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Society at Monte Carlo: The Influence of Infrastructure on French-Monegasque
Elite Social Politics in the Nineteenth Century
The modern history of Monaco as it exists today begins in 1860 with the Treaty of Turin. A treaty in which France negotiated with the kingdom of Sardinia to support the consolidation of Italy. In exchange for their support, Sardinia relinquished their control of the regions of Savoy and Nice. The following year the Franco-Monegasque Treaties took place. Prince Charles the III of Monaco ceded the towns of Menton and Roquebrune to France in exchange for the independence of Monaco from France. This concession to France did not come without a price. As part of their dealings, France agreed to Charles III’s request for the construction of a road between Nice and Monaco as well as the construction of a casino.
A Duality of Identity Capturing Caribbean Womanhood Image, Identity And Influence Through Black Beauty, 1960 – 1970s
The term 'beauty' relates to the ascription of one's physical characteristics, a relative, and ever-changing location. On November 20, 1970, 22 million people tuned in to BBC Television, as 22-year-old Jennifer Hosten (Miss Granada) was crowned the 'Miss World' title, as the first Afro-Caribbean winner, a historical feat that challenged societal constructs of beauty in years to come. This thesis investigates black beauty and British-Caribbean womanhood embodied through a narrative of black feminism, dual identity, intersectionality, and transnationalism, utilizing black photography as a vehicle of expression and representation. Further analysis seeks to deconstruct the fraught connotation of vanity and triviality, often associated with pageantry, to reveal the hidden truths of national identity and the liberation of black beauty through the performance of the pageant stage.
In Gallery 17, hanging on the walls at The Met Cloisters in New York City, are a set of six complete tapestries and two fragments from the end of the fifteenth century. Regarded as one of the most complex works of art, The Unicorn Tapestries were made between 1495 and 1505 during the Middle Ages. These renowned cartoons are presumed to be designed in Paris, France and woven in the Netherlands. The tapestries depict various scenes of the pursuit of a unicorn from the Middle Ages. The Metropolitan Museum of Art acquired the tapestries from John D. Rockefeller in 1937 and were first put on display at The Cloisters in 1938. As noticed through a study of the tapestries conservation and extensive exhibition history, previous scholars have yet to propose a new form of display applicable for the twenty-first century.
Horror, like fashion, appears to be an underestimated tool for understanding political and social change. Both subjects are habitually tossed aside as frivolous and senseless, yet, I would argue that both devices are approachable and digestible in a way that makes them significant. Despite, and probably exactly because of, the historically trivialized nature of both horror as a film genre and fashion, I investigate how they intersect. Women are often marginalized in film, a reflection of a larger social issue that manifests clearly in horror films where they are treated violently and exploitatively. In this thesis I investigate the costuming of women in a selection of horror films from the 21st century and how these costumes express and intensify the narrative. I do this by looking at three tropes of female monsters including the maneater, the mental case, and the monster mother. The tropes are associated with sexuality, whether through the overt use of seduction, sexual organs used as weapons, or making motherhood evil.
The definition of feminine beauty has always been challenged by unattainable and discriminatory beauty ideals promoted by the fashion industry and the media. However, over the last decade the popularization of social media, in particular Instagram, has created a new wave of issues around the female body. The use of social media is impacting the way women see themselves, and the look they aspire to have. With the improvement of Instagram features, it is now not only possible to edit our pictures with tools like Photoshop, which has been adapted for smartphones, but other editing apps like Facetune. This thesis seeks to understand the way generation z women are fashioning their bodies digitally, to please the new body standards changed by the Instagram culture. It also questions the role of Instagram in the development of potentially dangerous practices, such as photoshopping and greatly editing pictures before posting them. This produces images of the self completely altered from reality. The research places Instagram as an important element in self-identification, and it suggests that the use of editing tools and filters is altering generation z women's perception of feminine beauty. It explores the process of posting selfies and the significance of editing tools in beauty definition and self acceptance.
The print Vote for Dick Gregory for President (One Dollar Bill) from 1968 is in many ways a facsimile of the American one-dollar federal note. The size is identical, the formal layout of the print matches the original dollar, the iconography contains imperialistic symbols such a presidential portrait, classicizing ornamentation, civic seals, and bold, distinct lettering. Like the United States one-dollar bill, it communicates a clear ideological message. However, the message of the faux federal currency is recognizably different from its authentic counterpart as it promotes the presidential campaign for the bill’s producer, Dick Gregory. Gregory is a Black comedian turned civil rights activist who decided to run as an independent for the Freedom and Peace Party in the 1968 presidential federal election. In the print, the monetary value of the bill is substituted into the notion of a vote. The bill communicates Gregory’s campaign platform with its inclusion of peace symbols and anti-racist democratic phrases.
The extraordinary textile creations of Elizabeth Talford Scott (1916–2011) defy categorization. Simultaneously abstract and pictorial, earthly and cosmic, her ornately encrusted works of art are crafted in the tradition of American quilts while referencing and evoking African textile and spiritual practices. These deeply personal pieces reflect universal themes of nature in their depiction of flora, fauna, heaven and earth, and the human body. Called “Mother Scott” by those she knew and loved, her quilts tell stories, record history, and symbolize the self-actualization of a woman who overcame hardships in the pursuit of beauty and a better life. In this paper, I show how race, gender, and disability both inform and are expressed through the works of Elizabeth Talford Scott. Through an inventive mix of fabric, thread, and found objects, her artwork conveys an essential narrative about the 20th-century African American female experience and acts as a form of resistance against society’s limitations.
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