Academic literature on the topic 'Military clothes'

In the history of the costume, protective military clothing has a special place. The origins of military clothing go deep into history. Protective clothing defined as protective "cover" clothes is used to protect the body from physical attack. In the in many of the ancient civilization is noticed similarity in the appearance of military clothing, which means that Egyptian, Assyrian, Greek and Roman soldiers are dressed and armed in a similar way. In this paper the protective military clothes over the centuries, starting from Egypt, Babylon and Assyria, Crete and Mycenae, Ancient Greece and Rome, reaching the protective clothing characteristic of the medieval period slowly approaching the contemporary look of protective clothing is being analyzed.

In the article, based on the analysis of historiography on the study, the problems requiring study are identified, the goals, objectives, and methodology of the study are defined. Based on new ar-chival documents and other sources, the problems of organizing material and financial assistance by enterprises, collective farms, state farms and workers of the rear of the Red Army are analyzed. The main directions, forms and methods of activity of state, party bodies and public organizations in raising funds for the National Defense Fund and purchasing military equipment, subscribing to State military loans, collecting warm clothes and gifts for soldiers and commanders of military units and formations are considered. This article analyzes the motives of the patriotic movement of Soviet citizens aimed at helping the front. It was concluded that the main areas of material and financial assistance to the rear of the Red Army were those that arose at the initiative of the work-ers of the movement: raising funds for the country’s Defense Fund and the purchase of military equipment, subscribing to State military loans, creating a bread fund, collecting warm clothes, gifts for fighters and commanders of military units and formations.

During the Ottoman Empire, which was established in Anatolia after the Seljuks, many developments were made in the name of art for 600 years. Especially thanks to the Ottoman Empire's value to the artist and art, very good works have been produced in many fields. In addition to branches such as calligraphy, illumination, miniature and marbling, fabrics, carpets and rugs, which attract the attention of the whole world in the field of textile, were also woven. The art of weaving experienced its brightest period in terms of weaving technique, color and pattern in the Ottoman Empire. It is understood that weaving, which continued to be produced traditionally in Ottoman cities, continued its existence as an important cultural element and sector. The clothes of the Ottoman sultans kept after their death and the qualities of the fabrics used in the palace convey very important information at the point of understanding the importance of weaving. The diversity and richness of the weavings and textiles produced in many documents belonging to the period can be clearly seen. In this context, this rich weaving and textile diversity has taken an important place in Turkish culture. Especially this rich variety of weaving and textiles has been painted by many painters in almost every period and has gained an important place in terms of conveying information about their periods. In this study, some of Halil Pasha's paintings in which he displayed an objective and objective approach with a realistic style, some of which are in an orientalist style, are discussed as subject. In the study, will focus on Halil Pasha's life, his understanding of art and the textiles and clothing he depicted in some of his paintings. The textiles and clothes in the paintings were discussed in terms of characteristics such as color, pattern, and texture. Key Words: Textile, weaving arts, clothing, painting, carpet.

“Redundancy” is a sensitive issue for each enterprise. However, many enterprises are forced to conduct redundancy due to business changes. As WeaveTech changes its main business sector from military clothing to civil high-end performance clothes, the newly assigned management expect to cut the number of managers. The article aims to provide a guideline of redundancy for WeaveTech and evaluate it. Besides, several alternative methods other than redundancy are illustrated. Some thoughts gained through this case can be applied to other similar cases.

Pier Vittorio Tondelli’s second novel, Pao Pao (1982), has often been considered as an example of hedonism and lack of structural criticism against the military institution. This study contradicts the vulgate by demonstrating its full readability through the lenses of queer theory via an explicit adoption of a camp point of view. Tondelli used camp as an aesthetics that also includes political intentionality, clearly visible in the novel’s proud—and yet amused—stance against the homophobic and heteronormative core of the army. Pao Pao’s camp, and its framing of military uniforms and plain clothes under the umbrella of just another (deeply queer) drag experiment, aim to the production of a new rainbow- queer-social-visibility-tesserae within and against the larger mosaic of a highly heteronormative society: the Italy of the Eighties.

