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Tanure Ogaide is a socially conscious poet. Due to his sensitivity, social commitment, and political engagement, his poetry delineates ecological spoliation, political marginalization, economic dispossession and the denigration of Niger Delta people. In addition to this role of the poet as a social critic, he proffers solutions to the problems that plague his society, especially his native Niger Delta region of Nigeria. Hence, this interdisciplinary paper examines the poet's warning against laziness and senseless violence and the need for the youths to attain economic empowerment and financial independence through individual creativity, talent and skill. It pays particular attention to the poet's portraiture of the loom and the significance of clothes and clothing materials, using inkle weaving as a creative art that can promote wealth and job creation, thereby minimizing poverty, discontent, unrest and violence in the Niger Delta region of Nigeria. Inkle weaving is an ancient hand manipulative art. Inkle looms equipment is for weaving strips or bands of warp-faced fabric. The loom, like Navajo back-strap and inkle are portable, accessible and are used to produce fascinating strong bands such as guitar and camera straps, colorful shoelaces, belts, fashion accessories and to aesthetically enhance clothing. However, fragmented knowledge of its production process is known in most tertiary institutions and in medium scale textile industries. The experimental research method has been adopted and it is essential to promote weaving efficiency, economic empowerment and self-reliance amongst Niger Delta youths. This study holds that knowledge of inkle weaving technique will provide substitute woven fabrics for art practitioners; encourage creativity and innovation, and entrepreneurship practice. It will also solve socioeconomic challenges and manpower needs by building youths into responsible citizens with skills in handling inkle tools, materials and equipment for an improved indigenous textile industry.Key Words: inkle loom, youth empowerment, Niger Delta, strip, warp faced, warp, weft, shuttle, heddle

Bishop's items from the vestry of Nikolaevsky Perervinsky monastery are considered as markers of artistic and social monastic milieu and as things reflecting the social-historical context of Russia in the second half of the 18th century. As a result of a complex attribution research of the saccos and the crozier, of studying unpublished monastic inventory and account books of the 18th - 19th centuries, it became possible to correlate the artifacts with the person of Metropolitan Plato (Levshin) of Moscow, with whom "the Golden age" of Perervinsky monastery is associated. Special attention is paid to the textiles of the saccos: a brocade damask with the pattern of "big hand" and cut velvet cross patterned. In Russian brocade weaving to the third quarter of the 18th century a special direction was formed - church weaving. Metropolitan Platon was the first to begin serving again in polystauri vestments, bringing ancient Byzantine traditions back to life. The production of cross textiles was resumed under Emperor Paul I, whose personality was greatly influenced by Metropolitan Plato.

Abstract
Engaging Aristotle's broader corpus, this paper offers an exegesis of his counterfactual statement in the Politics regarding self-weaving shuttles and self-playing lyres. It argues that Aristotle imagines and offers his own theory of automation – if by automation we understand the conditions, limits, and consequences of substituting human work with artificial tools capable of acting themselves to complete the relevant task. Because such automated tools are impossible in Aristotle's time, his political thought is never positively released from its foundational dependence on living tools and the extremity of natural slavery. By analysing what it means for these workers to be considered tools, the perceptual requirements of the work they are to perform – as understood through the disjunctive conditions under which automated tools could replace them – and the consequences to masters and master-craftsmen of employing such tools, Aristotle's disparagement of slave and craft subordinate work is thus also re-emphasized.

Passover is among the most widely observed holidays for American Jews. During this festival of redemption, Jewish families retell the biblical story of Exodus using a ritual book known as a haggadah, often weaving modern tales of oppression through the biblical narrative. References to the Holocaust are some of the most common additions to contemporary haggadot. However, the parallel between ancient and modern oppression, which seems obvious to some, raises troubling questions for many others. Is it possible to find any redemptive meaning in the Nazi genocide? Are we adding value to th

Literary evidence is often silent about the lives of women in antiquity, particularly those from the buried cities of Pompeii and Herculaneum. Even when women are considered, they are often seen through the lens of their male counterparts. In this collection, Brenda Longfellow and Molly Swetnam-Burland have gathered an outstanding group of scholars to give voice to both the elite and ordinary women living on the Bay of Naples before the eruption of Vesuvius. Using visual, architectural, archaeological, and epigraphic evidence, the authors consider how women in the region interacted with their communities through family relationships, businesses, and religious practices, in ways that could complement or complicate their primary social roles as mothers, daughters, and wives. They explore women-run businesses from weaving and innkeeping to prostitution, consider representations of women in portraits and graffiti, and examine how women expressed their identities in the funerary realm. Providing a new model for studying women in the ancient world, Women's Lives, Women's Voices brings to light the day-to-day activities of women of all classes in Pompeii and Herculaneum

