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Journal articles on the topic 'Needlework'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

Oakes, Elizabeth. "Needlework." Women's Studies 29, no. 5 (January 2000): 681–82. http://dx.doi.org/10.1080/00497878.2000.9979338.

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2

Frankel, Felice. "Needlework." American Scientist 94, no. 1 (2006): 66. http://dx.doi.org/10.1511/2006.57.3477.

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3

Frankel, Felice. "Needlework." American Scientist 94, no. 1 (2006): 66. http://dx.doi.org/10.1511/2006.57.66.

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4

Chin, Elizabeth. "Needlework." Feminist Anthropology 1, no. 1 (April 9, 2020): 7–13. http://dx.doi.org/10.1002/fea2.12009.

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5

Liu, He. "Study on the Artistic Features of Folk Needlework." Advanced Materials Research 796 (September 2013): 523–26. http://dx.doi.org/10.4028/www.scientific.net/amr.796.523.

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The needlework is the exclusive arts of women in folk, It is the great manual skill, shown unique artistic features, The needlework has been included in the non-material cultural heritage. Beginning of the article is the overview of folk needlework,Used the method of Compare to analysis, Discussion on the artistic features of the distinct from the other arts ,study on the Constitute forms of needlework patterns, Special Technology, Color features and Cultural characteristics,The Needlework with its unique language, form a unique artistic style. On this basis, thinking on the needlework of the feasibility of inheritance and protection.in the current situation.
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6

Fountain, Daniel. "Queering Needlework?" Art History 45, no. 1 (February 2022): 204–7. http://dx.doi.org/10.1111/1467-8365.12625.

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7

Huanhuan, Lv, and Wang Lili. "The Inheritance and Development of Traditional Chinese Needlework under the "the Belt and Road Initiative"." Communications in Humanities Research 22, no. 1 (December 7, 2023): 150–55. http://dx.doi.org/10.54254/2753-7064/22/20231662.

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As an important part of the intangible cultural heritage, traditional Chinese women's needlework is facing the challenge of inheritance and development. The cultural connotations embodied in Chinese women's needlework art are concentrated in three aspects: the natural view of the unity of man and nature, the primitive folk view, and the artistic view of auspiciousness. It still has high social and cultural value in contemporary society. Therefore, in response to the impact of large-scale mechanized production, women's needlework culture urgently needs to innovate and develop through new designs, new techniques, new media, new ideas, and new models. At the same time, under the background of the "Belt and Road" construction, Chinese women's needlework, as a characteristic cultural business card, plays a role in international exchange and cooperation, cultural output, and China's image building. Providing constructive suggestions for its development and inheritance is conducive to promoting Chinese women's needlework to compose a new chapter of the Silk Road in the contemporary international arena.
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8

Foley, Katrina. "Sewing and needlework." Practical Pre-School 2000, no. 23 (September 2000): 31–32. http://dx.doi.org/10.12968/prps.2000.1.23.40955.

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9

Rusnock, K. Andrea. "All the Folk Art News Fit to Print." Experiment 25, no. 1 (September 30, 2019): 244–57. http://dx.doi.org/10.1163/2211730x-12341341.

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Abstract Neo-nationalism was concerned with a new aesthetic, not just in the fine arts but also in the crafts, particularly needlework. One way that this aesthetic was disseminated for needle art was through publications—magazines, pattern books, how-to-manuals, guides for schools, and the like. Publications on needlework were produced throughout the nineteenth century, and their output increased toward the end of the 1800s, with many portraying peasant imagery and patterns associated with this new style of Neo-nationalism. This article explores how needlework publications propagated Neo-nationalist art to a broad audience and the key role they played in shaping the cultural milieu of the Russian late Imperial period.
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10

Kamali, Fattaneh Jalal, and Batool Hassani Sa'di. "Role of Iranian Traditional Needlework in People's Social and Family Life: A Study of Pateh Embroidery in Kerman." Modern Applied Science 11, no. 1 (December 15, 2016): 253. http://dx.doi.org/10.5539/mas.v11n1p253.

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The aim of this study is to investigate the role of Iranian traditional needlework in people's family and social life with an emphasis on the art of Pateh embroidery. In this article, the history of textile industry, the history of clothes, different sewing styles and how they have been influenced by each other, are studied. According to the "History of Iranian Textile Industry", a book written by Mehdi Beheshtipour, textile industry in Iran dates back to 7000 years ago.Tabari book of history states that this industry goes back to 4000 years ago. Excavations in Shoosh show that burlap weaving, silk weaving and embroidery were forms of art at the time of JamsheedPishdadi. Herodotus says that Xerxes wore embroidered clothes. Marco Polo refers to the art of Kerman's Pateh embroidery in his travelogue. Qajar era is called the renaissance of Iranian needlework. Different styles of needlework have been investigated in previous practical studies with reference to the regionswhere they are common and how they are used. Pateh embroidery is considered as a traditional art in Kerman. This form of needlework has been paid attention to since 1906 from economic, social and cultural perspectives and studied as a profession that can meet people's financial and aesthetic needs.
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11

He, Lu, Jun Ning, and Dan Chen. "The image expression of Beijing embroidery art in Qing Dynasty from the perspective of art anthropology." Advances in Education, Humanities and Social Science Research 7, no. 1 (August 2, 2023): 28. http://dx.doi.org/10.56028/aehssr.7.1.28.2023.