The aramid fabrics have been widely used in aerospace, military and protective clothes for light radiation stability properties. The reflection and transmission properties of two kinds of materials (Kevlar 49 fabric and Kevlar 49/Nomex blended fabric) and three weaves of aramid fabrics with different wavelength spectrum were evaluated by ultraviolet-visible-near infrared (UV–Vis–NIR) spectrophotometer analysis. The effects of fabric layers on the reflection and transmission performances of aramid fabric were also discussed. It indicated that the aramid fabrics have good thermal and light protective properties.

v anglickém jazyce The dissertation thesis with title "Presumptions of the formation of the modern men's suit" elaborates the general and unique features in the typology of men's court, military and ecclesiastical clothes. Research, which is based on written, iconographical and material sources, is aimed at environment at the court of the Austrian Habsburgs in early new ages from the end of the 15th century till beginning of the 90s of the 18th century having respect to history of clothing in the in Czech countries in the context with European clothing culture. The conception of the thesis goes out from the approach to men's suit in the history of clothing as to the cultural discipline. The main theoretic-metodological basis is investigsation of the general and the unique features in the concrete types of the men's clothing, which are characterized most of all of the contemporary construction (cut), material (cloth) and colours of the men's clothing and which has got the style-forming importance by means of these general features. The results of the research work amplifies not only the knowledge in the area of the clothing history, but also brings the possibility of practical application of this knowledge to increase of the cultural values of written, iconographical and material memories with time,...

