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Realia

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Realia is a term used in library science and education to refer to certain real-life objects. In library classification systems, realia are objects such as coins, tools, and textiles that do not easily fit into the orderly categories of printed material. In education, realia are objects from real life used in classroom instruction. The two meanings are closely related because of the support many types of libraries give to educational endeavors.
Contents
1 Education
2 Library science
2.1 Hair, Wool, and Silk
2.1.1 Compound Textiles
2.1.2 Preservation of Textiles
3 Notes
4 References
//
Education
In education, realia include objects used by educators to improve students' understanding of other cultures and real life situations. A teacher of a foreign language often employs realia to strengthen students' associations between words for everyday objects and the objects themselves. In many cases these objects are part of an instructional kit which includes a manual and is thus considered as being part of a documentary whole by librarians. In foreign language instruction, the term realia has a broader meaning, which includes photos of objects from a country where the target language is spoken, as well as objects from the target culture, which can range from traditional clothes or musical instruments to newspapers or ticket stubs.
Library science
In library classification systems, realia refers to three-dimensional objects from real life, whether man-made (artifacts, tools, utensils, etc.) or naturally occurring (specimens, samples, etc.), usually borrowed, purchased, or received as donation by a teacher, library, or museum for use in classroom instruction or in exhibits. Archival and manuscript collections often receive items of memorabilia such as badges, emblems, insignias, jewelry, leather goods, needlework, etc., in connection with gifts of personal papers. Most government or institutional archives reject gifts of non-documentary objects unless they have a documentary value. When accepting large bequests of mixed objects they normally have the donors sign legal documents giving permission to the archive to destroy, exchange, sell or dispose in any way those objects which, according to the best judgement of the archivist, are not manuscripts (which can include typescripts or printouts) or are not immediately useful for understanding the manuscripts.
Most libraries usually have a very well written, legally tight, acquisitions policy which rejects beforehand any object which is not some kind of document. There are some exceptions. Children's libraries sometimes have a toy collection, whose individual items are lent out after being cataloged as realia, or under a more specific material designation such as toy, or game. Some large libraries can have a special mandate of keeping objects related to a literary collection or very large libraries can have a public relations department which can find museum objects useful for enhancing or promoting the general collection. Such a library is more likely to prize realia for their associations with writers, subjects, or themes in the library's collection rather than for their own intrinsic worth, artistic merit, historical significance, or scientific value. Examples might include a feather pen believed to have been owned by John Hancock, lead type from Benjamin Franklin's printing press, or a collection of Vietnam era canteens, mess kits, uniforms, combat boots, etc. used in an "hands on" exhibit for children to illustrate the Vietnam Conflict.
Within the very restricted domain of cataloging rules in the field of Library and information science the term "realia" is used to describe those mass produced objects which incorporate documents or significant amounts of text (such as world globes, decks of quiz cards, board games), but which have a format which makes it hard to incorporate them in the general collection or to describe them easily in the catalog. Special cataloguing rules are available to describe these objects.
Objects of realia, due to their diverse and compound nature, pose unique preservation challenges for libraries and archives. Unlike books and other traditional library materials, the artifactual value of these materials is key. In fact, when such items are unaccompanied by written documentation, as is often the case, the intellectual value sought by most library collections is often uncertain.
e have a lot of hair, Saundra Taylor of the Lilly Library told The New York Times, explaining that realia such as locks of hair, toys, and inkwells, are often the unsolicited accompaniment to prized acquisitions of personal papers or book collections. Some libraries prize their realia, actively preserving and exhibiting it while others simply keep it out of light and hope for the best.
Often, realia are seen as a nuisance, difficult not only...(and so on)

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posted by xls115 on Jul 2, 2009 7:30 AM | 0 comments
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Kepi

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French Army kepi
The kepi is a cap with a flat circular top and a visor (American English) or peak (British English). The word came into the English language from French, in which it is written with an acute accent: ki. It can be translated as "small cap".
Contents
1 French usage
1.1 Modern usage
2 North American usage
3 Usage elsewhere
4 Non-military use
//
French usage