The silk headscarves tastars were widespread in the North Caucasus in the late 19th century. In Dagestan, they were produced in the Kumyk villages and were part of the traditional costume of the Kumyk women. The aim of the article is to consider the modern state of traditional crafts among the peoples of Dagestan on the example of the tastar headscarves, to demonstrate the relevance of revival of some types of national artistic crafts. The exclusion of applied arts by industrial products, globalization and the elimination of ethnic and cultural differences caused by it, actualized the study of pieces of material culture in the scientific and art community in order to preserve them. In Dagestan, the preservation of ancient folk crafts is implemented through various educational programs, the creation of centers of traditional culture, schools of folk arts. The article is based on the study, conducted by the methods of interview and participant observation in such centers. The author visited several functioning centers of teaching tastar weaving in Dagestan (Nizhnee Kazanishe, Aksay), talked with craftswomen. The article provides versions of origin of this unique technique of tastar weaving, traces the history of this craft, describes active centers, gives names of the keepers of the old tradition. The conducted research reveals that the modern state of tastar weaving is mainly supported by enthusiasts in villages – old centers of the studied craft.

This article explores the differences in the types of handicrafts that are located in the Eastern Bukhara principalities, which include: In Karshi principality - carpet weaving, pottery, embroidery, jewelry, knitting, making weapons, blacksmithing; In Shakhrisabz principality - small cannons, various glass products, jewelry, leather craft; in Sherabad principality - mainly carpet weaving, pottery, boat building; in Baysun principality - blacksmithing and ironworking, manufacturing tools which are used in agriculture, confectionery; in Denau and Yurchi principality - carpentry (engraving, etc.), sewing clothes, making various decorations. In particular, the cities of Surkhandarya, Denau, Termez, Baysun, Sherabad, Karshi, Shahrisabz and Kitab were considered a kind of industrial and commercial center and played an important role in the economic, political and cultural life of the Southern Uzbekistan. Also, such types of handicraft as weaving, pottery, blacksmithing, carpentry, leather craft are the leading sector of the economy of Southern Uzbekistan. These cities played an important role in the economy of Bukhara Emirates. In addition, home-made craftsmanship for processing raw materials is well lit, these types of crafts are located near the city. In the study of handicraft of southern Uzbekistan, the development of ancient traditions can be traced. There are also examples that in the second half of the XIX century - the beginning of the XX century handicraft underwent a crisis, and the production of goods began a new period, in particular, when importing ready-made and high-quality products from foreign factories and plants, the quality of goods from local manufacturers, weaving significantly decreased and some types of handicraft failed. In the article the author irradiates the roles and revenge of the craft centres of the cities of Sherabad, Denau, Termez, Baysun, Karshi, Kitab, Shahrisabz, Guzar in the life of the population in the southern regions of Uzbekistan by the late XIX and early XX centuries. Also in the article the author gives valuable information about the industrial products of Russian and European facilities and factories displace the products of local handicraft counter of local markets

In ancient Greece, the tragedy plays an important role in the lives of Greeks. There were tragic contests during the religious holidays. During the Great Dionysia, there was the most important tragedy contest. Many playwrights participated in it and there emerged three great tragedians, the first playwright, Aeschylus included. He was inspired by the mythical sources and ancient legends. He showed the problems met by the Athenians on stage through mythical characters. His tragedies made the Athenians think about the problems. He showed many female roles in theatrical space and put them in an important place, which didn't correspond to the real situation of the Greek women in that period. These Greek women had to remain still in the harem, take care of household affairs, charge the spinning and the weaving, always remain silent without meddling in political affairs and give birth to children for the family. In contrast, the female figures in the world created by Aeschylus leave their harem, travel, expose themselves to the public, express themselves loudly, get involved political affairs, refuse marriage and show little maternal love towards their children. But why the playwright decides to make the many female figures on stage play the important roles? First, we need to notice that the female characters are played by male actors and that the female choirs consist of male choruses, therefore, the female figures are created by the playwright Aeschylus. There are several reasons for this : the beauty in the scene attracted the attention of the audience; woman is the source of human evil ; irrationality of women drives the development of the tragedy ; and the weakness of women decides their lack of self-control and make them more suitable to play the roles that male characters struggle to interpret. ; Dans l'Antiquité, en Grèce, la tragédie joue un rôle important dans la vie des Grecs. Il y avait des concours tragiques pendant des fêtes religieuses ; surtout, pendant les Grandes Dionysies, avait lieu le concours ...