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To explore the relationship between art and society in the history and culture of Beijing embroidery, and the embodiment of the social hierarchy system of the Qing Dynasty in Beijing embroidery. In this paper, from the historical origin of palace embroidery as the breakthrough point, combined with the theory of art initiative from the craftsman and the service object to explain the Beijing embroidery ontology, explore the social attributes of Beijing embroidery. Based on the field investigation method of art anthropology, this paper analyzes the separation of the specific objects of Beijing embroidery needlework, which is manifested in the luxurious embroidery materials, the pattern theme of the program composition, the color setting principle of five colors, and the needlework technique of north-south integration, so as to provide a new perspective and theoretical framework for Beijing embroidery needlework.
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12

Andrea Rusnock, K. "Scholar and Mentor: Vladimir Stasov and the Promotion of Russian Needlecrafts." Russian History 46, no. 4 (December 23, 2019): 292–304. http://dx.doi.org/10.1163/18763316-04604003.

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Abstract Vladimir Stasov, well-known as a champion of Russian art and music, proved equally forceful as an advocate for Russian needlework. Yet this key component of his scholarship has been relegated to secondary status; remedying this neglect is the aim of this article. Stasov’s well-known publication, Russkii narodnyi ornament (1872), has traditionally been discussed as a treatise on ornament, however its main emphasis was needlework and it needs to be analyzed as such. Further, Stasov influenced others to take up the cause of Russian national needle art, in particular Sofia Davydova whose tome on Russian lace, Russkoe kruzhevo i russkie kruzhevnitsy (1886), made a major contribution to Russian art and culture. Stasov’s scholarship and promotion of needlework needs to be thoroughly understood in order to have a more complete understanding of Russian material culture and this article is a starting point toward that goal.
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13

Dillon, Lorna. "Participatory needlework and human rights activism." Journal of Romance Studies 24, no. 1 (March 2024): 73–95. http://dx.doi.org/10.3828/jrs.2024.6.

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This article reflects on a participatory embroidery project in Mexico, Bordando por la paz y la Memoria: una víctima un pañuelo, by the art collective Fuentes Rojas. For over ten years this public art initiative has used needlework to engage with human rights issues. Fibre art groups in Mexico use needlework and the internet to address issues such as disappearances, femicides/feminicides and other violent killings. Building on Latin America’s heritage of activist needlework, the Mexican peace embroidery movement takes a transmedial approach to the memorialization of victims of violence in the country. They hold exhibitions and participatory sewing sessions in a variety of venues. They also disseminate information online to generate a dialogue about historical events and human rights issues. In this article, I explore the political and artistic context for the movement, as well as its aims. I argue that the embroiderers have developed a sophisticated memorialization strategy that helps disseminate information about the situation in Mexico while also countering the aversion that can arise from mass media coverage of the violence.
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14

Horan, Elizabeth, and Evan Chastain. "“Bordas sobre la trama esencial”: Needlework as Communal Rhetorical Practice in El obsceno pájaro de la noche." Arboles y Rizomas. Revista de Estudios Lingüísticos y Literarios 1, no. 2 (December 5, 2019): 1–17. http://dx.doi.org/10.35588/ayr.v1i2.3827.

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This essay applies a feminist synthesis of rhetoric and material culture theory to José Donoso’s novel, El obsceno pájaro de la noche (1970). Donoso’s novel depicts needlework as a communal rhetorical practice among women characters within enclosed communities. They sew, embroider, and repair. Drawing from Goggin and Tobin’s studies of needlework as rhetorical practice (2002, 2009a, 2009b, 2009), we investigate women’s needlework and sewing, contextualizing the historical and cultural referents within Chile’s long history of textile work, including the explication of epidermal aesthetics in Halart (2017). The paradoxically violent and restorative acts of sewing and repair provides the background for the many monologues the novel sets in the sewing circles of La Chimba convent. Each woman’s stitch enacts revenge for ongoing displacement and confinement to domestic spaces of home/convent. This essay argues that las viejas develop and claim a communal voice through their needlework upon the mute and bound monster of the imbunche, which becomes the fabric for their polyvocalic expression. In sewing the figure of the imbunche, the female characters participate in a tactile rhetoric that precedes verbal and occularcentric discourse and emphasizes the immediate and relational sense of touch. Our research is feminist as it recenters Donoso criticism on the female characters within his work, to showcase how their machinations and manipulations of materials enact an agency denied by a discourse and identity which prioritizes visual and verbal expression. We encourage Donoso studies towards a feminist focus on communities of women and process over individual and product.
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15

Antonova, Katherine Pickering. "“Prayed to God, Knitted a Stocking”: Needlework on a Nineteenth-Century Russian Estate." Experiment 22, no. 1 (November 15, 2016): 1–12. http://dx.doi.org/10.1163/2211730x-12341275.

