Reproduction de : Thèse de doctorat : Microondes et Microtechnologies : Lille 1 : 2005. / N° d'ordre (Lille 1) : 3616. Résumé en français et en anglais. Titre provenant de la page de titre du document numérisé. Bibliogr. p. 217-223.

The present work explores the presence of Andean textile imagery in the poetry and the visual art of Jorge Eduardo Eielson and Cecilia Vicuña with the goal of illustrating how these woven aesthetics enrich the content of the written word and other artistic media by supplementing them with non-verbal, visual and tactile planes of meaning. Through the discourse of the thread, Eielson and Vicuña generate an alternative means of expression that dialogues with the conventionality of human language, the creation of cultural memory and the connection between intercultural groups. To prove this thesis, I approach the authors’ poetry and visual art based on theoretical and cultural studies regarding the materiality and the visuality of the text and other media in combination with a comparative analysis of the structural and the design properties of Andean and indigenous cloth products, namely the tejido and the khipu. In addition to close readings of poems that illustrate how the presence of the textile augments the meaning of the written text, I also illustrate how Andean weaving aesthetics provide the metaphorical springboard of comparison upon which a critical analysis of their visual art is based. / text

Nigerian sculptor Peju Alatise and British/Kenyan video artist Grace Ndiritu create works centered on the female form. In these works the artists turn to flesh, their own and representations of, in order to expose prevailing notions of the black female body. Peju Alatise’s mixed-media sculpture, 9 Year Old Bride (2010), depicts the hollow bodies of seven small female figures created from fabric and frozen in motion by resin and white paint. Ndiritu’s video paintings, Still Life: Lying Down Textiles (2007)and Still Life: White Textiles (2005-2007) similarly employs cloths as means of covering and creating the body. In Still Life: Lying Down Textiles, Ndiritu reclines on the floor amongst a rich array of fabrics. Completely covered by cloth, except for her right arm, Ndiritu breathes heavily and twitches for entirety of the five-minute film. In her second film, Still Life: White Textiles, Ndiritu manipulates a large piece of fabric between her bare legs and arms which hints at, but never grants nudity. This thesis argues that both Alatise and Ndiritu incorporate wax-printed fabrics to conceal/reveal and construct/deconstruct the female form. Both artists do so as means of destabilizing dominant essentialized notions of black womanhood rooted in colonial visual practices. The paper draws similarities between Alatise and Ndiritu’s works to colonial photographic practices and historical figures of curiosity, such as Sara Baartman, which both inform contemporary understandings of the black female body. Rather than simply repeat—and therefore perpetuate—Western imagined qualities of deviant sexualities and sexual availability, this thesis asserts that Alatise and Ndiritu allude to and ultimately undermine these notions through a careful control of nudity. The last section of the thesis distinguishes the artistic practices of Ndiritu and Alatise from artists working in similar mediums. Though artists like Yinka Shonibare and Lalla Essaydi incorporate textiles into their works, Ndiritu and Alatise are unique for their use of textiles as extensions of the body rather than simply coverings for the figure. Lastly, the thesis argues that Alatise and Ndiritu straddle both Orientalist and Occidentalist understandings of African culture, incorporating elements of both, seemingly inverse, theories into their artistic practices. / text

In research, we frequently position “modernity” against “tradition” to explain cultural changes within the indigenous realm. Such is the case of Andean textile studies, where commercialization and modernity are frequently attributed to the decline in Andean communities’ production and donning of hand-woven textiles. By doing this, we distance ourselves from the underlying issues causing these changes: poverty, discrimination, ethnic social stratification, etc. Also, by positioning “modernity” outside and against the indigenous realm, we contribute to the notion that modernity belongs to the western world alone and can only be achieved by Western influence. In doing so, we confine Andean textiles to a static notion of identity and ignore and antagonize the creative strategies that weavers’ use, moving outside of this notion. My work questions the “tradition” versus “modernity” binary by analyzing its history and first appearance in Bolivian Andean textile scholarship, and by analyzing changes within Andean textiles between the Inca and Colonial periods. My study also sheds light on the workings of internal colonialism within Andean textiles in the Bolivian regions of Jalq’a and Tarabuco. / text

This investigation was designed to determine the effects of environmental elements on the color retention and durability of 65/35 polyester/cotton blend fabric with disperse-reactive dyes and durable press and soil release finishes. The colors of fabric used were intense shades of red, blue, and yellow. Data were collected from unlaundered and from laundered and line-dried fabric samples. Fabric samples were exposed to zero, approximately 1,349, 2,836, 5,551, and 11,627 langley units of solar radiation and to varying amounts of other environmental elements. The tear strength, weight, and color retention of the fabric were studied. As the number of langley units to which the fabric samples were exposed increased, the color retention of the fabric tendd to decrease. The combined effects of the other environmental elements appeared to be secondary to solar radiation in reducing the color retention of the fabric. There was also a decrease in the tear strength of the fabric. This appeared to be due to the combined effects of all of the environmental elements on the fabric. The tear strength, weight, and color retention were lower in the laundered fabric samples than in the unlaundered fabric samples.

