Littérature scientifique sur le sujet « Textile fabrics – Terminology »

Determine the essence of the concept of «surface properties of textiles» and justify the degree of influence of the phenomenon of hairiness of textile materials on the surface properties of textile products. The analytical method is used in this work. The study contains a systematic analysis of scientific publications, the terminology of international standards and modern developments in the field of determining the surface properties of tissues. Based on the analysis of scientific research, it was found that various authors refer to the surface properties of textile materials a different set of surface effects, and their analysis through the indicators of tissue hairiness makes this issue relevant. The definition of the general term «surface» has shown that in various branches of science it is interpreted differently depending on the subject and field of study. Textile material science considers the term «supporting surface of the fabric», which needs to be clarified. Analysis of the fibrous structure of the fabric showed a complex structural organization of its surface, which is represented by the relief and various zones of the pile, formed from individual fibers having different locations on the surface of the fabric. As a result, the following terms are formulated: “fabric surface” and “surface properties of fabrics”. A list of surface properties of fabrics has been compiled, where hairiness is presented as an equivalent independent characteristic that simultaneously affects the manifestation of other surface effects. For the first time, the terms «fabric surface» and «surface properties of fabrics» are defined and justified. The nomenclature of the surface properties of fabrics is determined, based on the analysis of which it is proved that hairiness is the main characteristic of the fabric surface. The proposed terms for determining the surface of fabrics harmonize the terminology of textile materials science with other branches of science. The study of the effect of hairiness on surface properties opens up new possibilities for expanding the assortment of fabrics and is a promising area in the development of expert methods for assessing the quality of textiles.

Prilikom pregleda zapisa u muzejskoj dokumentaciji Etnografskog muzeja Split, prije provedbe konzervatorsko-restauratorskih radova na nekoliko predmeta koji su dijelovi svečane ženske splitske narodne nošnje, uočeno je da su pri inventarizaciji, kod opisa temeljne tkanine, korišteni termini lokalnog govora i tadašnjeg standardnog jezika koji su danas nejasni. Cilj rada je objasniti i prevesti termine zatečene u dokumentaciji referirajući se na stručnu terminologiju dostupnu na više svjetskih jezika u rječnicima međunarodne organizacije Centre International d’Etude des Textiles Anciens (CIETA), relevantnu stručnu literaturu na hrvatskom jeziku i rječnike hrvatskog jezika. Važnost dokumentacije i njezina neodvojivost od predmeta, osobito u muzejskom kontekstu, podrazumijeva da ona bude razumljiva i izvan muzejskog kruga.

The paper is a part of bachelor’s thesis entitled Tendencies Towards Pictorial Expressions in the 1960s Czechoslovak Textile Art. It deals with Czechoslovak textile art of the 1960s with a focus on woven tapestry. Against the background of the work of individual artists and contemporary theoretical reflections, it follows the parallels between the tendencies of fine art and textile art and the ever-increasing autonomy of textile expression related to the authors’ creative approach and the abandonment of the principles of applied art or decorative art. The work deals with artist-creator tapestry, also referred to as art fabric or new tapestry, as a distinctive artistic expression, which is based on one’s feelings, responds to external stimuli, and naturally becomes a part of the structure of fine art. It also deals with the issue of its categorization and terminology, which has proved to be problematic in these circumstances. The reassessment of the current view of the field of tapestry forms an important part of contemporary theoretical discourse.

