André Béteille
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780198077435
- eISBN:
- 9780199081080
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198077435.003.0004
- Subject:
- Sociology, Social Stratification, Inequality, and Mobility
This chapter explains the organization of production in Sripuram. It investigates the relations which are entered into by the members of the village, among themselves and with outsiders, for the ...
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This chapter explains the organization of production in Sripuram. It investigates the relations which are entered into by the members of the village, among themselves and with outsiders, for the purpose of production. Some brief observations are then reported on the mechanisms of distribution and exchange. Most of the cultivable land in the village is irrigated and used for cultivating paddy. Additionally, most of the land continues to be held by the old landowning class. It is noted that ownership of land is vested in people with different social backgrounds and that landowners do not constitute a homogeneous class. Land has come into the market; the old landowners are now scattered; new laws have been passed which seek to reorganise agrarian relations. Village handicrafts have undergone a process of disintegration. The village has become, in a multitude of ways, part of a much wider economic system.Less
This chapter explains the organization of production in Sripuram. It investigates the relations which are entered into by the members of the village, among themselves and with outsiders, for the purpose of production. Some brief observations are then reported on the mechanisms of distribution and exchange. Most of the cultivable land in the village is irrigated and used for cultivating paddy. Additionally, most of the land continues to be held by the old landowning class. It is noted that ownership of land is vested in people with different social backgrounds and that landowners do not constitute a homogeneous class. Land has come into the market; the old landowners are now scattered; new laws have been passed which seek to reorganise agrarian relations. Village handicrafts have undergone a process of disintegration. The village has become, in a multitude of ways, part of a much wider economic system.
Jenni Sorkin
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780226303116
- eISBN:
- 9780226303253
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226303253.001.0001
- Subject:
- Art, Art History
A thematic and gendered history of post-war American ceramics, this book focuses on three American women ceramists, Marguerite Wildenhain (1896-1985), a Bauhaus-trained potter who taught form as ...
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A thematic and gendered history of post-war American ceramics, this book focuses on three American women ceramists, Marguerite Wildenhain (1896-1985), a Bauhaus-trained potter who taught form as process without product at her summer craft school Pond Farm; Mary Caroline (M.C.) Richards (1916-1999), who renounced formalism at Black Mountain College in favor of a therapeutic model she pursued outside academia; and Susan Peterson (1925-2009), who popularized ceramics through live throwing demonstrations on public television in 1964-65. These artists utilized ceramics as a conduit for social contact through teaching, writing, and the performance of their medium. At mid-century, functional pottery was more than just an art form, it was a lifestyle, offering mid-century women extraordinary autonomy, both economically and socially, through experimental artistic communities that were collective in nature. Ceramics offers a compelling site for examining the sexism and media hierarchies embedded in modernist art histories. It became a viable alternative to the mainstream, urban art worlds of New York City and Los Angeles, a space in which women could innovate, teach, and create lasting pedagogical structures. This unorthodox, largely rural livelihood was beholden to the formal requirements of the craft: the making, storage, and firing of ceramic wares. The medium itself was ill-suited to an urban setting: strict fire codes made kilns illegal in most cities. Pottery’s emphasis on self-sufficient rural living offered proto-feminist women the opportunity to live and teach in cooperative, experimental, and self-initiated communities.Less
A thematic and gendered history of post-war American ceramics, this book focuses on three American women ceramists, Marguerite Wildenhain (1896-1985), a Bauhaus-trained potter who taught form as process without product at her summer craft school Pond Farm; Mary Caroline (M.C.) Richards (1916-1999), who renounced formalism at Black Mountain College in favor of a therapeutic model she pursued outside academia; and Susan Peterson (1925-2009), who popularized ceramics through live throwing demonstrations on public television in 1964-65. These artists utilized ceramics as a conduit for social contact through teaching, writing, and the performance of their medium. At mid-century, functional pottery was more than just an art form, it was a lifestyle, offering mid-century women extraordinary autonomy, both economically and socially, through experimental artistic communities that were collective in nature. Ceramics offers a compelling site for examining the sexism and media hierarchies embedded in modernist art histories. It became a viable alternative to the mainstream, urban art worlds of New York City and Los Angeles, a space in which women could innovate, teach, and create lasting pedagogical structures. This unorthodox, largely rural livelihood was beholden to the formal requirements of the craft: the making, storage, and firing of ceramic wares. The medium itself was ill-suited to an urban setting: strict fire codes made kilns illegal in most cities. Pottery’s emphasis on self-sufficient rural living offered proto-feminist women the opportunity to live and teach in cooperative, experimental, and self-initiated communities.