Polski portret wojskowy epoki saskiej, poza kilkoma wyjątkami pozostawał do tej pory poza głównym nurtem zainteresowań naukowych, a jeśli już, to jego ocena była ujmowana jedynie z perspektywy wartości estetycznej, co w żadnym razie nie stanowi jedynej miary jego jakości. Natomiast poddany analizie munduroznawczej i mundurologicznej, przy jednoczesnym uwzględnieniu dotychczasowego stanu badań z zakresu historii sztuki, ukazał swoje dodatkowe walory. By spełnić zakładane cele rozprawy, przyjęto metodę badań opartą na trzystopniowej analizie, najpierw na poziomie opisu preikonograficznego w katalogu portretów, wydobywającego elementy konstytutywne ubioru i munduru wojskowego (Rozdz. X). Kolejny etap to analiza munduroznawcza ubiorów i mundurów z uwzględnieniem powyższego podziału (Rozdz. III – V), służąca za punkt wyjścia dla interpretacji treści ideowych i symboliki zarówno portretów, jak i mundurów, zbroi oraz galerii rodowych (Rozdz. VI). W pozostałych częściach zawarto materiały pomocnicze: strukturę organizacyjną wojsk Rzeczypospolitej w latach: 1697 – 1763 (Rozdz. II), słownik terminologii z munduroznawstwa i bronioznawstwa (Rozdz. IX), ilustracje porównawcze (Rozdz. XI.1) i rekonstrukcje rysunkowe (Rozdz. XI.2). W efekcie zgromadzona ikonografia utworzyła chronologiczną sekwencję ewolucji mundurów, jednak, co najważniejsze to to, że źródła pozwoliły ujawnić zasadnicze etapy i kierunki zmian w obydwóch autoramentach. I tak w husarii i jeździe pancernej występowanie zbroi i pancerzy kolczych notuje się najpóźniej po lata czterdzieste, a ich zanik pokrywa się z pojawieniem się mundurów. Z kolei zestawiając przedstawienia mundurów autoramentu cudzoziemskiego widać na nich proces kształtowania się oznak służby, rang i stopni, które coraz konsekwentniej umieszczano bezpośrednio na substracie ubraniowym.Poza krojem jest to druga najbardziej wyraźna cecha odróżniająca te mundury od autoramentu narodowego, gdzie opierano się głównie na oznakach nie związanych z samym mundurem. Porównując je z późniejszymi, stało się oczywistym, że to właśnie ówcześnie wypracowany system w następnych okresach jedynie aktualizowano, dostosowując go do kolejnych wymogów organizacyjnych wojska. Innymi słowy, w analizowanym okresie mundur stał się wyrazistym komunikatem wizualnym klasyfikującym żołnierza i zaczął się zdecydowanie odróżniać od odzieży cywilnej i ubioru wojskowego z „epoki przed mundurowej”, pomimo że ulegał stałym wpływom męskiej mody. Stał się instrumentem propagandowym w służbie kodyfikatora, chociaż wyrażał różne treści, w zależności od autoramentu. Niemniej materiał zebrany w niniejszej rozprawie nie wyczerpuje do końca problematyki, która winna być kontynuowana w kilku zakresach. Niewątpliwie należy bliżej przyjrzeć się jednostkowemu mundurowi władcy jako zwierzchnika sił zbrojnych, a w dalszej kolejności można by również odnieść się do niektórych kwestii propagandy związanej z nowym modelem władzy. Trudno też nie dostrzec korelacji portretu wojskowego z problemem dychotomii intelektu i uczuć, a w konsekwencji przeciwstawienia sobie człowieka „słusznie dumnego” i homeryckiego wojownika. Natomiast chcąc przyjrzeć się bliżej samym mundurom i wyglądowi żołnierzy z tego okresu, należy zainteresować się przedstawieniami kampamentów z lat: 1730 - 1744, podobnie jak innymi obrazami batalistycznymi i historycznymi. Odkrywczym zagadnieniem mogą stać się też zarejestrowane zmiany mundurowe w autoramencie cudzoziemskim, w okresie między latami około: 1763 – 1775. Nowych treści można się również spodziewać po jednostkowych studiach nad portretami w zbrojach, obojętnie w częściowych, czy pełnych garniturach. Następną, tu z konieczności potraktowaną dość powierzchownie jest problematyka relacji między jeźdźcem a wierzchowcem w sztuce XVIII wieku.
Polish military portraits of the first half of the 18th. Century haven’t arroused researchers’ interest, so far (only when last two decades). Except a few examples of pictures, they were left beyond the main trend of academic interests, or they were undergone examinations only in respect esthetic values, what wasn’t the only measure of their quality. However, if they are subjected to uniformological examinations, they can appear themselves additional values as the scientific sources. To fulfill the assumed aims in the doctoral thesis, there was accepted a research method allowed to perform the analysis in three steps, first on the preiconographic description level contained in the catalogue of portraits (Chapter X). The next stage is the analysis of the pictures’ substance (Chapters: III – V), as a point of issue for further interpretation (Chapter VI). Moreover, the other parts contain subsidiary materials, first of all the presentation of the organizational structure of Rzeczpospolita’s armies in the 1697 – 1763 (Chapter II). Beside it, there are enclosed supplemental illustrations (Chapter XI.1), as well as drawings (Chapter XI.2). Finaly, to help understand the military terminology, there is annexed a dictionary. In the results, the collected iconography composed a chronological sequence of evolution of the uniforms, what could often verificate hitherto findings. Nevertheless, in the first place the sources let to show fundamental stages of modifications of the soldiers’ appearance of both contingents. On the other hand, there’s possibility to ascertain a few new data. The pictures show that in Polish contingent, the scale-armour and chain mail were being replaced by uniforms in the forties of the 18th. Century. Next, the uniforms of the western model’s contingent show distinct development of the military service rank insygnia in those years. Since 1732 the insignia have been worn as special embroiders and hems directly on the uniforms, what, beside the cut, made the main difference between those uniforms and Polish style ones. Moreover, that particulary system was only gradually modified in next periods. In other words, already in that period the uniforms started to differ significantly from civilian clothes, and to become distinct visual denotation, grading a soldier in the military hierarchy and designate his social status. Uniforms’ symbolism was aimed at both, other soldiers, as well as receivers from beyond the army – civilians. So, it means that they were treated as a propaganda implement. Nevertheless the sources collected in this place doesn’t exhaust all subjects. The researches should be continued in a few courses of action for the future, to bring wider knowledge about rules of wearing uniforms, as well as about principles applying to they as visual messages (for example the monarchy’s one when he appeared himself as the superior military commander). Increasing studies of it’s social perception undoubtedly will reveal some new matters referring to the propaganda related to the new king’s authority model. Next, it’s difficult to omit the correlation between military portraits and twofold attitudes of mind, patterned by the ancient Homeric warrior and the Aristotelian „duly proud” human. On the other hand, a close analysis of representations of military camps and trainings in 1730 – 1744, like other battle-pieces can stay an impressive problem, just as the noticed changes in appearance in the years: 1763 – 1775. New contents can be expected in portraits of persons in suits of armor, too. And finally, the problems connected with relations between horseman and his steed is worthy of closer notice. But all of these themes need a necessity of undertaking interdisciplinary searches like in sociology or psychology.

