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Dissertations / Theses on the topic 'Needlework'
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Teglund, Carl-Mikael. "Needlework education and the consumer society." Thesis, Uppsala universitet, Ekonomisk-historiska institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-213378.
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The principal purpose of this essay is to research how the development of needlework education interacts and interconnects with consumption patterns. Iceland has been used as a case for this study but any country would be applicable. The point of departure is the assumption that when a society develops more and more into being a consumer society, the needlework education also will change – in drastic forms. And that tracing a development towards consumerism can be traced in the curricula regarding this specific subject. People’s changing attitude towards spending, wasting, and an extravagant living is an important feature which explains the shift between non-consumer societies to a consumer society. Society’s outlook on these features is best reflected by that policy the institutions society uses to form its citizens’ desirable (consumer) behavior. In understanding the development from a non-consumerist society to a consumer society the study on the Icelandic syllabi for needlework and textile education plays a prominent part. A presentation on Gross Domestic Product (GDP) for the period of time in question has also been used in order to see the general increase of the standard of living and rise of consumerism in Iceland. Also numbers on trade and unemployment have been enclosed in order to give a more telling picture of the development and the results. The spatial imprint of the development of the Icelandic educational system and the development of syllabi for the textile handicraft subject show that an established consumer society firstly can be found in Iceland somewhere between 1960 and 1977, thus slightly ensuing the most immediate period after the World War II. A society that educates its young ones to darn, mend, and knit with the explicit motive to help deprived homes and states that this is a necessary virtue for future housewives cannot rightly be called a consumer society. It is also worth mentioning that the subject was after this breakthrough also available for boys. Furthermore, this seems to coincide with the so called “haftatímanum”, the restriction era, which lasted from 1930 to 1960. During this time the Icelandic government controlled the market having an especially harsh policy on the import of consumer goods, with product rationing as a result. Both of these two matters - the syllabi for the textile handicraft subject and the haftatímanum - had an anaesthetized impact on the development of the Icelandic consumer society.
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Robinson, Elizabeth. "Women and needlework in Britain, 1920-1970." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/47fc4d88-eea0-e510-6d8f-0bfcc950f7cc/7/.
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This thesis addresses needlework between 1920 and 1970 as a window into women's broader experiences, and also asserts it as a valid topic of historical analysis in its own right. Needlecraft was a ubiquitous part of women's lives which has until recently been largely neglected by historians. The growing historiography of needlework has relied heavily on fashion and design history perspectives, focusing on the products of needlework and examples of creative needlewomen. Moving beyond this model, this thesis establishes the importance of process as well as product in studying needlework, revealing the meanings women found in, attached to, and created through the ephemeral moment of making. Searching for the ordinary and typical, it eschews previous preoccupations with creation, affirming re-creation and recreation as more central to amateur needlework. Drawing upon diverse sources including oral history research, objects, Mass Observation archives, and specialist needlework magazines, this thesis examines five key aspects of women's engagement with needlework: definitions of ‘leisure' and ‘work'; motivations of thrift in peacetime and war; emotions; the modern and the traditional and finally, the gendering of needlework. It explores needlework through three central themes of identity, obligation and pleasure. Whilst asserting the validity and importance of needlework as a subject of research in its own right, it also contributes to larger debates within women's history. It sheds light on the chronology and significance of domestic thrift, the meanings of feminised activities, the emotional context of home front life, women's engagement with modern design and concepts of ‘leisure' and ‘work' within women's history.
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Long, Bridget. "Anonymous needlework : uncovering British patchwork, 1680-1820." Thesis, University of Hertfordshire, 2014. http://hdl.handle.net/2299/15367.
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During the eighteen century there was a significant growth in patchwork materially and linguistically. It was the century when patchwork was stitched at all levels of society and has been identified as the time when patchwork moved out from the small domestic world of decorative sewing into the wider public sphere, leaving behind other needlework as it became embedded in the language and writing of the period. This research examines the social and cultural contexts relating to the making of patchwork in the long eighteenth century and in doing so contributes to the story of women and their material lives in the period. Noted for its longevity, surviving as a widespread practice across the century, patchwork was a democratic needlework that was practiced by any woman capable of stitching a variety of fabric pieces together to make a larger whole. A widespread understanding of the term and familiarity with the practice enabled it to be employed successfully in the literal and figurative language of the period. Patchwork was heralded as a fashionable activity in the early eighteenth century, but was later used to represent the ideal of the moral and capable housewife, devoted to her sewing skills and thrifty in her practice. The figurative style of the period allowed the simultaneous use of the word in differing ways so that patchwork was used both positively and negatively in literature, drama, critical review, political debate and theoretical discourse.
4
Johnson, Joyce Starr. "Motivational factors among contemporary female needlework producers /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9998489.
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Taylor, Avril. "Needlework : the career of the female intravenous drug user." Thesis, University of Glasgow, 1991. http://theses.gla.ac.uk/2116/.
