DE MONTFORT
UNIVERSITY
Department of
History of Art and Material Culture
Module Leader: Emily
Baines
CULTURAL IDENTITY
Notes On Assessment
Deadlines
Studentship
Seminar Presentation
Research Report
Essay
Referencing and Bibliographies
Notes on Plagiarism
This
module provides students with an opportunity to research and analyse their
specialist discipline in relation to issues of identity. What does it mean to
establish, find or construct an identity? How does a personal identity as a
designer or maker relate to company or organisational identities, or to social
and political identities? How is one culture affected by its relations of power
and trade with other cultures? Are the perceptions of other cultures and groups
significant in forming an identity? How does all this affect design, ways of
designing and actual products? The module will introduce a broad range of
cultural theory, relevant to current debate on issues of identity, nationality,
gender, the body, virtual realities and consumption, as applied to design of
interiors, product ranges, craft and the promotion of organisations.
Postmodernism, and its theoretical approaches, acts as a basis for interpreting
multiple voices and sites of identity. The module provides design students, and
those with an interest in material culture and its display, with an opportunity
to develop theoretical and critical perspectives. The aim is to provoke
critical debate and a deeper insight into cultural identity and the social
context of design.
·
To provide an opportunity for students
to contextualise their studio work by examining the construction and
development of cultural identities in relation to design.
·
To provide an opportunity for students
to explore a wide range of cultural identities and design from different
cultures and periods and to research in more detail an aspect that particularly
interests them
·
To provide an opportunity to familiarise
yourself with, and form a critical stance towards, the highly topical,
multi-disciplinary theory of cultural studies and identity politics. This will
provide an opportunity for students to develop knowledge that has a
transferable theoretical basis, and will support academic work elsewhere in the
curriculum.
·
To provide an opportunity for students
to develop skills in the analysis of texts, design and theory; in the
construction of arguments; and in academic quality writing and professional
quality presentations.
As a result of
studying this module, you should be able to:
·
Demonstrate an understanding of the
range of theoretical perspectives used to explore the subject.
·
Demonstrate the skills to research a
theme in depth and show a complex understanding of the subject researched.
·
Demonstrate understanding of a subject
in ways that properly contextualise the issues (by referring to historical,
political, social and economic factors).
·
Demonstrate professionalism in terms of
the presentation and management of learning, commensurate with the level of
study.
The module should aid
you in developing personal and professional transferable skills, in addition to
developing a knowledge base relevant to your specialist area. Communication
skills developed include: writing and giving an effective presentation;
analysis of academic and journalistic texts; writing an essay; developing ideas
as a team and in seminar discussion. Research skills and information technology
skills should also develop to a good academic and professional level.
The
format of the module is based on the separate elements of lectures, seminars
and personal tutorials. Formal lectures will be complemented with visits,
workshop discussion and activities, videos and student presentations. The
student is expected to read around the issues discussed in lectures (developing
a familiarity with academic cultural theory) and to maintain an active interest
in design literature and the media for discussion of relevant issues.
