Veiling and Muslim Women in African History since the Ottoman Empire

In Africa, the culture of veiling by Muslim women is profound. While Muslim societies vary across Africa, several forms of textile and art feature in the use of veil. It is particularly important to state that veiling is historical as it had been embedded as a Muslim culture since the evolution and spread of Islam in Africa. It is also true that the Islamic integration of African cultures is very much alive and visible. The story of veiling became prominent and was influenced by Ottoman rule and cross-cultural intergroup relations through the Trans Saharan trade routes. This paper focuses on the history of veil as a spiritual, artistic, political and economic factors in the identity making of Muslim women in Africa. The historical method is adopted to interrogate the complexities associated with veiling as a Muslim culture using photographic representations, books and journals. Photographic representations of women’s dress in the Ottoman empire gives way to understand how the dress styles diffuse into African societies.

ОСОБЛИВОСТІ ВИГОТОВЛЕННЯ ПОЯСУ СУКНІ ЖІНОЧОЇ З ПРОГРАМОВАНИМ LED ПРИСТРОЄМ

Development of the technology needed for making women’s dresses with a programmed LED device. Methodology. The used methodology of developing a women’s dress belt with a feature of using a programmed LED device. Results. The technological progress and evolution of innovative technologies have a signifi cant impact on the production of modern clothing. This tendency is seen in the expansion of clothing features with the usage of light eff ects. As of today, manufacturers are proposing diff erent textile materials that have fi ber optics in their structure or use LED stripes and tubes for ornamenting their products. Sewing products that are made of fi ber optic materials require specialized personnel with knowledge of LED systems principals of work because, in the event of failure of such system in the product, it must be eliminated with an urgency. Based on the said study it is proposed to use an LED device that is constructed with the following components: an LED stripe 50cm long 1cm wide, batteries, a board with a microcontroller and capacitor WS2812B RGB, voltage converter, and connectors. Using this in a product will allow it to get the light eff ects by programming a corresponding microcontroller program. With an example of a dress belt, certain studies were made that had shown that the light eff ect is working the best on white or cream-colored clothes. Using such a device brings in the advantage of the ability to repeatedly remove and place it back in the dress’ belt, which will be convenient for the consumer when taking care of the clothing and when servicing the device itself. Scientifi c novelty. For the fi rst time the principle of obtaining light eff ects of garments based to use of a programmable LED device was developed. Practical importance. The technology of manufacturing a women’s dress belt with light eff ects has been proposed, which allowed the placement of a programmed LED device with the elements connected in a certain sequence. Women’s dress with a belt made by this technology can be used for stage performances, photoshoots, and short-term events. Recommendations for the care for such a product have been developed.

Gender, fashion and representation in nineteenth century British art

This Major Research Project (MRP) examines the artistic production of British culture in the second half of the Nineteenth Century from 1850–1900, while critically engaging with existing nineteenth century art and literature, in order to deepen the understanding of the immense role played by fashion in the lives of Victorian women. I have approached this research study not through the examination of actual dress in its materiality, but instead, through its visual representation in paintings. These sartorial embodiments of women’s dress could help extend our understanding of artworks that are rooted in visual narratives—both literally and figuratively. Thus, this project aims to re-imagine histories of art through the analysis of the clothed body of women in nineteenth century paintings—for it is through their sartorial choices that women defied the Victorian ideals of femininity and femaleness.

Gender, fashion and representation in nineteenth century British art

This Major Research Project (MRP) examines the artistic production of British culture in the second half of the Nineteenth Century from 1850–1900, while critically engaging with existing nineteenth century art and literature, in order to deepen the understanding of the immense role played by fashion in the lives of Victorian women. I have approached this research study not through the examination of actual dress in its materiality, but instead, through its visual representation in paintings. These sartorial embodiments of women’s dress could help extend our understanding of artworks that are rooted in visual narratives—both literally and figuratively. Thus, this project aims to re-imagine histories of art through the analysis of the clothed body of women in nineteenth century paintings—for it is through their sartorial choices that women defied the Victorian ideals of femininity and femaleness.