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This thesis provides an account of the lives and experiences of a group of female intravenous drug users in Glasgow. Based on fifteen months' participant observation of the women in their own setting and in-depth interviews carried out at the end of this period, it is the first full ethnographic account of the lifestyle of female drug users. It charts their entry into drugs, the various ways in which they provide for their drug use, their relationships with friends, partners, family members and children as well as attitudes towards professionals such as Social Workers with whom they come into contact by virtue of their status as drug using mothers. Finally, the efforts the women make to give up their use of drugs are examined along with the reasons which make these endeavours difficult. The evidence suggests that, ironically, the lifestyle which evolves around their use of drugs offers an arena in which the women are able to find a degree of independence and purpose otherwise lacking in their lives and which makes their drug using lifestyle attractive even when disadvantages become apparent.
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Cesare, Carla. "Sewing the self : needlework, femininity and domesticity in interwar Britain." Thesis, Northumbria University, 2012. http://nrl.northumbria.ac.uk/14736/.
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This thesis looks at design practice as a method of investigating the relationship between design and identity in interwar Britain; in particular it considers design from the perspective of practice, not solely as the final object or the story of the maker. For it is in the process of making that the varied aspects of design as it is practiced are configured to create the greatest impact on everyday life. This research proposes that the quest to construct one’s identity, in particular a feminine identity, can be demonstrated by the making of goods and objects through the traditionally feminine practice of sewing and needlework, specifically those made at home. It argues that home sewing, as an understudied everyday practice, was intrinsically bound up with ideas of who women were, how they imagined themselves, and how their feminine identities were represented. Between the wars, home-sewing was an integral daily practice for middle-class women that left indelible memories of not only the items made, but of specific types of sewing and design practice, who it was made for and how it was used. It also explores these specific practices during a period of enormous change- culturally, technologically and politically – and particularly important for this study are the themes of femininity and domesticity, as well as the boundaries of private and public life in relation to modernity. Methodologically it focuses on sewing practices by utilizing mass media, specific objects and oral histories to elucidate this. This thesis considers the breadth and extent of home sewing as an everyday practice aligning individual narratives, original source material and theoretical analysis.
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Bailey, Shannon Kyle Tedder. "Spatial ability and experts of needlework crafts an exploratory study." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/7.
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In the Surface Development Test, self-perceived Sewing Expertise was significant in predicting participants' test scores. For the Paper Folding Test, Knitting and Crocheting Expertise were significant, suggesting expertise may mitigate age effects.; Spatial ability has been a topic of much research and debate over the past few decades. Yet, there are gaps in the current literature. Spatial ability refers to the aptitude of an individual to mentally rotate objects, visualize spaces, and recognize patterns (Linn & Petersen, 1985). A highly spatial task that is not addressed in research literature is crafting. Crafting may refer to knitting, crocheting, sewing, and other hobbies that include manipulations of materials. These crafts are spatially oriented, because they necessitate mental rotation, pattern recognition, and 3-D visualization to create an object. While research tends to favor males on certain spatial tests (Voyer, Voyer, & Bryden, 1995), research on the relationship between expertise and spatial ability has concentrated on traditionally male dominated domains, such as architecture and video games (Salthouse & Mitchell, 1990; Sims & Mayer, 2002). The traditionally female domain of needlework crafting expertise has not been studied empirically. First, a literature review is presented to give an overview of previous spatial ability research. The paper then describes the needlework crafts of sewing, knitting, and crocheting, including their historical significance and the spatial processes involved. A study was conducted to test the hypothesis that more expertise in needlework crafts will correlate with better performance on spatial ability tests. Three hundred and four adult women (ages 18-77) completed the study. Participant experience level was determined by self-perceived level of crafting expertise. Participants performed three spatial ability tests from the ETS Factor Reference Kit (Ekstrom et al., 1976): Paper Folding, Surface Development, and Card Rotations. Results indicated that age was correlated negatively with performance in all spatial tests. Only age was significant in the Card Rotations Test.ID: 030645652; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Accepted in partial fulfillment of the requirements for honors in the major in Psychology.; Thesis (B.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 31-35)
B.S.
Bachelors
Sciences
Psychology
8
Newell, Aimee E. "A Stitch In Time: The Needlework of Aging Women in Antebellum America." Amherst, Mass. : University of Massachusetts Amherst, 2010. http://scholarworks.umass.edu/open_access_dissertations/181/.
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Harwell, Jane B. "Changing Her Habit: Women Writers and Needlework in Early Eighteenth-Century England." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5878.
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This thesis attends to the appearance of needlework within early eighteenth-century British women's writing. The central goal of this work is to complicate the seemingly oppositional relationship between the needle and the quill, as applied to women surrendering needlework for written work. Popular representations of needlework within early novels demonstrate an elision between text and textile. Further, both female-authored work and the lack of surviving embroideries elucidate the ephemerality of what is broadly defined as "Women's Work." I focus on texts between 1700-1750, however the material examples of embroidery were created as early as 1570. This timeline helps illuminate the tradition of needlework in which women workers interact. In addition to gender, this thesis scrutinizes the impact of class- and cultural-others within the nascent British imperialistic patriarchal marketplace.
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Chambers, Jacqueline M. "The needle and the pen : needlework and women writers' professionalism in the nineteenth century /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999278.
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Holroyd, Sophia Jane. "Embroidered rhetoric : the social, religious and political functions of elite women's needlework, c.1560-1630." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/2356/.
