1996
DOI: 10.2307/416658
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Prehistoric Textiles: The Development of Cloth in the Neolithic and Bronze Ages, with Special Reference to the Aegean

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Cited by 9 publications
(11 citation statements)
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“…After the flowers have faded, the seed heads appear, and the plants are ready to be harvested (Warden 2005). Through trial and error, the ancient Egyptians learned that harvesting the crop at different stages of ripeness resulted in different kinds of fibre (Barber, 1991). When the flax stem was green, the soft fibre could be spun into the finest thread; when it was yellow, the stronger fibre could be woven into ropes and mats; and when it was brown, the tough fibre could be woven into ropes and mats ‫.…”
Section: The Inherited Manufacturing Techniques 21 Harvesting the Fla...mentioning
confidence: 99%
See 1 more Smart Citation
“…After the flowers have faded, the seed heads appear, and the plants are ready to be harvested (Warden 2005). Through trial and error, the ancient Egyptians learned that harvesting the crop at different stages of ripeness resulted in different kinds of fibre (Barber, 1991). When the flax stem was green, the soft fibre could be spun into the finest thread; when it was yellow, the stronger fibre could be woven into ropes and mats; and when it was brown, the tough fibre could be woven into ropes and mats ‫.…”
Section: The Inherited Manufacturing Techniques 21 Harvesting the Fla...mentioning
confidence: 99%
“…4.1 Ancient Egypt: It is clear from both texts and depictions that the vast majority of women were the backbone of textile production. The main reason seems to be that the easily interruptible work of spinning and weaving could be done at home (Barber, 1991). Based on artistic evidence, it appears that men were most frequently involved in the cultivation and harvesting of flax and the preparation of the fibers for spinning (Roehrig, 1996).…”
Section: The Role Of Women In Textile Productionmentioning
confidence: 99%
“…Material culture research seeks to re-inscribe value to the knowledge contained within fashion objects, thereby asserting the vital importance of objects as they are standard bearers of the truth of a situation (Matthews David 2015; Mida & Kim 2015;Wilson 2003;Slater 1998;Steele 1998;Miller 1995Miller , 1987Appadurai 1988;Prown 1982;Fleming 1974). The tactile, physical, individual and unique examples of garments and their uses can be utilized as an object of in-depth analysis to reveal factual data that disproves normative histories (Barber 2000(Barber , 1995(Barber , 1991, and as the "production of commodities is also a cultural and cognitive process" (Kopytoff 1986, 64), objects can also be used break down stereotypes, and challenge the formation of hegemonic narratives, both historical and in contemporaneity.…”
Section: The "Material" Of Culturementioning
confidence: 99%
“…It is a challenge to examine the fashionable engagement with the majority of the population, because outside of the "one silk dress" (Brett 1967) that was coveted and kept, their garments were not deemed valuable enough to their original owners for subsequent bequeathal to a museum setting where researchers could eventually have access to them-or even to be kept intact. Also, outside of very specific (and fortuitous) circumstances (Barber 2000(Barber , 1995(Barber , 1991 ancient textile and garments (Canadian or otherwise) just do not last: they rot, they decay, they are eaten by insects. As all pre-modern textiles were derived from organic origins, they are all just as readily subsumed back into their eco-systems; where they then cultivate and nurture subsequent generations.…”
Section: More Than One Silk Dressmentioning
confidence: 99%
“…79 Barber 1991;Spantidaki 2014, 37;Gleba 2021, 15. 80 È stato ipotizzato l'uso della tessitura a tavolette per alcuni siti siciliani, adoperando rocchetti o pesi da telaio molto leggeri per tendere i fili di ordito.…”
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