。理系にこそわかるマネーと国債の関係

It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!

6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:

3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.

6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:

Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.

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8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.

But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:

11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.

11:47 As David West breaks out to the right corner of the free throw line thanks to a Roy Hibbert pick on Kevin Garnett that would make the Colts O Line proud, I already can help but think to myself how weird it seems watching Garnett/Pierce these Nets uniforms. However, as a Lakers fan myself, am I happy to see two former Celtics end their careers in such fashion? Absolutely! ANNNNYYYYTTTHHHHIIIINNNGGGG IIIISSSSS POSSSSSIIIIBBBBBLLLLLLLEEEEEE!!!! West hits the jumper to tie the game 46 46, because David West is just flat out a bad man.

So all eyes would be on the Pacers when they host the Chicago Bulls on national television, right? Well, despite the 97 80 victory over a team many believe could be the best in the Eastern Conference, the talking heads the following day decided to spend their time talking about what a point guard who had missed the entire season before was doing wrong just four games in.

5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.

2:31 Paul George uses a Roy Hibbert pick on Paul Pierce to create some extra space, he runs to his right, and throws up a shot falling away from the basket that was much longer than the 15 feet the shot chart says. Does it go in? Of course it does, and George finishes the night with 24 points on 8 14 shooting with six rebounds and two assists. This Pacers team has enough depth that Paul George doesn have to absolutely demand the ball in the fourth quarter (like perhaps Kobe would), but it definitely doesn hurt the team when he gives it a shot.

:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.

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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.

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.

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.

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.

8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.

Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.

Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.

How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.

But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:

But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:

:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!

The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.

It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!

5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.

How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.

So all eyes would be on the Pacers when they host the Chicago Bulls on national television, right? Well, despite the 97 80 victory over a team many believe could be the best in the Eastern Conference, the talking heads the following day decided to spend their time talking about what a point guard who had missed the entire season before was doing wrong just four games in.

eso gold are so nice and that i cannot wait to deliver them .

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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.

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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Michael Kors Grayson Monogram Medium Grey Satchels 14 1/5" x 4 9/10" x 13 4/5" UK:

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.

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).

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.

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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publicado por Circulo Contable, el 18.10.2007 12:02

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El retraso de la porcin de la consecuencia a un ni?o no va a ser tan efectivo ms.

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.

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.

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).

Michael Kors Jet Set Travel Messenger Logo Large Brown Crossbody Bags 12" x 11" x 5" UK:

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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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.

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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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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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).

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 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.

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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Michael Kors Jet Set Totes UK:

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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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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Michael Kors Gia Totes UK:

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.

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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