| Week 1 | Lecture | Introduction to module |
| Seminar | ||
| Week 2 | Lecture | Postmodernity, Power and Consumption |
| Seminar | Discussion of projects and introduction to text analysis | |
| Week 3 | Lecture | National, Local and Ethnic Identity |
| Seminar | Research methods review | |
| Week 4 | Lecture | Cultural Identity: Case Study of S. Asia |
| Seminar | Text analysis exercises | |
| Week 5 | Lecture | Gender Identity |
| Seminar | Design Analysis; Workshop discussion | |
| Week 6 | Lecture | Semiotics and Brand Identity |
| Seminar | Workshop discussion; Presentations | |
| Week 7 | Lecture | Group Identity: Clubs, Sub-Cultures and Class |
| Seminar | Essay Discussion; Presentations | |
| Week 8 | Lecture | Creative Identity and the Cult of the Designer |
| Seminar | Presentations; workshop on advertising/marketing | |
| Week 9 | Lecture | Design: Disability and Cultural Sensitivity |
| Seminar | Presentations; workshop discussion on ethics and social inclusion in design | |
| Week 10 | Lecture | The Home as a Site of Identity |
| Seminar | Case Study on Semiotics of Space in the Hindu Home | |
| Week 11 | Lecture | Adornment and Identity |
| Seminar | Presentations; workshop discussion | |
| Week 12 | Lecture | Representing Identity: Material Culture in the Contemporary Museum |
| Seminar | Presentations; Discussion |
The assessed
components of this module are:
|
|
Weighting
|
|
Seminar
Presentation |
30% |
|
Research Report |
10% |
|
Essay |
50% |
|
Studentship |
10% |
For
this semester (Semester 1, 2002-3), the research report, essay and studentship
marks will be combined to make up the 70% coursework component shown on the
module results forms. Assessment criteria for the presentation, report and
essay is indicated in the mark sheets provided in Appendix A. Written work
should be handed in for assessment at the Faculty Reception (Level One, above
the Mezzanine, in the Fletcher Building). Make sure that a coversheet (with two
coloured carbons) is attached to your work and is signed and dated by the
Faculty receptionist. It should state the module leader (Emily Baines), module number
(HAMC 3105), programme title (your degree: Surface Decoration, Design
Management, etc) and the assignment title (essay or report). The work itself
should also be clearly marked with your name, your module tutor, the module
name and module code (in case the coversheet is lost). It is also important to
keep a copy of your work.
If
having problems with the work, see your module tutor before the deadline! If
you are ill or have other personal difficulties, an extension can be arranged.
Evidence of mitigating circumstances (such as a doctor’s note) should be
provided, if possible. Students with dyslexia will also be given extensions, if
needed. Note that if the work is late, without an extension, marks will be
deducted according to HAMC regulations (10 marks deducted if within one week
late: after one week, the work can be failed). If there are mitigating
circumstances that resulted in non-completion of the module (e.g. essay not
handed in or very late), the circumstances should be explained to the module tutor.
An Extenuating Circumstances form must be filled in and relevant evidence
forwarded to the Faculty committee via the Fletcher Faculty office. Check
the deadline for these forms if there is any possibility of finding
yourself in this situation! If the module is failed due to failure of the
presentation, report or essay, you will be required to resubmit the failed work
(if it is the presentation, a presentation report is submitted).
Research
Report: 4/11/02 (Monday, Week 6)
Presentation:
On the date specified by your seminar
tutor. If the presentation is not given on the correct date, a later slot
will be given. In this case, 10 marks will be deducted for lateness, unless an
extension has been given due to illness or other serious mitigating circumstances.
The three other
assessed components should be considered as a elements of a personal research
project, relating an aspect of or issues in cultural identity to design in your
subject area.
Analyse
a text and present the issues to the group. This can be in a group of 2 or 3,
each presenting analysis of separate texts, but based around a common issue.
The issue(s) should be relevant to your research project. The texts can be
chosen from the bibliography or from recent design journals. When choosing your
text, look for articles in journals that are issue driven or academic: you are
likely to find more substantial points that will more readily lend itself to
discussion. Your individual analysis of a text should be about 10 minutes long.
A text analysis should cover:
1) In what form does
the text appear - an article in a journal or newspaper, an essay in an
anthology, a complete book or a book commissioned as part of a series? Note the
details of publication, the author, and editor if a collection of essays or
commissioning editor if part of a series; the title of work, and the book,
journal or series in which it appears; date originally published and current
edition of work if in book form, or details of journal number and date, if
applicable. If originally published in a different form, state the details.
2)
What is the subject position of the
author, and the context in which the piece appears? For example, does the
author speak as an expert in a particular discipline? Is the journal, book or
series based on a particular discipline or theoretical approach? Who is the
expected readership, and what level of expertise with the subject matter is
assumed?
3) Give a précis of
the main content and arguments of the text.
1) Identify the
sources used. How much original research has the author undertaken for the
piece? How reliable are the secondary sources used? Consider the depth and type
of reading demonstrated by the bibliography, footnotes or endnotes and the text
itself. How recent is the research depended on by the text?