Gary S. Fields
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199794645
- eISBN:
- 9780199928606
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199794645.003.0003
- Subject:
- Economics and Finance, Macro- and Monetary Economics, Financial Economics
This chapter aims to put human faces on four of the world's 3.1 billion poor people. The stories are told of a woman who hand-rolls cigarettes in India and earns a piece rate, a handicraft maker and ...
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This chapter aims to put human faces on four of the world's 3.1 billion poor people. The stories are told of a woman who hand-rolls cigarettes in India and earns a piece rate, a handicraft maker and vendor in South Africa, a farmer in China, and a fireworks producer in Mexico. Similarities and differences between their stories are discussed.Less
This chapter aims to put human faces on four of the world's 3.1 billion poor people. The stories are told of a woman who hand-rolls cigarettes in India and earns a piece rate, a handicraft maker and vendor in South Africa, a farmer in China, and a fireworks producer in Mexico. Similarities and differences between their stories are discussed.
Cormac Ó Gráda
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780198205982
- eISBN:
- 9780191676895
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198205982.003.0012
- Subject:
- History, British and Irish Modern History, Economic History
The common perception of 19th-century Ireland is of an economy overwhelmingly dominated by agriculture. This squares poorly with the census of 1821, where over two-fifths of Irishmen and Irishwomen ...
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The common perception of 19th-century Ireland is of an economy overwhelmingly dominated by agriculture. This squares poorly with the census of 1821, where over two-fifths of Irishmen and Irishwomen declaring an occupation were ‘chiefly employed in trades, manufactures, or handicraft’. Nor was non-agricultural employment confined to the northeast. Aside from rural proto-industry, late 18th-century Irish cities and towns contained hundreds of factories and workshops, embodying traditional and modern technologies. The new inventions of the Industrial Revolution caught on quickly in Ireland. In addition, more traditional industries such as glass- and paper-making, the production of woollens and silks, printing, shipbuilding, sugar refining, milling, tanning, brewing, and distilling were important, though they catered largely for local markets. Many of them faced decline in the following century or so. This chapter outlines the history of some of these industries.Less
The common perception of 19th-century Ireland is of an economy overwhelmingly dominated by agriculture. This squares poorly with the census of 1821, where over two-fifths of Irishmen and Irishwomen declaring an occupation were ‘chiefly employed in trades, manufactures, or handicraft’. Nor was non-agricultural employment confined to the northeast. Aside from rural proto-industry, late 18th-century Irish cities and towns contained hundreds of factories and workshops, embodying traditional and modern technologies. The new inventions of the Industrial Revolution caught on quickly in Ireland. In addition, more traditional industries such as glass- and paper-making, the production of woollens and silks, printing, shipbuilding, sugar refining, milling, tanning, brewing, and distilling were important, though they catered largely for local markets. Many of them faced decline in the following century or so. This chapter outlines the history of some of these industries.
Vicky "Albritton and Fredrik Albritton Jonsson
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780226339986
- eISBN:
- 9780226340043
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226340043.001.0001
- Subject:
- History, History of Science, Technology, and Medicine
This book tells the story of an extraordinary social experiment in the English Lake District at the end of the Victorian era. Here, a small group of women and men sought to forge a society based on ...
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This book tells the story of an extraordinary social experiment in the English Lake District at the end of the Victorian era. Here, a small group of women and men sought to forge a society based on renewable resources and handicrafts, dedicated to an ethos of artful simplicity. This culture of sufficiency was inspired by the writings of the brilliant polymath John Ruskin who had come to the Lake District in search of a refuge from industrial society and mass consumption. Green Victorians offers a pioneering account of John Ruskin as a prophet of anthropogenic climate change and the ethics of consumption. It also explores in vivid detail how Ruskin’s followers turned his social ideal into practice through a series of local projects ranging from linen weaving and the preservation of landscape to historical fiction and family magazines. These men and women succeeded in establishing a thriving handicraft industry and protecting the Lake District from over-development, but they paid a price for their success. There was a dark side to Ruskin’s vision of sufficiency, including apocalyptic anxieties, hostility to new technology, and a conservative defense of social inequality. The book examines how Ruskin’s followers came to terms with these tendencies in different ways. By recovering the place of sufficiency in the origins of environmentalism, Green Victorians offers a valuable mirror for the ideology of sustainability and limits to growth in our own age.Less
This book tells the story of an extraordinary social experiment in the English Lake District at the end of the Victorian era. Here, a small group of women and men sought to forge a society based on renewable resources and handicrafts, dedicated to an ethos of artful simplicity. This culture of sufficiency was inspired by the writings of the brilliant polymath John Ruskin who had come to the Lake District in search of a refuge from industrial society and mass consumption. Green Victorians offers a pioneering account of John Ruskin as a prophet of anthropogenic climate change and the ethics of consumption. It also explores in vivid detail how Ruskin’s followers turned his social ideal into practice through a series of local projects ranging from linen weaving and the preservation of landscape to historical fiction and family magazines. These men and women succeeded in establishing a thriving handicraft industry and protecting the Lake District from over-development, but they paid a price for their success. There was a dark side to Ruskin’s vision of sufficiency, including apocalyptic anxieties, hostility to new technology, and a conservative defense of social inequality. The book examines how Ruskin’s followers came to terms with these tendencies in different ways. By recovering the place of sufficiency in the origins of environmentalism, Green Victorians offers a valuable mirror for the ideology of sustainability and limits to growth in our own age.