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This thesis focuses on the Elizabethan and Jacobean aristocracy and upper gentry to yield the first detailed study of the elite needleworking woman as fashioner of her social personage, and of the objects she produced as indices of social persona, religious conscience and political agency. The first chapter explores how needlework mediates between wtiwomeann d their social context. It surveys the way in which needlework, both as practice and as object, functioned as a vehicle for projecting persona and personage into a social context which interpreted needlework according to complex value systems of personal virtue and the husbandries of conspicuous wealth. The chapter explores needlework as a site for intellectual expression. The theories developed in the first chapter are tested in a case study of Bess of Hardwick, whose textiles show her construction of a virtuous aristocratic persona proclaiming its self-assured place in the social hierarchy. Chapter Two is the first study to consider the needlework of Elizabethan and Jacobean Catholics in the light of the Protestant proscription of iconic vestments. It recovers the history of lost needlework from English convents on the Continent, and of the English recusants' covert provision of vestments to Jesuit missioners. The first detailed case studs' of Helena Wintour's vestments reads Wintour's Jesuit-influenced Marian floral emblems and iconography alongside Hawkins's meditation handbook Partheneia Sacra to theorise Wintour's devotion to the Immaculate Conception, and explores the vestments' relationship to the liturgy and their iconographical importance to the Mass. Chapter Three considers needlework gifts as political currency within patronage structures at the Elizabethan and Jacobean courts. Narrated with a contemporary vocabulary of grace, needlework gifts contribute to the construction of court-crown relations, symbolised by needlework gifts in Jacobean court masques. Through needlework gifts a `feminine commonwealth' availed itself of power structures at the court of James's consort that parallel his departments, and the women's political agency in a female political hierarchy is seen encoded within gifts of needlework in the Queen's Courts final masque. The case study uses Mary's needlework gifts to Elizabeth as an index of changes in their relationship. Mary's needlework joins parallel texts such as poetry, portraiture and planned masques in developing an iconographical vocabulary centring on the Judgement of Paris, with which diplomatic negotiations sought to clarify the Queens' relative positions.
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Geuter, V. R. "Women and embroidery in seventeenth-century Britain : the social, religious and political meanings of domestic needlework." Thesis, Aberystwyth University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244595.
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Graham, Alyce. "The Creativity Loophole: Needlework, Social Conventions, and the Permissibility of Creative Expression for Early American Women." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/141.
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This thesis investigates creative expression through needlework by wealthy or elite women in the eighteenth- and early nineteenth-century, focusing on women in the United States South. This inquiry begins in broad terms and proceeds to the close examination of one particular needlework sampler held in the collection of the Valentine Richmond History Center. The first chapter uses prescriptive literature popular in the eighteenth century to establish the restrictive, obedient, and subservient expectations for women’s behavior. The second chapter explores the reasons that the same books that prohibited many forms of pleasure promoted needlework as an acceptable activity for women. This chapter addresses the practical aspect of needlework, the presence and significance of textiles in the home, and the ways needlework expressed creativity. The final chapter analyzes a needlework sampler stitched in 1812, connecting it both with the themes introduced in the first two chapters and a wider range of issues.
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Lawrence, Kay Sheila. "Material Matters: Contemporary ‘Women’s Work’." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367033.
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This exegesis situates and explores my contemporary art practice that aims to address global ecological and social issues through the mediums of ‘women’s work’ and digital technologies. As used here, ‘women’s work’ refers to all needlework techniques and myriad other textile techniques (m)aligned with females, including but not limited to, embroidery, knitting, crochet, and binding. At the heart of the project is a sustained exploration of these mediums’ inherent materiality beyond their obvious aesthetic attributes. This is inextricably entwined with the processes of ‘women’s work’, the device of metaphor, and the body as both tool and subject.
The exegesis examines the position of textiles, particularly embroidery, in a contemporary context. It reflects on the process, meanings and potential strength contained in the textile traditions and processes that are used in this project, being aware of textile tropes and the potential for making meaning through their disruption. By merging the history, materiality and sensuality of textiles with the advances of digital technology, this research and its creative outputs offer a much richer language for self-expression and contemplation. Notions of impermanence, contingency and the fragility of our natural environment are validly addressed by using mediums that are similarly framed. Thus, metaphors of interconnecting threads—weaving, embroidery, knitting, binding—are applied across the studio practice. Digital mediums function as lines of communication, which are woven together like threads to connect the subject and viewers. The research determines that representation and engagement can be influenced profoundly through synergy with the embedded materiality of the chosen mediums.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Quinn-Lautrefin, Róisín. "Through the "I" of a needle : needlework and female subjectivity in Victorian literature and culture, 1830-1880." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC278.