2) How effective is
the methodology used? What gaps are there in the evidence, and how reliable
does this make the interpretation and conclusions? Are statistically irrelevant
sample sizes used, or unproven assumptions in the approach used? What are the
disadvantages in this method of analysing the material? Could the approach be
used as a model for other research?
Identify theoretical
approaches used (feminist, post-colonial, postmodernist, psychological,
anthropological, semiotic, etc.). How has the author analysed the material
(e.g. under period, style, material, designer, etc.) and what are the key
concepts used?
1) Does this analysis
shed new light on the subject? Is the text innovative in any way? For example,
it may use a theoretical approach or research method not previously applied in
this context. Does it perpetuate conventional ideas or stereotypes without
analysis or justification?
2) Are the arguments
and presentation of evidence clear? Is sufficient evidence or illustrations
given to support the arguments? What is the quality of referencing? Credit
should be given to sources of data and ideas, to guard against the charge of
plagiarism. Sufficient details of these sources should be given to allow the
references to be followed up. Illustrations and graphical presentations of data
should be given sources and explanation, if necessary.
3) What is the
quality of the overall presentation - layout, typography, illustrations?
Once
the text has been analysed, the issues
should be brought out and their relevance to examples of recent design demonstrated. It is useful to bring
OHPs of relevant examples or actual design objects (you can use your own studio
work as examples, if appropriate). It should then lead into a wider discussion
of the issues within the seminar group. Discussion points should be developed
in your group, to stimulate analysis of the issue in the seminar. The main
points arising from the paper and the discussion questions can be put on OHP or
given out as a handout.
This should include:
·
A statement of the subject (design
area, exhibition, object/s or designer/s to be researched) and the issue to be
examined. Will you use specific theorists?
·
Notes on a literature search of the
issue and subject area chosen, demonstrating that thorough research has been
undertaken and adequate material is available for a good essay to be written.
·
An essay plan, giving a broad structure
of the argument.
A thorough literature
search covers a range of search methods, e.g.:
a) Printed
reference indexes, bibliographies and dictionaries of design (available on
Level 2 of the Kimberlin Library). Examples of general indexes are: Designers International Index
(016.7454/DES), A Bibliography of Design
in Britain 1851-1970 (016.74544942/COU),
The Penguin Dictionary of Design and Designers (745.03) and The Penguin Dictionary of Decorative Arts (745.03).
Specialist bibliographies and indexes are also available: look through the
collection to see which are relevant to you. Examples of these are: The Directory of Interior Design
(747/DIR), British Advertising in the
1930s: a Bibliography (016.65910), International
Guide to Literature on Film (011.32), Select
Bibliography of Clothing Sources (016.687) and Needlework: a Selected Bibliography with special Reference to
Embroidery and Needlepoint (016.7464/SES). Business sources such as Keynote Reports may be useful.
b) Electronic
databases of article abstracts. A wide range of such databases can be accessed
from the dmu library website, from the library computers. The most relevant
design databases are DAAI, Art Abstracts and Artbibliographies Modern, but
Proquest (for newspaper articles), PCI, Zetoc, MINTEL (business references) and
World Textiles, among others, can be useful. Look through the lists to see
whether there is a technology or subject-specific index relevant to your
search. You will need to use your Athens password to access some of the
databases on the network: for others you can only access them from DeMontfort
University computers. The password should have come to your DMU email address
automatically in your first year: if there is a problem, ask the library staff.
Check the stand-alone computer on Floor 4 for the DAAI and Architectural
Periodicals Index. You may find the printed annual indexes of design and
newspapers useful, particularly if you have any trouble accessing the
electronic databases. These are available on Level 4 of the Kimberlin Library, behind
the slide library and current journals display.
c) The
OPAC system. Use the video catalogue as well as the general catalogue.
d) Internet.