Tirthankar Roy
- Published in print:
- 2011
- Published Online:
- January 2013
- ISBN:
- 9780198074175
- eISBN:
- 9780199082148
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198074175.003.0006
- Subject:
- History, Indian History
In 1900, most of India's manufacturing workers were employed in industries that did not use either machinery or large factories. A century later, more than two-thirds of manufacturing employment ...
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In 1900, most of India's manufacturing workers were employed in industries that did not use either machinery or large factories. A century later, more than two-thirds of manufacturing employment remained intensive in manual labour and were concentrated in small firms, some of which had roots in the traditional handicrafts. During the colonial period, the scale of employment in the handicrafts declined. Small firms and industries producing handicrafts experienced major turmoil and increasing differentiation. Commercialization polarized and differentiated the handicrafts industry, essentially transforming traditional industry and giving rise to modern small-scale industry in colonial India. This change was characterized by the growing scope for commercial and industrial capital in the business, as well as increasing use of wage labour in place of family labour.Less
In 1900, most of India's manufacturing workers were employed in industries that did not use either machinery or large factories. A century later, more than two-thirds of manufacturing employment remained intensive in manual labour and were concentrated in small firms, some of which had roots in the traditional handicrafts. During the colonial period, the scale of employment in the handicrafts declined. Small firms and industries producing handicrafts experienced major turmoil and increasing differentiation. Commercialization polarized and differentiated the handicrafts industry, essentially transforming traditional industry and giving rise to modern small-scale industry in colonial India. This change was characterized by the growing scope for commercial and industrial capital in the business, as well as increasing use of wage labour in place of family labour.
Stuart Eagles
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199602414
- eISBN:
- 9780191725050
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199602414.003.0003
- Subject:
- History, British and Irish Modern History, History of Ideas
Ruskin's utopianist Guild of St. George was the embodiment of his social challenge. An extension of his personality, it grew partly out of his early involvement with the Working Men's College in ...
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Ruskin's utopianist Guild of St. George was the embodiment of his social challenge. An extension of his personality, it grew partly out of his early involvement with the Working Men's College in London. In microcosm, the Guild served directly both to help educate the workman through a free and carefully organised Museum in Sheffield, and to return a few of Ruskin's most loyal Companions, to a simple rural life. Others, working in the spirit of the Guild, but not directly for it, revived traditional handicrafts in the Lake District and on the Isle of Man. Before Ruskin's death, the dedication of his Companions was responsible for securing the Guild's modest successes, and although their efforts became less focused after 1900, they continued to support the sorts of progressive social institutions in which many of Ruskin's disciples congregated outside the Guild.Less
Ruskin's utopianist Guild of St. George was the embodiment of his social challenge. An extension of his personality, it grew partly out of his early involvement with the Working Men's College in London. In microcosm, the Guild served directly both to help educate the workman through a free and carefully organised Museum in Sheffield, and to return a few of Ruskin's most loyal Companions, to a simple rural life. Others, working in the spirit of the Guild, but not directly for it, revived traditional handicrafts in the Lake District and on the Isle of Man. Before Ruskin's death, the dedication of his Companions was responsible for securing the Guild's modest successes, and although their efforts became less focused after 1900, they continued to support the sorts of progressive social institutions in which many of Ruskin's disciples congregated outside the Guild.
Jenni Sorkin
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780226303116
- eISBN:
- 9780226303253
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226303253.003.0004
- Subject:
- Art, Art History
Black Mountain College’s 1952 Pottery Seminar has been an overlooked moment in the college’s history. But the Seminar stands as a pioneering moment, when the therapeutic properties of ceramics were ...
