Through Shadow and Stone är ett projekt där textil och ljus samspelar i en textil utsmyckningsbelysning för att skapa en stämning på en offentlig plats och där en personlig upplevelse har varit utgångspunkten. Fokus i arbetet ligger på hur skuggbilder kan bidra till stämningen i rummet och hur man med hjälp av trikåteknik kan ta fram strukturer som kan framkalla dessa. För att nå resultatet har arbete med färg och form även varit ett viktigt element.Through Shadow and Stone is a project based on a personal experience in Ribersborg and resulted in a group of light objects where textile and light interact to create an atmosphere for a public space.The project is focused on how shadows can have an effect on the feeling in a room and how to use the technique of tricotin order to create this. Color and shape are two elements that is important in this project. / Program: Textildesignutbildningen

<p>The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included.</p><p>Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology.</p><p>The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.</p>

Dreams are one of the most secret processes of human’s psychology which formation device has not been finally clarified yet. Scientists from all over the world, successfully working on this project, the results of their researches and works adduce as different hypothesis, because it is really difficult to formulate thesis that could be tested using laboratories because of the research specifics of the psychophysical proceeding of a dream. It is usual that a new theory is often denied by some examples which can not be proved according to the theory. Realized and unrealized proceedings reflect in dreams which in their content are connected with phenomenon from the outer world, just as psychophysical proceedings of human organism or demands. The content of dreams is mostly influenced by past experience and information lying in subliminal mind. However, such an explanation does not overwhelm a big part of dreams which are interesting and secret. In the research paper there was analyzed the influence of dreams on the dreamer, what sort of mood he has in the morning. It is possible that many days or weeks he is persecuted by a black shadow of a woeful dream, which is difficult to remember. It is possible that he feels tired and prostrate or conversely: he feels assured, negotiating all the barriers on his way. Colour and its symbolic meaning also have a big role in a dream. Features that influence perception of colours are: living experience, position and gradation scale. They are... [to full text]

Made available in DSpace on 2014-12-17T14:57:53Z (GMT). No. of bitstreams: 1 MarcosSA_TESE.pdf: 2204560 bytes, checksum: f5d73bc23810f679641a247536d26b8a (MD5) Previous issue date: 2012-01-30 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The present work consists in the analysis of tribologycal properties of basic and multifunctional knitted fabrics. This knowledge has fundamental importance for the textile industry since it can quantify, in an objective way, the tactil. The fabrics used were characterized by friction and mechanical tests for determining the viscoelastic region, wear resistance and friction coefficient of the fabrics used. The stress-strain curve was obtained by the method Kawabata, KES-FB1. Wear tests performed with the aid of equipment Martindale. The measurement of friction coefficient, two methods were used and analyzed comparatively. The first was a method already established worldwide known as KES-FB4 and the second was an innovative method called FRICTORQ, developed by the University of Minho. These two methods were compared taking into account the relative motion between the tribologycal pairs are different from each method. While the first motion is translational, the second is rotational. It was formal that the knitted had a multifunctional fabrics tribologycal performance which was better than the basic knitted fabrics, as the viscoelastic region, was laager highlighting a multifunctional structure, with greater wear resistance mainly on the back side of the knitted fabrics and lower friction coefficient. Performing a comparative analysis between two methods used to measure the friction coefficient, it was formal that both methods were consistent in terms of results. In operational terms, the FRICTORQ showed ease of operation and increased reproducibility of results / O presente trabalho consiste nas an?lises das propriedades tribol?gicas de tecidos de malhas b?sicas e de malhas multifuncionais. Esse conhecimento ? de fundamental import?ncia para a ind?stria t?xtil uma vez que pode quantificar, de forma objetiva, o sentido do toque. Os tecidos utilizados foram caracterizados atrav?s de ensaios mec?nicos e de atrito, para determina??o da regi?o viscoel?stica, resist?ncia ao desgaste e coeficiente de atrito. A curva tens?o-deforma??o foi obtida pelo m?todo Kawabata, KES-FB1. Ensaios de desgaste foram realizados com aux?lio do equipamento Martindale. Para a medida do coeficiente de atrito, nos dois m?todos que foram utilizados e analisados comparativamente. O primeiro m?todo j? consolidado mundialmente, denominado KES-FB4 e o segundo m?todo inovador, denominado FRICTORQ, desenvolvido pela Universidade do Minho. Esses dois m?todos foram comparados levando-se em considera??o que os movimentos relativos entre os pares tribol?gicos s?o diferentes em cada m?todo. Enquanto no primeiro o movimento ? translacional, no segundo ? rotacional. Verificou-se que as malhas multifuncionais apresentaram um desempenho tribol?gico superior ?s malhas b?sicas, determinadas pela maior regi?o viscoel?stica, destacando a estrutura multifuncional, maior resist?ncia ao desgaste principalmente no lado avesso das malhas e menor coeficiente de atrito. Analisando comparativamente os dois m?todos utilizados para medi??o do coeficiente de atrito, verificouse que ambos foram consistentes em termos de resultados. Em termos operacionais, o FRICTORQ foi o que apresentou maior facilidade de opera??o e maior reprodutibilidade dos resultados