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This article explores the needlework practices of a provincial gentrywoman in mid-nineteenth century Russia. Natal’ia Chikhacheva (1799-1866) managed her family’s modest estates in Vladimir province, in the heart of the textile region surrounding the village of Ivanovo. She oversaw serf labor in textiles, especially the growing and processing of flax and weaving, but she also did spinning, knitting, sewing, and lacemaking herself. The products of her needles were used not only by her own family, but also by their serfs, while some were sold for profit or given as gifts to friends. Chikhacheva provides a rare glimpse of everyday Russian needlework of the period, its uses, and cultural associations.
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16

Goggin, Maureen Daly. "A Stitch in Time: The Needlework of Aging Women in Antebellum America (Newell)." Museum Anthropology Review 8, no. 2 (December 8, 2014): 131–33. http://dx.doi.org/10.14434/mar.v8i2.13338.

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17

Dillon, Lorna. "Introduction to the Dialogues on Repairing the Fabric of Society through Needlework." Latin American and Latinx Visual Culture 4, no. 4 (October 1, 2022): 74–80. http://dx.doi.org/10.1525/lavc.2022.4.4.74.

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In these Dialogues, Lorna Dillon brings together essays that explore the relationship between fiber art and social justice in Latin America. The authors discuss Chilean arpilleras, needlework projects and the struggle for peace in Colombia, the Mexican Embroidering for Peace Movement, and Margarita Cabrera’s fabric sculptures about the US-Mexico borderlands. The section brings the work of scholars from different regions into dialogue. Beatriz Elena Arias López, Berit Bliesemann de Guevara, and Berena Torres Marín reflect on textile initiatives undertaken by peace signatories of the former guerrilla group FARC. Mathilda Shepard analyzes the work of the Tejedoras de Mampuján, asking what it means to speak of justice, reparations, and reconciliation in the wake of the plantation. Danielle House reflects on Mexican embroidery. She considers violence in Mexico and the way the victims it consumes have been framed as “ungrievable.” Mónica Salazar discusses symbolic resistance in participatory needlework projects about the US-Mexico border. Dillon writes about Chilean arpilleras and Colombian testimonial textiles. She draws parallels among the different artistic practices discussed in the collected essays, tracing the emergence of a supranational artistic movement that generates meaning through a multiplicity of practices. The Dialogues demonstrate the new signifying processes that these needlework groups use, as well as the way they articulate meanings that extend beyond the stitches and semiotics of their clothwork.
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18

Dillon, Lorna. "Embroidery in Abya Yala." Latin American and Latinx Visual Culture 4, no. 4 (October 1, 2022): 119–28. http://dx.doi.org/10.1525/lavc.2022.4.4.119.

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In these Dialogues, Lorna Dillon brings together essays that explore the relationship between fiber art and social justice in Latin America. The authors discuss Chilean arpilleras, needlework projects and the struggle for peace in Colombia, the Mexican Embroidering for Peace Movement, and Margarita Cabrera’s fabric sculptures about the US-Mexico borderlands. The section brings the work of scholars from different regions into dialogue. Beatriz Elena Arias López, Berit Bliesemann de Guevara, and Berena Torres Marín reflect on textile initiatives undertaken by peace signatories of the former guerrilla group FARC. Mathilda Shepard analyzes the work of the Tejedoras de Mampuján, asking what it means to speak of justice, reparations, and reconciliation in the wake of the plantation. Danielle House reflects on Mexican embroidery. She considers violence in Mexico and the way the victims it consumes have been framed as “ungrievable.” Mónica Salazar discusses symbolic resistance in participatory needlework projects about the US-Mexico border. Dillon writes about Chilean arpilleras and Colombian testimonial textiles. She draws parallels among the different artistic practices discussed in the collected essays, tracing the emergence of a supranational artistic movement that generates meaning through a multiplicity of practices. The Dialogues demonstrate the new signifying processes that these needlework groups use, as well as the way they articulate meanings that extend beyond the stitches and semiotics of their clothwork.
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19

López, Beatriz Elena Arias, Berit Bliesemann de Guevara, and Berena Torres Marín. "Textiles para la paz en el posacuerdo en Colombia." Latin American and Latinx Visual Culture 4, no. 4 (October 1, 2022): 88–97. http://dx.doi.org/10.1525/lavc.2022.4.4.88.

