Yarn hairiness affects not only the quality of products, but also the productivity in spinning and weaving. Too much yarn hairiness is undesirable for many end uses as well as the spinning and post spinning processes. The main aims of this project are to examine the hairiness features of various yarns and to reduce yarn hairiness. The thesis covers five related areas – hairiness assessment, factors affecting yarn hairiness, the hairiness of newly developed yarns, yarn hairiness reduction, and effect of yarn hairiness on the energy consumption in ring spinning. The worsted cashmere, pure wool and wool/cashmere blend yarns were employed to investigate the effect of some fibre parameters on the yarn hairiness. A single exponential distribution of the hair-length was confirmed first, using the data from the Zweigle G565 Hairiness Meter. A linear relationship was observed between the blend ratio and the hairiness indexes. In particular, the effect of fibre crimp or curvature on yarn hairiness is examined. The theory of yarn hairiness composition was also developed further. The effect of draft ratio and spindle speed on the hairiness of worsted wool yarn was examined next with a factorial experiment design. Several new hairiness indexes, namely the relative hairiness indexes, have been used to explain the results obtained. In the investigation of the hairiness of newly developed yarns, the hairiness of the Compact Spun and Roller-Jet-Spun yarns was examined first. The composition of the yarn hairiness, the hair-length distribution, and the effect of test speed on yarn hairiness were then studied. An important finding is that for both yarns, the predominant hairiness feature is the looped hairs. A comparison of the hairiness of Solospun yarns and the equivalent ring spun wool yarns was undertaken. The hair-length distribution of the Solospun yarn was examined first. The Solospun yarns used had fewer hairs in most hair-length groups and lower variations in hairiness. In addition, the effect of twist level and spindle speed on the hairiness of Solospun and conventional ring spun yarns has also been discussed. A novel approach of reducing yarn hairiness – spinning with a ‘Diagonal’ yarn path was examined next. Both ‘Left Diagonal’ and ‘Right Diagonal’ yarn arrangements were studied. A new finding is that the ‘Right Diagonal’ yarn path leads to reduced hairiness for the Z-twist yarn, while yarn evenness and tenacity are not as sensitive to the modified yarn path. The mechanism of hairiness reduction with the ‘Diagonal’ yarn path has been discussed. The spinning performance of “Right Diagonal” yarn arrangement has also been evaluated. Finally, the effect of yarn hairiness on the energy consumption in ring spinning has been investigated theoretically and experimentally. A theoretical model has been developed, which represents the first attempt at theoretically investigating the influence of yarn hairiness on energy consumption during the winding stage of ring spinning. The experimental results have generally confirmed predictions of this model. Recommendations for further research in this area have also been made in the concluding chapter of this thesis.

Du personnage de l’homme sauvage, velu sylvestre médiéval parangon de la force et de la nature, nous cherchons la présence dans la littérature, inspirant son incarnation enluminée dans marges, lettres, grandes images en même temps que dans le décor narratif ou apotropaïque des bâtiments. Puis l’adoption dans toutes les catégories sociales du sceau, où les velus tiennent armoiries ; et sa transposition, en duo ou en couple, dans les arts mineurs mais surtout dans le décor architectural. Nos exemples, après une analyse typologique, sont choisis aux marges du royaume, Bretagne et Flandre, puis parmi les imprimeurs. Les Écossais transplantés en France et deux serviteurs de la couronne, Yvon du Fou et Charles II de Chaumont d’Amboise, semblent exemplaires de l’utilisation systématique du Sauvage. Notre dernière partie décrit les champs d’inscription des motifs héraldiques dans l’espace public, privé et religieux français, en regard des pratiques de nos voisins européens. Avec la limite des déprédations, à des époques parfois différentes, liées à la politique ou à l’ignorance. / At first, we look for how the character of the Wild Man, hairy, sylvan, medieval symbol of strength and nature, is represented in literature, inspiring through its enlightened embodiment in book margins, letters and large pictures, as well as in the narrative or apotropaic décor of buildings. Then, we analyse its use in all the social types of the seal in which Hairy Men hold armorials; and its transposition, whether in pair or in couple, in the minor arts but above all in the architectural décor. This typology enabled us to choose our examples on the edges of the kingdom, in Brittany and Flanders, then amongst printers. As Scots who emigrated to France and servants of the Crown, Yvon du Fou and Charles II de Chaumont d’Amboise, are perfect illustrations of the systematic use of the Wild Man. Finally, we compare the various formats of the heraldic works in the French public, private and religious places, with our European neighbours’ practices, despite the depredations that occurred in various periods, linked to either politics or ignorance.