Relevant websites can be found using a range of search engines and the ADAM
gateway. There may be relevant archives of journal articles, image databases,
etc. on the websites of specialist institutions, museums and publishers (e.g.
the Crafts Council, the Embroiderers’ Guild, the Middlesex University MODA
wallpaper and textile image database, Oxford University Press, etc.) or general
art/ design database sites such as artnet.com, HELIX or Axis (which can be
found via DMU library databases), the Virtual Design Museum at
io.tudelft.nl/public/vdm or the Victorian Web at
scholars.nus.edu/landow/victorian.
e) Illustration
sources may also be useful (slide library, illustration index, microfiche
collection - filed among the slide folders - and topic boxes).
Choose
one of the following essays. If none of the questions is appropriate to your
research interest, a modified version can be agreed with the module leader.
Particular examples of design should be analysed in relation to one key issue. Position the identity discussed in relation
to relevant theoretical viewpoints. Semiotic interpretation of the cultural
meanings of design requires research of the social context.
· Examine the influence on one designer of
another culture. How is the ‘other’ culture perceived, used and transformed?
·
Compare three examples of designs
(including their advertising, if available) from different dates to demonstrate
the formation and development of a particular national identity over time.
Analysis of the social context and comparative design examples will be
necessary.
·
Analyse the work of a designer who
promotes a distinct subject position as part of their creative identity (i.e.
who publicises an ethnic, national, religious, sexual, disabled, etc.
identity). Do they appear to have an essentialist view of this subject
position? How is their work influenced by this identity or constructed as
representative of this identity?
· Examine the signifiers, ideology and social
context defining a particular sub-culture. Which theorist do you find most
relevant to understanding the sub-culture?
·
Analyse the construction of a gendered
cultural identity in products by two different designers from your subject
area. Examine their approach in relation to a specific issue in gender theory.
An awareness of social context should be demonstrated.
·
Analyse three theoretical approaches to
design for people with disabilities, using appropriate examples.
·
Examine the public image of an
industrial designer or craftworker and compare to the actual conditions of
production and wider industrial context. How does this image relate to any
company or institutional identity and wider cultural identities in the
historiography and publicity of the designer?
· Examine the branding strategy adopted by a
tourist board or regional development agency to promote a region/ town/
country, or the strategy of a company that uses a strong identity of place/
nationality to sell its products. How is the regional identity constructed in
their marketing and how does it relate to other/ historic constructions of this
identity?
·
Analyse the advertising of two or three
companies that use youth sub-culture and style to promote their products. Is
this a misrepresentation of the cultural identity, exploitative or an unethical
use of corporate power in forming media stereotypes? Could it be justified in
terms of the corporate identity or consumer profile?
· Compare the brand identity strategies of
two or three companies, in their marketing of products. Do they take a uniform,
globalised approach or modify it for local cultural sensitivities and
identities?
·
Analyse how the identity of a company
or institution has changed since it was first established, using relevant
criteria such as corporate aims, strategy, scale, success, staff treatment,
technology, product range, quality, price level, etc. Compare two
advertisements or retail interiors to demonstrate how the corporate identity
has changed and is represented to the public.
·
Consider the relevance of Postmodernism
to the work of one designer or company. Does the work demonstrate a Postmodern
view of cultural identity?
·
Analyse two interiors, indicating how
the semiotics of space, decoration and furnishings establish a cultural
identity (individual, subcultural, gendered, religious, etc. as relevant). Use
comparative examples to substantiate the meaning of the signs used. Material
culture theory should be used.
·
Analyse a museum or art gallery
exhibition, to show how the selection and display of artefacts and text creates
a particular interpretation of cultural identity.
Note: A high quality essay should
have:
·
Clarity of structure. A focused process
of analysis of the design subject using key points, structured by section
titles.
·
A high quality of critical analysis, of
the subject, theories or analytical methods used and sources. This should
demonstrate comprehension of the subject and theory, particularly key concepts
used. The best essays have a significant degree of insight and originality (not
uncritically derivative of sources used).
·
Thorough substantiation of statements
in your analysis with evidence, well referenced.
·
Thorough research, indicated in the
bibliography and apparent as the basis of the essay. Ideally, you should have a
good range of sources for each theoretical approach as well as subject sources.