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In these Dialogues, Lorna Dillon brings together essays that explore the relationship between fiber art and social justice in Latin America. The authors discuss Chilean arpilleras, needlework projects and the struggle for peace in Colombia, the Mexican Embroidering for Peace Movement, and Margarita Cabrera’s fabric sculptures about the US-Mexico borderlands. The section brings the work of scholars from different regions into dialogue. Beatriz Elena Arias López, Berit Bliesemann de Guevara, and Berena Torres Marín reflect on textile initiatives undertaken by peace signatories of the former guerrilla group FARC. Mathilda Shepard analyzes the work of the Tejedoras de Mampuján, asking what it means to speak of justice, reparations, and reconciliation in the wake of the plantation. Danielle House reflects on Mexican embroidery. She considers violence in Mexico and the way the victims it consumes have been framed as “ungrievable.” Mónica Salazar discusses symbolic resistance in participatory needlework projects about the US-Mexico border. Dillon writes about Chilean arpilleras and Colombian testimonial textiles. She draws parallels among the different artistic practices discussed in the collected essays, tracing the emergence of a supranational artistic movement that generates meaning through a multiplicity of practices. The Dialogues demonstrate the new signifying processes that these needlework groups use, as well as the way they articulate meanings that extend beyond the stitches and semiotics of their clothwork.
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20

Salazar, Mónica. "Reimagining the Borderland." Latin American and Latinx Visual Culture 4, no. 4 (October 1, 2022): 81–87. http://dx.doi.org/10.1525/lavc.2022.4.4.81.

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In these Dialogues, Lorna Dillon brings together essays that explore the relationship between fiber art and social justice in Latin America. The authors discuss Chilean arpilleras, needlework projects and the struggle for peace in Colombia, the Mexican Embroidering for Peace Movement, and Margarita Cabrera’s fabric sculptures about the US-Mexico borderlands. The section brings the work of scholars from different regions into dialogue. Beatriz Elena Arias López, Berit Bliesemann de Guevara, and Berena Torres Marín reflect on textile initiatives undertaken by peace signatories of the former guerrilla group FARC. Mathilda Shepard analyzes the work of the Tejedoras de Mampuján, asking what it means to speak of justice, reparations, and reconciliation in the wake of the plantation. Danielle House reflects on Mexican embroidery. She considers violence in Mexico and the way the victims it consumes have been framed as “ungrievable.” Mónica Salazar discusses symbolic resistance in participatory needlework projects about the US-Mexico border. Dillon writes about Chilean arpilleras and Colombian testimonial textiles. She draws parallels among the different artistic practices discussed in the collected essays, tracing the emergence of a supranational artistic movement that generates meaning through a multiplicity of practices. The Dialogues demonstrate the new signifying processes that these needlework groups use, as well as the way they articulate meanings that extend beyond the stitches and semiotics of their clothwork.
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21

Shepard, Mathilda. "Suturing or Puncturing the Social Fabric? Afro-Caribbean Textile Art and the Limits of Repair." Latin American and Latinx Visual Culture 4, no. 4 (October 1, 2022): 109–18. http://dx.doi.org/10.1525/lavc.2022.4.4.109.

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In these Dialogues, Lorna Dillon brings together essays that explore the relationship between fiber art and social justice in Latin America. The authors discuss Chilean arpilleras, needlework projects and the struggle for peace in Colombia, the Mexican Embroidering for Peace Movement, and Margarita Cabrera’s fabric sculptures about the US-Mexico borderlands. The section brings the work of scholars from different regions into dialogue. Beatriz Elena Arias López, Berit Bliesemann de Guevara, and Berena Torres Marín reflect on textile initiatives undertaken by peace signatories of the former guerrilla group FARC. Mathilda Shepard analyzes the work of the Tejedoras de Mampuján, asking what it means to speak of justice, reparations, and reconciliation in the wake of the plantation. Danielle House reflects on Mexican embroidery. She considers violence in Mexico and the way the victims it consumes have been framed as “ungrievable.” Mónica Salazar discusses symbolic resistance in participatory needlework projects about the US-Mexico border. Dillon writes about Chilean arpilleras and Colombian testimonial textiles. She draws parallels among the different artistic practices discussed in the collected essays, tracing the emergence of a supranational artistic movement that generates meaning through a multiplicity of practices. The Dialogues demonstrate the new signifying processes that these needlework groups use, as well as the way they articulate meanings that extend beyond the stitches and semiotics of their clothwork.
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22

House, Danielle. "Bordando por la paz y la memoria." Latin American and Latinx Visual Culture 4, no. 4 (October 1, 2022): 98–108. http://dx.doi.org/10.1525/lavc.2022.4.4.98.

