{"id":3155,"date":"2013-02-05T23:56:45","date_gmt":"2013-02-06T03:56:45","guid":{"rendered":"http:\/\/arts.umich.edu\/ink\/?p=3155"},"modified":"2017-09-27T12:38:07","modified_gmt":"2017-09-27T16:38:07","slug":"shear-shock","status":"publish","type":"post","link":"https:\/\/artsatmichigan.umich.edu\/ink\/2013\/02\/05\/shear-shock\/","title":{"rendered":"Shear Shock"},"content":{"rendered":"

Few fashion trends during the French Revolutionary period were able to create the same reaction as la coiffure \u00c3\u00a0 la Titus,<\/em> a haircut that evoked both amusement and outrage. \u00c2\u00a0Its extreme shortness was purposefully masculine, having been appropriated from an earlier male fashion trend meant to imitate ancient Roman busts. \u00c2\u00a0\u00c2\u00a0It was also a style that was considered incredibly natural, standing in contrast to the highly powdered and structured wigs of the ancien regime<\/em>.\u00c2\u00a0 Women who cropped their hair in such a way were aggressively targeted in pamphlets, cultural journals, fashion prints, caricatures, books, and at least one play.\u00c2\u00a0 This condemnation was, as one might expect, an overwhelmingly male exercise, with one contemporary critic going as far as to say that the women who wore the Titus<\/em> were \u00e2\u20ac\u0153disfigured.\u00e2\u20ac\u009d\u00c2\u00a0 Regardless of the deprecation, many prominent women wore the blatantly masculine hairstyle well into the first decade of the 19th<\/sup> Century, continually amending it to fit changing definitions of femininity.<\/p>\n

\"An
An example of a Titus, by Boilly <\/figcaption><\/figure>\n

In 1804 the author of the Toilette des dames ou Encyclop\u00c3\u00a9die de la beaut\u00c3\u00a9 <\/em>railed against the Coiffure \u00c3\u00a0 la Titus<\/em>, questioning why women would forsake what was universally regarded as their most beautiful feature and opt instead for bare heads.\u00c2\u00a0 This was something typically associated with punishment or shame.\u00c2\u00a0 Women\u00e2\u20ac\u2122s decision to sacrifice an accepted sign of femininity begged an association with cross-dressing. According to critic Rothe de Nugent in his 1809 Anti-Titus<\/em> pamphlet, one of the principle aspects of revulsion found in the female Titus<\/em> was the conflation between male hair and female dress, as though a Roman emperor\u00e2\u20ac\u2122s head were on the body of a female.\u00c2\u00a0 Worries over cross-dressing, long standing in Western culture, signaled that male authority could be overtaken simply by a woman\u00e2\u20ac\u2122s supposition that she was not confined to gendered clothing.\u00c2\u00a0 This criticism followed in the tradition as le monde renvers\u00c3\u00a9.\u00c2\u00a0 Le monde renvers\u00c3\u00a9 <\/em>was a common theme created in 16th<\/sup> century children\u00e2\u20ac\u2122s books meant to illustrate basic societal norms and morals through a carnivalesque inversion of hierarchies. One such image shows a woman about to go on a hunt while the husband stays at home with the children. These publications did not generally show cross-dressing, instead the emphasis was on the <\/p>\n

top uk online casinos welcome bonus codes and promotions ukcasinowelcomebonus.co.uk<\/a> uk online casino welcome bonus at first deposit <\/div>\n

reversal of one\u00e2\u20ac\u2122s purpose in society, which was made entirely readable through appearance and costume by the time of the French Revolution. This print of the king combing out the queen\u00e2\u20ac\u2122s hair bears clear thematic influence from le monde renvers\u00c3\u00a9.<\/em> It not only makes Louis XVI a servant to Marie-Antoinette and a pawn in her own political desires but that her hair had become equal to and interchangeable with the crown, as indicated by the caption \u00e2\u20ac\u0153Coeffure pour Couronne<\/em>\u00e2\u20ac\u009d.\u00c2\u00a0 Regarding the verdict for Marie Antoinette\u00e2\u20ac\u2122s guilt, historian Lynn Hunt wrote \u00e2\u20ac\u0153the revelation of the Queen\u00e2\u20ac\u2122s true motives and feelings came [above all] from the ability of the people to \u00e2\u20ac\u02dcread\u00e2\u20ac\u2122 her body.\u00e2\u20ac\u009d\u00c2\u00a0 Or, at least, the belief<\/strong> that her body could be read.<\/p>\n

\"The
The Inverted World <\/figcaption><\/figure>\n

\"\"<\/p>\n

The implication of Le Monde Renvers\u00c3\u00a9<\/em>, and bear it in mind that these were meant to be taught from an early age, was that when a human pulls a cart instead of the mule, the world goes crazy.\u00c2\u00a0 When children punish their parents, the world goes crazy.\u00c2\u00a0 When a woman assumes the visual presence of a man, the world goes crazy<\/strong>. Le Monde Renvers\u00c3\u00a9<\/em> has its origins in medieval carnival culture, where institutions like government and religion were suspended and social roles were inverted, including gender roles.\u00c2\u00a0 What made the coiffure \u00c3\u00a0 la Titus<\/em> a problematic image was that it was not <\/strong>on carnival day; it penetrated everyday life.\u00c2\u00a0 Ultimately, the coiffure \u00c3\u00a0 la Titus<\/em> failed to establish itself as a style that could be separated from its highly charged connotations of gender dynamics.\u00c2\u00a0 Continual compromises with ideals of femininity robbed it of its once shocking starkness, though criticism followed the Titus<\/em> to the very end.<\/p>\n","protected":false},"excerpt":{"rendered":"

Few fashion trends during the French Revolutionary period were able to create the same reaction as la coiffure \u00c3\u00a0 la Titus, a haircut that evoked both amusement and outrage. \u00c2\u00a0Its extreme shortness was purposefully masculine, having been appropriated from an earlier male fashion trend meant to imitate ancient Roman busts. \u00c2\u00a0\u00c2\u00a0It was also a style […]<\/p>\n","protected":false},"author":34,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/posts\/3155"}],"collection":[{"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/users\/34"}],"replies":[{"embeddable":true,"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/comments?post=3155"}],"version-history":[{"count":4,"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/posts\/3155\/revisions"}],"predecessor-version":[{"id":8445,"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/posts\/3155\/revisions\/8445"}],"wp:attachment":[{"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/media?parent=3155"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/categories?post=3155"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artsatmichigan.umich.edu\/ink\/wp-json\/wp\/v2\/tags?post=3155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}