EARRINGS FROM ARCHAEOLOGICAL SITES OF THE UPPER VOLGA OF THE XIV-XVIII CENTURIES

В статье характеризуются находки серег XIV-XVIII вв. из раскопок археологических памятников бассейна Верхней Волги. На основании конструкции автор выделяет серьги цельной (серьги в виде вопросительного знака) и составной конструкций (серьги с подвесками различных форм). Среди серег в виде вопросительного знака выделены украшения с коротким и удлинённым стержнем; из равномерной проволоки и с удлинённым стержнем из тонкой проволоки. Среди серег составной конструкции выделены украшения с подвесками в виде стержней (одинцы, двойчатки), серьги-голубцы, серьги с щитковыми и объёмными фигурными подвесками. Выявлены аналогии в изобразительном материале XIV-XIX вв. Высказано предположение, что серьги в виде вопросительного знака с удлиненным стержнем из тонкой проволоки могут датироваться второй половиной XVI - началом XVII в. The article describes the finds of earrings of the 14th-18th centuries from the excavations of the archaeological sites located in the basin of the Upper Volga. On the basis of the design, two groups of earrings are distinguished: a single construction (question mark shaped earrings) and a composite construction (earrings with suspensions of various shapes). Within the groups, types of earrings are distinguished by the features of the shape and decor of the suspension. The jewelry with a short and elongated rod; made of uniform wire and with elongated rod made of thin wire are among the question mark shaped earrings. The jewelry with suspensions in the form of rods (lids, doubles), earrings-«golubtsy», earrings with shield and volumetric figured suspensions are distinguished among the earrings of the composite costruction. A chronology of the individual finds is given. The analogies have been identified in the pictorial material of the 14th-19th centuries. It has been suggested that the question mark shaped earrings with an elongated rod of thin wire can date from the second half of the 16th - early 17th centuries. In women's dress, the earrings could be worn in two ways: in the ears and suspended from the headdress.

Feminist Democratic Representation

When are women well represented, politically speaking? The popular consensus has been, for some time, when descriptive representatives put women’s issues and feminist interests on the political agenda. Today, such certainty has been well and truly shaken; differences among women—especially how they conceive of their “interests”—is said to fatally undermine the principle and practice of women’s group representation. There has been a serious loss of faith, too, in legislatures as the sites where political representation takes place. Feminist Democratic Representation responds by making a second-generation feminist design intervention; firmly grounded in feminist empirical political science, the authors’ design shows how women’s misrepresentation is best met procedurally, taking women’s differences as their starting point, adopting an indivisible conception of representation, and reclaiming the role of legislatures. This book introduces a new group of actors—the affected representatives of women—and two new parliamentary practices: group advocacy and account giving. Working with a series of vignettes—abortion, prostitution, Muslim women’s dress, and Marine Le Pen—the authors explore how these representational problematics might fare were a feminist democratic process of representation in place. The ideal representative effects are broad rather than simply descriptive or substantive: they include effects relating to affinity, trust, legitimacy, symbolism, and affect. They manifest in stronger representative relationships among women in society, and between women and their representatives, elected and affective; and greater support for the procedures, institutions, and substantive outputs of representative politics, and at a higher level, the idea of representative democracy. Against the more fashionable tide of post-representative politics, Feminist Democratic Representation argues for more and better representation.

Islam and Gender on Campus

Discussions about Islam and gender on campus have generally focused on Muslim women’s dress and status in Islam. However, the processes that make Muslim women’s dress on campus so salient have received little attention. This chapter explores gender and Islam on campus, contextualizing it within the politics of dress, with a particular focus on Muslim women’s negotiations of how to dress. We argue that gendered stereotypes about the headscarf or niqab contribute to the construction of Muslim women as extremists or oppressed. We show that Muslims sometimes faced scrutiny or hostility from students and lecturers who read particular dress choices as symbolic threats. Taking an intersectional perspective, the chapter illuminates how some Muslims modify their dress in different contexts to increase a sense of belonging or reduce stigma. We also explore how some Muslims challenge misconceptions about Islam and gender.