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In these Dialogues, Lorna Dillon brings together essays that explore the relationship between fiber art and social justice in Latin America. The authors discuss Chilean arpilleras, needlework projects and the struggle for peace in Colombia, the Mexican Embroidering for Peace Movement, and Margarita Cabrera’s fabric sculptures about the US-Mexico borderlands. The section brings the work of scholars from different regions into dialogue. Beatriz Elena Arias López, Berit Bliesemann de Guevara, and Berena Torres Marín reflect on textile initiatives undertaken by peace signatories of the former guerrilla group FARC. Mathilda Shepard analyzes the work of the Tejedoras de Mampuján, asking what it means to speak of justice, reparations, and reconciliation in the wake of the plantation. Danielle House reflects on Mexican embroidery. She considers violence in Mexico and the way the victims it consumes have been framed as “ungrievable.” Mónica Salazar discusses symbolic resistance in participatory needlework projects about the US-Mexico border. Dillon writes about Chilean arpilleras and Colombian testimonial textiles. She draws parallels among the different artistic practices discussed in the collected essays, tracing the emergence of a supranational artistic movement that generates meaning through a multiplicity of practices. The Dialogues demonstrate the new signifying processes that these needlework groups use, as well as the way they articulate meanings that extend beyond the stitches and semiotics of their clothwork.
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23

Shitova, N. I. "Symbolic Expression of the Heavenly Eden Image in the Traditional Culture of the Uimon Old-Believers." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 861–68. http://dx.doi.org/10.17746/2658-6193.2021.27.0861-0868.

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The work was carried out in order to identify patterns for the preservation and updating of some images and symbols expressed in the embroidery ornament. The research is based on materials of the Uimon Old-Believers culture, which is represented in the Uimon Valley of the Altai Mountains. We carried out a comprehensive analysis of the author’s field ethnographic materials of different years, unpublished archival folklore records and museum samples. It has been established that using images of Eden-related birds and plants (grapes, roses, and other flowers), folk ideas about Heavenly Eden are expressed in spiritual verses. These ideas correspond to the symbolic meaning of some ornamental patterns in women’s needlework. A composition on a wall towel consisting of grape and flower vine and paradise birds was interpreted as a folk image of Heavenly Eden. The author performs a comparative analysis of images of Heavenly Eden in the culture of the Uimon Old-Believers and materials of the ornament of women’s needlework in Altai Mountains. Based on the materials of women’s needlework in Altai Mountains, the floristic ornament significantly prevailing among all others more often contains motifs with a vine and a rosevine, as well as a flower vine with the images of other flowers. When combining these varieties of ornament into a semantically unified ornamental group “plant vines”, the fact of a significant predominance of this group among other fixed ornamental groups of motifs is obvious. The ideas of the plants as attributes of Heavenly Eden, the semantic correlation of Heavenly Eden and the garden of the earth probably played a special role in the prevalence of images of grapes, roses, and other flowers as well as their stable presence in ornamentation in women’s needlework. Culture bearers could use the motif of the plant vine as an expression of spiritual aspirations, which are also manifested in perception and aesthetic value of the ornament.
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24

Salles, Claire. "Mots en cheveux. Hériter de l’histoire genrée de la broderie à travers l’écriture." Cahiers ERTA, no. 24 (2020): 10–25. http://dx.doi.org/10.4467/23538953ce.20.015.13217.

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Words made of hair. Women’s reappropriations of writing through embroidery Contemporary pieces of embroidery showing words made of human hair open up reflections upon how women artists challenge the traditional partition between the needle (for women) and the pen (for men). The article offers a synthesis on the historical construction of this gendered assignation of needlework to women, from Renaissance to the early twentieth century. The idea of physical and moral coercion appears in the feminine history of needlework as well as in the history of the access of young women to reading and writing. Finally, if embroidery was for a long time excluded from metaphorical descriptions of literature, unlike weaving, the article ends up showing how the crossroads between writing and embroidery can be seen as a part of women’s emancipation.
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25

Hedges, Elaine. "Quilts and Women's Culture." Radical Teacher 100 (October 9, 2014): 10–14. http://dx.doi.org/10.5195/rt.2014.148.

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My interest in women's needlework, and especially quilts, began with a course I team-taught several years ago on women's art and literature. Because those of us teaching the course were concerned to break down class and race barriers, and distinctions between "high" and "low" art, or crafts, as well as distinctions between art and work, we were especially interested in women's needlework, as a form of activity that is universal ‒ not confined to any one class or race ‒ and that has combined the practical with the esthetic or artistic. It has always been necessary for women to sew, and, wherever and whenever extra time and energy have allowed, sewing has become "esthetic," in the sense of giving expression to an artistic impulse, providing its practitioners with an outlet for their creativity.
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Salles, Claire. "Mots en cheveux. Hériter de l’histoire genrée de la broderie à travers l’écriture." Cahiers ERTA, no. 24 (2020): 10–25. http://dx.doi.org/10.4467/23538953ce.20.015.13217.