·
Quality of language and writing style.
Make sure that you use formal, analytical language in academic essays. You
should use the third person as far as possible (it, rather than I ). Check the
grammar and spelling.
·
Presentation. Legibility and clarity of
structure are most important. Word-process your essay if possible. Make sure
the essay is securely fastened together or bound in a lightweight folder, but
avoid putting pages in individual sleeves.
Referencing and Bibliographies
The
following layout should be used in a bibliography:
Conway, H. (ed.) Design
History: A Students' Handbook, Unwin Hyman Ltd., 1987.
Articles
should be listed as shown:
Dean, D. ‘A
Slipware Dish by Samuel Malkin: An Analysis of Vernacular Design’, Journal
of Design History, Vol. 7, No. 3, 1994, pp153-168.
Citation
is the system in which you give the source for quotes or key facts. You can
reference works using footnotes or endnotes: a superscript number or a number
in brackets is given at the end of a quote or the end of a sentence including
key facts. This is linked to numbered footnotes (at the base of the page) or
endnotes (at the end of the essay or article), as follows:[1]
To avoid repetition of source details in footnotes, use ibid. (to indicate the
same source as the one listed in the previous reference)[2]
or op. cit. (to indicate a source that has been previously referenced, with
full details given, but not the one immediately before this one).[3]
Make sure that your references are all consecutively numbered (rather than
numbered according to source).
Plagiarism is a serious matter, as I
hope these notes make clear. A simple definition of plagiarism is "direct,
unattributed quotation from the work of others", or in a word,
"copying" the work of others. The University takes a very severe view
of plagiarism, so briefly, DON'T DO IT!!
Misuse of academic conventions occurs
when students may not adequately reference the material that they have used
through ignorance of the correct procedures.
Such misuse might involve not giving clear and accurate references to
the material used in the assignment, or paraphrasing material without
indicating the source, or quoting directly and failing to reference the source
of the quoted passages or to place it in quotation marks. Misuse, or non-use,
of academic conventions is a fault often encountered in the first year, when
students are learning the ‘tools of the trade.’
A much more serious matter is the
misuse of the work of others with intent to deceive, and to gain an advantage
by unfair means. Here "direct, unattributed quotation" from the work
of others, or close paraphrasing without a reference to the source of the
material, or even submitting the work of another student as your own are all
very serious matters and you should NOT engage in them. You should note that where "extensive,
direct, unattributed, quotation from the work of others" is found by staff
in an essay this will in itself be taken as evidence of intent to deceive, and
this is what is meant by "Plagiarism".
Always
give references.
Always
acknowledge quotations.
Always
take references for whatever notes you take.
Always
write your material in your words.
As
well as the academic sources listed below, it is expected that you will read
widely in relevant design magazines, academic journals and newspapers.
As
far as possible, the subject area bibliographies are structured into two
sections, of cultural theory and relevant design analysis. Much of cultural
studies writing is very dense in theory. Do not be put off! There are very useful
ideas in these texts, which are relevant to design and craft practice.
*Barker, C. Cultural
Studies: Theory and Practice, Sage Publications, 2000.
Billington, R. et al Culture
and Society, MacMillan Press, 1991.
*Dant, T. Material
Culture in the Social World, Open University Press, 1999.
During, S. (ed.) The
Cultural Studies Reader, Routledge, 1993.
Eagleton, T. The
Idea of Culture, Blackwell Publishers, 2000.
Fiske, J. Understanding Popular Culture, Unwin
Hyman, 1989.
Gergen, K. &
Shotter, J. Texts of Identity, Sage, 1989.
Hall, S. Representation, Cultural Representations and
Signifying Practices, Sage and Open University, 1997.
Hall, S. & du Gay, P. (eds) Questions of Cultural Identity, Sage Publications, 1996.
Goffman, E. The
Presentation of the Self in Everyday Life, Penguin Books, 1959.
Lury, C. Consumer
Culture, Polity Press, 1996.
Rutherford, J.(ed) Identity:
Community, Culture, Difference, Lawrence & Wishart, 1990.