The article is dedicated to the investigation of the motivational features of the linguocultural concept TEXTILE in the English language. The investigation has been done within the framework of the cognitive scientific paradigm, namely, linguoconceptology and linguoculturology. Despite the large number of researches devoted to the study of motivational features of concepts in the English language, it should be admitted that the concept of TEXTILE still has not been properly investigated. According to the fact that the motivational features are understood as the internal form of the word, etymological analysis based on the comparative-historical method was used to identify them. The research was based on etymological dictionaries, general explanatory dictionaries of the English language and dictionaries of textile terminology. An etymological study of the English lexeme ‘textile’ revealed that its original form was a derivative from a Pre-Indo-European root meaning “to weave”. As a result of the study of the etymological dictionaries entries of the English language, 7 main motivational features of the studied concept were identified, namely: ‘canvas’, ‘cloth’, ‘fabric’, ‘texture’, ‘tissue', ‘web’ and ‘woven’. The source of the aforementioned English lexemes was both Germanic and Romance languages. Three of these lexemes come from Old French, namely ‘canvas’, ‘fabric’ and ‘tissue’; English lexemes ‘cloth’, ‘web’ and ‘weave (woven)’ come from Proto-Germanic; and the lexeme ‘texture’ is derived from Middle French. There is also a gradual increase in the volume of the concept structure due to the emergence of new components that reflect the current understanding of the concept under study. The prospect of the research is seen in further investigation of the verbalised concept of TEXTILE in the English language.

The research is conducted in the critical eco-linguistics domain, an umbrella term for diverse academic inquiries and empirical evidence. The aim of the article is the analysis of English words and lexical structures used to verbalize two major aspects of sustainable fashion as a new movement and world vision – ethical fashion and conscious fashion with the focus on animals in fashion and thrifting. Sustainable fashion has a number of dimensions categorized as conscious, green, and circular, eco-friendly fashion, ethical fashion, vegan fashion. The goal of conscious fashion has much in common with environmentalism and green marketing. Ethical fashion focuses on exploitation in fashion, of both animals and humans, and encompasses animal rights, fair trade of animal-related products, working conditions in fashion industry what are quite often not decent. Vegan fashion promotes non-animal plant-based textiles and man-made fabrics. Circular fashion centres on clothes recycling, extending terminology to upcycling, downcycling and regenerating. Thrifting, renting, and sharing are to popularize slow fashion and conscious fashion. Coverage of fashion sustainability in mass media resulted into coinage of new eco-conscious words and word collocations and their increasing frequency. Several word-forming models dominate in the sustainable fashion terminology including numerous V-ing words to describe manufacturing processes and activities, non+N, non+Adj coinages to emphasize denial of traditional practices. Some words (animal, cruelty) and word-forming components (eco-) have become more noticeable in sustainable fashion in the past decade. The adjective 'sustainable' is among 1% top words in Modern English (Merriam-Webster dictionary online, n.d.) though the collocation ‘sustainable fashion’ is not fixed yet by this dictionary or its counterparts. Thus sustainable fashion is to be conceptualized to find its way to dictionaries as well as to mentality of fashion designers, clothes manufacturers and consumers worldwide. Increasing vocabulary of sustainable fashion should become more familiar to consumers to push them to rethinking their lifestyle, clothing choices, becoming eco-conscious.

The richly illustrated 13th century Seljuk manuscript Varqa and Gulshah from Azerbaijan provides a number of lavish miniatures, some depicting armored warriors riding horses covered with richly decorated caparisons. The illustrations show that the long caparisons were multi-layered, an indication that they were designed to offer some protection for the mounts. Despite the scholars’ opposing opinions, the author maintains that caparisons were well established in Islamic armies as attested by literary sources and iconography. Moreover, the existence of rich terminology concerning different types of horse armor clearly evidences the relative popularity of horse protection. Although the bardings had been known in various cultures for the millennia before the Seljuks, the direct inspiration for the appearance of caparisons at that time must be associated with the Sasanian tradition. Furthermore, the article discusses protective properties of caparisons in which protection was provided by padding consisting of a number of textile layers. For instance, metallic armor such as maille or leather armor such as lamellar were stitched into the padded or fabric barding. The former is attested in the Islamic world but can be traced back to earlier Iranian traditions. The evidence for the latter type comes from Firuzabad reliefs. However, scattered metal plates attached to caparisons in random patterns do not seem to have had any protective function; they were merely a part of decoration. Post-Sasanian origin of Seljuk protective caparisons should be found well evidenced and most probable.