1942 portrait of Charles de Gaulle in the Free French Forces wearing a kepi.
The kepi was formerly the most common headgear in the French Army. Its predecessor originally appeared during the 1830s, in the course of the initial stages of the occupation of Algeria, as a series of various lightweight cane-framed cloth undress caps called casquette d'Afrique. These were intended as alternatives to the heavier, cloth-covered leather French Army shako. As a light and comfortable headdress it was adopted by the metropolitan (French mainland) infantry regiments for service and daily wear, with the less practical shako being relegated to parade use. In 1852, a new soft cloth cap was introduced for campaign and off-duty. Called bonnet de police visie, this was the first proper model of the kepi. The visor was generally squarish in shape and oversized and was referred to as bec de canard (duck bill). This kepi had no chinstrap (jugulaire). Subsequent designs reduced the size of the cap and introduced chinstraps and buttons. The kepi became well known outside France during the Crimean War and was subsequently adopted in various forms by a number of other armies (including the U.S. and Russian) during the 1860s and 1870s.
In 1876, a new model appeared with a rounded visor, as the squared visor drooped when dry and curled up when drying out. The model used in World War I was the 1886 pattern, which was a fuller shape incorporating air vents.
By 1900 the kepi had become the standard headdress of most French army units and (along with the red trousers of the period 1829-1914) a symbol of the French soldier. It appeared in full dress (with inner stiffening and ornamental plume or ball ornament) and service versions. Officers' ranks were shown by gold or silver braiding on the kepi. The different branches were distinguished by the colours of the cap - see the table. Cavalry normally wore shakos or plumed helmets, reserving red kepis with light or dark blue bands for wear in barracks. General officers wore (and continue to wear) kepis with gold oak leaves embroidered around the band.
In 1914 most French soldiers wore their kepis to war. The highly visible colours were hidden by a blue grey cover, following the example of the Foreign Legion and other North African units who had long worn their kepis with white (or more recently khaki) covers in the field. With the adoption of sky-blue uniforms and steel Adrian helmets in 1915 to replace the conspicuous peace time uniforms worn during the early months of war, the kepi was generally replaced by folding forage caps. Officers however still wore their kepis behind the lines.

French Kepis. From upper left to bottom right: French Army, French police (since replaced with caps), French Foreign Legion, Unrelated RATP hat, French Gendarmerie, French Army.
Following the war the kepi was gradually reintroduced in the peacetime French army. The Foreign Legion resumed wearing it during the 1920s; initially in red and blue and then in 1939 with white covers on all occasions. The bulk of the French army readopted the kepi in the various traditional branch colours for off-duty wear during the 1930s. It had now become a straight sided and higher headdress than the traditional soft cap. This made it unsuitable for war time wear and after 1940 it was seldom seen being worn except by officers. An exception was the Foreign Legion who, previously just one of many units that wore the kepi, now adopted it as a symbol.
Modern usage
The decision following the 1991 Gulf War to end conscription in France and to rely on voluntary enlistment has led to a smartening up of uniforms and the reappearance of various traditional items for dress wear. This has included the reappearance in the army of the kepi which is now widely worn by all ranks on appropriate occasions. The French National Police have however discarded their dark blue kepis, adopting a low peaked cap. The reason given was that the kepi, while smart and distinctive, was inconvenient in vehicles.

White kepi of the French Foreign Legion.
French customs officers (douaniers) and the Gendarmerie still wear kepis for normal duty. Within the army, particularly notable are the kepis of the French Foreign Legion, whose members are sometimes called Kis blancs (white kepis), because of the unit's regulation white headgear. Former cavalry units wear light blue kepis with red tops and silver braid (for officers) and...(and so on)

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posted by xls115 on Jun 26, 2009 4:24 AM | 0 comments
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