Esta pesquisa qualitativa buscou a realidade ambiental da produção industrial de malharias selecionadas na região de Monte Sião, em Minas Gerais, quanto a maior ou menor presença de preocupações de produção mais limpa, bem como sua visão em termos de redução do uso de água, de energia, e, especialmente, de resíduos sólidos têxteis. Justificou-se pelas preocupações relacionadas ao meio ambiente e sua preservação que implicam em questões cada vez mais pertinentes e abordadas nos estudos relacionados ao vestuário de moda, tal como o design que está inteiramente conectado às mudanças cotidianas, e interessado na redução de materiais. É neste contexto que se encontra a produção mais limpa (P+L), almejando agregar melhorias no processo ou no produto, buscando soluções por meio da apresentação de alguns processos que norteiam estes caminhos. Em vista disso, foi elaborada uma revisão da literatura especializada em têxtil, moda e cenários ambientais, e foi realizada uma investigação de campo baseada em métodos qualitativos exploratório de pesquisa, utilizando-se de observações diretas e entrevistas semiestruturadas efetuadas junto às malharias. Alguns resultados da investigação sugerem que a realidade ambiental da produção industrial de malharias tenha uma aproximação com a produção mais limpa, sobretudo, em relação ao tratamento dado aos resíduos sólidos têxteis. Na abordagem da pesquisa de campo observaram-se diferenças quanto às ações voltadas para a minimização de água, energia, e a geração de resíduos sólidos têxteis, ao passo que evidenciaram uma preocupação e tratamentos aos mesmos, indicando de certa forma que existe um equilíbrio quanto ao direcionamento do resíduo têxtil e a dedicação no tratamento, sendo um importante ponto de cuidado do polo industrial / This qualitative research sought the environmental reality of some selected industrial knitting production in the region of Monte Sião, in Minas Gerais, regarding the greater or lesser presence of \"cleaner production\" concerns, as well as its vision in terms of reduction of water use, energy, and especially solid textile waste. It has been justified by the environmental concerns and their preservation that imply issues increasingly relevant and addressed in studies related to fashion clothing, such as design that is fully connected to everyday changes, and interested in reducing materials. Cleaner production is found in this context, aiming to add improvements in the process or product, seeking solutions through the presentation of some processes that guide these paths. A review of the literature on textiles, fashion and environmental scenarios and a field research were carried out based on qualitative exploratory research methods, using direct observations and semi-structured interviews accomplished on-site. Some research results suggest that the environmental reality of the industrial production of knitting products is in line with cleaner production, especially in relation to the treatment of solid textile waste. In the field research approach, differences were observed regarding actions aimed at minimizing water, energy, and solid textile waste generation, while showing them a concern and treatments, indicating in a certain way that there is a balance to the direction of the textile waste and the dedication in the treatment, being an important point of care of the industrial pole

The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included. Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology. The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.

