 Rydyлаeth ar y cyfle cyffredinol a fynd o'r cyffredinol bethau llunio. Mae cyffredinol y byw sy'n gwneud y by hyffredinol ddim yn oed gyda'r cyffredinol, atbar briefing o'r cyffredinol ddim yn y dyrfa yn yr cyffredinol. Ond ydych chi'n meddwl y cyffredinol â'r cyffredinol yn oedicksiaid y gallwn. Merthlus, mae'r sefyll fwynhau, o'r praktau hystorol ac o'r llwyddoedd o'r llwyddoedd, ond ydych chi fod yn cymryd ymddangos i ffordd o'r cyfnoddau yn ymddangos cymryd cymryd yn y Gwechyrroman yw. Rwy'n gweithio yw'r peth yn ei ddweud, bydd eich cymryd o'r llwyddoedd o'r llwyddoedd ac mae ddweud o'r llwyddoedd o'r llwyddoedd o'r llwyddoedd o'r llwyddoedd, oedd o'r llwyddoedd a'r llwyddoedd a'r cyfnodd yn gwneud y byddai'r ysgol a'r byddai'r twil. Felly, mae'r cyfnoddau yma yw'r cyfnoddau'r cyfnoddau'r byddai'r twil. Mae'r gilydd yma yma yn ymgyrch yn gweithio'r twil, yw'r twil a'r twil yn gweithio'r twil a'r hynny'n cyhoedd. Mae'r hyn yn cael ei ddweud i'r cyfnoddau'r twil. Felly, mae'r cwmwysau ar y cwmwysau ar y rachnau a'r minnwyr yn yw'r wneud yw'r gweithio'n gweithio. Mae cyfwilio'r cyflwyno ar y cwmwysau a'r dynafolodau'n gwneud yw'r cyflwyno a'r cyflwyno'r gyflwyno'r cyflwyno. Mae'r cyflwyno a'r gwneud yn ei gweithio'r cyflwyno'r gweithio'r gweithio'r cyflwyno'r cyflwyno. ac i'r ddweud ydych chi'n meddwl ar y swaf beth yw grŵn a'r rŵn. O ran y ddweud ac'r cyfrolygiadau, dyna yw y cwmhlet o'r fawr, yw yw'r weaver yn ei gyfrolygiad o'r wefan o'r bwysig oedd yw'r wath, oedd yw'r weaver a'r byw yn ei ddweud o'r gwybwysig o'r wyf. Ond maen nhw'r cychwynnig i gweithio y tŷl yn ddiwethaf i'r ffwrdd gyrfa. Mae'r cychwynnig i ddweudio'r ffwrdd, ysgiliau a'r tyfu cychwynnig sy'n gweithio'n gweithio'r ffwrdd gyrfa'n cael ei chael. Mae'n cael ei chlas, efallan, yn y cofnod i'r byw. Felly, yn y pwysig cychwynnig i gweithio'r ffwrdd gyrfa'n gweithio, there is actually little to indicate any specific emotional or otherwise connection between user and tool. One rather gets the impression that any well-functioning tool would be as good as another. This literary emphasis on user-tool engagements as determined by functionality can be related back to the archaeological evidence, evidence that explicitly privileges functionality ac ydych chi'n gynhwysu hwn yn y bwysig. Yn y rhesyn o'r cyfnod o'r cyfrifiadau yn Llandon Cwbryd, mae'r tîm yma, Alberti eich cyfrifiadau fel cyfrifiadau graffito yn ddod o'r cyfrifiadau ymrhefn. Tym ni'n cyfrifiadau arnyn nhw, Alberti eich cyfrifiadau yn ddod o'r cyfrifiadau bwysig neu o'r cyfrifiadau yn dylwydol i ddod i gynwylliant. y bydd y gallu cyflawni'r pethau yn ymgyrch o'r hollau'n cyflawni'n cyflawni'n cymhysgol. Felly oes i fynd, y ffuncionallau, mae'r prinsbwr yw'r twnag, oedlau yn y rhan o'r materio arall i gael. Ond yw'n mynd i, Arbethys oedd y cwynhau ar ddod yn cyfprudio yn ymgyrchol â'r fforddau cyfeirio'r hynny, sy'n ddod yn ymgyrchol o'r fforddau cyfprudio'n gyrraeth. Yr fforddau o'r fforddau yma yn ymgyrchol yn y byddolol, a ddod yn lyth yn ymgyrchol, bydd hynny'n ddod yn ymgyrchol, i ddod yn ymgyrchol iawn, ac yn ymgyrchol iawn, a all Launcheróa'r sydd y identifiedd y Lywodraeth gyda dwybr ar y cyfrif gweithio'r ysgrifennant. Felly, mae'n gweithio, sy'n tregyn nhw'n myfyrdd ei wneud hynny i'i gydag ofaniadau yn y sefydliadau llifibolol. Mae'n rhoi nefyd, mae mae'n llifibol naddillodau eich llifibol yn gwag admiddol yn y gwaith â'i gweithio. was also perceptible to people around them. Two texts, interestingly, connect this specifically to useware traces. The first such instance appears in Claudian's late antique mythological epic on the rape of prosopine. After prosopine has been captured by Pluto, her mother's series searches for her in their empty home and finds only her daughter's abandoned loom. To series, the abandoned tools represent her daughter's talent and promise, and they evoke an emotional response by being hand-worn at Tiritoscu and Manu radios, and by being scattered about as if in play. The useware on prosopine's radii seems mainly to establish that they belong to her. The emphasis so to speak is on her hand rather than on-worn, and that she used them in her charmingly childish way, so that series's viewing and handling of them in turn brings her closer to her missing daughter. However, Claudian's reference to prosopine's handling of her tools has intertextual dimensions that go unnoted by series, connections to other tool describing texts. These texts, and I'll go into them presently, are at odds with series's perception of prosopine as a vulnerable child and rather cast her as someone who willingly abandles her loom for more satisfying pursuits. The designation of prosopine's tools as hand-worn has, as far as I'm aware, only a single parallel. That is a second century CE fictional epigram of dedication in Greek written for a Roman audience. This epigram, you'll have it on the slide, lists textile tools dedicated to Athena. Initially they are given positive associations. The Pindita, the Kerkis, sings like morning birds, the weaving sword, softly smooths the warp, and the comb orders the fibres well, all evoking a pleasant enough well-working setup. Gradually, the text establishes a relationship between the tool and the user. The spindle is Daktilotrypton hand-worn in line three, a term that posits long-term handling, and the wool thread in the basket has been cleaned by the spinner's teeth. From line four onwards, we see with the spinner's eyes, the spinner becomes the focaliser. Only she can perceive the spinning, the swimming motion of the spindle as it fills with wool. And in line five, word order extends that focalisation, the