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Words made of hair. Women’s reappropriations of writing through embroidery Contemporary pieces of embroidery showing words made of human hair open up reflections upon how women artists challenge the traditional partition between the needle (for women) and the pen (for men). The article offers a synthesis on the historical construction of this gendered assignation of needlework to women, from Renaissance to the early twentieth century. The idea of physical and moral coercion appears in the feminine history of needlework as well as in the history of the access of young women to reading and writing. Finally, if embroidery was for a long time excluded from metaphorical descriptions of literature, unlike weaving, the article ends up showing how the crossroads between writing and embroidery can be seen as a part of women’s emancipation.
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27

Klein, Lisa M. "Your Humble Handmaid: Elizabethan Gifts of Needlework*." Renaissance Quarterly 50, no. 2 (1997): 459–93. http://dx.doi.org/10.2307/3039187.

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The Stowe inventory of the contents of the Wardrobe of Robes gives us a privileged glimpse into the closets of Queen Elizabeth in 1600. There could be found over one thousand clothing items: gowns, robes, kirtles, foreparts, petticoats, cloaks, safeguards, and doublets, plus two hundred additional pieces of material, as well as pantofles, fans, and jewelry. Many of these were gifts presented to the queen at the New Year, on progresses, at Accession Day tilts or other events. Items of embroidered clothing come to dominate the existing gift rolls. The 1588-89 New Year's gifts include, in addition to £795 in gold, almost six dozen gifts of clothing, most of them richly embroidered, plus sixteen items of jewelry, several pieces of gold- or silverplate, and a dozen gifts of embroidered furnishings.
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28

Taylor, Avril. "Needlework: The Lifestyle of Female Drug Injectors." Journal of Drug Issues 28, no. 1 (January 1998): 77–90. http://dx.doi.org/10.1177/002204269802800105.

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Participant observation was used to study the lifestyles of female drug injectors in Glasgow. Twenty-six women were interviewed in-depth at the end of the observation period. The results reveal how women become involved in drug use, the ways in which they finance their drug use, and their relationships with friends, partners and children. The efforts the women made to give up their use of drugs is discussed along with the difficulties involved in their attempts to do so. Overall, the findings refute the stereotypical view of women drug users as inadequate individuals. The evidence provided indicates that the lifestyle which evolves from the use of drugs offers an arena in which the women are able to find a degree of independence and purpose otherwise missing from their lives and which makes their drug-using lifestyle attractive even when disadvantages become apparent.
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29

Craske, Matthew. "Mary Linwood of Leicester's Pious Address of Violent Times." Journal of Religious History, Literature and Culture 7, no. 1 (June 1, 2021): 1–33. http://dx.doi.org/10.16922/jrhlc.7.1.1.

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This article explores the role that contemporary religion and politics played in the subject matter of Mary Linwood's needlework paintings. Linwood was one of Britain's pioneering needlewomen of the late eighteenth and early nineteenth centuries. Her approach to depicting famous narrative paintings in stitch has been largely overlooked by historians of art. The article is underpinned by use of primary source material, and draws on the most recent scholarship in the field of textile history, notably the work of Heidi Strobel and Rosika Desnoyers. Mary Linwood was an evangelical and a woman interested in the politics of the period. Her use of needlework was a means of both the expression of her piety and of the representation of her political views – especially attitudes to the brutality of the Napoleonic wars. The article also indicates that Linwood's views and medium were of remarkable interest to the wider public during the period.
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Banner, Jessica. "Two ends of the same thread: Reimagining the boundaries of personal and professional labour in eighteenth-century needlework and twenty-first-century crochet." Clothing Cultures 8, no. 1 (March 1, 2021): 49–57. http://dx.doi.org/10.1386/cc_00044_1.

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As a researcher I have always maintained a firm boundary between my professional work and my personal hobbies. One of my most recent academic projects has traced the development of techniques and styles of needlework pictures and pictorial samplers made by young women in eighteenth-century England, while in my spare time I have increasingly turned to crocheting clothing and toys for friends and family. However, following recent developments in material culture and archival studies, which have encouraged reframing conceptions of authorship and resituating objects within larger networks of connection, it seems foolish to suppose that my work on needlework in the long eighteenth century is unaffected by my investment in crochet (and vice versa). This article aims to initiate discussions around the relationship between personal lives and professional research and seeks to explore how my practice of crochet and my research of textiles from the long eighteenth century are intimately connected.
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Pullan, Amanda. "Needlework and Moral Instruction in English Seventeenth-Century Households: the Case of Rebecca." Studies in Church History 50 (2014): 254–68. http://dx.doi.org/10.1017/s0424208400001753.