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Cette thèse traite de la question des travaux d'aiguille dans la littérature et la culture victorienne. Ils apparaissent de manière récurrente dans les romans britanniques du dix-neuvième siècle et cristallisent bon nombre de sentiments contradictoires qui sont au coeur de la formation du sujet féminin. En dépit de leur omniprésence dans la culture victorienne, les travaux d'aiguille, associés à l'assujettissement des femmes, ont longtemps été déconsidérés par la critique. Cette thèse se propose de porter un nouveau regard sur l'artisanat féminin. A travers l'étude de sources très variées - romans, poèmes, manuels de couture, extraits de presse et les objets eux-mêmes - nous nous attachons à explorer les paradigmes complexes articulés par cette praxis, ainsi que la manière dont les travaux d'aiguille ont participé à l'articulation d'un « je » féminin. Considérée par les Victoriens comme l'activité féminine par excellence, la couture était pratiquée par toutes les femmes de tous âges et de toutes les classes sociales : ainsi, elle était au coeur du vécu et de l'identité féminine. Néanmoins, les travaux d'aiguille s'articulent autour de contradictions: il s'agissait d'une pratique à la fois amateur et professionnelle; ils encourageaient et cristallisaient la domestication des femmes, tout en imitant les modes de production industriels; ils étaient critiqués par bon nombre de femmes qui aspiraient à une plus grande ambition intellectuelle, mais étaient investis par d'autres comme un extraordinaire moyen d'expression. Ainsi, au dix-neuvième siècle la couture n'était pas une activité solitaire, mais plutôt une pratique sociale et discursive qui était pleinement engagée dans les problématiques sociales, économiques et culturelles de son tempsThis thesis deals with the question of needlework in Victorian literature and culture. Needlework is a constant and recurrent motif in nineteenth-century novels, and crystallises the many complex and contradictory feelings of satisfaction or resentment, creativity or censorship, elation or utter dejection that are crucial to the formation of the nineteenth-century female subject. In spite of its ubiquity, however, it has long been ignored or dismissed by critics as trivial, unimportant or revealing of the limitations imposed on Victorian women's lives. This thesis seeks to complicate previous assumptions by taking needlework on its own terms and exploring the complex and sophisticated tenets that underlie it. Relying on a large range of sources - novels, poems, magazines, craft manuals and material objects - this work examines the ways in which sewing has participated in the articulation of female subjectivity. Because it was construed as the ultimate feminine occupation and was undertaken by virtually ail women, regardless of age or social class, it was central to their identities and experience. However, needlework was fraught with contradictions: it was both amateur and professional; it enshrined the domestication of women, but it was closely allied with industrial modes of production; it was resented by many intellectually ambitious women, but was invested by others as a formidably evocative means of self-expression. Rather than a reclusive activity, then, Victorian needlework was a highly sociable practice which was fully engaged in the social, economic and cultural issues of its time
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Vieira, Ana Paula Pedro das Neves. "Bordados tradicionais portugueses-design de uma aplicação multimédia." Master's thesis, Instituições portuguesas -- -Universidade do Minho -- -Escola de Engenharia -- -Departamento de Engenharia Têxtil, 2002. http://dited.bn.pt:80/29541.
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Gibson, Heather. "Embroidered history and familiar patterns textiles as expressions of Hmong and Mennonite lives /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 65 p, 2007. http://proquest.umi.com/pqdweb?did=1253509741&sid=1&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Dawson, Joyce Ann Taylor. "Ursuline Nuns, pensionnaires and needlework : elite women and social and cultural convergence in British Colonial Quebec City, 1760-1867." Thesis, University of Southampton, 2007. https://eprints.soton.ac.uk/412279/.
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This research is concerned with the Ursuline Nuns of Quebec City, their Convent and school for girls founded in 1639, their boarding pupils, and embroidered textiles stitched by these young women. It focuses on the social and cultural convergence of French- and English-speaking boarders who attended the school during the British Colonial period of 1760-1867, a time in the Convent school's history when it moved from being a unilingual to a bilingual institution paralleling the shift in Quebec's history when the French colony became British. This study considers the interaction of French and English-speaking pupils with the nuns and with each other and their relationship to a collection of textile objects currently held by the Musee des Ursulines de Quebec. The objects selected for study provide examples of embroideries fashioned by pupils during the study period. Analysis of the practices surrounding the creation and use of these objects provides evidence of the convergence of French and English-speaking pupils within the confines of the school. The study also focuses on the impact of nuns and pupils with regard to the social and cultural convergence of the elite French and English speaking populations outside the cloister during the study period. An interdisciplinary methodology developed by the bringing together of diverse primary sources particularly analyses the relationship between the abovementioned practices, the curriculum taught at the school and biographical information attained through the development of a prosopographic database which establishes the eliteness of the pensionnaires. The surprising extent of the cultural duality and religious tolerance found within the school and seen within the objects sheds light on the impact which, as pupils and in maturity, these women may have had on the social and cultural convergence of Quebec's elite Society during the period. It was found that the relationship which the nuns had nurtured from within the cloister at the time of the Conquest and onward with the British Governor and his suite, was an especially significant part of this process. The study has revealed that elite women in British Colonial Quebec faced many challenges and that harmonious co-existence of English and French-speaking women within the small enclosed elite Society in the city was a necessity, not an option. The Ursuline nuns, their pupils and needlework all were shown to play a part in facilitating and encouraging that co-existence. How the Sisters achieved this complex task of supporting the cultural dualism that was at the heart of coexistence was clarified through the analysis of the education, needlework and other life skills provided to their pensionnaires by the Ursulines.
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Van, der Merwe Catrina (Nini). "Recollections of home : a study of the use of domestic objects and needlework in contemporary jewellery and my art practice." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80023.