碩士
明新科技大學
化學工程與材料科技系碩士在職專班
107
In order to prevent loss and increase odds of winning, high performance disappearance/camouflage materials can be one of the critical issues in modern warfare. In this thesis, a bi-layered composite was fabricated and was evaluated within the frequency range 2-18 GHz. The composite consisted of two layers, i.e., one was the impedence matching transformer/wave-front sacttering layer, and the other acted as the radar-wave absorbing layer. The former was the outer layer, consisting of numerous sub-micron-diametered fibers, which was prepared via electrospinning by using polyvinyl alcohol (PVA) as matrix together with nano-sized 5 wt% copper and 5 wt% zinc oxide (ZnO) powders. The latter was manufactured by a spray coating technique with the formula of 50 wt% micronmeter-sized 6H-silicon carbide (6H-SiC) powders as well as the matrix of polyurethane (PU) and an extra 0.2 wt% of multi-walled carbon nanotubes (MWCNTs). The structure and morphology of the two layers were characterized using X-ray diffractometry (XRD) and scanning electron microscopy (SEM). The radar-wave absorbing property of the bi-layered composite was measured by the HP E8364B vector network analyzer. It was found that the composite, made up of a 0.5-mm-thick impedence transformer/wave-front sacttering layer and a 1.5-mm-thick radar-wave absorbing layer, exhibited a reflection loss (RL) of less than -7 dB in rande of 2-18 GHz with a minimum absorption −20 dB at ~10.5 GHz and the absorption bandwidth (less than −10 dB) of 2.5 GHz in the X-band (8-12 GHz). Then, the bi-layered composite was adhered to the back-side of a fabric with a camouflage pattern to develop a prototype of a stealth/camouflage composite cloth, which was well-adhered and flexible in nature with a total thickness of ~2.5 mm and a surface density of ~1500 g/m2. It is considered that the composite cloth has advantages such as good performance, low cost, and convenient feasibility.

Demonstrates that the mackintosh is associated with poverty and lack of social capital; after the mac was reconfigured into the trench coat during WWI, it became aligned with the lack of individuality required by military service. After the war, writers used it to draw attention to the serialization of individuals as the result of global conflict. Writers continued to use the old time mackintosh to figure the limits placed on choice and singularity

Confrontation with the Americans both frightened and confused the Okinawans. Believing in the horrific Japanese propaganda that described the Americans as demonic, sadistic monsters, the civilians attempted to avoid capture. Failing at evasion, the Okinawans discovered to their surprise that the military government camps offered relative safety and access to medical care, fresh clothes, and food. American military government camps and the behavior of U.S. troops offered an opportunity for the Okinawans to redefine their identity in order to capitalize on the favorable conditions. By deliberately aligning their identity either more closely with the Americans or more strictly as Okinawans, and fracturing their association with the Japanese, the civilians found they could also dispel American fears and confusion as well.