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Black Mountain College’s 1952 Pottery Seminar has been an overlooked moment in the college’s history. But the Seminar stands as a pioneering moment, when the therapeutic properties of ceramics were integrated into an avant-garde context utilizing Zen philosophy, rather than a discourse of welfare. This is particularly significant against the backdrop of rural North Carolina, Black Mountain’s immediate vicinity, an Appalachian state with a history of vernacular craft initiatives largely established by women and driven by strong social mandates. It is previously unknown that local groups were in attendance: through archival evidence, the Pottery Seminar’s legacy can be further recovered through the pedagogical contributions of women, which converged with Eastern ideas to alter the medium’s reception in the United States.Less
Black Mountain College’s 1952 Pottery Seminar has been an overlooked moment in the college’s history. But the Seminar stands as a pioneering moment, when the therapeutic properties of ceramics were integrated into an avant-garde context utilizing Zen philosophy, rather than a discourse of welfare. This is particularly significant against the backdrop of rural North Carolina, Black Mountain’s immediate vicinity, an Appalachian state with a history of vernacular craft initiatives largely established by women and driven by strong social mandates. It is previously unknown that local groups were in attendance: through archival evidence, the Pottery Seminar’s legacy can be further recovered through the pedagogical contributions of women, which converged with Eastern ideas to alter the medium’s reception in the United States.
Jenni Sorkin
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780226303116
- eISBN:
- 9780226303253
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226303253.003.0007
- Subject:
- Art, Art History
The collectivity in artistic practice that flourished during the 1970s could not have occurred without the pedagogical networks put into motion by craftswomen of the 1950s. Their relentless ...
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The collectivity in artistic practice that flourished during the 1970s could not have occurred without the pedagogical networks put into motion by craftswomen of the 1950s. Their relentless experimentation has gone largely unnoticed because they did not produce from inside, but beside and alongside other modernist practices.Less
The collectivity in artistic practice that flourished during the 1970s could not have occurred without the pedagogical networks put into motion by craftswomen of the 1950s. Their relentless experimentation has gone largely unnoticed because they did not produce from inside, but beside and alongside other modernist practices.
Olive Dame Campbell
Elizabeth M. Williams (ed.)
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780813136448
- eISBN:
- 9780813141404
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813136448.001.0001
- Subject:
- History, American History: 20th Century
Olive Dame Campbell is best known as a ballad collector, but she was also a social reformer in Appalachia. Her diary is a the record of a trip that she and her husband, John C. Campbell, made in the ...
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Olive Dame Campbell is best known as a ballad collector, but she was also a social reformer in Appalachia. Her diary is a the record of a trip that she and her husband, John C. Campbell, made in the early part of the 20th century to gather data for the Russell Sage Foundation about the true social, religious, and economic conditions in the Southern Highlands. Visiting eastern Kentucky, eastern Tennessee, and western North Carolina, they interviewed missionaries, teachers, and settlement school workers, going to out-of-the-way villages and towns on roads that were often nothing more than creek beds. After John Campbell's death in 1919, she continued his work, finishing his book, The Southern Highlander and His Homeland, the first comprehensive history of Appalachia. All the while, she maintained her interest in folk songs, acquired on their fact-finding trip. She studied the educational principles of Scandinavian folk schools and established the John C. Campbell Folk School near Brasstown, North Carolina, to encourage the local population to continue the tradition of creating native crafts and was instrumental in the establishment of the Southern Mountain Handicraft Guild. Olive Dame Campbell's diary of their investigative trip to gather information is an entertaining and enlightening account of the places the Campbells visited and the people they met, revealing captivating details of everyday life in Appalachia at the turn of the century.Less
Olive Dame Campbell is best known as a ballad collector, but she was also a social reformer in Appalachia. Her diary is a the record of a trip that she and her husband, John C. Campbell, made in the early part of the 20th century to gather data for the Russell Sage Foundation about the true social, religious, and economic conditions in the Southern Highlands. Visiting eastern Kentucky, eastern Tennessee, and western North Carolina, they interviewed missionaries, teachers, and settlement school workers, going to out-of-the-way villages and towns on roads that were often nothing more than creek beds. After John Campbell's death in 1919, she continued his work, finishing his book, The Southern Highlander and His Homeland, the first comprehensive history of Appalachia. All the while, she maintained her interest in folk songs, acquired on their fact-finding trip. She studied the educational principles of Scandinavian folk schools and established the John C. Campbell Folk School near Brasstown, North Carolina, to encourage the local population to continue the tradition of creating native crafts and was instrumental in the establishment of the Southern Mountain Handicraft Guild. Olive Dame Campbell's diary of their investigative trip to gather information is an entertaining and enlightening account of the places the Campbells visited and the people they met, revealing captivating details of everyday life in Appalachia at the turn of the century.