*Storey, J. Cultural Consumption and Everyday Life,
Arnold, 1999.
Storey, J. (ed) What is Cultural Studies? A Reader,
Arnold, 1996.
The
Polity Reader in Cultural Theory, Polity Press, 1994.
Connor, S. Postmodernist Culture: An Introduction to
Theories of the Contemporary, Basil Blackwell, 1989.
Featherstone, M. Consumer Culture and Postmodernism,
Sage, 1991.
Harvey, D. The Condition of Postmodernity,
Blackwell, 1990.
Jameson, F. Postmodernism,
or, The Cultural Logic of Late Capitalism, Verso, 1991.
Jencks, C. The
Post-Modern Reader, Academy Editions, 1992.
Krauss, R. The
Originality of the Avant-garde and Other Modernist Myths, MIT Press, 1985.
Lyotard, J. The Postmodern Condition: a Report on
Knowledge, Manchester University Press, 1992.
Norris, C. The Truth
about Postmodernism, Blackwell, 1993.
Papadakis, A. (ed) Postmodernism
on Trial, Academy Editions, 1986.
Thackera, J. (ed) Design
after Modernism: Beyond the Object, Thames & Hudson, 1988.
Collins,
M. Post-Modern Design, Academy
Editions, 1989.
Del Vecchio, M. Postmodern Ceramics, Thames & Hudson, 2001.
Dormer, P. The New
Jewelry: Trends and Traditions, Thames & Hudson, 1994.
Jencks, C. What is Post-Modernism?, Academy Editions, 1986 (3rd
ed., 1989).
Barker, C. Cultural
Studies: Theory and Practice, Sage Publications, 2000.
Barnard, M. Fashion as
Communication, Routledge, 1996.
Barthes, R. Image, Music, Text, Fontana Press, 1977.
Barthes, R. ‘The
Rhetoric of the Image’, in Gray, A. & McGuigan, J. (eds.) Studying Culture: An Introductory Reader,
Arnold, 1993, pp15-27.
Bayley, S. Sex, Drink
and Fast Cars: the Creation and Consumption of Images, Faber, 1986.
Foucault, M. The
Archaeology of Knowledge, Routledge, 1972.
Guiraud, P. Semiology, Routledge & Keegan Paul,
1975.
Kuhn,
A. The Power of the Image: Essays on
Representation and Sexuality, Routledge, 1992 (first edition 1985).
O’Sullivan, T. et al Key
Concepts in Communication and Cultural Studies, Routledge, 1994.
Walker, J.A. Design History and the History of Design,
Pluto Press, 1989.
Williamson, J. Decoding Advertisements: Ideology and
Meaning in Advertising, Marion Boyars, 1984.
Anderson, B. Imagined Communities: Reflections on the Origins and Spread of
Nationalism, Verso, 1983.
Ashcroft,
B., Griffiths, G., Tiffin, H. The
Post-Colonial Studies Reader, Routledge, 1995.
Ashcroft,
B. & Ahluwahlia, P. Edward Said: the Paradox of Identity,
Routledge, 1999.
Bhabha, H.K. ‘The Postcolonial
and the Postmodern’, in During, S. (ed.) The
Cultural Studies Reader, Routledge, 1993, pp189-208.
Edensor,
T. National Identity, Popular Culture and
Everyday Life, Berg, 2002.
Greenhalgh, P. Ephemeral Vistas: Expositions Universelles,
Great Exhibitions and Worlds Fairs, 1851-1939, Manchester University Press,
1988.
Holmes, C. John Bull’s
Island: Immigration and British Society, 1871-1971, MacMillan, 1988.
Ifekwunigwe, J. Scattered Belongings: Cultural Paradoxes of
‘Race’, Nation and Gender, Routledge, 1999.
King, R. Orientalism and Religion: Postcolonial
Theory, India and ‘the mystic East’, Routledge, 1999.
Leersen, J. National
Identity: Symbol and Representation, Rodopi, 1991.