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In today's, collaborative, customer-driven, networked economy, forming and sustaining strategic business relationships with customers, suppliers, and partners has become a mission-critical imperative for most businesses. This is the also case for the paper machine clothing industry. The organisations search and utilise for the key resources that can guarantee their success in the market place. The search for key success factors contributing to Albany International's leadership position in the paper machine clothing industry has been the dominant theme in this study. The literature review is predominantly focused on various types of business relationships, with particular interest toward cases of mergers, acquisitions, takeovers and joint ventures so identifying the key resources contributing to the development and delivery of sustained competitive advantage in the paper machine clothing industry. The study incorporates a critique of literature from technology strategy, cross cultural management, and strategic management fields. The research questions, set by the author, are designed to explore the technological, managerial and cultural factors contributing to the success of the organisation and its further growth in the market. Primary data has been collected through quantitative survey questionnaires, the results of which contribute to the development of the author's proposed model which is designed to predict the success of business relationships in the paper machine clothing industry. The results have been analyzed with Stata which revealed issues for further investigation. The most appropriate follow up research methodology for these latter issues was semi-structured interviews with managers of Albany International from the key branches. The analysis of the transcribed interviews has been undertaken with the use of QSR N6 (NUD*IST) qualitative software. The theoretical framework for business relationships success in the paper machine clothing industry is formed on the grounds derived from content analysis of the interviews. The new model, proposed by the author demonstrated that to build a successful business relationship Albany International had to approach this process from the four directions: due-diligence in terms of technological level, cultural fit, management styles, identification of the key people behind the business success. This process has to be clearly communicated to the employees, other people involved within the organisations in question, and to the external environment.

This thesis, based on twelve months of fieldwork and archival research undertaken in Ladakh, explores the place of wool and weaving in the life of Rupshu. It attempts to trace the nexus between livestock, fibres, textiles, social and symbolic structures in Rupshu in order to understand the multitude of contexts within which wool-oriented activities exist. The craft of weaving was bestowed upon Rupshu by the gods, and thus all acts related to it have a close connection to the sublime. Rupshu lies in the easternmost part of Ladakh in North India, in a Restricted Areas Zone, as is accessible only to Indian citizens. Hence, extensive fieldwork has not been carried out in this area. Further, though there is a little documentation on the craft of weaving in Ladakh, none exists on the nomadic tradition of weaving. The first two chapters introduce the region of Rupshu and explore the historical context. They include a discussion of the origin and development of weaving and textiles in the area, and of the old trade routes in fibres. The next two chapters examine the connections between livestock, the source of fibres in Rupshu, and the Ladakh pantheon. The relationship between the two is reflected in the manner in which livestock are revered and treated in Rupshu. Further, this affinity is widely expressed in Rupshu, and one such occasion is the harvesting of the fibres. The next four chapters look specifically at the craft of weaving, and local representations of the tradition. Using examples of particular pieces woven in Rupshu, I examine the gender, spatial, and hierarchical relations that they express and perpetuate. Not all the fibres harvested in Rupshu are used there, and the final chapter examines their distribution through trade. While woven articles are not traded, specific containers are woven for the transport of fibres and their characteristics are looked at here. The concluding remarks include a discussion of the future of wool and weaving activities in Rupshu, and address the dangers posed by re-settlement schemes, and a shortage of pasture and over-grazing. These trends would eventually lead to a decrease in the number of livestock, and cause the people of Rupshu to abandon their tradition of nomadic pastoralism.

El presente trabajo de investigación tiene como objetivo elaborar una Propuesta de Rediseño Organizacional en la Asociación de Textileros Artesanales Awakuq Makikuna de Porcón Alto - Cajamarca”, con la finalidad de mejorar su nivel de competitividad en el mercado actual, para lo cual se utilizaron técnicas las cuales fueron entrevistas aplicadas a todos los miembros que conforman la asociación, para recabar información de todos y obtener un mejor diagnóstico de los obstáculos y/o problemas que enfrentan. Con la información obtenida fue necesario realizar un análisis del entorno externo e interno de la asociación de Textileros Artesanales, así como el análisis FODA, el cual sirvió para identificar los puntos fuertes y débiles de la Asociación. Otro instrumento que se utilizó fue el análisis de Porter, para conocer su nivel de competitividad frente a otras asociaciones. Para determinar la estructura organizacional actual, se desarrolló el MOF (Manual de Organización y Funciones) para que todos los socios tengan conocimientos de sus funciones diarias, evitando así la duplicidad de tareas; logrando el éxito de la asociación. Con la información recopilada a partir de los instrumentos utilizados, se ha logrado encontrar respuestas a los objetivos planteados, estableciendo como conclusión principal la carencia de un diseño organización formal el cual permita a los asociados la posibilidad de tener los conocimientos que le permita implementar las estrategias necesarias para el funcionamiento y buen direccionamiento de la Asociación de los Textileros Artesanales de Porcón Alto-Cajamarca, brindando la posibilidad de crecer empresarialmente, llegando a nuevos mercados y llegar a posicionarse a largo plazo en el mercado textil, mejorando el crecimiento personal, profesional y economía de cada socio y de sus familias.

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