Court personnel, the lawyers, and Bill travel the 80 miles to Maswa to examine the scene of Peppy’s death. The judge appears in “civilian” clothes, without his wig and red robe. The group climbs to the top of the hill and surveys the area. The height and denseness of the shrubbery at this time as opposed to the time of Peppy’s death will be an issue at the trial. Bill stands nearby surrounded by Tanzanian military men. The group also visits the site where witnesses said they had seen Bill beating his wife. Shards of a bottle are found at the scene, perhaps confirming Bill’s testimony that the bottle of beer Peppy had been drinking was broken as well as the failure by the police to properly secure the evidence.

On my way to Vilnius, capital of Lithuania, one late November I realized that I had not packed any winter clothes. It turns out that I was not the first to make this blunder. None of the half a million or so Germans, French, Swiss, Poles, Italians, and other nationalities who passed through the town or in its vicinity in June 1812 had packed any winter clothes, something many of them were to later regret. They were on their way, although they did not know it at the time, to Moscow. What they also did not know was that they were going to make what was arguably the world’s worst aller-retour journey ever: Vilna to Moscow and back (at that time the town was known under its Polish name and had recently been acquired by the Russians in the process of the annihilation of the Polish state). It was June, and they were in a good mood, as the Russian Tsar had recently fled Vilna followed by his quarrelling generals, and they were under the command of possibly the most competent military leader since Alexander the Great: Napoleon Bonaparte. The lack of warm clothing was not going to bother me, however. By the morning the snow had melted, and luckily I was not on my way to Moscow on foot. I was in Vilnius to search for some buttons, preferably made of tin. The story of Napoleon’s buttons and their allegedly fateful role in the disastrous 1812 campaign is widespread among scientists and science teachers. This is partly due to the popular book with the same name by the chemists Penny LeCouteur and Jay Burreson, and I wanted to find out whether there could be any truth in it, or whether it was just another of the legends and rumours that has formed around this war. Briefly, the story goes like this: metallic tin is a dense material (lots of atoms per cubic centimetre) and was supposedly the material used for many of the buttons of what was known as la Grande Armée. Unfortunately, metallic tin has a nasty Mr Hyde variation, known as grey tin.

The global circulation of images has become a powerful tool in representing the visual richness of cultures around the world. It has made the annual Hornbill Festival in North-east India a product that acts as a brand. The plethora of visual images – tribal people in their traditional clothes, scenic representation of landscapes, and tourist information on how to reach Nagaland to attend the festival – have fixed the identities of the Nagas of India in such a compelling and exotic manner that it resembles a kind of modern primitivism, a getaway from the decadent and uncultured world, to a place that still preserves these pristine habitats for cultural and tourist voyeurs. This chapter will suggest that in order to appreciate the festival one has to take into account the different levels of what I shall call the ‘performance of identity’. First, the festival celebrates the creation of Nagaland in 1963 as a state in India after years of civil and military unrest in the region. Second, while the political situation remains unresolved, the festival is an attempt to project a distinct Naga identity that correlates with notions of indigenous peoples’ rhetoric of ‘preservation of culture’ and ‘self-determination’ as the cornerstone of national identity. While these different forces are at play in the global arena of indigeneity, the Hornbill Festival also functions as a contested site of culture. On the one hand, it plays on representations of exoticism from colonial ethnography found in glossy coffee-table books and adventure tourism materials. On the other hand, the festival itself is struggling to articulate a Naga culture that represents the lived reality of present day Nagas. Tension arises from displaying a manufactured, but nonetheless real, culture that is dependent on the political economy of global markets. It is in these tensions that we can come to understand the evolving nature of culture and all its manifest contradictions.