What can knitted fragments tell you? A textile scientific analysis of marine archeological finds from the 18th century. The wreck of the ship Fyrspännaren is a time capsule that provides a unique opportunity for knowledge. The purpose of this study is to increase knowledge about knitted garments and their importance in the dress code for men and women during the 1770s. An additional purpose is to test whether the knitted fragments can contribute to the interpretation of the history of the wreck. The study uses the theory and method of Material Culture. The knitted fragments are the main source of information. In the analysis, additional sources are also used.  It turns out that the silk socks in the late 18th century could look different from the white socks we often see depicted in paintings. There are at least eleven different types of silk socks in different colours and with different pattern knitting in the material. Most were machine-knitted, several were well-used and repaired. But they were still highly valued, according to inserted inquiries in the newspapers of the time. There were also knitted garments in cotton such as socks, hat and sweaters.  The knitted fragments can also contribute to the interpretation of the history of the wreck. The study of the fragments confirms and strengthens previous conclusions that the passenger on the ship was relatively young, well-to-do and well aware of both male and female fashion. In summary, this study shows that marine archaeological finds of textiles, that are analysed with a textile scientific method and within a cultural-historical and economic-historical context, can contribute to new knowledge.

Svenskarnas klädkonsumtion har nästan fördubblats under de 30 senaste åren. Den stora anledningen är att kläderna blivit allt billigare, eftersom majoriteten produceras i låglöneländer. Långa värdekedjor, bristande kvalitetskontroll och dåliga arbetsförhållanden är exempel på utmaningar som utlandsproduktion för med sig. Etisk produktion och hållbarhet har aldrig varit mer aktuellt än det är idag och det är något som både kunder och företag värderar och eftersträvar. Frågan är om textilproduktionen i Sverige och framför allt trikåproduktionen som denna studie fokuserar på, har möjlighet att utvecklas i takt med den ökade medvetenheten kring hållbarhet, etisk konsumtion och transparent produktion. Syftet med studien är därför att undersöka förutsättningar och fördelar med trikåproduktionen i Sverige genom att ta reda på om det finns hållbarhetsaspekter, konkurrensfördelar och intresse bland svenska trikåföretag att producera i Sverige. Begreppen reshoring, proveniens och hållbarhet är studiens utgångspunkt utifrån vilka en litteraturstudie byggdes upp. En trianguleringsmetod användes som innefattar såväl en kvantitativ enkät samt två kvalitativa semistrukturerade djupintervjuer med företagsledare för två trikåföretag som helt eller delvis har produktion i Sverige. Resultatet visade att det finns utrymme för trikåproduktion i Sverige eftersom efterfrågan och intresset från svenska företag är stort. Däremot finns det flera utmaningar. Lönsamhet, brist på kompetens samt kundernas okunskap och ovilja att betala för produkter som är tillverkade i Sverige är några av svårigheterna. Det visade sig också att produktion i Sverige är komplext och kanske inte alltid så bra som det låter. Märkningen made in kan missrepresentera var en produkt verkligen är tillverkad, eftersom det endast anger var produkten har monterats. Kunderna vill gärna ha ett enkel t svar på en komplicerad problematik, vilket många företag är snabba att bistå. Studien ger inspiration till ytterligare forskning kring svensk tekoindustri samt till svenska trikåföretag som överväger att förlägga produktion till Sverige. Studien kan också öka medvetenheten hos kunder gällande sin roll i den textila värdekedjan. / The clothing consumption has almost doubled in the last 30 years in Sweden. The main reason is that clothes have become cheaper since the majority are produced in low-wage countries. Long value chains, lack of quality control and poor working conditions are examples of challenges that offshore production brings. Ethical production and sustainability have never been more relevant than it is today and it has become something that customers as well as companies value and strive for. The question is whether Swedish textile production, and the knitwear production which this study will focus on, have the opportunity to develop as the awareness of sustainability, ethical consumption and transparent production increases. The aim of the study is therefore to investigate the conditions and advantages of Swedish knitwear production, and to find out whether there are sustainability aspects, competitive advantages and interest among Swedish knitwear companies to produce in Sweden. Reshoring, provenance and sustainability are the starting points of which the literature study is built up. A triangulation method was used which includes both a quantitative survey and two qualitative in-depth interviews with company executives for two knitwear companies that have full or partly production in Sweden. The result showed that there is room for Swedish knitwear production, because of the demand and interest from Swedish companies. There are however several challenges. Profitability, lack of competence, customers ignorance and unwillingness to pay for Swedish-made products are some of the difficulties. The study shows that production in Sweden is more complex than expected and that it may not always be as good as it sounds. The label made in can misrepresent where a product actually is made, since it only indicates where the product has been assembled. However, customers would like a simple answer to a complicated problem, which many companies are quick to give. The study contributes with new knowledge about the Swedish textile industry and with valuable information to knitwear companies that consider to reshore their production. The study may also increase the awareness of Swedish customers regarding their role in the textile value chain.