La fin du Moyen Âge est le théâtre de l'apparition et de la diffusion d'images singulières : celles d'hommes et de femmes intégralement couverts de poils. Attribut de l'homme sauvage, mais également de personnages ensauvagés et notamment d'ermites et de saints, le corps velu fait figure de véritable motif iconographique aux deux derniers siècles du Moyen Âge. Cette thèse, s'appuyant sur la méthode de l'analyse sérielle et s'inscrivant dans les problématiques de l'anthropologie historique, propose l'étude du motif à travers un corpus de 940 images. Il s'agit de comprendre à travers une collection représentative de sources (tendant à l'exhaustivité), comment le corps velu, à priori laid et bestial, est associé à la fin de la période à un ensemble de personnages tout à fait positifs, voire admirables. Une première partie, organisée autour du rapport entre texte et image, cherche à définir clairement les rapports entre l'iconographie du motif et les représentations littéraires et carnavalesques de l'homme sauvage. La question des emprunts mutuels entre la culture courtoise et la culture dite « folklorique » sous-Tend ce premier temps de l'analyse. Y sont également abordées les pratiques médiévales de la pilosité et la place occupée par le poil et la nudité dans l'art de cette période. Dans une seconde partie sont étudiés les éléments constitutifs de « l'être sauvage ». La relation entre le corps velu, le bestial et le démoniaque est abordée à travers l'iconographie d'Ésaü, de Merlin et d'Ursus, le roi mythique des Belges. La réflexion sur le rapport entre l'homme, la bête et l'espace sauvage est ensuite déplacée dans le champ des représentations de l'Orient, et dans celui de l'érotique courtoise faisant du sauvage une antithèse du chevalier. En dernier lieu, la troisième partie s'intéresse à la conception dynamique de la sauvagerie à travers le concept « d'ensauvagement ». L'analyse de la villosité comme conséquence du recours à la forêt permet de comparer l'iconographie de l'homme sauvage et celle des ermites et des pénitentes velus. L'excès de poil, davantage qu'un attribut bestial et dégradant, y apparaît alors très largement comme une manifestation du merveilleux ou du miraculeux. Parce qu'il n'altère pas le corps humain, il fait tour à tour figure de défaut d'humanité (laideur, animalité) ou de surplus héroïque (force, détachement du corps ou résistance à la souffrance). En conclusion, ce travail met en valeur le rôle de l'aristocratie dans la promotion de la figure de l'homme sauvage, qui constitue un moyen pour cette dernière d'affirmer son contrôle symbolique sur l'espace forestier. Le succès du personnage, également porté par le renouveau de l'érémitisme, entretien un rapport étroit avec celui d'autres figures comme les ermites velus, emblématiques du recours à la forêt et du renoncement au monde. Ces derniers trouvent une traduction iconographique particulière à travers les images de Marie-Madeleine, dont la diffusion dans l'espace germanique s'explique en partie par l'influence de la mystique rhénane. / The end of the Middle Ages saw the apparition and diffusion of rather peculiar images: those of men and women entirely covered in hair. An attribute of the wild man, but also of individuals who took to the wild -Notably hermits and saints, the hirsute body became a veritable iconographic motif during the final two centuries of the Middle Ages. Adopting the methodology of serial analysis and drawing on the approach of historical anthropology, this thesis examines this motif through a body of 940 images. Drawing upon a representative collection of sources (verging on the exhaustive), the central research question is how the haircovered body, a priori ugly and bestial, came to be associated at the end of this period with a series of positive, at times revered, figures. Part one addresses the relation between text and image. It aims to clearly define the relationships between the iconography of the motif on the one hand, and literary and carnivalesque representations of the wild man on the other. The question of mutual borrowings between courtly culture and ‘folkloric' culture is central to this analysis. Medieval practices with regard to hairiness, and the place that hair and nudity occupied in the art of the period, will also be considered. Part two addresses those elements which constituted the ‘wild being'. The relationship between the hair-Covered body, the bestial, and the demonic are explored through the