Trata-se de estudo de caso a partir da abordagem do design de superfícies têxteis sobre a tecelagem manual, baseada em corantes naturais do Cerrado, na região de Carmo de Rio Claro-FURNAS. Observa-se, nesse contexto, uma grande aplicação da tecnologia tradicional do tear manual aliado ao uso de fibras. Esse saber-fazer,transmitido oralmente, representa fração significativa da economia regional e, em grande medida, a identidade cultural nesse contexto. No entanto, observa-se a perda do conhecimento específico relacionado ao uso de corantes naturais baseado em vegetais do Cerrado, apesar de espécies existentes nesse contexto. Assim, como objetivo geral, pretende-se estudar e analisar os corantes naturais nativos dessa região e suas respectivas aplicações com vistas ao desenvolvimento dessa produção baseada em tecelagem manual, processo fundamental para a população da região e experiência importante como referência em políticas públicas locais e regionais / This is a case study from the design approach of textile surfaces on handloom weaving, natural dyes based in the Cerrado region of Carmo Rio Claro-FURNAS. It is observed that context a major application of traditional handloom technology coupled with the use of fibers.This know-how, transmitted orally, represents significant fraction of the regional economy and to a large extent, cultural identity in this context. However, there is the loss of specific knowledge related to the use of natural dyes based on the Cerrado vegetables, although extant species in this context. As general objective, we intend to study and analyze the natural dyes natives of this region and their applications with a view to developing this production based on manual weaving, a process critical to the region\'s population as a reference and important experience in local and regional public policies

As I encounter life during a global pandemic, caused by a virus that has us all homebound, I continue my own struggle with a different virus that keeps me not only homebound, but bed bound as well. In this thesis project, I make my way around and through the questions of chronic illness, self-worth, productivity and a changing relationship to time that arise in this dual viral experience - situating the personal within a larger social/political context.

This study aims to determine the role of Amazigh/Berber women in maintaining and preserving the cultural heritage of their people through carpet weaving, as well as how this tradition contributes to gender norms and tourism in rural Morocco. The research method consisted of conducting semi-structured interviews and a literature review of intangible cultural heritage preservation, traditional gender norms in rural areas, and nomadic tourism theories. Analysis of the interviews concluded that Amazigh women keep their traditional culture alive through carpet weaving, and they are simultaneously valued and marginalized within their society. The necessity and pressure placed upon them leads to issues related to gender equality and girls’ rights/accessibility to a quality education in the modern context. Though in a constant state of change and shifting with time, the nomadic lifestyle and traditional Berber carpet weaving are still participated in today and nevertheless hold deep significance for those who partake in these activities. Traditional mentalities regarding gender norms remain intact, although they are challenged more frequently. Women’s weavings are critical in preserving Amazigh culture and symbolize a heritage identity in an overt manner, making women central to the Berber story and Berber heritage.

This thesis deals with translation and interpretation of pseudovergilian epyllion Ciris, which tells a story of traitorous princess of Megara, Scylla, who betrays her father Nísos by cutting off his magical purple lock. With it she surrenders the entire city to the enemy Minos in order to secure his love. Her plan ultimately fails and as a result she is transformed into a brand new bird named the ciris. The first part of the thesis provides a literary-theoretical study of the epyllion based on comparison with the sources of the myth and other latin poems, as it seems as if Ciris was composed by an anonymous young disciple in a late latin cento style but only published in his older age. Some ascribe it to young Virgil or Cornelius Gallus. In the course of the study the following questions will be answered: Is Scylla's transformation a liberation or punishment for her crime? What is the role of nutrix in the epyllion and what is her literary origin? How does the author deal with the weaving metaphore? The second part of the thesis offers a first prosaic translation of Ciris into czech language with a humble commentary where deemed necessary.

This thesis deals with translation and interpretation of pseudovergilian epyllion Ciris, which tells a story of traitorous princess of Megara, Scylla, who betrays her father Nísos by cutting off his magical purple lock. With it she surrenders the entire city to the enemy Minos in order to secure his love. Her plan ultimately fails and as a result she is transformed into a brand new bird named the ciris. The first part of the thesis provides a literary-theoretical study of the epyllion based on comparison with the sources of the myth and other latin poems, as it seems as if Ciris was composed by an anonymous young disciple in a late latin cento style but only published in his older age. Some ascribe it to young Virgil or Cornelius Gallus. In the course of the study the following questions will be answered: Is Scylla's transformation a liberation or punishment for her crime? What is the role of nutrix in the epyllion and what is her literary origin? How does the author deal with the weaving metaphore? The second part of the thesis offers a first prosaic translation of Ciris into czech language with a humble commentary where deemed necessary.