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In the seventeenth-century household, in which biblically themed decor was fashionable, many needlework projects included images of female biblical characters. Rebecca was among the most frequently embroidered. In both Protestant and Catholic traditions, Rebecca’s story, recorded in Genesis 24, was perceived as especially pertinent to the household. Depictions of her story appeared in the sixteenth-century picture Bibles which were dedicated to, and circulated among, Protestant and Catholic audiences in parts of western and central Europe. Rebecca also featured in Erhard Schön’s didactic illustrated woodcut,Zwölf Frawen des Alten Testaments(c.1530). Not all biblical stories involving female figures were included in these illustrated works, so the inclusion of her story suggests that Rebecca was perceived as a proper model for young women. Moreover, the absence of Rebecca from the large-scale tapestries which throughout the fourteenth to sixteenth centuries commonly depicted biblical scenes provides an important contrast to the popularity of her story in smaller-scale domestic needlework projects.
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Meyrier, Alain. "Transjugular renal biopsy. Update on hepato-renal needlework." Nephrology Dialysis Transplantation 20, no. 7 (May 3, 2005): 1299–302. http://dx.doi.org/10.1093/ndt/gfh866.

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Strange, E. F. "Early Pattern-Books of Lace Embroidery, and Needlework." Library TBS-7, no. 1 (January 20, 2010): 209–18. http://dx.doi.org/10.1093/libraj/tbs-7.1.209.

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Cramer, Lorinda. "‘Busy, Without Thimbles, at the Needlework’: Men’s Sewing and Masculinity on the Victorian Goldfields, 1851–1861." Journal of Victorian Culture 25, no. 2 (January 16, 2020): 153–70. http://dx.doi.org/10.1093/jvcult/vcz063.

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Abstract Australia’s gold-rush history has long been dominated by narratives of male adventure: of landscapes where men lived side by side, mateship took on increasing importance in the pursuit of gold, masculine behaviours and manners were emphasized and domesticity was shunned. In the early years of the rich discoveries of gold, men often travelled alone to the colony of Victoria in their search for wealth. This article examines a situation this unique environment created: where men unaccompanied by women – although women, too, were present on the diggings – were required to adopt practices perceived as feminine. It focuses in on needlework to explore the tensions that emerged given sewing was a defining female occupation during the nineteenth century, inhabiting a central place in the female experience. As this article highlights, sewing became an essential practice for men on the Victorian goldfields in order to keep themselves clothed, warm and dry. I consider how men approached their sewing tasks given needlework’s inextricable link with women, and the various strategies they used to frame their sewing in letters, diaries and memoirs – sometimes for close friends and family alone, and other times for wider dissemination. Drawing on sociological frameworks on constructions of gender, masculinity and manliness, I then consider how a shifting engagement with domestic practices may have strengthened rather than challenged identity on the goldfields.
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Silbert, Kate. "Needle, Pen, and the Social Geography of Taste in Early National Providence." New England Quarterly 92, no. 2 (June 2019): 179–220. http://dx.doi.org/10.1162/tneq_a_00733.

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This essay examines needlework samplers from Mary Balch's school and diaries produced by elite young women in Providence, Rhode Island in the late eighteenth century. Drawing on scholarship on material culture, social geography, and gender, it traces the physical mobility that characterized daily life, reading and writing practices, and social boundaries in the early republic.
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Hayes, Carol. "Sashiko Needlework Reborn: From Functional Technology to Decorative Art." Japanese Studies 39, no. 2 (May 4, 2019): 263–80. http://dx.doi.org/10.1080/10371397.2019.1634978.

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Fisher, Gwen. "Making Mathematics with Needlework: Ten Papers and Ten Projects." Journal of Mathematics and the Arts 2, no. 2 (June 2008): 101–3. http://dx.doi.org/10.1080/17513470802222827.

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KIRKHAM, P. "Labors of Love. America's Textiles and Needlework, 1650 1930." Journal of Design History 2, no. 2-3 (January 1, 1989): 238. http://dx.doi.org/10.1093/jdh/2.2-3.238.

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Bruggeman, Daniëlle. "Agency that matters: Participatory practices of making-with." International Journal of Fashion Studies 9, no. 1 (April 1, 2022): 151–72. http://dx.doi.org/10.1386/infs_00064_1.

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This article explores three recent cases of alternative, critical fashion practices from the Netherlands that create more agency for makers, wearers and matter. The cases are as follows: (1) the project ‘JOIN Collective Clothes’ by designer Anouk Beckers; (2) the ‘Feminist Needlework Party’; and (3) ‘The Linen Project’. By facilitating collective, participatory practices of making, these cases explore how to give more attention to the actual material aspects of textiles and clothes – and especially to the material aspects of making that hardly get any attention in a globalized market-driven fashion industry. All case studies highlight different material practices of working with matter – e.g. growing flax or doing needlework – that we have generally lost touch with in western consumer culture. In order to develop a deeper understanding of the importance of offering more attention to matter, these case studies have been analysed by drawing upon the theoretical discourse of ‘new materialism’ as well as the theoretical notion of ‘making-with’. By exploring these participatory cases of making-with, this article aims to offer more attention to the material aspects of fashion beyond a consumerist conception – showing how agency matters.
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Melenteva, Irina E. "“The Old Woman Was Knitting a Stocking and Was Looking Sidewaysat us Through Her Glasses…”: Women’s Handiwork of Old Age in I. S. Turgenev’s Oeuvre." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 20, no. 4 (November 25, 2020): 434–39. http://dx.doi.org/10.18500/1817-7115-2020-20-4-434-439.