iconography of Ésaü, Merlin and the mythical Belgian king Ursus. This reflection on the interstices of man, beast and wild spaces then shifts to representations of the Orient, and to a courtly eroticism in which the savage was the antithesis of the chivalrous knight. Finally, Part three considers the constitution of wildness over time, drawing upon the concept of ‘ensauvagement'. Analyzing villosity as a consequence of recourse to the forest points to a comparison between the iconography of the wild man and that of hair-Covered hermits and penitents. An excess of hair, rather than being a bestial or debased condition, is thus transformed into a manifestation of the marvellous or miraculous. Because it does not alter the human body itself, it is by turns perceived as a lack of humanity (ugliness, animality) or as a heroic supplement (strength, detachment from the corporal, or resistance to suffering). In conclusion, this study underlines the role of the aristocracy in the promotion of the figure of the wild man, which offered a means of asserting symbolic control over forested spaces. The success of this figure, also assisted by the renewal of eremitism, is closely related to that of others, such as the hirsute hermit, similarly emblematic of an embrace of the forest and withdrawal from the world. These themes find particular iconographic expression in images of Marie-Madeleine, the diffusion of which across the Germanic lands can partly be explained by the influence of Rhinish mysticism.

Ce travail consiste à de étudier les mécanismes survenant lors du frottement de surfaces textiles pileuses, en particulier dans les conditions du toucher humain. Le but final est de proposer une méthode permettant de concevoir des surfaces textiles qui aurait le toucher demandé. La première étape a été d'établir un modèle de frottement, et ensuite de le valider au moyen d’un tribomètre développé au laboratoire et enfin de l'appliquer à des surfaces textiles industrielles. Nous avons pu montrer que la force tangentielle à l'avant du frotteur est proportionnelle à la largeur de celui-ci et a une origine essentiellement mécanique, alors que la force sous le frotteur est proportionnelle à l’aire de contact entre le frotteur et la surface textile et est de nature mécanique (déformation de la surface) et adhésive. Nous avons pu alors définir et déterminer les contraintes de frottement à l’avant et sous le frotteur, caractéristiques de l’étoffe textile utilisée pour une charge normale fixe. La dépendance de la force de frottement à la vitesse de glissement a été mise en évidence. Une étude portant sur le frottement de macro-surfaces pileuses modèle a été réalisée pour expliquer cette viscosité. Des essais de frottement analogues à ceux de l’étude menée sur les surfaces réelles ont été réalisés. En faisant varier les paramètres cinématiques de l’essai ainsi que les propriétés physico-chimiques des fibres, nous avons pu déterminer que l'origine de la viscosité observée sur les surfaces textiles réelles provient majoritairement du frottement inter-fibres d’origine physico-chimiques. / This work is to study the mechanisms occurring during friction of hairy textile surfaces, especially in terms of human touch. The final aim is to offer a method for designing textile surfaces with the required touch. The first step was to establish a model of friction, and then to validate it by means of a tribometer developed in the laboratory and then apply it to industrial textile surfaces. We have shown that the tangential force in front of the slider is proportional to the width of this one and has essentially a mechanical origin, while the friction under the slider is proportional to the contact area between the slider and the textile surface and is of a mechanical nature (surface deformation) and adhesive. We could then determine and define the friction stress in front and under the slider, characteristic of the textile fabric used for a fixed normal load. The dependence of the frictional force to the sliding velocity was highlighted. A study on the friction of model hairy macro-surfaces was performed to explain this viscosity. Similar tests to those of the friction study on real surfaces were performed. By varying the kinematic parameters of the test and the physico-chemical properties of the fibers, we were able to determine that the origin of the viscosity observed on real textile surfaces mainly comes from inter-fiber friction with physicochemical origin.