Den textila industrin är en av världens största industrier, en resurskrävande industri med komplicerade och förorenande processer. Processer som innefattar flera olika steg, från råmaterial till färdig produkt. Detta gäller för alla textila produkter vare sig det handlar om klädesplagg inom fast fashion, eller teknisk textila produkter. Varje steg i processen har en inverkan på miljön och kan även ske på olika geografiska platser runt om i världen. Fast fashion-industrin karaktäriseras av korta produktlivslängder, hög instabilitet och låga priser, vilket direkt kopplas till negativ miljöpåverkan. Enligt konsumenter är kvaliteten på klädesplagg idag bristfällig och det är en stor anledning till varför många använder sina plagg endast ett fåtal gånger. Denna studie undersöker om och hur man kan identifiera livslängden på fyra olika grövre trikåkvaliteter, samt undersöka om förbättringsförslag kan ges för att öka livslängden på dessa. Undersökningen har innefattat kvantitativa metoder genom en enkätstudie där 100 personer deltagit, samt standardiserade testmetoder. I enkätundersökningen fick respondenterna redogöra kvalitetsbrister och användarbeteende. Detta har fungerat som riktlinjer till en metodplan för att simulera användning. Enkätens resultat visade att störst kvalitetsbrister och anledning till att plagg slutar användas främst berodde på grund av noppbildning, slitage genom nötning och dimensionsförändringar. Därmed har metodval för standardiserade tester valts inom dessa parametrar. Detta med 15 tvättcykler mellan testningarna för att simulera två års användning. Mätningar har även jämförts mot kvaliteternas kravspecifikation. Testernas resultat visade att samtliga kvaliteter har en bra beständighet mot nötning, i förhållande till dess kravspecifikation. Samma gällde för resultaten inom dimensionsstabilitet, dock med mycket varierande dimensionsförändringar på olika områden. Vid test av benägenhet till att bilda noppor, klarade endast hälften av kvaliteterna kravspecifikationens villkor. Dessa resultat gäller både innan och efter 15 tvättcykler. Förbättringsförslag för en förhöjd kvalitetsstandard, därmed förlängd livslängd, var svårt bestämma utifrån den information till kvaliteterna som fanns att tillgå. Resultat visade att fibertyp, fibertjocklek, spinnmetod, garnkonstruktion, bindning, masklängd samt delning på stickmaskin är alla parametrar som avgör slutproduktens kvalitet. Olika tekniker för samtliga parametrar medför olika egenskaper som bestämmer slutkvaliteten. I brist på information om värden för nämnda parametrar var förbättringsförslag ej möjliga att bestämma. / The textile industry is one of the world's largest industries, a resource-intensive industry with complicated and polluting processes. Processes that include several different steps, from raw material to final product. Which applies for all textile products, whether it is clothing in fast fashion or other textile products. Each step in the process has an impact on the environment and many of them take place indifferent geographical locations around the world. The fast-fashion industry is characterized by short product lifetimes, high instability, and lower prices, which directly links to negative environmental impacts. According to consumers, the quality of today's clothing has a major deficiency and is a major reason why many people only use their garments a few times before discarding them. This study examines how to identify the lifespan of four different coarser knitted sweaters, but also investigate if it is possible to provide improvement suggestions on how to increase the longevity. The project includes quantitative methods through a survey which has been done by 100 people, and standardized tests. Within the survey the respondents were asked to report quality deficiencies and care behavior. Which has served as guidelines for choice of methods to simulate use of clothing. The results of the survey showed that greatest quality deficiencies and reasons why garments stop being used were mainly due to pilling formation, wear due to abrasion and dimensional changes. Thus, choices of methods for standardized tests were chosen to test within these parameters. This with 15 wash cycles between tests to simulate two years of use. Results have also been compared to the garment requirement specifications. The test results showed that all garment samples had good resistance to abrasion, in relation to the requirement specifications. The same applies to the results within the dimensional stability, however, dimensional changes vary a lot in different areas. The results apply both before and after 15 wash cycles. Suggestions for improvement for an increased quality standard, for increased longevity, were difficult to determine based on the limited information provided regarding the garments. Results showed that fiber type, fiber thickness, spinning method, yarn construction, knit structure, loop size and gauge of the knitting machine are all parameters that influence the quality of the final product. Different techniques for all parameters result in different properties that determine the final quality and the longevity for the product. The lack of specific information needed for the parameters mentioned, suggestions for improvement were not possible to determine.