The present social and environmental contexts are very importantly governed by the interplay of crafts, fashion, and sustainability. Their efficient combination contributes to employment generation and the creation of new economic avenues for the country. This is the key focus issue that research studies should attempt to achieve. There is a need to understand “craft”, with a perspective that exerts strength, glory, social and cultural connections. In present times, “Kalamkari” is an extremely popular Indian traditional textile craft in which, patterns are drawn with bamboo sticks called “kalam” on cotton fabric. This is a derivative of patterning the fabric with resist and mordant painting and then natural dyeing to pattern them. In relation to this painting tradition, the word “Chintz,” is a popular terminology from the seventeenth and eighteenth centuries in the world of textiles. The term according to the researcher is referred to a textile, as well as a technique, involving the mordant and resist painting with natural dyes on cotton fabrics only. This textile, with its awestruck designs, revolutionized global trade and made India popular globally. During that period, the Chintz were exported to various countries like Japan, Thailand, Africa, and most importantly to European countries. The Indian Chintz export to European countries reached immense popularity, revolutionizing the “Chintz Craze” with drastically increased demand. During the industrial revolution in Europe, these beautiful hand-crafted textiles created a threat to the European textile Industry. Hence the chintz export from India was banned, which led to the downfall in their demand and the gradual extinction of these textiles along with the meticulously perfected techniques involved in making them. In 1958, Kamala Devi Chattopadhyay tried to revive this technique (mordant and resist painting with a bamboo pen) and termed it “Kalamkari”. This led to the evolution of two different forms related to this ancient craft based on the place it was revived, namely Kalamkari from Sri-Kalahasti and Machilipatnam. This paper is an attempt to retrieve the rich history of the Indian Chintz, with its main characteristic features, technique, and find differences between the present styles with the ancient traditional forms of mordant and resist painting technique with natural dyes. The researcher has made an earnest effort in establishing and retrieving the lost identity of this textile. It was also observed that there is a difference between the traditional style and revived forms (Sri-kalahasti and Machilipatnam) styles with respect to the materials, motifs, colors, and workmanship, as observed from painted pieces that were studied.

Dans les textes administratifs d’Ébla du milieu du IIIème millénaire av.-J.C. on trouve parfois des tissus bariolés en laine qualifiés comme ù-ra (ki). À mon avis il s’agit d’un toponyme indiquant le lieu d’origine ou d’importation des vêtements. On peut identifier ce toponyme avec le nome de la ville d’Oura en Cilicie bien connue pendant l’époque du Bronze Récent. Ses marchands en effet étaient célèbres grâce à des tissus en laine colorés.Mots clef: Ébla, langue éblaïte, IIIème millénaire, Syria, tissus, rituels, tissus bariolés, dieux des Enfers, Ougarit, Oura, Cilicie, toponymie, Bronze Récent, Commerce. AbstractIn the text from the III millennium Syrian city of Ebla the term ù-ra(ki) is a rarely attested qualificationapplied to precious multicoulored fabrics. This term can be interpreted as a toponym identifying the textilesaccording to their geographical origin, i. e. the Cilician city of Ura well known in the ugaritic texts of theLate Bronze Age.Keywords: Ebla, Eblaic Language, IIIrd Millennium B.C., Syria, Textile Terminology, Rituals, Coulored Textiles, Chtonian Deity, Ugarit, Ura, Late Bronze Age, Cilicia, Toponomastic, Trade.

According to Domowitz (1992), the Agni women of Cote d'Ivoire assign proverbs and aphorisms as names to wax-dyed cloth. Women then use the imagery and associated proverbs behind cloth names to send non-verbal messages they would otherwise be unable to express publicly. The purpose of this study is twofold: first, to investigate wax-dyed cloth names including their underlying meanings and uses given by women in Cote d'Ivoire and Togo; and second, to investigate how these names are acquired in French by women who have no formal education. Qualitative results revealed that women in these two countries are very motivated to learn cloth names. New undocumented names and their underlying meanings were also found. Some of these meanings were found to be educational; others are used to maintain status or to clarify power relationships. At the same time, quantitative results indicated that knowledge and use of cloth names in both communities studied is in decline.