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Thesis (MA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: This study is motivated by my own art practice, which exhibits a keen interest in objects and activities historically associated with the domestic, specifically with relation to needlework, in the making or producing of contemporary jewellery. Visual analysis of the work of other contemporary jewellers resulted in my realisation that the use of domestic objects and needlework in contemporary jewellery can refer to the idea of “home” through the use of phenomenological devices such as memory and nostalgia. My own art practice makes specific use of memory and nostalgia, and references trauma as experienced in the home. I investigate these themes specifically as they are depicted in contemporary jewellery. I begin my study by discussing how humans go about forming relationships with the objects with which they surround themselves. I discuss Martin Heidegger’s theory of hermeneutic phenomenology, regarding human interaction with objects and our relationship to them with regard to their specific functionality. I argue that taking the domestic objects out of their context, and in so doing ‘removing’ their functionality, allows the subject (maker, viewer, wearer) to suggest a new ‘background or horizon’ (Thomas 2006: 47) against which the object can now be read and understood. I discuss how jewellery can function as a mnemonic device, and how the domestic objects used in the specific jewellery pieces that I discuss add to this reading, identifying memory and nostalgia as the main devices facilitating a discussion of these themes. From here I work towards a definition of the domestic. By tracing the ways in which the domestic has come to denote a “space” traditionally gendered female, I look at the material culture represented within this “space” and how it relates to women. I draw on Svetlana Boym and Susan Stewart’s thoughts regarding nostalgia and its appearance in contemporary culture. Trauma and how it manifests in individual identities is then discussed with the aid of Michael S. Roth and his discussion surrounding Memory, Trauma, and History (2012). I discuss specific contemporary jewellery projects by Manon van Kouswijk (Lepidoptera Domestica, 2007); Gesine Hackenberg (Ceramic Jewellery, 2006-2011); Esther Knobel (My Grandmother is Knitting too, 2000-2002); and Iris Eichenberg (Heimat,2004). In my final chapter I discuss my own work, and highlight the ways in which I use domestic objects and needlework to reference memory, nostalgia and trauma thematically with relation to my own recollections of home.
AFRIKAANSE OPSOMMING: Hierdie studie is gemotiveer deur my eie kunspraktyk, wat my belangstelling toon in voorwerpe en aktiwiteite wat histories verband hou met die huis, spesifiek met betrekking tot naaldwerk, in die vervaardiging van kontemporêre juweliersware. Visuele analise van die werk van ander kontemporêre juweliers het gelei tot die besef dat die gebruik van huishoudelike voorwerpe en naaldwerk in kontemporêre juweliersware kan verwys na die idee van "huis" deur die gebruik van fenomenologiese idees soos herinneringe en nostalgie. My kunspraktyk maak spesifiek gebruik van herinneringe en nostalgie, en verwys na trauma soos in die huis ervaar. Ek ondersoek hierdie temas spesifiek soos hulle uitgebeeld word in kontemporêre juweliersware. Ek begin my studie deur die wyses te bespreek waarop mense te werk gaan in die vorming van verhoudings met die voorwerpe waarmee hulle hulself omring. Ek verwys na Martin Heidegger se teorie van hermeneutiese fenomenologie, ten opsigte van menslike interaksie met voorwerpe en die verhouding wat met hulle gevorm word met betrekking tot hul spesifieke funksies. Ek argumenteer dat deur die huishoudelike voorwerpe uit hulle oorspronklike konteks te neem, en sodoende hul funksie te ‘verwyder’, kan die subjek (maker, kyker, draer) 'n nuwe “agtergrond of horison" (Thomas 2006: 47) voor stel waarteen die voorwerp gelees en verstaan kan word. Ek bespreek hoe juweliersware kan funksioneer as 'n mnemoniese toestel, en hoe die huishoudelike voorwerpe wat gebruik word in die spesifieke juweliersware wat ek in hierdie studie bespreek kan toevoeg tot hierdie bespreking, deur die identifisering van herinneringe en nostalgie as die hoof toestelle. Van hier het ek gewerk aan 'n definisie van wat die huishoudelike behels. Deur ondersoek in te stel na die manier waarop die huishoudelike as 'n tradisioneel vroulike "ruimte" geïdentifiseer is, kyk ek na die materiële kultuur verteenwoordig binne hierdie "ruimte" en hoe dit verband hou met vroue. Ek verwys na Svetlana Boym en Susan Stewart se idees rakende nostalgie en die voorkoms daarvan in hedendaagse kultuur. Trauma en die maniere waarop dit in individuele identiteite manifesteer word vervolgens bespreek met die hulp van Michael S. Roth en sy bespreking van “Memory, Trauma, and History” (2012). Ek analiseer spesifieke kontemporêre juwelierswareprojekte deur Manon van Kouswijk (Lepidoptera Domestica, 2007), Gesine Hackenberg (Ceramic Jewellery, 2006-2011), Ester Knobel (My Grandmother is Knitting too, 2000-2002), en Iris Eichenberg (Heimat, 2004). In my laaste hoofstuk bespreek ek my eie werk, en verwys veral die maniere waarop ek huishoudelike voorwerpe en naaldwerk gebruik om tematies na geheue, nostalgie en trauma met betrekking tot my eie herinneringe van die huis te verwys.
