本命年
过了春节才算过了这一年,2009年这才算结束了,回顾往昔畅想未来的年终总结也该写了。
去年没什么起色,这挺不容易的;也没更糟糕,这挺简单的;因为我在前年就抵达谷底了。年头的时候我决定往西走了,到了清明的时候,有西边的贵人拦着,东边又来个故人拽了一把,结果就来了个烧鸡大窝脖,一咬牙一跺脚就改奔东边了。原本看着东边的前景不错,呆了三月看明白了,原来又是幅画。是画就是画吧,照猫画虎这么描吧。描着描着,东方不亮西方亮,没想到东南方出现曙光了,虽然进度有点慢,但是前景挺明朗,仿佛又看到了一幅美好的画卷。到了年根底,正呆坐着呢,一个电话打过来,重大突破,这一年总算有点鼓舞人心的事情发生了。
我总是拒绝别人的帮助,说不上什么很深的原因,大概意思就是不愿意麻烦别人。今年是接受帮助最多的一年了,其实都是可以说不的,但是那种感觉特别好,四次都伴随着转机,好兆头。比如说吧,年根底的这次,本命年我也没买红内衣红袜子红腰带什么的,懒得去,但是心里还是有点别扭,信不信的,主要是个习惯。回头碰上nana说那个红手机,买这个吧,挂点红挺好的,翻了一遍新蛋没有,转天说送我一个。这事儿就挺巧的,可着心这么来的,好多年没这感觉了。这些年都是墨菲定律作祟,怕什么来什么,想什么不来什么。许是今年姐夫睡在小姨子旁边———该翻翻身了。当然,也欠下了不少人情。人情这个东西是最重的了,想还上是很难的,索性不想了,慢慢来吧。
今年结交了几个朋友,很难得,可是有几年没有新朋友了;也丢失几个朋友,不是掰了,就是丢了。那天没事和别人打赌,结果一时冲动就抄起电话开始借钱,事实证明千万别拿钱考验人,太复杂了,也可能是我掂量错自己的分量了。所以说人贵有自知之明,今年是看自己最多的一年了。今年突然觉得到岁数了,觉得老了,时间不够用了,好像突然醒了。感到有些事情真的失去了,不可能有机会了,还有一些事情如果再不做,那也快没机会了。刚子的死加剧了这种感觉,听到消息的那天,难过得要死,到了家里,一个人了,突然一下子就崩溃了,哭了一会儿才好点。我想应该打算打算怎么活了,估计也没几年了,这玩意儿是说没就没啊,是真没啊。想了又想,觉得自己挺好的,有点小毛病也无大碍,稍微提点下素养就行了,这个不是说我多好,是没什么追求。
倒是有不少事儿想做。今年最大的改变时重新培养了阅读,包括看电影和看书。知了会是个立意不错的事情,走偏了,只好变成了和RS、nana的消遣。十二月的时候在福州买了几本不错的书,这一年在淘宝也买了几本书,还有一些没买,一则是看不过来,二则是买不起。折磨很多年的那个巨著终于有了眉目,到了年底才想明白想要写的是个什么样的东西,就好像这些年一直在黑暗中摸索,突然一下子明白了摆在那里的是什么。但是真的没把握能完成,心有余而力不足,不管怎样,今年会完成,因为我要的就是它。
感情生活几乎空白,不想去拖累别人了,别人也不要闹腾我了,老了,有点折腾不动了。一个人就一个人吧,谁还不是一个人呢。有些事情过了那个岁数就不好再做了,那就下辈子吧,只要多做善事兴许还有来生地。
今年是自我审视的一年,如果我的人生是个一直陪伴着我的隐形人的话,那么他对我来说是个混蛋,我对他来说是个恶棍。生活对我不咋地,我对他也不咋地,扯平了。今年是本命年,今年过得好不好,管这一轮,所以我决定今年对他好点,希望能换来点他的善意,一点儿就行。下一个本命年也许就看不着了,要是能看着,那可就真的老了。好好享受这十二年吧,本命年顺利。
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Altia stellt Nationwide ‘GUI Design Contest "
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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.
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.
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.
Fashion and Gender
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.
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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