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This research work deals with the compilation of a dictionary on clothing terminology intended to be used as a pedagogic tool as part of the teaching and learning process in the Textile Engineering Course at the Federal University of Rio Grande do Norte. The main terms were selected and assessed by a team of textile teachers and students with the objective to be structured as a conceptual body of information on the following sub-areas of clothing terminology: materials (fabrics and trimmings) and products (garments). This research comprises three main steps: (a) characterization and understanding of the technical vocabulary in the clothing area as well as the identification of a pedagogic demand for a dictionary on clothing terminology, clearly expressed by the textile lecturers and students involved in the assessment of the need and validation of this project development; (b) a proposal for a specific methodology for the compilation of the dictionary which could help the communication process in the lecturing of clothing terminology and (c) based on the terminological principles and the technique of focal groups the dictionary was assessed. The technique of focal groups was used in the first step. In the second step the technique used was that of the terminological methodology adapted to the teaching approach in the Textile Course. In the third step the technique of focal groups was again utilized. It was observed that the main concern of lecturers and students is the lack of a standardized vocabulary, which renders difficult the communication process in both the teaching and learning activities as well as the professional ones in the textile industries. Various aspects, which can overlap, cause this lack of standardization. The main ones pointed out by the study team in the focal groups are: usage of regional words or expressions, usage of foreign words or expressions, analogies, and the low level of formal education, mainly among the industry workers. Another aspect to be considered is the lack of textile literature written in the Portuguese language of Brazil. This evidence shows the importance of a clothing terminology dictionary which will benefit both the education and professional activties in this field of knowledge. This dictionary will also give a substantial contribution to terminological standardization in our research field. With view to fulfill this demand, a dictionary of clothing terminology was compiled with 760 main entries, according to the modern practice in terminology with the necessary modifications concerning our needs. The result of the dictionary assessment was very assertive regarding its structure, contents and possible use in various contexts. The team work emphasized their contribution to the standardization process of the terms that proved to be one of the most important and difficult aspects of this researh work. The significance of this structured terminological dictionary was confirmed by the focal group participants relating to its use for teaching and learning activities, as a reference book, as a source of technical information and also as a tool for pedagogic studies and planning, as well as a significant collaboration to the pedagogic practices in the textile engineering course at University or any other educational institution. Besides, this dictionary can also be used to supply information within the textile field. We are aware that the present work will not exhaust the objectives of this research due to its limitations in opposition to the vast complexity demanded by the compilation of a complete work including all the areas and sub-areas of textile engineering. However, it is an important source for dissemination of concepts on the field of clothing terminology and a tool to effective standardization of the terms used in this subject field