spinner's tooth pulls tufts off the thread before it lands in the basket. We follow her eyes from the tooth to the wool landing in the basket. So far, the tool-user relationship seems both reciprocal and productive. The final line, though, changes our perspective. As the craft's woman is named as bowed with age Isinwyr, the tools are called a gift of her poverty. So she has only been able to eik out a meager existence by her craft. Reading back again then, the mention of useware reflect Isinwyr's age and her long weary hours of work, something that in literary terms is picked up again by the illusion to her biting off unevenesses in the thread with her teeth. In literary texts of this period, that is something that old women do. So when the text is focalised through Isinwyr herself, the tools are associated not with her skill as a craft's woman, but with her limited ability to support herself. These texts on hand-worn tools are intertexturally linked to a larger series of Greek epigrams, where textile craft people define their tools as a means to make a humble living. There are seven dedicatory epigrams in the Greek anthology that mention textile tools in this context, ascribing to tool-users attitudes that vary from the resentful and the restless to the trustful. As you can see here, some epigrams juxtapose the drudgery of textile work with a quick and easy money to be gained by prostitution. Here a woman called Nicareta describes her tools as hunger-bringing works that steal the flower of her youth, implying that textile work is endlessly time consuming yet never yields sufficient income. Though these epigrams may reflect real professional choices available to poor women, they also tap into illiterate topos of disgust for women that are old and yet want to be sexually active. That is widespread in both Hellenistic and Roman literature of the time. And that in turn hints that characters like Nicareta and Bito who defiantly reject their textile tools after having used them for a good long while, and who therefore cannot be young any longer themselves, are actually, when we read this text also from a literary perspective, set up ironically to fail in the new career as well. Poems of other genres also express a similar dependency mentioning women weaving on rented looms to support themselves by their skill despite not having space or equipment themselves. These women are consistently depicted as objects of pity. To connect to the likely future misfortunes of Nicareta and Bito and their sisters, two of those weavers working on rented looms are former prostitutes whose attractiveness has faded with age and left textile work as their only recourse. The juxtaposition of textile work and prostitution taps into another common cultural field of association for female textile work, that of moral virtue. Some tools focused epigrams imply that textile workers may be poor but they are morally good. This is also shown in that their familial connections define them, they are daughters. Even in those epigrams though, tools are a means to income. Here we have three young sisters dedicating their tools and they speak of the spindle as pros ergon translated here as laborious but also associating the spindle with a work, a task that is paid for on completion. So here too there is that direct connection to the generation of income. The dedication here is then concluded with a prayer to Athena for her continued support in securing a better standard of living. So in Greek epigram textile tools are nearly always related to women's ability to support themselves financially. In Hodder's terminology of entanglement the relationship between user and tools in these epigrams fits on a sliding scale from enabling dependence to dependency and indeed entrapment. There are parallels for these literary user attitudes to tools in the material record as well. A first century loom weight from Caesar Augusta bears an inscription linking textile, diligent textile work both to marital and material good fortune. Now the inscription is made before firing so it's likely authored for rather than by women weavers but at least here we can say with certainty that the audience is female and that it consists of weavers. Also the weaver here is made complicit in the attitude is expressed in the inscription as the syntax shifts through the inscription and increasingly grants agency both to the user and the tools. It reads and I love this so much it's absolutely brilliant. May she weave many webs so that she may find a good husband. Love the loom weights. We make happy unfortunate things. The direct association between textile work and status or even happiness as a wife is of course obvious in that first line but the word bonus used of the prospective husband and the formula falsa fel lichia do evoke material prosperity if not necessarily luxurious wealth. Again this is linked specifically to the tools so much so that the loom weights are given a voice. We make that we is the liberally ambiguous and refers both to the loom weights on their own and to the productive unit of loom weights and crafts woman working in consort. So to conclude when literary sources do mention textile tools user tool engagements are generally depicted as driven by functionality and need. Examples like the ones I've mentioned briefly here show that such attitudes also become evident in the material record. From this combination then of different types of evidence we can begin to piece together a more secure and certainly more rounded picture of ancient textile work coming perhaps a little tiny bit closer to lived experience. Thank you very much.