The English poet of empire Rudyard Kipling penned the much quoted lines, ‘East is East and West is West, and never the twain shall meet’. Even if, by the early twentieth century, European observers had become overwhelmed by what they saw as fundamental differences between attitudes and styles of life in East and West, this was not true of the nineteenth century. Then, the ideal became the joining of East and West: a physical joining, through the Suez Canal, but also a cultural joining, as western Europeans relished the cultures of the Near East, and as the rulers of Near Eastern lands – the Ottoman sultans and their highly autonomous viceroys in Egypt – looked towards France and Great Britain in search of models they could follow in reviving the languishing economy of their dominions. This was, then, a reciprocal relationship: despite the claims of those who see ‘orientalism’ as the cultural expression of western imperialism, the masters of the eastern Mediterranean actively sought cultural contact with the West, and saw themselves as members of a community of monarchs that embraced Europe and the Mediterranean. Ismail Pasha, viceroy of Egypt between 1863 and 1879, always dressed in European clothes, though he would occasionally top his frock-coat and epaulettes with a fez; he spoke Turkish, not Arabic. Equally, the Ottoman sultans, and more particularly their courtiers (like Ismail, frequently Albanian), often sported western dress. They would, of course, be selective in their use of western ideas. The Egyptian viceroys were happy to send clever subjects to study at the École Polytechnique in Paris, a Napoleonic foundation; at the same time they discouraged excessive mixing in the French salons: they wished to import radical ideas, but about technology, not government. What had almost entirely disappeared by the early nineteenth century was the idea of the Ottoman realms as the seat of conquering warriors of the faith. Having lost their military and naval superiority in the East, the Ottomans were no longer the subject of fear but of fascination. Traditional ways of life caught the attention of western artists such as Delacroix, but other westerners, notably Ferdinand de Lesseps, the builder of the Suez Canal, were keen to promote modernization.

The Tang dynasty reunited continental East Asia using institutions inherited from the nomad-dominated Northern dynasties: state-owned land; exactions of grain, cloth, and labor service levied on notional “average” households; a hereditary “divisional army” concentrated around the capital and professional soldiers at the frontier, cities divided into walled wards with state-administered markets; a hereditary, imperial super-elite; and state-sponsored Buddhism and Daoism. The An Lushan Rebellion in the mid-eighth century eliminated these institutions. In their place emerged the major characteristics of late-imperial China: a fiscal system that assessed actual wealth and taxed trade; a new pattern of state service based on textual, technical, and military expertise measured by examinations; large-scale interregional trade through purely commercial entrepôts and local market towns; the incorporation of China into a multistate East Asian world; and the linkage of continental East Asia into a world economy through oceanic trans-shipment of commodities.

Fire protective clothing is crucial in many applications, in military/government (Navy, Marine Corps, Army, Air Force, Coast Guard, and Law Enforcement) and industry (working with furnaces, casting, machining and welding). Fire resistant clothes provide protection to those who are at risk for exposure to fire hazards (intense heat and flames) and provide inert barrier between the skin and fire and shields the user from direct exposure to fire and irradiation. Flame retardant and chemical protective apparel consumption was 997 million m2 in 2015. This market size expected to grow more due to substantial increase in military and industrial demand. Advanced materials have long history in these areas to protect human life against the hazards. There are two main application techniques for producing fire resistant clothing: 1) Using fire retardant materials directly in the textile, and 2) Spray coating on the garments. Over the time these physically and chemically treated cloths begin to degrade and become less protective due to UV and moisture exposure, abrasion, wear, and laundry effects which will shorten the useful wear life of those cloths. The study compared the improved fire resistance of fabrics when treated with recycled graphene solution.

Towers, corsairs and smugglers in Calabria Ultra during the French Decade (1806-1815)At the beginning of the nineteenth century, even if the phenomenon of running war had subsided, the watch towers still had an active role in controlling the coasts of Southern Italy. Under the French administration some of them were assigned to customs posts, others continued to report the corsair boats always ready to carry out incursive actions. Merchant ships, fishermen and peasants were still struck by the devastating Turkish-Barbarian cruises, but also by corsairs armed by the British in an eternal struggle against the French. The towers are regularly guarded by sentinels armed with non-military weapons, which are not functional to the increasingly sophisticated assaults of the Corsair marines. The people in charge of the customs had to manage a staff often absent from the guardhouse due to malarial fevers, especially during the summer when the coasts were excessively hot. The customs documentation shows the economy of a Southern Italy still rooted in the classic export products: oil, dried figs, cotton, cheese, wine and coarse wool cloths. Raw silk is absent from the market, one of the most exported products until the second half of the eighteenth century and supplanted by the olive tree.