Esta pesquisa trata do vocabul?rio t?cnico t?xtil, especialmente na ?rea do vestu?rio, utilizado como instrumento did?tico no processo ensino-aprendizagem do curso de Engenharia T?xtil, da Universidade Federal do Rio Grande do Norte. Esse vocabul?rio foi criteriosamente examinado com o prop?sito de ser conceituado e contextualizado, nas sub?reas do vestu?rio, materiais (tecidos e aviamentos) e produtos (pe?as do vestu?rio), e, para isso, propomos um dicion?rio terminol?gico, justificado e avaliado por professores e alunos. Assim, a pesquisa comporta tr?s etapas principais: (a) caracteriza??o da percep??o do vocabul?rio t?cnico da ?rea do vestu?rio, e identifica??o de uma demanda pedag?gica formulada por professores e alunos da ?rea t?xtil: a necessidade de um dicion?rio t?cnico do vestu?rio; (b) proposta de uma metodologia, e elabora??o de um produto concreto, para suprir essa demanda: um dicion?rio de terminologia do vestu?rio; (c) avalia??o desse produto por professores e alunos da ?rea. Aplicamos a abordagem qualitativa, fundamentada nos princ?pios Terminologia e a na t?cnica de Grupo Focal. Para a primeira etapa, utilizamos a t?cnica dos grupos focais. Na segunda etapa, utilizamos a metodologia terminol?gica, adaptada ? nossa realidade de ensino. E na execu??o da terceira etapa, recorremos, tamb?m, ? t?cnica dos grupos focais. Constatamos que a principal preocupa??o de professores e alunos converge para a falta de padroniza??o do vocabul?rio, que dificulta a comunica??o, tanto no processo ensino-aprendizagem quanto nas atividades profissionais. As causas da falta de padroniza??o s?o variadas e se sobrep?em, mas foram apontadas entre as principais: os regionalismos, o uso de analogias, os estrangeirismos e a baixa escolaridade. Quanto ? necessidade de um dicion?rio de terminologia do vestu?rio, ficou evidenciada a falta de material bibliogr?fico em portugu?s do Brasil. Tanto professores como alunos mencionaram, repetidamente, a escassez de material t?cnico. Nesse sentido, um dicion?rio t?cnico, adaptado ? nossa realidade, pode representar uma contribui??o substancial para a normaliza??o terminol?gica. Para atender a essa demanda, elaboramos um dicion?rio de terminologia do vestu?rio, com 760 entradas, constru?do conforme os procedimentos da moderna terminologia com os necess?rios ajustes. A avalia??o do dicion?rio foi bastante positiva no que se refere ? sua estrutura, conte?do e usos poss?veis em diversos contextos. Os participantes salientaram sua contribui??o para a padroniza??o do vocabul?rio que, conforme observado se configurava num dos principais problemas. Professores e alunos destacaram sua utilidade para o ensino-aprendizagem, como obra de refer?ncia, fonte de informa??es t?cnicas e instrumento de estudo e planejamento did?tico. Acreditamos que, atrav?s da cria??o do dicion?rio de terminologia do vestu?rio, estamos colaborando de maneira significativa para as pr?ticas pedag?gicas no curso de Engenharia T?xtil. H? ainda, a expectativa de que esse instrumento possa ser ?til ?s demais ?reas t?xtil. Com este trabalho, n?o pretendemos exaurir a pesquisa. Temos consci?ncia de suas limita??es, em contraposi??o ? amplitude e complexidade que exigiria um trabalho terminol?gico que inclu?sse todas as ?reas e sub?reas do curso de Engenharia T?xtil. No entanto, temos a convic??o de que ele poder? servir como uma importante fonte para dissemina??o de conceitos sobre a ?rea do vestu?rio, e, acreditamos, colaborar para a efetiva??o da padroniza??o da terminologia utilizada nessa ?rea