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Wilson-Bryant, Kaitlyn. "The botanical thread /." Online version of thesis, 2008. http://hdl.handle.net/1850/7788.
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Heffernan, Sandra Lois. "Design from artefacts : innovate or imitate : issues of aesthetics, education, collecting, making and marketing in Coats' Needlework Development Scheme, 1934-1962." Thesis, Glasgow School of Art, 2004. http://radar.gsa.ac.uk/4913/.
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Чигрин, Ю. А. "Дослідження handmade товарів у місті Суми." Thesis, Сумський державний університет, 2017. http://essuir.sumdu.edu.ua/handle/123456789/65030.
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Речі ручної роботи користуються все більшою популярністю, а handmade
все менше сприймається як хобі простих домогосподарок. У наші дні
рукоділля є самостійним напрямком фрілансу, здатним приносити непоганий
дохід.
Handmade – це речі ручної роботи, а також сам процес їх створення. Це
спосіб заявити про свою індивідуальність і показати своє естетичне бачення
світу. Завдяки інтернету умільці перестають бути простими
домогосподарками, а перетворюються в справжніх бізнес-леді, непогано
розбираються в продажах і маркетингу.
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Smith, Jacqueline Marie. "Women's Narratives of Confinement: Domestic Chores as Threads of Resistance and Healing." Scholar Commons, 2015. https://scholarcommons.usf.edu/etd/5578.
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The term "narratives of confinement" redefines the parameters by which first-person, fictive and non-fictive, accounts of female captivity are classified, broadening the genre beyond Indian captivity narratives and slave narratives to include other works in which female narrators describe physical and/or psychological confinement due to tangible or non-tangible forces. Often these narratives exhibit the transformation of the drudgery of housewifery into powerful symbols of resistance and subversion, especially in reaction to traumatic events related to confinement. Needlework and food, including its preparation and distribution, frequently emerge as metaphors that express the ways in which disempowered women seek to regain control in their lives: sewing often represents an effort by women to seize power, blending the creative act with economic achievement; food preparation also relates to creativity and economic achievement and often represents love and nurturing. In this study, I examine three representative narratives of confinement, using close reading and scholarly evidence as support: Mary Rowlandson's 1682 Indian captivity narrative, A True History of the Captivity and Restoration of Mrs. Mary Rowlandson; Harriet Jacobs' 1861 slave narrative, Incidents in the Life of a Slave Girl: Written by Herself; and Toni Morrison's 1987 fictional neo-slave narrative, Beloved. My examination begins the dialogue regarding the connection between domestic metaphors and narratives of confinement, broadening scholarship to allow more consideration for the subtle, feminized language of domesticity.
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Forster, Zena. "The home-makers : needlework, homes and domestic femmininities in middle class, mid-nineteenth century England with particular reference to Elizabeth Gaskell's Cranford." Thesis, University of Nottingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294601.
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Gowrley, Freya Louise. "Gender, craft and canon : elite women's engagements with material culture in Britain, 1750-1830." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25997.
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This thesis investigates elite and genteel women’s production and consumption of material objects in Britain during the period 1750-1830. Each of its four chapters identifies a central process that characterised these engagements with material culture, focusing on ‘Migration,’ ‘Description,’ ‘Translation,’ and ‘Exchange’ in turn. The Introduction examines each of these with regard to the historiography of eighteenth-century material culture and its relationship with gender, social relations, domesticity, and materiality. It argues that by viewing material culture through the lenses of microhistory and the case study, we might gain a sense not only of how individual women acquired, used, and conceived of objects, but also how this related to the broader processes by which material culture functioned during this period. Chapter 1 identifies the importance of needlework in the construction of prescribed feminine identities, and focuses on representations of needlework in portraiture, genre prints, and conduct literature. The chapter argues that such objects created a ‘grammar’ of respectable domestic femininity that migrated through visual, literary, and material genres, reflecting the permeability of cultural forms during this period. Chapter 2 examines the role of description in the journals and correspondence of the travel writer Caroline Lybbe Powys, concentrating on her 1756 tour of Norfolk. Following the work of the cultural anthropologist Clifford Geertz, the chapter argues that the ‘thick description’ that characterises Lybbe Powys’s accounts of domestic visiting and tourism locates both the homes of her hosts and her own epistolary practices within an interpretative framework of hospitality, sociability, and materiality in which description was central. Chapter 3 considers the interior decoration of A la Ronde, the home of the cousins Jane and Mary Parminter, located in Exmouth in Devon. The chapter argues that the processes of translation that characterised the Parminters’ acquisition and display of their collection of souvenirs transformed these objects both physically and semantically, allowing the cousins to co-opt them into personal narratives, redolent of travel, the home, and the family. Chapter 4 focuses on Plas Newydd, the home of Lady Eleanor Butler and Sarah Ponsonby. It examines how the gift exchange enacted at the house facilitated the creation of ‘gift relationships,’ which both reflected and constituted the connections between Butler and Ponsonby, their numerous friends and visitors to their home, between Plas Newydd and the surrounding landscape, and between material culture, experience, and sentiment, more broadly. Together, the constituent chapters of the thesis demonstrate that there was no simple connection between gender and material culture. However, by interrogating the key cultural processes in which this relationship operated, the thesis hopes to demonstrate the complexity and fluidity of its manifestations.