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The article discusses the description of old ladies and old women in the works of I. S. Turgenev, daily activities of these characters, and the needlework which accompanies the image of an elderly woman in the writer’s texts. The main task of the article is to show how frequently old women’s handiwork – knitting – occurs and to identify the contexts of its occurrence in Turgenev’s oeuvre.
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Zhao, Xing. "Sewing the self: Art, needlework and Liu Beili’s intersectional identity." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 113–31. http://dx.doi.org/10.1386/jcca_00058_1.

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As a Chinese-born woman living in the United States, Liu Beili is aware of the structurally, politically and representationally formulated intersectionality based on her national origin, ethnicity, language, gender and other factors. As a high-profile artist, Liu’s multimodal, polysemous and intermedial art reflects on the nuance that provides for understanding an intersectional immigrant’s sociocultural experience. Liu analogizes her femininity to water, which is resilient, and regards her art practices as the way to ‘better understand how migration and diaspora impact human experience through encounters and separations, displacements and assimilations, the intimacy of memories, and the gravity of time’. This article scrutinizes Liu’s relational art, social participation and civic engagement by focusing on three pieces of performance-based projects, all involving the traditionally feminine task of sewing. Through the simple act of sewing, Liu investigates multiple experiential discourses on the intersectional community: oppression, repression, displacement, disempowerment, self-empowerment, communication and reconciliation.
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Potvin, John. "Queering the Subversive Stitch: Men and the Culture of Needlework." Journal of Modern Craft 15, no. 1 (January 2, 2022): 97–100. http://dx.doi.org/10.1080/17496772.2022.2048497.

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Greenwold, Diana Jocelyn. "Embroidered Stories: Interpreting Women’s Domestic Needlework from the Italian Diaspora." Italian American Review 8, no. 1 (January 1, 2018): 81–83. http://dx.doi.org/10.5406/italamerrevi.8.1.0081.

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Sotomayor, Leslie C., and Christen Sperry García. "Needlework: Forging Pedagogical Spaces Through Fabric Patterns, Mapping, and Childbirth." Art Education 72, no. 4 (June 14, 2019): 43–49. http://dx.doi.org/10.1080/00043125.2019.1602494.

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Hesketh, Sally. "Needlework in the Lives and Novels of the Bronte sisters." Brontë Society Transactions 22, no. 1 (June 1997): 72–85. http://dx.doi.org/10.1179/030977697794127020.

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Andrä, Christine, Berit Bliesemann de Guevara, Lydia Cole, and Danielle House. "Knowing Through Needlework: curating the difficult knowledge of conflict textiles." Critical Military Studies 6, no. 3-4 (November 27, 2019): 341–59. http://dx.doi.org/10.1080/23337486.2019.1692566.

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Hargittai, Istvan, and Gyorgyi Lengyel. "The seventeen two-dimensional space-group symmetries in Hungarian needlework." Journal of Chemical Education 62, no. 1 (January 1985): 35. http://dx.doi.org/10.1021/ed062p35.

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Breward, Christopher. "Queering the Subversive Stitch: Men and the Culture of Needlework." Textile History 53, no. 1 (January 2, 2022): 115–16. http://dx.doi.org/10.1080/00404969.2022.2193078.

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Torrejón-Tobío, Celia. "Needlework and Narration: The Case of Margaret Atwood's "Alias Grace"." Epos : Revista de filología, no. 39 (December 18, 2023): 339–56. http://dx.doi.org/10.5944/epos.39.2023.34172.

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This article explores the main character in Margaret Atwood’s novel Alias Grace (1996) in terms of the semiotics of the textile and its corresponding feminine implications. The main hypotheses enunciated concern, on the one hand, the possibilities of narrativity that this symbol brings about (particularly for dissident discourses) and, on the other hand, the dissipation of the conceptual and representational boundaries of the textual and the textile. Furthermore, this study suggests a revision of the imaginary traditionally associated with the feminine spheres and an approach to these spaces as places of resistance that have arisen in the midst of silencing, captivity, or marginalisation.
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Khalikulova, Guzal. "Customs and Rites of the Regions of Uzbekistan." Cultural and Historical Heritage: Preservation, Representation, Digitalization 5, no. 2 (2019): 89–98. http://dx.doi.org/10.26615/issn.2367-8038.2019_2_010.

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The given article deals with the fact that in the Pskent and Buka districts of the Tashkent region there were unique rituals, people of these localities were engaged in handicraft, weaving, needlework, animal husbandry and they created ancient songs associated with these phenomena, various events were sung by folklore songs and they passed from generation to generation contributed to the familiarization of people to beauty. Keywords: customs, tradition, national songs, culture, history, region, oral history
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