-
- QUESTION
Standards and expectations for an art history paper
As you begin to write your assignment you may ask what your art history professor expects in an essay or a research paper.
The guidelines provided below are to assist you. Everything is here to assist you in writing a successful essay or research paper.
Directions
Your paper should meet the following basic criteria:
- Your research paper should be approximately 1000-1200 words not including the bibliography or works cited.
- The essay should use at least five (5) legitimate source in addition to your course manual or your textbook. You are to demonstrate that you actually researchedthe topic.
- You CAN use scholarly articles written and available on line.
- You CAN include interviews with gallery directors and artists where appropriate
- You can NOT use general encyclopaediassuch as Wikipedia, Britannica, Encarta, etc or online art dictionaries.
- Include no more than three (3) low resolution, compressed images in your paper. These two images should be the most significant objects and/or buildings related to your chosen topic.
- You must use a standard letter size page in portrait view(21.59cm x 27.94/ 8” x 11”)
- You must use either 1.5 or double spacing
- You must use Times New Roman font size 12 font.
- You must use 3cm margins on all edges.
- You may indicate a paragraph change by either a line space or by indenting, BUT you must be consistent.
- Your paper is to be free of spelling and grammatical errors. You may use either English or American spelling, again you must be consistent.
- Cite dates as follows: 1832-1836; 15 July 1836; the fifteenth-century; c. 1500; fifteenth-century houses.6
- Place quotations within double inverted commas; quotations within quotations in single inverted commas. Quotations more than 6 lines long should start on the next line and use a single-spaced block quote format.
- Italicize the titles of books, journals, works of art, buildings, and theses do not underline them.
- You may use standard referencing style APA, for citing the information sources such as books, articles, or theses.
- Credit the research of other writers as a matter of honesty and academic integrity. Failure to do so constitutes plagiarism.
- You paper is to be typed and submitted in either PDF, .doc or .docx formats. THESE ARE THE ONLY FILE FORMATS THAT WILL BE ACCEPTED.Reminder:
Absolutely NO late assignments will be accepted. You should begin working on your paper immediately after beginning this course and revise it until the time of submission. I also suggest that you have several people periodically proof read your work.
Tips for writing a research paper
This is a research paper. It requires that you seek out the scholarship of others. Most of the topics
that you can choose from allow some latitude in the individual student’s approach to the topic.
However, your paper must be organized in a manner that your reader clearly understands what you
are saying.
The introductory paragraph
provides the concept that is the subject of your paper. It should
include a thesis statement that presents the argument of your paper and specifies how you will
prove this argument. For example, if you want to argue that tiles covered the entire surface of the
al-Aqsa Mosque in 1912 but they were blown up by the British, how will your prove this? You need
to tell your reader this information.
The body
of your paper, or the paragraphs between the introduction and the conclusion, contain the
evidence to support your thesis statement. Your paper should be directed towards an intelligent
reader. Each paragraph should be a coherent unit with a topic idea, each sentence should
relate to
the one it precedes and follows. The introductory sentence of each paragraph should state the main
theme of the paragraph, the concluding sentence may summarize it. As you edit your paper check
each paragraph to make sure that you have not included material in one paragraph that would be
more appropriate in another. Also make sure that you are not including irrelevant information. The
body of your paper should flow in a coherent manner while convincing your reader of the validity of
your argument.
The conclusion
is the conclusion. It is not the time to introduce new material or ideas. Rather,
briefly summarize your principal arguments, referring back to your thesis statement, and explain how
your analysis extended the readers understanding of the problem or topic.
Grading criteria
Your essay will be marked on the following:
Followed Directions (found under the header Directions): 5 marks
Spelling and Grammar: 10 marks
Content and Argument: 30 marks
Resources and proper citations: 10
marks
Total: 55 mark
Research Paper Topics
- World War I: Dada
- Fashion and Identity
- Gardens and Paradise: the Great Mughals
- Art and Social Justice: Mid-19th century France
- Issues in Contemporary Canadian Art
- Gendered Spaces
- Dogs in Art: Style of the Times
- France and North Africa: The Colonized in Art
- Christo: Take it Out of the Gallery
- Photography: The Images of British Photographer Richard Nicholson
- Design: Enhancing our lives
- Idealizing the Role of Women in Art: The Impressionists
- The Quilt as Message: The Underground Railroad
- David: Art as Political Propaganda
- Issues in Contemporary North American Aboriginal Art
- The War Artist
- The Role of the Royal Academy in Establishing Taste
- Art and the Environment: The 21st century
- Modernist Architecture
- Art and the Tsars
- Goya: the Dark Side of War
- Goya the First Modernist
- Walter de Maria: Take it Out of the Gallery
- The Art of the Mind: Edvard Munch and Death
- The Rococo Patron of the Arts: Madame Pompadour
- Ukiyo-e: Life and Myth in 17th century Japan
- Issues in Contemporary Asian Art
- English Country Garden Design
- The Art of Picasso: Hater or Lover of Women?