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Бугайова, А. О., and Н. В. Соколик. "Художні можливості шовкових стрічок – дань моді і прояв творчості." Thesis, Сумський державний університет, 2018. http://essuir.sumdu.edu.ua/handle/123456789/67656.
Full textAbstract:
Метою роботи є ознайомлення з художніми можливостями в роботі з шовковими
стрічками; вивчення історії і розвитку шовкових стрічок; встановити сутність
технологій пов’язаних із шовковими стрічками; порівняти та систематизувати основні
технології; досліджувати використання, застосування різних технік у школі. У ході
дослідження були використані методи теоретичного дослідження, опис, класифікація і
систематизація, аналіз. Була запропонована анкета для учнів 9-11 класів школи.
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Packer, Carolyn E. "The Evolution of Craft in Contemporary Feminist Art." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/23.
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Olsson, Viktoria. "Upp till kamp med nål och tråd : Om kvinnligt kodade textiltraditioner genom hantverksaktivism idag." Thesis, Uppsala universitet, Kulturvård, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-373755.
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Due to a personal interest in textile craft, my own experience as a knitter in combination with studies in integrated conservation and gender studies as a subsidiary subject this research was done as my thesis in integrated conservation. With the purpose to study textile craft traditions as a feminine part of the intangible cultural heritage in todays society with focus on craftivism, a questionnaire study was done. The study was addressed to craftivists who practice any kind of textile craft with the purpose to get a deeper insight in their understanding, attitude and opinions related to craftivism and textile craft traditions. The female norm in textile craft and especially textile craftivism was remarkably striking in the results of the questionnaire study, which can explain why feminism is an issue close to heart for most of the informants. Among many of the craftivists in this study there is an awareness of this norm and traditional feminine connotative meanings related to textile, for example softness and warmth. These connotative meanings are consciously used by many craftivists to create contrasts with norm breaking statements. These contrasting effects can be interpreted as innovative, inspiring and remarkable. Craftivism is therefore a way to use one’s creativity to make one’s voice heard. It could be a part of textile craft traditions today, in a stage of innovation and forward looking, which is likely to be a contributing variable due to the preservation of the intangible textile cultural heritage in the future.Med grunden i ett eget textilintresse, mina erfarenheter som stickare, i kombination med kulturvårdsstudier och genusvetenskap som biämne utfördes den här undersökningen som kandidatexamensarbete inom kulturvård. Med syftet att undersöka textila hantverkstraditioner som ett kvinnligt kodat immateriellt kulturarv i dagens samhälle med fokus på hantverksaktivism utfördes en enkätundersökning som riktade sig mot hantverksaktivister som utövar någon form av textilt hantverk för att få en fördjupad inblick i deras förhållande, inställning och åsikter kring hantverksaktivism och textila hantverkstraditioner. Den kvinnliga normen inom textilhantverk och främst inom textil hantverksaktivism var påfallande tydlig i enkätsvaren och kan förklara varför feminism och kvinnofrågor är hjärtefrågor för majoriteten av informanterna. Hos hantverksaktivisterna i den här undersökningen finns i många fall en medvetenhet kring denna norm och traditionella kvinnliga konnotationer som berör textil, till exempel värme och mjukhet. Många använder sig av just dessa kvinnliga konnotationer och traditioner för att skapa kontraster med normbrytande budskap, en kontrastverkan som kan tolkas som nytänkande, inspirerande och uppseendeväckande. Hantverksaktivism är därför ett medel att använda sin kreativitet för att göra sin röst hörd och kan ses som en del av textila hantverkstraditioner i ett stadie av förnyelse och framåtblickande som med sannolikhet kommer vara en bidragande faktor i bevarandet av det immateriella textila kulturarvet för framtiden.
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Trouton, Lycia Danielle. "An intimate monument (re)-narrating 'the troubles' in Northern Ireland the Irish Linen Memorial 2001-2005 /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060517.113223/index.html.
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Carvalho, Mariana Diniz de. "Educando donzelas: trabalhos manuais e ensino religioso (1859-1934)." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-21072017-153451/.
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O objetivo desta pesquisa é analisar o ensino de bordados e outros trabalhos em suportes têxteis dentro do sistema educacional desenvolvido a partir da segunda metade do século XIX e início do XX, dando particular atenção ao ensino confessional das escolas da Congregação São José de Chambéry. A presente pesquisa analisa como os trabalhos manuais de agulha possuem uma larga identificação com a mulher. Estes trabalhos ajudaram na construção de uma imagem de feminilidade, participando ativamente na formação da identidade de gênero. O século XIX reconheceu a escola como um espaço privilegiado de difusão dessas tradições femininas. Para as mulheres, a escolaridade surge com a importante missão de formar a esposa, a mãe e, com isso, sedimentar os ideais da nação. Neste projeto educacional, o currículo reserva uma particularidade, o ensino exclusivo de trabalhos de agulha para as escolas do sexo feminino. Acreditamos que este particularismo seja revelador de como os trabalhos de agulha eram vistos como o instrumento perfeito para a construção desta feminilidade, e, nas escolas confessionais, como veículo de inculcação dos valores cristãos reformadores do ultramontanismo.The objective of this research is to analyse the teaching of embroidery and other works in textile production inside the educational system developed from the second half of the 19th and beginning of the 20th centuries, directing particular attention to the confessional education of the schools of the Congregation Saint-Joseph of Chambéry. The present research analyses how needle crafts have a wide identificiation with women. These works have helped on the construction of an image of femininity, taking active part on the formation of the gender identity. The 19th century recognized the school as a privileged space for diffusion of these female traditions. To women, scholarity emerges with the important mission of forming the wife, the mother and, with it, found the ideals of the nation. On this educational project, the curriculum reserves one particularity, the exclusive education of needle works to schools of the female sex. We believe this particularity to be revealing proof of how needleworks were seen as the perfect instrument for the constructing of femininity, and, in confessional schools, as an inculcation vehicle for the reformative Christian values of ultramontanism.