Reading the Magnificence of Ancient and Medieval Chinese Silks - Fashionable Weaves and Ingenious Craftsmanship / Dieter Kuhn -- The Origins of Sericulture and Silk Weaving-From Antiquity to the Zhou Dynasty / Peng Hao -- Silk Artistry of the Qin, Han, Wei, and Jin Dynasties / Li Wenying -- Silk Artistry of the Northern and Southern Dynasties / Li Wenying -- Silk in the Sui, Tang, and Five Dynasties / Zhao Feng -- Silk in the Song, Liao, Xi Xia, and Jin Dynasties / Zhao Feng -- Divergent Styles of North and South-Silk Artistry of the Yuan Dynasty / Zhao Feng -- The Path to Refinement: Silk Fabrics of the Ming Dynasty -- Huang Nengfu & Chen Juanjuan -- Textile Art of the Qing Dynasty -- Chen Juanjuan & Huang Nengfu

Frontmatter --Contents --Introduction --Part I: Defining the Place of the Statesman --Taking Frustration Seriously. Reading Plato's Statesman as a Protreptic to Political Science /Larivée, Annie --The Multifocal Approach: The Statesman as the Key to Plato's Political Philosophy /Migliori, Maurizio --Part II: What Kind of 'Science' of Government? --Theoretical, not practical: the opening arguments of Plato's Politicus (Plt., 258e-259d) /Murr, Dimitri El --True and Correct in the Politicus /Casertano, Giovanni --Part III: Interpreting the Myth --Paradigm, Form and the Good in Plato's Statesman: The Myth Revisited /White, David A. --God and Cosmos in Politicus 269c-270a and Aristotle /Blyth, Dougal --Plato's Reign of Kronos: Proclus' Interpretation of the Myth in the Politicus /Calvo, José María Zamora --Demiurgy in Heavens. An Ancient Account in Plato's Statesman /Motta, Anna --Part IV: Measuring, Weaving and Women --The avoidance of errors, a sense of "due measure" /Molas, Josep Monserrat --On the Art of Weaving and the Act of Thinking in Plato's Statesman /Santos, Gislene Vale dos --Weaving the Polis. Reading Plato's Statesman (279a-283d) /Madrid, Nuria Sánchez --Plato's Stateswomen /Robinson, Thomas More --Part V: The Statesman and the Sophist --Mimesis in the Politicus /Palumbo, Lidia --The very difficult separation from the chorus of the greatest magician of all the sophists /Candiotto, Laura --Part VI: Wisdom and Law --On the Limits of Law and the Sovereignty of the Wise. Conjectures about the Primacy of Law in Plato's Statesman /Peixoto, Miriam C.D. --Part VII: Bonds and Virtues --Divine and Human Bonds: The Essence of the Art of Politics /Giorgini, Giovanni --On Virtue and Wisdom in the Protagoras, the Phaedo and the Politicus: One Thesis or Several? /Bossi, Beatriz --'Moderation' and Courage in Plato's Politicus (305e-311c) /Rowe, Christopher --Bibliography --List of Contributors --Index Locorum

Machine generated contents note: 1.Textiles in Java -- 2.Decorative Processes and Products -- 3.The Island of Java in the Sixteenth Century -- 4.Weaving Myths of Sunda -- 5.Rice-paste Batiks -- 6.Colour Categories: Uncoloured, Light and Dark -- 7.The Compass Rose as a Direction Finder -- 8.Chinese Traders and Immigrants -- 9.Textiles in Javan History -- 10.Cirebon: an Old Town on the North Coast -- 11.The Stuff of Village Life -- 12.The Principalities 1: Introverts and Extroverts of Central Java -- 13.The Principalities 11: Elite and Vernacular Patterns -- 14.Two Ancient Textiles of Central Java: Tambal and Kain kembangan -- 15.Mountains and Forest, Waterplant and Cosmic Tree -- 16.Milestones in Human Life -- 17.Wives of the Dutch in the Tropics -- 18.Tunggak semi: New Shoots from an Old Trunk.