MacDonald, S. Inside
European Identities, Berg, 1993.
McClintock, A. ‘The
Angel of Progress: Pitfalls of the Term ‘Postcolonialism’ ‘ in Barker, F.,
Hulme, P. & Iversen, M. (eds.) Colonial
Discourse/ Postcolonial Theory, Manchester University Press, 1994.
McClintock, A. Imperial Leather: Race, Gender and Sexuality
in the Colonial Context, Routledge, 1995.
MacKenzie, J. Orientalism:
History, Theory and the Arts, Manchester University Press, 1995.
Nochlin, L. ‘The Imaginary Orient’, Art in America, May 1983, pp118-31, 187-91.
Panayi, P. The Impact
of Immigration, Manchester University Press, 1999.
Said, E. Orientalism:
Western Conceptions of the Orient, Penguin, 1995 (first pub. 1978).
Smith, A.D. National
Identity, Penguin Books, 1991.
Doy, G. Black Visual
Culture: Modernity and Postmodernity, I.B. Tauris, 2000.
Frith, W. ‘Sex,
Smallpox and Seraglios: a Monument to Lady Mary Wortley Montagu’, in Perry, G.
& Rossington, M. (eds.) Femininity
and Masculinity in 18th C. Art and Culture, Manchester
University Press, 1994.
Lynch, A. Dress, Gender and Cultural Change: Asian American and African American
Rites of Passage, Berg, 1999.
Munby, Z. ‘Representations of
Women and Race in the Lancashire Cotton Trade’, in Attfield, J. & Kirkham,
P. A View from the Interior, The
Woman’s Press Ltd, 1989.
Picton, J. The Art of African Textiles: Technology,
Tradition and Lurex, Lund Humphries, 1995.
Powell, R. Black Art
and Culture in the 20th Century, Thames & Hudson, 1997.
Uncommon
Beauty in Common Objects: the Legacy of African American Craft Art,
National Afro-American Museum and Cultural Center, Ohio, 1993.
Sweetman, J. The Oriental Obsession: Islamic Inspiration
in British and American Art and Architecture 1500-1920, Cambridge
University Press, 1988.
Troy, N. ‘The Logic
of Fashion’, Journal of the Decorative
Arts Society, No. 19, 1995, pp1-7. (on Poiret’s Oriental designs)
Tulloch, C. ‘That Little Magic Touch: the Headtie’, in ,
pp63-78.
Cormack, P.
‘Recreating a Tradition: Christopher Whall (1849-1924) and the Arts and Crafts
Renascence of English Stained Glass’ in Bowe, N. (ed.) Art and the National Dream, Irish Academic Press, 1993.
Greenhalgh, P. ‘The English
Compromise: Modern Design and National Consciousness, 1870-1940’, in Kaplan, W.
(ed.) Designing Modernity: The Arts of
Reform and Persuasion, 1885-1945, Thames and Hudson, 1995.
Merrett, D. & Whitwell, G.
‘The Empire Strikes Back: Marketing Australian Beer and Wine in the United
Kingdom’, in Jones, G. & Morgan, N. (eds.) Adding Value: Brands and Value in Food and Drink, Routledge, 1994,
pp162-188.
McDermott,
C. Street Style: British Design in the
80s, The Design Council, 1987.
Sparke, P. (ed.) Did Britain Make It? British Design in
Context 1946-86, The Design Council, 1986.
The British Council Lost and Found: Critical Voices in New
British Design, The British Council, 1999.
Thackera,
J. & Jane, S. New British Design, Thames & Hudson,
1986.
Brunhammer, Y. French Decorative Art: The Société des
Artistes Décorateurs, 1900-1942, Flammarion, 1990.
MacDonald, J. ‘Let us
now praise the name of famous men’: Myth and Meaning in the Stained Glass of
the Scottish National War Memorial’, Journal
of Design History, Vol. 14, No. 2, 2001, pp117-128.
Jarman, N. ‘Material
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HAMC 3105: Cultural
Identity
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HAMC 3105: Cultural Identity
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HAMC 3105: Cultural Identity
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