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Tu, Yi-Hsuan, and 凃怡萱. "Knitting remain unfinished─ Metal creation of Needlework." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/3fw5rn.
Full textAbstract:
碩士國立臺南藝術大學
應用藝術研究所
105
Abstract Handicraft like needlework is connected with author’s childhood memories tightly. Through the process of hand-making, we understand that the psychological factors on choosing these tools have a lot to do with nervous emotions. We hereby to discover again the new ourselves from the unfinished products to finished by creating. The theory contains six chapters. Chapter one: Introduction. Retrospecting the background of author’s first time to get to know more about metal processing, and continuously recall the passion for creation through hand-making. We state the motivation by reorganizing the related researches in the past. Chapter two: Theoretical Basis. Studying from three orientations: using “art therapy” to cut in to find out the healing of hand-making, using “mentality of collecting” to discuss the relationship between the collections and behavior of collecting, using “analyzing the creation of tool craft” to sum up the handicrafts from other artist’s production tool. Chapter three: Creative Concepts and artistic form of expression. Expressing the idea of topic on the concept of unfinished and knitting tools. Chapter four: Creative Process Analysis. Based on the topic to record the initial draft as well as the statement of procedure. Chapter five: Description of Products. Describing the products’ dimensions, materials and different angles of pictures. Chapter six: Conclusion. To summarize how to show up individual characteristics, find out the mediums of self-presentation and gain the thoughts as well as achievement from the feedback. We hope to communicate with the audiences via dedicate handicraft, and hope them to feel healing from the knitting. Key word: needlework tool, metalsmithing, knitting, healing, collection
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Matías-Ortiz, Andrés. "Ambivalent solidarities homeworkers, needlework unions, and the ILGWU in Puerto Rico, 1930-1940 /." 2001. http://catalog.hathitrust.org/api/volumes/oclc/47207276.html.
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Thesis (M.A.)--University of Wisconsin--Madison, 2001.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 139-146).
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Cahill, Susan Elizabeth. "Crafting culture, fabricating identity: gender and textiles in Limerick lace, Clare embroidery and the Deerfield Society of Blue and White Needlework." Thesis, 2007. http://hdl.handle.net/1974/662.
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My thesis examines how identity was constructed in the late nineteenth and early twentieth century amidst the growing possibilities of the cross-cultural transfer of ideas and products by analysing case studies of women-owned and -operated craft organisations: Limerick Lace and Clare Embroidery (Ireland) and the Deerfield Society of Blue and White Needlework (United States). I contend that the increased accessibility of print culture, travel and tourism, and World’s Fairs enabled the women responsible for these craft organisations to integrate a pastiche of artistic influences – those recognised as international, national, and local – in order to create a specific and distinct style of craft. The Arts and Crafts movement, with its ideas about art, craft, design, and display, provided a supra-national language of social and artistic reform that sought to address the harshness of industrialisation and to elevate the status of craft and design. The national framework of revival movements – the Celtic Revival in Ireland and Colonial Revival in the United States – promoted the notion that Folk and peasant culture was fundamental to each country’s heritage, and its preservation and renewal was essential to fostering and legitimising a strong national identity. I critically access the way these case studies, which were geographically separate yet linked through chronology, gender, and craft, operated within these international and national movements, yet they negotiated these larger ideologies to construct identities that also reflected their local circumstances. My intention is to unite social history with material culture in order to investigate the ways in which the discussion and display of the crafts, and the artistic components of the textiles themselves operated as a vehicle for establishing identity.Thesis (Master, Art History) -- Queen's University, 2007-09-05 23:54:49.895
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DOLANOVÁ, Klára. "Možnosti využití textilních materiálů v předmětu Praktické činnosti na 1. stupni ZŠ." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-204268.
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The thesis topic is "Possibilities of Textile Materials in Practical Activities Subject in Primary School". The theoretical part is focused on the historical origin and evolution of textiles, summary of textile techniques, sorting and its use mainly with pupils in the primary school. It also deals with project based learning and conceptions, objects and competences of a pupil in the primary school in technical education in czech system of Framework Educational Programme for Elementary Education. In the practical part there are designed textile techniques that are processed into the original teaching projects. The functionality of the project was detected by using questionnaires for teachers of primary school. Some of the projects were realized in teaching in the 2nd, 3rd and 4th year of the primary school.