- The Pottery of Maria Martinez
- Feminists and the death of Modernism
- Truth or Fiction? European Slaves in the Harems of Northern Africa as Show in Its Art
- Sculptors: Designers for Industry
- Maya Lin: Supporters and Adversaries
- The Japanese Influence on Frank Lloyd Wright
- Georgia O’Keefe: Are those flowers really all that sexual?
- David Chihuly: the Art of Glass
- The New Architecture: The International Style is Timeless
- Art versus Craft: Peter Volkous and Paul Soldner
- Photography and the 20th and 32st centuries: The Anti-Pictorial Approach
- Popular Culture and Art
- Judy Chicago: The Controversy of the Dinner Party
- Representing the Queen: The Art of Sir Thomas Brock, RA
| Subject | Essay Writing | Pages | 11 | Style | APA |
|---|
Answer
Fashion and Identity: An Analysis of how Fashion Shapes Identity
Cities such as Paris, London, New York and Milan are some of the regions which have been considered as high capital fashion centers. Paris is associated with classic elegance while New York is known for its modern and casual chic fashion. Other cities are also being established as a result of the strong voice that they inflict on style. Considering the sentiments of fashion historians such as Christopher Breward, fashion plays a crucial role in boosting the cultural economy of several major cities across the globe. Fashion shapes identity in various ways. The color of clothing chosen by people is ingrained in their style preferences which craft one’s identity. Shoes, clothes, accessories, tattoos, piercing, hair dye and cosmetic surgery are some of the factors which define fashion. Fashion can craft identity on the basis of gender, class, and age among others. The purpose of this essay is to examine how fashion influences identity while exploring concepts such as age, gender, class, culture and self-esteem. Although clothing was established with a fundamental role of covering nakedness, fashion directly impacts identity.
Age
People have been taught from a tender age that there are unique ways in which people should dress at different life stages. Zhang (2016) notes that there are instances where women have received the “dress your age” judgments. Such situations depict that fashion plays a vital role in crafting identities. Arguably, most people use fashion to represent their age, whether it is the actual age or how they feel inside. As people age, their fashion sense also changes. For instance, it is difficult to see a 40-year-old woman with a pink hair walking down the streets in a city. Zhang (2016) reiterates this fact by providing that fashion will influence not only appearance, but also sexuality and self-assertion, which play a vital role in crafting identity.
Gender
Clothing can be used to represent gender whereby boys are commonly associated with blue while girls are associated with pink clothing. Rantisi (2011) suggests that fashion can be utilized to indicate overlapping identities. Appearance style visually articulates several overlapping identities such as race, gender, social class, sexuality, national status, politics, personal interests, and aesthetic among others. Not all the noted personalities are consciously present at any given point. However, with fashion, it is possible to represent such identities. Fashion enables self-expression through an appearance style. Fashion creates an opportunity for one to put into words a statement which has proven to be difficult to articulate, thus creating an identity. Despite the fact that style can be utilized to suggest gender identity, it is evident that there are some gender-neutral styles to be considered as illustrated in image 1 below.
Image 1: Gender-neutral Styles
Source: McTaggart (2018).
The fashion consumers in the modern world are continually embracing the use of style as a form of individual expression. McTaggart (2018) explains that this is a form of personal expression since it facilitates a shift from fashion defining a class to one which depicts consumer fashion. Despite this, the noted process was not a smooth one in that modernity resulted in dislocation and fragmentation which generates a paradoxical sense of what it means to be an individual. The modern definition of individuality creates fear about sustaining the autonomy of the self. Fashion comes in handy in eliminating this fear by providing that individuality is a factor which can be suppressed. Even though clothing has been utilized as a mean of self-identification for several centuries within the public space, it is also used as a means of differentiating dominant cultures across the globe. Saucier (2011) argued that identity has several benefits over more fixed concepts of psychology. Additionally, it is also not a code word utilized to define the self-concept. Instead, identity is considered as a factor derived from social interactions. In today's life, appearance comes in handy in facilitating identification and differentiation. For instance, during the 1960s, it is evident that fostering an awareness of age identity was construed through personal preferences founded on appearance styles. Moreover, social movements visible in the early 1970s also accentuated the stylistic means for constructing several identities such as gender, sex, race, and ethnic personalities.
