ISSN / EISSN : 1475-9756 / 1751-8350
Published by: Informa UK Limited (10.1080)
Total articles ≅ 647
Latest articles in this journal
TEXTILE pp 1-18; https://doi.org/10.1080/14759756.2021.1932075
In this article, I explore the way that a work song called “Hooyaalaadee” reveals the importance of women’s textile labor to the Banaadiri people, the Somali nation and the wider Indian Ocean textile industry. Although written historiography has not adequately documented southern Somalia’s rich textile industry, the Banaadiri woman facilitates a multitude of narratives about this important textile trade through performing this oral work song. “Hooyaalaadee” shows the way that an oral poem can be an alternative means through which to preserve and archive the histories of textile production within the Banaadiri community. I argue that in “Hooyaalaadee,” the Banaadiri woman’s role as the spinner of cotton in the manufacture of the Futa Benaadir, a cloth spun and woven by the Banaadiri community as well as the weaver of hats, mats and baskets, is generative of strong kinship networks. The Banaadiri women create the threads to not only bind the Banaadiri community together as a unit but also to connect the Banaadiri people with the Somali nation and the wider Indian Ocean world. I read Amitav Ghosh’s 1986 novel The Circle of Reason to bring into relief many of the ideas around regionally-specific identity, community and culture which emerge from “Hooyaalaadee”.
TEXTILE pp 1-11; https://doi.org/10.1080/14759756.2021.1964787
The Indian carpet industry has great potential in the economic development of the nation. This agri-based, unorganized sector employs millions of skilled and unskilled labors and acts as a source for their livelihood. The present study provides an overview of the impact of Covid-19 on the Indian carpet industry, discusses the export performance and vulnerabilities of the workers employed, identify certain export market strategies for the overall prosperity of the carpet industry. The Indian carpet industry has to pay a heavy price in the lockdown and the condition of the carpet industry is still deplorable. The sluggish demand for carpet across developed nations, closure of the production centers followed by phased lockdowns in the country and the migration of skilled labors/weavers added to its woes. The carpet industry is experiencing a tough time and it is evident with an abrupt decline in the export volumes and values of trade. To develop a strategic policy and provide job security to the workers employed in precarious jobs is the need of the hour.
TEXTILE pp 1-7; https://doi.org/10.1080/14759756.2021.1963624
TEXTILE pp 1-7; https://doi.org/10.1080/14759756.2021.1962679
TEXTILE pp 1-17; https://doi.org/10.1080/14759756.2021.1963141
This article considers how the famous Irish stained glass artist and book illustrator Harry Clarke “translated” the works of Edgar Allan Poe from literature to image with particular attention to the attire worn by the dead brides in Poe’s tales “Ligeia” and “Morella.” The article takes as its point of departure the theories on the translation of poetry set out by Walter Benjamin in his famous essay “The Task of the Translator” (1921), where he argued that more than revealing what the original is about, the translator should reveal “its manner of meaning,” and that in the translation journey, the translator’s own language would be broadened and deepened by its contact with the translated one. The article explains how the work of Clarke on Poe can be understood as such a translation, claiming that in addition to enriching his own visual language, Clarke enriched the source text as well, by adding to it a crucial lexicon absent from the original, in the form of the dress of the dead brides of the tales, and that of their lovers, which are a central element of Clarke’s images, and unique among those of other visual translators of Edgar Allan Poe.
TEXTILE pp 1-17; https://doi.org/10.1080/14759756.2021.1963118
Translation is considered a highly effective means for introducing new ways of thinking and inducing significant cultural change. At a time in which collaborations between STEAM and the Arts are perceived as a necessary cultural change, this article employs the concept of inter-semiotic translation to explore the role that textile art in the form of dress and accessories can have translating, metaphorically, scientific concepts and ideas into a material incarnation, and what is at stake in this materiality. As the discourse around the art/science dichotomy is a gendered one, the article employs feminist translation as the theoretical framework to shed light on the agency of the artists/translators who contribute not only to the dissemination of science across national and cultural borders—between “the two cultures” of arts and science—but who may also play a role in the constitution of scientific discourse itself, since the textile metaphors they construct may eventually bear upon the scientific concepts that develop.
TEXTILE pp 1-6; https://doi.org/10.1080/14759756.2021.1951020
TEXTILE pp 1-14; https://doi.org/10.1080/14759756.2021.1962697
Craftivists have long held that embroidery is a language and that it can be used to communicate. Moreover, they have also argued that it is similar to a translation since craft has a unique ability to help transcend linguistic barriers, as it can be a way to transmit messages and emotions around the world when we cannot communicate with words, either due to censorship, a lack of resources or other reasons. In addition, this type of language is said to have specific advantages that make it particularly suitable when it comes to transforming thought and feeling into action and political activism, on account of its materiality and hapticity, which elicits empathy, among other reasons. As conflict and violence are rife in Latin America, this article draws from scholarship in both the needle arts and translation studies, applying their insights to the creative work of Latin American women’s struggles for their reproductive rights and against state violence, by means of embroidery, arguing that this is a form of translation.
TEXTILE pp 1-18; https://doi.org/10.1080/14759756.2021.1963567
In the 21st century, translation studies has expanded its boundaries and paradigms so that it is now possible to use its tools and methods to research the communication of fashion at textual as well as material levels, as inter-semiotic and cultural translation. Fashion communication, from the perspective of post translation studies, can be viewed as a process of cultural translation with visual symbols as its main text form, visual rhetoric as its core meaning system and a visual designer as its translator. At the intersection of translation, communication and fashion studies, the article takes Kenzo’s most successful “tiger icon” as the main research object, through the analysis of different forms of visual text structures throughout the whole process of fashion communication, to explore the semiotic transformation process and strategy of the “tiger icon” by means of visual rhetoric theories.