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梦想的光芒

2013年7月30日

马切罗(Marcello)是个意大利裔的加拿大帅大叔,50多岁或者60岁上下。第一次见他,他问我的名字“慧”是什么意思,我说是“聪明,智慧”的意思,他就非常意大利范儿地很热烈地赞美了我一番,说很多时候人如其名。然后他告诉我, Marcello最早的意思是“沟通者”,而他以前是做销售和客户培训的,现在的工作是职业辅导机构的培训师。于是,我成了他的学员。

用意大利名曲《我的太阳》来形容他很合适,这是我们15个来自全球各个角落的学员的共识。他总是能量充沛,语调变化多端,表情和肢体语言丰富,笑声爽朗而明亮。他很幽默,开各种玩笑,而且以各种方式润物细无声地鼓励你。

有一天,他分享了自己的故事。他小时候对妈妈说:我想要站在数万观众面前唱歌!妈妈平静的说:噢,很好。那你是不是先把房间收拾了?这个故事的开头,简直有点俗套。是不是很象《中国好声音》或者《快乐男声》选手的自白之类?且慢,Marcello没有辍学没有去酒吧驻唱,他成了一名销售,之后专注于客户培训。时光飞逝,1991年,电台推出一档竞赛节目,简单说就是电话卡拉ok大赛,听众拨打电话进去,和着电台播放的伴奏演唱歌曲。热线电话当然很难打,可是,这一天Marcello拨第一个电话就轻松接入了,他很享受的唱了。听众投票的结果,他得了第一名,获邀在罗渣士中心(Rogers Center)演出,面对数万观众!

Marcello反复练习,那一夜,他演唱猫王的《All Shook Up》(震撼),大获成功。故事讲到这里,在我们集体起哄中,他一时技痒,重现当时情景,在教室里载歌载舞。尽管他身形略显肥胖,但跳起舞来非常协调到位,超赞!掌声,口哨,喝彩,看我们有多配合。故事并没有到此为止,Marcello在演出前接受记者采访时提到他的工作是客户培训,演出后罗渣士中心的经理邀请他去做客户培训。他又一次抓住了机会,提供了一场轻松有趣但又很专业的培训。于是,他得到了更多的培训邀约,也接到一些演出邀约。巡回的培训和演出从1991年一直持续到2010年,之后他专注于现在的工作 。Marcello笑着说,并不是每一期培训他都会讲这个故事,并不是每一期的学员都有机会看到他的歌舞表演,有时候,需要双方有一点“化学反应”。

这个梦想的故事不象中国选秀节目中的经典故事那么“死磕”,它更智慧也更轻盈。梦想的光芒一直在你心里闪烁,但是你需要充分准备,需要坚持,需要抓住机会,需要一点运气,也需要学会另辟蹊径去实现它。不是吗?

第二周课结束时,我们分组做了关于求职策略的演示和分享。有一组制作了一个创意短视频,结尾是:“当我们未来获得成功的时候,我们不会忘了这一位特别的绅士——Marcello!” 结束画面是Marcello 微笑的脸。那一刻,我们全都自发的站起来,笑着为他鼓掌。

这句话,也是我想说的。

#慧心一笑#20130726

秋水 慧心一笑, 生活在此处

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  10. 2014年4月10日14:05 | #11
  11. 2014年4月12日09:54 | #13
  12. 2014年4月16日07:11 | #14

    Fashion and Gender

  13. 2014年4月16日07:12 | #15

    Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are ‘normal’. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

  14. 2014年4月16日07:13 | #16

    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.

  15. 2014年4月16日07:14 | #17

    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.

  16. 2014年4月16日07:15 | #18

    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.

  17. 2014年4月16日07:15 | #19

    Fashion can certainly be used to parody, subvert and deconstruct gender identities (particularly the feminine), however, in the mainstream, it can only ever reflect the social conscious behind it. If society is not ready for men to wear skirts, then skirts will not be bought by the majority of men. Whilst designers like Jean Paul Gaultier can attempt to deconstruct gender stereotypes through fashion, many of these subversions can still be read as supporting the distinction between gender identities. Fashion and dress is influenced by both the body itself and the range of signs that it refers to, making it difficult to determine where fashion ends and social consciousness begins.

  18. 2014年4月16日07:16 | #20

    Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman’s Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society’s fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia’s November 2004 issue of Cosmopolitan an article was run entitled ‘Anorexia for Sale’. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as ‘pro ana’ sites, that is, websites supporting anorexia as a ‘lifestyle choice’ as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell ‘ana bracelets’ and ‘ana necklaces’ which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan ‘Save Mary Kate’ and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words ‘Save Mary Kate’ could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be ‘Save Mary Kate from the rehabilitation clinic’. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

  19. 2014年4月16日07:19 | #21

    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.

  20. 2014年4月16日07:22 | #22

    High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to ’strut’ to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women’s appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

  21. 2014年4月16日07:23 | #23

    Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries’ famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

  22. 2014年4月16日07:25 | #24

    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.

  23. 2014年4月16日07:26 | #25

    Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, “Signs are only meaningful on the basis of their relations to all other signs” (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society’s expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person’s gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.

  24. 2014年4月16日07:33 | #26

    There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

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    今回、トレンド総研(東京都渋谷区)では、最近徐々に注目を集めている“バブル期トレンドのリバイバル”に注目しました今年、バブル期に流行った「プロデューサー巻き」が注目されたり、当時の「セカンドバッグ」を彷彿とさせる「クラッチバッグ」も流行となっていたりします。また、流行の「ペンシルスカート」などのタイトスカートも、「ボディコンスカート」を連想させます。このように、バブル期のファッションが、バブル期当時のそのままの形とは言わないまでも、現代風にアレンジされつつ、注目を集めています。また、ファッション以外のものについても、有名なところでは、大人気となった「あまちゃん」、「半沢直樹」という2大ドラマも、その舞台はバブル期でしたこのように、注目を集めているバブル期トレンドのリバイバル。景気回復の兆しが語られる昨今は、バブル期との相性が良いと言えるかもしれません。このバブル期トレンドのリバイバルについて、その実態や、今後予想される動向について、調べました1“若者世代 VS バブル世代”、バブル期トレンドリバイバルの実態を探る

  39. 2014年5月12日22:09 | #41

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