The handloom industry in India is an ancient cottage industry with a decentralized setup that provides jobs to about 35 million people. Handloom established its reputation in the global market long before the industrial revolution. Today, India's handloom and spinning wheel produces the largest variation of designs. It continued to flourish despite the oppression of the British Government. In India the powerloom sector is the dominant player in the weaving process. It contributes more than 60 percent of the total textile production. The powerloom units are meeting the textile products required for the domestic market as well as for the export of the same. Against this backdrop this article dwells upon the history of the handloom and powerloom industry in India in general, and Odisha in particular. This article is based on only secondary data.

Intro -- Preface -- Acknowledgments -- Contents -- 1: Introduction -- 1.1 The Gem of Central Asia -- 1.1.1 Contributions to Science -- 1.2 Central Asia and Uzbekistan in the Works of Ancient Authors -- 1.3 Location -- 1.4 Nature -- 1.4.1 Climate -- 1.4.2 Temperature -- 1.4.3 Solar Radiation -- 1.4.4 Precipitation -- 1.4.5 Climate Change -- 1.4.6 Flora and Fauna -- 1.4.7 Flora -- 1.4.8 Fauna -- 1.5 History -- 1.6 The Revival of the Great Silk Route -- 1.7 Common Resources, History, and Future -- References -- 2: Historical Geography -- 2.1 State Building -- 2.1.1 Ancient History -- 2.1.2 Medieval Development -- 2.1.3 Colonization -- 2.1.4 The Soviet Period -- 2.1.5 Independence -- 2.2 Governance -- 2.2.1 Government -- 2.2.2 The Electoral System -- 2.2.3 After Karimov -- 2.3 Cultural Geography -- 2.3.1 Historical Roots -- 2.3.2 Cultural Life -- 2.3.3 Religion -- 2.3.4 Gender Issues -- 2.3.5 Education -- 2.3.6 Music -- 2.3.7 Theater -- 2.3.8 Literature -- 2.3.9 Newspapers and Magazines -- 2.4 Architecture -- 2.4.1 Ancient Monuments -- 2.4.2 Modern Architecture -- 2.5 Food -- 2.5.1 Bread Is Sacred -- 2.5.2 The Tea Ceremony -- 2.5.3 Uzbek Cuisine -- 2.5.4 Fruit and Vegetables -- 2.6 Clothing -- 2.7 Traditions and Rituals -- 2.7.1 Weddings -- 2.7.2 The Birth of a Child -- 2.7.3 Consecration of the Mother -- 2.8 Holidays -- 2.8.1 New Year -- 2.8.2 Navruz -- 2.8.3 Religious Holidays -- 2.9 Arts and Crafts -- 2.9.1 Cold Steel from Fergana -- 2.9.2 Gold Embroidery -- 2.9.3 Carpet Weaving -- 2.9.4 Embroidery -- 2.9.5 Ceramics -- 2.9.6 Silk Fabrics -- 2.9.7 Copper Embossing -- 2.9.8 Wood Carving -- References -- 3: Geography of Resources -- 3.1 Global Geological Processes and Geology of Uzbekistan -- 3.1.1 Geological Evolution of Asia -- 3.1.2 Geological Evolution of Uzbekistan.

The textile trade between Africa and India dates back to ancient times and is rooted in India's rich heritage of textile production. India has been a significant player in African textile markets since 3000 BCE. The recognition of indigo-dyed clothes as "nīla" traced back from wrapped mummies in Egypt nearly into archaeological excavations at sites like Ingombe-Ilede in Zambia during the 14th to 15th centuries and was renowned for its superior quality as addressed by several Arab travelers. In modern times iconic Indian textiles are known for their superior quality and dynamic designs and are identified as "Kanga," "Kitenge," "Bleeding Madras," and more. This research aims to find the cross-cultural connectivity through textiles by understanding the pattern from manufacturing to exports from ancient to contemporary times. Methodologically this research relies on a combination of primary sources including travel diaries, collective data gathered from colonial records, and reinterpretations of historical works alongside contemporary scholarly literature. The findings reveal the hold of Indian textiles over African markets since ancient times and the challenges faced by Indian traders in contemporary times. This study contributes to existing knowledge by giving comprehensive information about textile complexities of spinning, weaving, dyeing, and printing techniques, which have been preserved through centuries, especially for African markets. This research aims to offer valuable insights into conservation policies and practices that are crucial for safeguarding the identity of Indian textiles within an African context.