Uppsatsen undersöker den halländska bingetraditionen från 1600-talet fram till idag. Binge är ett halländskt ord för att sticka, och syftar på den sticktradition som finns där. I Halland har människor stickat sedan 1600-talet. Av nöd började man sälja stickade varor och detta utvecklades under 1700- och 1800-talen till en stor verksamhet. Under början av 1900-talet startades Föreningen Bindslöjden som nedtecknade gamla halländska mönster och anställde stickare som stickade plagg med dessa mönster på, som de sedan sålde. Uppsatsen följer sedan den halländska bingetraditionens utveckling fram till idag, då det finns många människor och flera olika föreningar samt organisationer som utövar och jobbar med den halländska bingetraditionen. Uppsatsen går även igenom hantverkets utförande och tar upp olika mönster, redskap och tekniker. Mönster som finns inom den halländska bingetraditionen är exempelvis Bjärbo, Blomster, och Krok. Även begreppet binge diskuteras i uppsatsen, då betydelsen inte är helt fastställd. Inom den halländska bingetraditionen finns det även olika uppfattningar om vad som är rätt och fel, till exempel när det gäller garnkulörer. Denna uppsats lyfter denna diskussion om vad som hör till den halländska bingetraditionen och även binge som ett immateriellt kulturarv. Det finns nämligen en målsättning att skapa en förteckning om den halländska bingetraditionen till institutet för språk och folkminnen. För att ett immateriellt kulturarv ska bevaras är det viktigt att det utövas och utvecklas, vilket kan skapa svårigheter eftersom det finns flera åsikter om vad som ingår i bingebegreppet och vad som anses som rätt och fel. Det finns även andra svårigheter, som till exempel frågan om vem det är som har rätt att uttrycka sin åsikt i bevarandefrågan. / This essay describes the tradition of binge from the Swedish province of Halland. Binge is an old word from Halland that means to knit, and refers to the knitting tradition in Halland. People have been knitting in Halland since the 17th century and the need for an income made people knit things that they could sell. The selling of knitted goods grew bigger during the 18th and 19th century and in the beginning of the 20th century an association called Bindslöjden started. They documented old knitting patterns from Halland, hired knitters that knitted items with color work of these old patterns on them. Bindslöjden then sold these knitted garments. This essay describes the tradition of binge from Halland on to this day, when there still are people and different associations that practice the tradition of binge. This essay also describes the handicraft behind the tradition of binge like the patterns, tools and techniques. Examples of color work patterns that you can find within the tradition of binge is Bjärbo, Blomster and Krok. The word binge is also discussed, because the meaning of it is not fully clarified. Because of that there are differences in what people think the word binge means and also what is right or wrong within the tradition of binge. An example of this is the different opinions about the colors of the yarn. This essay also puts focus on the discussion about what is included in the tradition of binge, and also the discussion about binge as an intangible cultural heritage. The essay focuses on the tradition of binge as an intangible cultural heritage because there is a will to submit a document about the tradition of binge to the Institute for Language and Folklore. It is important that the intangible cultural heritage is practiced and can evolve, so that the intangible cultural heritage can be preserved. This can cause difficulties since there are different opinions about what is included in the tradition of binge from the Swedish province of Halland. Another difficulty is the question of who is entitled to have an opinion about the preservation.