Talia Schaffer
- Published in print:
- 2011
- Published Online:
- March 2015
- ISBN:
- 9780195398045
- eISBN:
- 9780190252816
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780195398045.003.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This book explores domestic handicraft as a cultural practice in Victorian England and its portrayal in literature. More specifically, it presents a cultural history of the handicraft movement by ...
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This book explores domestic handicraft as a cultural practice in Victorian England and its portrayal in literature. More specifically, it presents a cultural history of the handicraft movement by drawing on four novels: Elizabeth Gaskell's Cranford, Charlotte Mary Yonge's The Daisy Chain, Charles Dickens's Our Mutual Friend, and Margaret Oliphant's Phoebe Junior. The book examines how an artifact's worth and beauty were assessed during the period, along with the kinds of associations these objects carried and how those meanings changed over time. It also considers a set of beliefs known as the craft paradigm, which refers to the representation, production, consumption, value, and beauty underlying creative work during the mid-Victorian era. Finally, the book argues that the domestic handicrafts' global trade and their modes of production were driven by the Victorians' need for “personal or familial mementos”.Less
This book explores domestic handicraft as a cultural practice in Victorian England and its portrayal in literature. More specifically, it presents a cultural history of the handicraft movement by drawing on four novels: Elizabeth Gaskell's Cranford, Charlotte Mary Yonge's The Daisy Chain, Charles Dickens's Our Mutual Friend, and Margaret Oliphant's Phoebe Junior. The book examines how an artifact's worth and beauty were assessed during the period, along with the kinds of associations these objects carried and how those meanings changed over time. It also considers a set of beliefs known as the craft paradigm, which refers to the representation, production, consumption, value, and beauty underlying creative work during the mid-Victorian era. Finally, the book argues that the domestic handicrafts' global trade and their modes of production were driven by the Victorians' need for “personal or familial mementos”.
Talia Schaffer
- Published in print:
- 2011
- Published Online:
- March 2015
- ISBN:
- 9780195398045
- eISBN:
- 9780190252816
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780195398045.003.0002
- Subject:
- Literature, 19th-century and Victorian Literature
This chapter traces the history of the domestic handicraft movement, as well as the uses of the craft paradigm, in Victorian England from the eighteenth century to the end of the nineteenth century. ...
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This chapter traces the history of the domestic handicraft movement, as well as the uses of the craft paradigm, in Victorian England from the eighteenth century to the end of the nineteenth century. It examines some of the major trends in the production of domestic handicraft, together with the crafts' growing popularity from the eighteenth century through the 1840s, then from the 1840s through the 1860s. It also looks at the 1851 Great Exhibition, which showcased the compatibility between art and industrialism and called handicraft “ornamental industry”; the rise of a new needlework technique called Berlin-wool work; and the rhetoric of craft manuals that reflected the shifting relationship between the women's world and the world of industrial production. Finally, the chapter considers the decline of handicraft movement after 1860, when it was displaced by new aesthetic and financial trends such as the Design Reform movement and the Arts and Crafts movement.Less
This chapter traces the history of the domestic handicraft movement, as well as the uses of the craft paradigm, in Victorian England from the eighteenth century to the end of the nineteenth century. It examines some of the major trends in the production of domestic handicraft, together with the crafts' growing popularity from the eighteenth century through the 1840s, then from the 1840s through the 1860s. It also looks at the 1851 Great Exhibition, which showcased the compatibility between art and industrialism and called handicraft “ornamental industry”; the rise of a new needlework technique called Berlin-wool work; and the rhetoric of craft manuals that reflected the shifting relationship between the women's world and the world of industrial production. Finally, the chapter considers the decline of handicraft movement after 1860, when it was displaced by new aesthetic and financial trends such as the Design Reform movement and the Arts and Crafts movement.
Talia Schaffer
- Published in print:
- 2011
- Published Online:
- March 2015
- ISBN:
- 9780195398045
- eISBN:
- 9780190252816
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780195398045.003.0007
- Subject:
- Literature, 19th-century and Victorian Literature
This postscript considers the connection between modern handicraft and the cultural aspects of domestic handicraft in Victorian England, with particular reference to the similarities between them. ...
