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"Shawl"
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Case report: “Fur stole and turtleneck” and “halter-back” signs: an expanded wardrobe for dermatomyositis
A diagnosis of dermatomyositis requires recognition of distinct patterns of skin disease in combination with, and sometimes without, muscle weakness. Often, a striking contrast between involved and uninvolved areas is observed. Familiar patterns include eyelid and midfacial eruptions, Gottron papules/sign, and upper back (shawl sign), central chest (V/open collar sign), and lateral thigh (holster sign) involvement. More recently, new specific antibody/phenotype-associated patterns have been reported. We describe a case series of two distinct patterns of skin involvement in six adult patients with both classical and amyopathic dermatomyositis. Three had paraneoplastic disease. All had intermediate to richly pigmented skin; five were of Afro-Caribbean and one was of Asian-Caribbean descent. Four were men, and two were women. Ages ranged from 41 to 89 years. All patients had concomitant hallmark signs (facial, hand, and/or trunk signs). Three were amyopathic. The first pattern involved a sharply demarcated, horizontally oriented hyperpigmented patch/thin plaque across the shoulders and upper chest, extending up the anterior neck. The second was the combination of the classical upper back shawl distribution with distinct mid-back sparing and diffuse involvement of the lower back. Named patterns help with the recognition of skin rashes in dermatomyositis. Based on the current lexicon describing items of apparel, we liken the first pattern to a “fur stole and turtleneck” sign and the latter to a “halter-back” or “reflected-shawl” sign. Biopsies revealed hyperkeratosis and interface dermatitis, often with epidermal atrophy, compatible with dermatomyositis. These patterns perhaps represent the coalescence of already well-described signs, photo-exacerbation, koebnerization, mechanical stretch, and other currently unclear factors contributing to patterning in dermatomyositis. Pattern distribution recognition is particularly valuable in individuals with richly pigmented skin who may lack typical violaceous erythema. The distinct demarcation led to the initial misdiagnosis of allergic contact dermatitis or other exogenous dermatitis in most of our patients. Further work involves evaluation of antibody phenotype and internal involvement associations. Limitations include lack of specific antibody panels and longitudinal follow-up data.
Journal Article
Uniforms of Empire: The Intersection of Race, Religion, and Sartorial Politics in Napoleon’s Egyptian Campaign
This article examines the ideological significance of the Kashmir shawl during Napoleon’s Egyptian campaign (1798–1801), focusing on depictions in Antoine-Jean Gros’ Bonaparte Visits the Plague-stricken in Jaffa and Andre Duterte’s portrayals of French soldiers for Descriptions de l’Egypte. Tracing the shawl’s transformation from an Islamic artefact to a French military accessory and later a symbol of domestic luxury, this study highlights its dual role as a site of cultural negotiation and a tool of colonial domination. Through its exploration of the Kashmir shawl, this article contributes to a deeper understanding of the intersections of race, religion, and ethnicity, demonstrating how material culture both mediated and reinforced power dynamics within Napoleon’s imperial project.
Journal Article
The Bird in the Bush
Here's a health to the bird in the bush; here's a health to the bird in the bush; And we'll drink down the sun, we'll drink up the moon, Let the neighbors say little or much. [...]I had another model for the interaction of birds and bushes and ownership, in which the bird was \"pecking away at his own ground.\" In Beloit, on a 1971 road trip visiting college campuses I found further proof that the boundary of my body was a non-absolute, and that physical control wasn't an actual prerequisite for identification. [...]I was in a couple of bands:
Journal Article
Radiocarbon dating of textile Components from Historical silk costumes and other cloth products in the Ryukyu Islands, Japan
In our research on traditional clothing and accessories in the Ryukyu Islands of Japan, we have collected cloth fragments from traditional Ryukyuan costumes and other fabric products for radiocarbon ( 14 C) dating. In this study, the cloth samples from historical costumes of noro priestesses (two samples), men and women from high-status families (five samples), and non-costume cloth products (seven samples), belonging to the traditional hereditary religious system of the ancient Ryukyu Kingdom, which lasted from approximately the 14th century AD to 1829 were analyzed. One extra sample originated from a silk shawl known as a Manila shawl. The oldest among the 15 samples dates back to the mid-15th century, but some newer ones belong to the unclear calibrated age range of AD 1650–1950. The measured dates are very consistent with the historical record, suggesting that acetone and acid-alkali-acid treatments are an adequate cleaning method for radiocarbon dating of silk and cotton samples produced in the late Middle Age and later.
Journal Article
Resisting Colonial Violence: Investigating Transhuman Bodies, ability and De/Colonialization in Nisi Shawl's Everfair
Nisi Shawl's novel Everfair addresses the suffering of the Congolese population by King Leopold of Belgium and turns a history of oppression into a tale of resistance. This analysis celebrates this resistance by unpacking the role of transhuman bodies in relation to (dis)ability within the framework of de/colonialization.
Journal Article
An Attempt to Situate Titian's Paintings of the \Penitent Magdalen\ in Some Kind of Order
The half-length Penitent Magdalen was probably the most commercially successful and most repeated subject painted by Titian and his studio. In treating it Titian was no doubt stimulated by the comparably extensive production of Penitent Magdalens by the Milanese painter Giampietrino, but it was Titian's visualisation of the subject that became canonical. Titian produced the Penitent Magdalen in two closely related types, in both of which her pose is based on the antique model of the Venus Pudica. In Type I, a nocturne, she is set in an unforgiving grotto and is entirely nude but covered with her abundant hair. Titian seems to have invented this formula around 1530 and to have continued to paint versions of it for about a decade. In Type II, probably invented 1550 and repeated with variations into the 1570s, the Magdalen is placed in more hospitable country and draped: in all but one instance she wears a prayer-shawl. This type is diurnal and Titian sometimes indicates different times of day. Both types exist in different sizes but all known autograph or studio examples of Type II are larger than all known examples of Type I. Between the abandonment of Type I and the development of Type II, Titian experimented with at least two variant arrangements, although the evidence for these is limited. This article was prompted by the appearance of two hitherto unknown versions of Type II and aided by the opportunity of examining little-studied versions of both types. It makes use of previously unpublished X-rays of some of the surviving examples and includes discussion of painted and engraved copies of paintings now unlocated or destroyed. It endeavours to arrange Titian's and his studio's versions of the Penitent Magdalen in a plausible chronological sequence and, as far as possible, to connect surviving or recorded paintings with references in written sources.
Journal Article