Aquesta tesi s’emmarca en un projecte de majors proporcions encapçalat per la redacció del Glossarium Mediae Latinitatis Cataloniae, que analitza les manifestacions romàniques en la documentació llatina altomedieval conservada en els comtats situats al territori que posteriorment rebé el nom de Catalunya. En les nostres fonts s’hi inclouen sobretot testaments, llegats, acords i confirmacions de compra-venda. Quant als límits cronològics, els textos notarials objecte d’aquesta recerca se situen entre els anys 800 i 1150. El fet d’acotar la investigació a un àmbit tan present en les societats d’arreu, el vocabulari tèxtil, respon a la voluntat d’intentar observar la vida quotidiana de la societat de l’època. D’aquesta manera, a més d’una anàlisi purament filològica basada en l’estructura lèxica de la llengua continguda en els textos, s’obté una panoràmica social que si més no reflecteix certs aspectes de la realitat quotidiana dels individus que habitaven les nostres terres ara fa més de mil anys. El corpus obtingut consta de 186 entrades i 24 subentrades que s’han distribuït en tres grans apartats: els draps laics, els draps eclesiàstics, i els tipus de teixits i materials de confecció. Finalment a mode d’apèndix s’hi ha afegit una última part, que inclou 27 ètims, dedicada a les referències als colors i les provinences de les peces tractades. Malgrat que en aquell temps encara s’estipulava que els documents oficials s’havien d’escriure en la llengua de cultura per excel•lència –el llatí–, la comunicació oral ja havia mutat cap a un parlar divers que més endavant, en aquest territori concret, es coneixeria amb el nom de català. Així doncs, la traça lingüística de l’escrivent jugava un paper decisiu en la redacció de qualsevol document, ja que era ell qui decidia com transcrivia en llatí un afer que s’havia donat, per via oral, en un parlar romànic. D’aquí que en els textos sovint hi apareguin mots amb una marcada empremta romànica, així com oscil•lacions de caràcter divers. Molts termes, a més, apareixen escrits sota múltiples formes, ja que l’escriba sovint vacil.lava a l’hora reproduir mots en la majoria de les ocasions només vius en la parla oral. D’altra banda, el sistema de casos del llatí, així com la formació del nombre i el gènere, són testimoni d’un procés de reestructuració, segurament fruit dels minvats coneixements lingüístics dels escribes i els seus intents d’adaptar el parlar popular a la llengua de cultura. Mitjançant l’anàlisi dels vestits, els draps o els teixits podem percebre certes influències culturals provinents d’altres pobles, que segurament repercutiren també en la resta d’àmbits vitals. En aquest sentit cal destacar el fet que, malgrat que la gran majoria dels mots presenten una clara ascendència llatina, l’empremta de l’àrab o el germànic no hi és pas absent. El primer enriquí el vocabulari de l’època amb designacions de teles i vestits importats de la Hispània musulmana; el segon ens aportà nombrosos termes vinculats a la indumentària i a la confecció tèxtil provinents del contacte que les guarnicions establertes al limes i el seu seguici mantingueren amb la població germànica. Al llarg d’aquesta recerca s’ha pogut comprovar que, si bé la majoria de les veus es revelen comunes als territoris romànics, determinats mots constitueixen innovacions pròpies de la nostra regió. D’altres, més enllà del domini lingüístic català, abarquen la totalitat de la península Ibèrica. D’altra banda, en aquest moment d’impàs tant lingüistic com cultural, econòmic i social, es pot apreciar el gran canvi que suposà el tombant del segle XI, punt d’inflexió en la trajectòria d’una societat marcada per l’evolució econòmica d’una noblesa assedegada d’ostentació. Comparat amb el segle X, al segle XI el panorama havia canviat radicalment. Les classes benestants i les jerarquies eclesiàstiques es començaren a preocupar per l’ornamentació, aviat present tant en el parament de la llar i de l’església com en la indumentària.
This PhD thesisl is closely related to a much bigger project leaded by the Glossarium Mediae Latinitatis Cataloniae, which analyzes the romance traces contained in the huge Latin early medieval documental collections kept in many Catalan archives. Our documental sources are basically wills, donations, agreements and buying and selling contracts written between 800 and 1150. This is not only a philological research based on the structure of the language contained in the texts, but also an attempt to look at the daily life of all kinds of people living in our region through their clothes and fabrics. Our corpus has 186 entries and 24 subentries distributed in three large groups: lay clothes and fabrics, ecclesiastical clothes and fabrics, and materials. On the other hand, there is an appendix at the end of this thesis on the very few references to colours and origin of the garments. This part has 27 entries. Through the analysis of the garments and fabrics one realizes influences of many cultures on the Catalan one. Although most of the words have a clear Latin origin, the Arabic and German traces are also present. The first one contributed with fabric designations and clothes imported from Al-Andalus, while the second one provided us with textile and dressmaking vocabulary.