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This postscript considers the connection between modern handicraft and the cultural aspects of domestic handicraft in Victorian England, with particular reference to the similarities between them. The emphasis is on the novelty of craft rather than the novel craft. More specifically, it examines whether modern handicraft originates from the Victorian domestic handicraft, citing the Pringles bracelet and its relationship to the wax coral of the Victorian period. It also shows how domestic handicraft today perpetuates many of the values of its Victorian predecessor, including salvage, amateurism, and sentiment. Finally, the significance of that relationship to the contemporary craft industry is discussed.Less
This postscript considers the connection between modern handicraft and the cultural aspects of domestic handicraft in Victorian England, with particular reference to the similarities between them. The emphasis is on the novelty of craft rather than the novel craft. More specifically, it examines whether modern handicraft originates from the Victorian domestic handicraft, citing the Pringles bracelet and its relationship to the wax coral of the Victorian period. It also shows how domestic handicraft today perpetuates many of the values of its Victorian predecessor, including salvage, amateurism, and sentiment. Finally, the significance of that relationship to the contemporary craft industry is discussed.
Elizabeth McCutchen Williams
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780813136448
- eISBN:
- 9780813141404
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813136448.003.0002
- Subject:
- History, American History: 20th Century
Under the auspices of the Russell Sage Foundation, the Campbells outfitted a wagon to travel through the Southern Appalachians in order to discover the true nature of educational, economic, and ...
More
Under the auspices of the Russell Sage Foundation, the Campbells outfitted a wagon to travel through the Southern Appalachians in order to discover the true nature of educational, economic, and social conditions in the region. Along the way, Olive Campbell was captivated by the ballads and native crafts she encountered.Less
Under the auspices of the Russell Sage Foundation, the Campbells outfitted a wagon to travel through the Southern Appalachians in order to discover the true nature of educational, economic, and social conditions in the region. Along the way, Olive Campbell was captivated by the ballads and native crafts she encountered.
Patrick C. Wilson
- Published in print:
- 2010
- Published Online:
- March 2016
- ISBN:
- 9780814796207
- eISBN:
- 9780814765005
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814796207.003.0008
- Subject:
- Anthropology, American and Canadian Cultural Anthropology
This chapter examines European constructions of indigenous “Others” through catalogues of material practices and their implications for the design and implementation of indigenous artisan fair trade ...
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This chapter examines European constructions of indigenous “Others” through catalogues of material practices and their implications for the design and implementation of indigenous artisan fair trade projects. More specifically, it explores the relationships between materiality and indigeneity in handicraft fair trade production by focusing on a set of alternative trade organization projects in Ecuador. It highlights the issue of ethnic identity in discussing Ecuadorian craft producers, who either gain or are denied access to a lucrative fair trade market according to their ability to deploy “acceptably indigenous” behaviors. It also considers what indexing indigenous peoples through a catalogue of material items might reveal about cultural assumptions driving artisan fair trade and its economic consequences. It argues that certification standards originating in the developed North impose an essentialized definition of tradition that excludes some indigenous communities from the benefits of alternative markets.Less
This chapter examines European constructions of indigenous “Others” through catalogues of material practices and their implications for the design and implementation of indigenous artisan fair trade projects. More specifically, it explores the relationships between materiality and indigeneity in handicraft fair trade production by focusing on a set of alternative trade organization projects in Ecuador. It highlights the issue of ethnic identity in discussing Ecuadorian craft producers, who either gain or are denied access to a lucrative fair trade market according to their ability to deploy “acceptably indigenous” behaviors. It also considers what indexing indigenous peoples through a catalogue of material items might reveal about cultural assumptions driving artisan fair trade and its economic consequences. It argues that certification standards originating in the developed North impose an essentialized definition of tradition that excludes some indigenous communities from the benefits of alternative markets.
Chris Goertzen
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604737967
- eISBN:
- 9781604737974
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604737967.003.0001
- Subject:
- History, Latin American History
This introductory chapter presents a case study involving a pillowcase from Chiapas. The pillowcase is an untraditional object handwoven in traditional ways, presenting a modern version of an ancient ...