Fashion is more than the clothes people wear since it involves how people carry themselves. Style distinguishes people from each other providing an outward expression of how people view themselves. Even if an individual is not fashion conscious, it is still apparent that the choice of clothing that one puts on influences the perception that people have about others. When people have a positive self-image, they will utilize clothing to reflect the inherent value or to conceal it if it is negative. Fashion is also perceived as a woman-based orientation since the members of this gender are always more cautious about how they look in comparison to their male counterparts. In the past, women's clothing represented femininity. However, this concept is continually expanding in the current world as fashion can serve more factors such as the concept of the self.
Class and Culture
Fashion can also be utilized to represent class and culture which defines identity. The amount of money which an individual makes in a month plays an essential role in determining the brands which a person can afford and where to purchase the clothing. Additionally, one's financial status will also influence their dressing code hence suggesting that fashion shapes identity by supporting the lifestyle of the wearer. Branded handbags, luxury clothing, and names are considered as an essential part of a wealthy person's life. On the contrary, an individual from the lower social class is highly likely to purchase clothes from thrift stores or experience difficulty trying to maintain a tatter-free closet. As a result, it is evident that clothing plays a vital role in shaping one's identity.
Self-esteem
Clothing has a direct influence on self-esteem. If one wears a perfectly fitting dress, it is evident that the style will provide an extra boost of confidence which indicates that it has a positive influence on one’s self-esteem. The correlation existing between fashion and self-esteem is highly evident in that when one buys new clothes, it is highly likely that he/she will look and feel better about themselves. Moreover, the way people dress will always influence how other people judge them. The fact that people will always judge based on appearances suggests that the manner of dressing can generate outward appearances which can also cause predeterminations such as the motive for dressing in a particular way. Therefore, if people seek to improve style, they should first figure out who they are before beginning to wear clothing which is a representation of their self-identity.
Fashion is a dynamic trend which is continuously changing. Style profoundly influences the lives of the people. The fact that fashion can craft one’s personality and communicate a message about an individual means that people can express their nature based on their style, they can determine how they look which constructs a social-cultural identity vital in defining one's uniqueness. Every individual relies on clothing as a form of self-realization. In the past, clothing was designed to serve the functionality of covering nakedness. However, the concept is continually changing as people are increasingly embracing new fashion to craft an identity of their culture or gender among others. This is achieved as the clothing alone provides necessary details about the person wearing it.
The symbolism of fashion can communicate an indirect message about the life of an individual. For example, sexual orientation can be expressed by a person’s way of dressing. Style can be utilized to represent one’s cultural identity. Rantisi (2011) suggests that the manner of dressing can come in handy in demonstrating the cultural roots of a community such as an oriental Indian woman. For instance, image 2 below provides an insight into how fashion communicates cultural identity in an oriental Indian woman. Through these factors, it is apparent that fashion and identity cannot be separated. The symbolism which comes about with fashion depicts that style can craft an identity by establishing one’s personality based on individual attributes. With fashion, one can portray an image which he/she wants to be visualized by others in the community.
Image 2: Fashion and culture in an oriental Indian Woman
Source: (Rantisi, 2011).
Conclusion
The changes in time provide people with a chance of revealing their identity. Every cloth contains a strong message about the owner. Therefore, fashion can be considered a way of telling people about the owner's status which can also be predetermined. Arguably, fashion and art are comparable elements. Similar to an architect's designs, style serves as a form of nonverbal communication. Through this, it can be derived that in the world today, people not only wear clothes to cover their nakedness but also to communicate essential factors such as gender. Moreover, clothing also influences the perception of how others will view the wearer which can determine an individual's self-esteem level.
References
|
McTaggart, U. (2018). Historical Fiction about John Brown and Male Identity in Radical Movements. African American Review, 51(2), 129–142. Meaney, S. (2009). “In My American Fashion”: National Identity, Race, and Gender Tourism in Select Works by Zora Neale Hurston, Grace Seton-Thompson, and Zatella Turner. Women’s Studies, 38(7), 765–790. Rantisi, N. M. (2011). The Prospects and Perils of Creating a Viable Fashion Identity. Fashion Theory: The Journal of Dress, Body & Culture, 15(2), 259–265. Saucier, P. K. (2011). Cape Verdean Youth Fashion: Identity in Clothing. Fashion Theory: The Journal of Dress, Body & Culture, 15(1), 49–66. Zhang, Y. (2016). Constructing Swedish Fashion Identity. Fashion Theory: The Journal of Dress, Body & Culture, 20(4), 475–484.
|