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the process by which several uniformly drawn threads are combined and then wound in parallel on a bobbin without twisting. Doubling is an auxiliary process in textile production, used to prepare thread for processing on twisters. In doubling, the thread is also cleaned of lint and waste, and the weak and overly thick sections are removed. The thread is cross wound on a cylindrical bobbin, which makes further processing easier.

Doubling is carried out on a doubler. The thread is wound off feed packages, the number of which equals the number of threads to be doubled, and passes over a guide rod. It then passes through a control and cleaning device, which consists of a tension device and two metal plates or blades that form a slit. The width of the slit selected depends on the nominal diameter of the thread; thus, thick sections of thread do not pass through the slit and break the thread. The tension applied causes the thread to break at weak points. The winding speed reaches 500 m/min.

In the production of twisted silk and chemical filaments, doubling is often accompanied by twisting and is carried out on a doubling-and-twisting frame. Spinning-and-twisting frames have been developed that combine the processes of spinning, doubling, twisting, and winding.


References in periodicals archive ?
The inventor asked for just a single grain of rice in the first square of the chessboard, two grains of rice in the second square, four in the third square, and so on, doubling the number of grains of rice for each of the 64 squares of the chessboard.
Doubling the number of grains of rice on each subsequent square of the chessboard led to big trouble for the emperor, because the 64th square required 264, or more than 18 quintillion, grains of rice.
The double, and the processes in which doubling becomes apparent or significant, are standard features of science fiction, action and horror cinema, from Invasion of the Body Snatchers (Don Siegel, 1957) to the Mantle twins in Dead Ringers (David Cronenberg, 1987), from James Whale's inspired double casting of Elsa Lanchester in The Bride of Frankenstein (1931) to the reproduction of characters as computer simulations in The Matrix (the Wachowski Brothers, 1999).
Doubling in such films has been theorised through psychoanalytic interpretation, structuralist analysis and post-modern cultural theory--each of these interpretative frameworks adduces to doubling a significance beyond mere (simple) repetition, reading it in relation to psychological (repressions, identities), structural (intertextual, generic) or cultural (representational, simulational) functions.
Doubling in cinema can be understood in part as an indication of a desire to see repetition displayed on and before the self that desires.
Self-consciousness, itself a form of doubling, becomes one of the mechanisms through which doubling is articulated.
Finally, there is within many of these texts a strange doubling of the slave and the enslaver.
Thus we see a sort of doubling in which an African American character, generally Bigger, becomes a double or stand-in for a white character, allowing the black character unconsciously to reenact and control a formerly uncontrollable situation.
A similar sort of doubling also takes place in which Bigger posits two Biggers--one who is in control of himself and one who is controlled by gothic terror: "There were two Biggers: one was determined to get rest and sleep at any cost; and the other shrank from images charged with terror" (237).
Though this doubling or identification between apparently disparate people and things allows Bigger at least an imagined control of his situation, there is another side to this projection.
King's findings, however, restrain him from doubling Boy and French Queen in Henry V or Weird Sister with Gentlewoman in Macbeth.
This doubling can be illustrated by flattening the cone after making a cut up the side from the distant point to the apex.