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This introductory chapter presents a case study involving a pillowcase from Chiapas. The pillowcase is an untraditional object handwoven in traditional ways, presenting a modern version of an ancient and sacred design—an object made with the tourist in mind. Should we consider its existence a symptom of another layer of colonization, in which the craftsperson must debase his or her work and values to earn a living? Or is it a natural and healthy outgrowth of tradition? The chapter analyzes the following factors: the fact that a sacred design decorates this pillow case; the identity of the design; the size of this version of the design; the number and choice of colors used; techniques of weaving; and the process by which this item was designed and marketed.Less
This introductory chapter presents a case study involving a pillowcase from Chiapas. The pillowcase is an untraditional object handwoven in traditional ways, presenting a modern version of an ancient and sacred design—an object made with the tourist in mind. Should we consider its existence a symptom of another layer of colonization, in which the craftsperson must debase his or her work and values to earn a living? Or is it a natural and healthy outgrowth of tradition? The chapter analyzes the following factors: the fact that a sacred design decorates this pillow case; the identity of the design; the size of this version of the design; the number and choice of colors used; techniques of weaving; and the process by which this item was designed and marketed.
- Published in print:
- 2013
- Published Online:
- June 2013
- ISBN:
- 9780804784313
- eISBN:
- 9780804787246
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804784313.003.0008
- Subject:
- History, European Modern History
This chapter explores in more detail what has been termed “The Remains of the Day.” The inventory and will established at Madame Luce's death testify to the astute business acumen that guided her ...
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This chapter explores in more detail what has been termed “The Remains of the Day.” The inventory and will established at Madame Luce's death testify to the astute business acumen that guided her throughout much of her life. She died leaving a comfortable sum of money to the young girl whose memoirs do the most to bring her great-grandmother to life. But she also left a legacy in artisanal handicrafts that circulated widely across France, Great Britain, North America, and North Africa, thanks to universal and colonial exhibitions. Her granddaughter Henriette Benaben continued the workshop Luce established in Algiers and actively worked to assemble collections of “oriental embroideries” that now lie in the storerooms of museums in Algiers, Paris, and London. These collections constitute the most permanent and highly gendered legacy of Madame Luce's Arab–French school.Less
This chapter explores in more detail what has been termed “The Remains of the Day.” The inventory and will established at Madame Luce's death testify to the astute business acumen that guided her throughout much of her life. She died leaving a comfortable sum of money to the young girl whose memoirs do the most to bring her great-grandmother to life. But she also left a legacy in artisanal handicrafts that circulated widely across France, Great Britain, North America, and North Africa, thanks to universal and colonial exhibitions. Her granddaughter Henriette Benaben continued the workshop Luce established in Algiers and actively worked to assemble collections of “oriental embroideries” that now lie in the storerooms of museums in Algiers, Paris, and London. These collections constitute the most permanent and highly gendered legacy of Madame Luce's Arab–French school.
Vicky Albritton and Fredrik Albritton Jonsson
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780226339986
- eISBN:
- 9780226340043
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226340043.003.0003
- Subject:
- History, History of Science, Technology, and Medicine
London barrister Albert Fleming spent a portion of every year in the Lake District, partly to be closer to Ruskin. In a bid to bring meaningful work to a poorer segment of the rural population, he ...
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London barrister Albert Fleming spent a portion of every year in the Lake District, partly to be closer to Ruskin. In a bid to bring meaningful work to a poorer segment of the rural population, he initiated a revival of handicrafts, particularly of the centuries old tradition of spinning and weaving by hand. He was the first Ruskinian to turn an environmentally conscious industry into an economically viable, labor friendly business. Before Fleming, Egbert Rydings wrestled with the thornier issues of ethical production, finding it difficult to maintain safe working conditions while avoiding air, noise, and water pollution. But working with his “ingenious” Lakeland housekeeper Marion Twelves, Fleming overcame these problems and revived the pleasure and beauty of hand-spun flax and hand-woven linens. As a testament to the importance of meaningful, individual labor, Fleming helped create an entirely hand-made book, even down to the hand-made paper, and included within it a list of everyone who had taken part in its production.Less
London barrister Albert Fleming spent a portion of every year in the Lake District, partly to be closer to Ruskin. In a bid to bring meaningful work to a poorer segment of the rural population, he initiated a revival of handicrafts, particularly of the centuries old tradition of spinning and weaving by hand. He was the first Ruskinian to turn an environmentally conscious industry into an economically viable, labor friendly business. Before Fleming, Egbert Rydings wrestled with the thornier issues of ethical production, finding it difficult to maintain safe working conditions while avoiding air, noise, and water pollution. But working with his “ingenious” Lakeland housekeeper Marion Twelves, Fleming overcame these problems and revived the pleasure and beauty of hand-spun flax and hand-woven linens. As a testament to the importance of meaningful, individual labor, Fleming helped create an entirely hand-made book, even down to the hand-made paper, and included within it a list of everyone who had taken part in its production.