Made available in DSpace on 2014-12-17T14:58:22Z (GMT). No. of bitstreams: 1 ClaraSS_DISSERT.pdf: 3432218 bytes, checksum: 7e008670903eeebdf6b98724b154b050 (MD5) Previous issue date: 2011-10-03 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Cotton is a hydrofilic textile fiber and, for this reason, it changes its properties according to the environment changes. Moisture and Temperature are the two most important factors that lead a cotton Spinning sector and influence its quality. Those two properties can change the entire Spinning process. Understanding this, moisture and temperature must be kept under control when used during the Spinning process, once the environment is hot and dry, the cotton yarns absorb moisture and lose the minimal consistency. According to this information, this paper was developed testing four types of cotton yarns, one kind of cotton from Brazil and the others from Egypt. The yarns were exposed to different temperatures and moisture in five different tests and in each test, six samples that were examined through physical and mechanical tests: resistance, strength, tenacity, yarn?s hairness, yarn?s evenness and yarn?s twisting. All the analysis were accomplished at Laborat?rio de Mec?nica dos Flu?dos and at COATS Corrente S.A., where, it was possible to use the equipments whose were fundamental to develop this paper, such as the STATIMAT ME that measures strength, tenacity, Zweigler G566, that measure hairiness in the yarn, a skein machine and a twisting machine. The analysis revealed alterations in the yarn?s characteristics in a direct way, for example, as moisture and temperature were increased, the yarn?s strength, tenacity and hairness were increased as well. Having the results of all analysis, it is possible to say that a relatively low temperature and a high humidity, cotton yarns have the best performance / O algod?o ? uma fibra t?xtil hidr?fila e por essa raz?o muda suas caracter?sticas em fun??o das condi??es do ambiente. A umidade e a temperatura s?o dois fatores que influenciam o ambiente de uma fia??o de algod?o. Estes dois fatores podem alterar a qualidade de toda uma produ??o de fios. Sendo assim, umidade e temperatura devem ser mantidas sob o controle para o processamento do algod?o, uma vez que em um ambiente seco e quente os fios de algod?o liberam umidade e se rompem, aumentando o ?ndice de quebra da fia??o com o ambiente frio e ?mido, os fios absorvem umidade e perdem a consist?ncia m?nima.Com base nessas informa??es, este trabalho foi desenvolvido experimentando quatro tipos de fio de algod?o sendo de origem brasileira e os demais, de origem eg?pcia. Os fios foram expostos a temperatura e umidade diferentes em cinco experimentos distintos, contendo cada experimento seis amostras que passaram por testes f?sicos e mec?nicos: resist?ncia, for?a, tenacidade, pilosidade, t?tulo e tor??o. As an?lises foram realizadas no Laborat?rio de Mec?nica dos Fluidos na Universidade Federal do Rio Grande do Norte e na empresa COATS Corrente S.A., onde foi poss?vel fazer uso dos equipamentos fundamentais para o desenvolvimento deste trabalho, tais como o STATIMAT ME que mede a resist?ncia, for?a e tenacidade do fio, Zweigler G566 o qual mensurou a quantidade de pilosidade no fio e, a meadeira e o torc?metro, respons?veis pelo t?tulo e tor??o. As an?lises revelaram altera??es nas caracter?sticas dos fios de forma diretamente proporcional, como por exemplo, conforme aumentava-se a umidade e temperatura havia um aumento da resist?ncia, for?a, tenacidade e pilosidade. Em posse desses resultados, ? poss?vel afirmar que a uma temperatura relativamente baixa e uma umidade alta, os fios de algod?o tem sua performance m?xima