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Thesis (Ph. D.)--York University, 1996. Graduate Programme in Social Anthropology. / Typescript. Includes bibliographical references (leaves 332-352). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004 & res_dat=xri:pqdiss & rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation & rft_dat=xri:pqdiss:NQ39284.

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Thesis (Ph. D.)--Illinois State University, 1987. / Title from title page screen, viewed August 16, 2005. Dissertation Committee: Wayne A. Riddle (chair), D. Reed Jensen, Steven A. Juliano, Charles F. Thompson, James N. Tone. Includes bibliographical references (leaves 103-118) and abstract. Also available in print.

This study was framed by the question, How is creativity integrated into the design process of apparel textile designers? A qualitative approach was used to explore the integration of creativity in the design process of two designers in the field of clothing and textiles. The personal experiences of a weaver and a costume designer were shared with the researcher through interviews, participant observation, logs, and document/visuals. Data were analyzed by a method of coding and categorizing. Comparative analysis was conducted on the studies of the weaver and the costume designer. A comparative analysis was done among the findings of the two apparel textile designers and from the review of the literature. First, steps of the design process as related to creativity were explored. The design process model stated by Koberg and Bagnall (1981) was used to analyze and discuss the findings. It was found that the apparel textile designers' process included the steps of acceptance, analysis, definition, ideation, idea selection, implementation, and evaluation. Many themes emerged from the data for each of the steps of design. Amabile's (1996) three components of creative performance (domain-revelant skills, creative-revelant skills, and task motivation) were used to examine and discuss the creativity of the weaver and the costume designer. It was found that the design process acted as a framework, and creativity allowed for the generation of new ideas and outcomes in the designer's work. The study of apparel textile designers, their individual design processes, and creativity serves to expand the body of knowledge of the design process and creativity related directly to the textile arts and to aid in the development of methods in design education. / Master of Science

This thesis presents a method for identifying resonant cultural phenomena and uses it to identify themes in the representations of millers, tailors, and weavers in early modern English proverbs, jests, and ballads. It then examines whether these stereotypes appear in the records of defamation and abusive language from four different contemporary courts. It argues that all three trades were associated with habitual occupational dishonesty, that millers had a reputation for super-sexuality, and that tailors were considered to be poor and inferior to other men. However, it also argues that these stereotypes were conditioned by generic characteristics of proverbs, jests, and ballads and therefore that stereotypes should be assessed within and across different media. Finally, it argues that the dishonesty, super-sexuality, and inferiority associated with millers, tailors, and weavers suggest that perceived moral character played a more important role in the creation of stereotypes than perceived economic or social position, political or religious allegiance, or ethnic or regional background.

Thesis--Giessen. / At head of title: Institut für Agrarsoziologie der Justus Liebig-Universität Giessen, Fachbereich 20. Vita. Includes bibliographical references (p. 268-279).

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O trabalho investiga o tema da criação artística em contos brasileiros do século XX por meio da retomada da figura mítica da fiandeira e também indaga de que maneira tal diálogo intertextual com o mito pode ampliar as possibilidades de leitura dos textos em análise. Para tratar tal questão, o recorte apoia-se em narrativas em que a imagem mítica da tecelã é reelaborada como criadora de textos, de receitas culinárias, de tecidos artísticos urdidos em teares modernos, ainda que em constante diálogo com o mito. A pesquisa busca revelar, em um primeiro momento, uma reatualização do mito das tecedeiras em narrativas específicas da literatura brasileira, a saber: A Moça Tecelã (2009), de Marina Colasanti, Desenredo e A vela ao diabo (2001), de Guimarães Rosa, Colheita (1997), de Nélida Pinõn, Penélope (1998) e Ponto de Crochê (2009), de Dalton Trevisan. Por meio da análise comparativa, pretendemos mapear os ecos míticos e intertextuais que dispõem esses textos numa expressiva teia (temático-formal), pois todas as narrativas selecionadas discutem o ato criativo e as referências à tecelagem, embora respondam de maneiras diferentes a essas questões. / This work analyzes the theme of artistic creation in Brazilian short novel in the 20th century through the resumption of the weaver mythical figure and also inquires how this intertextual dialogue with the myth can increase the reading possibilities of the text analyzed. The research seeks to reveal, in the first moment, a revision of the myth of the weavers in specific narratives of Brazilian literature: A Moça Tecelã (2009), of Marina Colasanti, Desenredo and A vela ao diabo (2001), of Guimarães Rosa, Colheita (1997), of Nélida Pinõn, Penélope (1998) and Ponto de Crochê (2009), of Dalton Trevisan. In order to develop this question, the corpus chosen discusses the mythical image of the weaver as breeder of texts, recipes and artistic tissues weaved in modern looms, even if still keeps constant dialogue with the mythical sources. Through de comparative analyses, we intend to map the mythical and intertextual echoes that order these texts in an expressive web (thematic and formal), because all the selected narratives discuss the creative act and the weaving process, although reply in different ways to those questions.