Talia Schaffer
- Published in print:
- 2011
- Published Online:
- March 2015
- ISBN:
- 9780195398045
- eISBN:
- 9780190252816
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780195398045.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This book explores an intriguing and under-studied aspect of cultural life in Victorian England: domestic handicrafts, the decorative pursuit that predated the Arts and Crafts movement. The book ...
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This book explores an intriguing and under-studied aspect of cultural life in Victorian England: domestic handicrafts, the decorative pursuit that predated the Arts and Crafts movement. The book argues that the handicraft movement served as a way to critique the modern mass-produced commodity and the rapidly emerging industrial capitalism of the nineteenth century. The argument is illustrated with the four pivotal novels that form this study's core—Elizabeth Gaskell's Cranford, Charlotte Mary Yonge's The Daisy Chain, Charles Dickens's Our Mutual Friend, and Margaret Oliphant's Phoebe Junior. Each features various handicrafts that subtly aim to subvert the socioeconomic changes being wrought by industrialization. The volume goes beyond straightforward textual analysis by shaping each chapter around the individual craft at the center of each novel (paper for Cranford, flowers and related arts in The Daisy Chain, rubbish and salvage in Our Mutual Friend, and the contrasting ethos of arts and crafts connoisseurship in Phoebe Junior). The domestic handicraft also allows for self-referential analysis of the text itself; in scenes of craft production (and destruction), the authors articulate the work they hope their own fictions perform. The handicraft also becomes a locus for critiquing contemporary aesthetic trends, with the novels putting forward an alternative vision of making value and understanding art. A work that combines cultural history and literary studies, this book highlights how attention to the handicraft movement's radically alternative views of materiality, consumption, production, representation, and subjectivity provides a fresh perspective on the major changes that shaped the Victorian novel.Less
This book explores an intriguing and under-studied aspect of cultural life in Victorian England: domestic handicrafts, the decorative pursuit that predated the Arts and Crafts movement. The book argues that the handicraft movement served as a way to critique the modern mass-produced commodity and the rapidly emerging industrial capitalism of the nineteenth century. The argument is illustrated with the four pivotal novels that form this study's core—Elizabeth Gaskell's Cranford, Charlotte Mary Yonge's The Daisy Chain, Charles Dickens's Our Mutual Friend, and Margaret Oliphant's Phoebe Junior. Each features various handicrafts that subtly aim to subvert the socioeconomic changes being wrought by industrialization. The volume goes beyond straightforward textual analysis by shaping each chapter around the individual craft at the center of each novel (paper for Cranford, flowers and related arts in The Daisy Chain, rubbish and salvage in Our Mutual Friend, and the contrasting ethos of arts and crafts connoisseurship in Phoebe Junior). The domestic handicraft also allows for self-referential analysis of the text itself; in scenes of craft production (and destruction), the authors articulate the work they hope their own fictions perform. The handicraft also becomes a locus for critiquing contemporary aesthetic trends, with the novels putting forward an alternative vision of making value and understanding art. A work that combines cultural history and literary studies, this book highlights how attention to the handicraft movement's radically alternative views of materiality, consumption, production, representation, and subjectivity provides a fresh perspective on the major changes that shaped the Victorian novel.
Talia Schaffer
- Published in print:
- 2011
- Published Online:
- March 2015
- ISBN:
- 9780195398045
- eISBN:
- 9780190252816
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780195398045.003.0003
- Subject:
- Literature, 19th-century and Victorian Literature
This chapter examines Elizabeth Gaskell's novel Cranford as a representation of women's domestic handicraft and as a meditation on ephemerality during the Victorian period. It also considers how the ...
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This chapter examines Elizabeth Gaskell's novel Cranford as a representation of women's domestic handicraft and as a meditation on ephemerality during the Victorian period. It also considers how the novel tackles the confrontation between the new paper finance and the older craft paradigm. By focusing on craft, the chapter analyzes the status of Gaskell's collection of sketches and her anxieties about the novel which are reflected in Cranford's signature craft, the making of paper candlelighters.Less
This chapter examines Elizabeth Gaskell's novel Cranford as a representation of women's domestic handicraft and as a meditation on ephemerality during the Victorian period. It also considers how the novel tackles the confrontation between the new paper finance and the older craft paradigm. By focusing on craft, the chapter analyzes the status of Gaskell's collection of sketches and her anxieties about the novel which are reflected in Cranford's signature craft, the making of paper candlelighters.
