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Erschienen in:

2018 | OriginalPaper | Buchkapitel

3. Makeup: Why Do We Put It On?

verfasst von : Marcel Danesi

Erschienen in: Of Cigarettes, High Heels, and Other Interesting Things

Verlag: Palgrave Macmillan US

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Abstract

Why do we make up our faces, comb our hair in style, go to dances, kiss on the lips, and so on and so forth? These are fundamental questions about human behavior that might escape awareness as to their significance. The study of the body and our representations of the body through such texts as portraits is one of the most intriguing of all areas of semiotic investigation. The view that the self is a constructed sign system is at the core of such study—actually, the construction is dictated by both the forces of history (culture-specific views of the body) and the biology and emotions of the human organism. This partnership between nature and nurture is a unique one, leading to an understanding of how we develop a sense of self in context, not in the absolute. This chapter looks at the application of semiotics to such areas as cosmetics and facial decoration; the meanings of hairstyles; the role of portraiture in the representation and awareness of selfhood; why we kiss to express romantic feelings; the patterns of eye contact and their cultural variability; the role of “body language” in the conduct of social interactions; and the origins and functions of dancing.

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Vorheriges Kapitel What Does It Mean?: How Humans Represent the World

Nächstes Kapitel Tell Me About Yourself: What Is Language?

Desmond Morris, Peter Collett, Peter Marsh, and Marie O’Shaugness, Gestures: Their origins and distributions (London: Cape, 1979).

The findings of Ekman and his research colleagues can be found in: Paul Ekman and Walter Friesen, Unmasking the face (Englewood Cliffs, N. J.: Prentice-Hall, 1975); Paul Ekman, Telling lies (New York: Norton, 1985); and Paul Ekman, Emotions Revealed (New York: Holt, 2003).

Paul Ekman, Telling lies (New York: Norton, 1985). An interesting cultural history of the smile is the one by Angus Trimble, A brief history of the smile (New York: Basic Books, 2004).

Ken Adler, The lie detectors (New York: The Free Press, 2006).

Helen E. Fisher, Anatomy of love (New York: Norton, 1992), 272–3.

Roger Wescott, Sound and sense (Lake Bluff, Ill.: Jupiter Press, 1980).

See the interesting study of hairstyles by Grant McCracken, Big hair: A journey into the transformation of self (Toronto: Penguin, 1995).

Kathy Peiss, Hope in a jar: The making of America’s beauty culture (New York: Metropolitan Books, 1998). In Inventing Beauty (New York: Broadway Books, 2004), Teresa Riordan argues that when it comes to beauty it seems that human ingenuity has been at its most productive, especially in the modern era, with all kinds of inventions, from lipstick dispensers to corsets and Wonderbras.

Jean Baudrillard, Simulations (New York: Semiotexte, 1983).

Peter Russell, The global brain (New York: Tarcher, 1983).

See, for example, Marcel Danesi, The history of the kiss: The origins of pop culture (New York: Palgrave, 2013).

Michel Foucault, The history of sexuality, vol. 1 (London: Allen Lane. 1976).

Andrew Synnott, The body social: Symbolism, self and society (London: Routledge, 1993), 22.

Ray, L. Birdwhistell, Introduction to kinesics (Ann Arbor: University of Ann Arbor, 1952).

Ibid., p. 70.

Teresa Green, The tattoo encyclopedia (New York: Fireside, 2003), x–xi. In Spiritual tattoo : A cultural history of tattooing, piercing, scarification, branding, and implants (Berkeley: Frog, 2005), John A. Rush suggests that tattooing may go even further back in time to 200,000 BCE.

L. S. Dubin, The history of beads (New York: Abrams, 1987), 134.

Keith H. Basso, Western Apache language and culture: Essays in linguistic anthropology (Tucson: University of Arizona Press, 1990), 15–24.

Marcel Danesi, My son is an alien: A cultural portrait of today’s youth (Lanham: Rowman & Littlefield, 2003), 56–57.

In Striptease : The untold story of the girlie show (New York: Oxford University Press, 2004), Rachel Shteir shows convincingly how the feminine form has always made performances such as stripteases central elements in pop culture’s history.

Adler, Ken. 2006. The lie detectors. New York: The Free Press.

Basso, Keith H. 1990. Western Apache language and culture: Essays in linguistic anthropology. Tucson: University of Arizona Press.

Baudrillard, Jean. 1983. Simulations. New York: Semiotexte.

Birdwhistell, Ray L. 1952. Introduction to kinesics. Ann Arbor: University of Ann Arbor.

Danesi, Marcel. 2003. My son is an alien: A cultural portrait of today’s youth. Lanham: Rowman & Littlefield.

———. 2013. The history of the kiss: The origins of pop culture. New York: Palgrave.

Dubin, L.S. 1987. The history of beads. New York: Abrams.

Ekman, Paul. 1985. Telling lies. New York: Norton.

———. 2003. Emotions revealed. New York: Holt.

Ekman, Paul, and Walter Friesen. 1975. Unmasking the face. Englewood Cliffs: Prentice-Hall.

Fisher, Helen E. 1992. Anatomy of love. New York: Norton.

Foucault, Michel. 1976. The history of sexuality. London: Allen Lane.

Green, Teresa. 2003. The tattoo encyclopedia. New York: Fireside.

McCracken, Grant. 1995. Big hair: A journey into the transformation of self. Toronto: Penguin.

Morris, Desmond, Peter Collett, Peter Marsh, and Marie O’Shaugness. 1979. Gestures: Their origins and distributions. London: Cape.

Peiss, Kathy. 1998. Hope in a jar: The making of America’s beauty culture. New York: Metropolitan Books.

Riordan, Teresa. 2004. Inventing beauty. New York: Broadway Books.

Rush, John A. 2005. Spiritual tattoo: A cultural history of tattooing, piercing, scarification, branding, and implants. Berkeley: Frog.

Russell, Peter. 1983. The global brain. New York: Tarcher.

Shteir, Rachel. 2004. Striptease: The untold story of the girlie show. New York: Oxford University Press.

Synnott, Andrew. 1993. The body social: Symbolism, self and society. London: Routledge.

Trimble, Angus. 2004. A brief history of the smile. New York: Basic Books.

Wescott, Roger. 1980. Sound and sense. Lake Bluff: Jupiter Press.

Titel: Makeup: Why Do We Put It On?
verfasst von: Marcel Danesi
Verlag: Palgrave Macmillan US
Buch: Of Cigarettes, High Heels, and Other Interesting Things
Print ISBN: 978-1-349-95347-9

Electronic ISBN: 978-1-349-95348-6

Copyright-Jahr: 2018
DOI: https://doi.org/10.1057/978-1-349-95348-6_3