3D textile performs offer a high potential to increase mechanical properties of composites and they can reduce the production steps and costs as well. The variety of woven structures is enormous. The algorithms based on the conventional weaving notation can only represent the possible woven structures in a limited way. Within the scope of this dissertation, a new weaving notation was developed in order to analyze the multilayer woven structures analytically. Technological solutions were developed in order to guarantee a reproducible preform production with commingled hybrid yarns. Terry weaving technique can be utilized to create vertical connections on carrier fabrics, which makes it suitable for the development of complex profiles. A double rapier weaving machine was modified with electronically controlled terry weaving and pneumatic warp yarn pull-back systems. Various spacer fabrics and 3D profiles were developed. A linear take-up system is developed to assure reproducible preform production with a minimum material damage. Integrated cutting and laying mechanisms on the take-up system provides a high level of automation.

This essay will treat the Gotlandic textile production during the Viking period (790 AD­–1150 AD) by studying the three grave fields, Barshalder in Grötlingbo parish, Broe in Halla parish and Ire in Hellvi parish. The focus of the study are the textile related objects, spindle whorls, weaving tablets, needles and needle cases found at the grave fields. The study will mainly examine the spindle whorls since differences in the weight and diameter can tell us about what type of yarn or thread that was produced and in extent the textiles that were produced. The results will be catalogued, and a correspondence analysis will be done in hope it will show patterns in the material. The study will also look at if there are differences between the three grave fields and in extent on the island.

I am interested in experiences and knowledge that is passed on from generation to generation, and in a broad sense this is the starting point of my thesis project.  I am of Kurdish descent, and I knew early on that I wanted to make a project that related to Kurdish tradition. I was specially intrigued by Kurdish weaving craft and how this particular tradition could be architecturally interpreted and used as a tectonic component. I wasn´t interested in simply reproducing traditional architecture, but rather using certain techniques and methods as a way of conceiving something new. Within my family, there is experience in weaving. With their knowledge, it has helped me technically but also with issues relating to the social and traditional. The study is based on developing design techniques of Kurdish weaving techniques and principles. My design technique has mostly been focused on the slit tapestry technique, more commonly known as kelim, where openings are created when two separately woven areas of weft meet along adjacent warps and do not interlock. Using this technique, there is room for spontaneity, which has allowed me to use the weave frame and warp to develop my design technique. In addition to weaving tradition, the project is also based on Kurdish vernacular architecture as well as Islamic architecture in terms of climatic and social aspects. / Jag är intresserad av erfarenheter och kunskap som förs vidare från generation till generation, och i en bred mening är detta utgångspunkten för mitt examensarbete. Jag är av kurdisk härkomst, och jag visste tidigt att jag ville göra ett projekt som relaterade till kurdisk tradition. Jag var speciellt fascinerad av kurdisk vävning och hantverk, och hur denna tradition kunde omtolkas arkitektoniskt och användas som en tektonisk komponent. Jag var inte intresserad av att helt enkelt reproducera traditionell arkitektur, utan snarare att använda vissa tekniker och metoder som ett sätt att skapa något nytt. Inom min familj, finns det erfarenhet av vävning. Med sin kunskap, har det hjälpt mig tekniskt men även med frågor som rör den sociala och traditionella. Studien bygger på att utveckla designtekniker and kurdisk vävtekniker och principer. Min designteknik har främst varit inriktad på slit tapestry tekniken, mer känd som kelim, där öppningar skapas när två separat vävda områden väft möts längs intilliggande varptrådar utan att låsas. Med denna teknik, finns det utrymme för spontanitet, vilket har tillåtit mig att använda väv ramen och varpen att utveckla min designteknik. Förutom vävning tradition, är projektet också baserat på den lokala successiva arkitekturen samt islamisk arkitektur när det gäller klimat-och sociala aspekter.

This project is an active exploration of subjectivities through the medium of weaving. In a narrative illustrated with woven works, the emotional trajectory of this person of mixed cultural background through Swedish society is described. First, the work is contextualized in terms of the larger politico-cultural-discursive context, entitled the outside. It is then positioned in terms of the individual context, the inside, largely dramatized as the developments in the art of western tapestry in the past century. This culminates in the final works, three of which are presented in the final exhibition. They are entitled monads, the etymology of which, in Greek, relates to the words one, alone, or singularity. Each is a conceptual microcosm proposing a different light distribution scheme. They are imprints of alternative actualizing tendencies. There could only be one; at the end of the experiment, Schrodinger’s cat is either dead or alive. The collapse involves the very structure of the ground, and is therefore embedded directly into the weave structure. But remember, each act of observation is an irreversible disturbance to the system. In the interpretation of the primary emanation arises difference, but in which direction will the pendulum swing, and on what forces does its motion hinge? Do subjectivities follow the locality assumption? Do you produce subjectivities or do they produce you?

In order to advance consistent lightweight construction principles in automotive and mechanical engineering, support frame construction made from high-performance materials is becoming more commonplace. These consist of complexly structured nodular connection elements. The required connection elements have not yet been produced satisfactorily. The developed node element structures in this paper are produced on a shuttle weaving loom by flattening and weaving them as multi-surface woven fabrics. The development of the woven concept for the realization of node element structures is based on the fragmentation of the individual sub-elements. The goal of this research is development of a flexible technology for weaving fabrics and intended for the integral realization of woven nodular semi-finished products with complex geometries and connections, which are to be used to connect Fiber-reinforced Plastic components in support frame structures.