Rozprawy doktorskie na temat „1893-1972”

Le parcours d’Arkadiï Plastov est un exemple original au sein du système artistique soviétique. Fils d’un peintre d’icône, il est élevé dans un village de la Volga. Avant de devenir le peintre de la campagne qui a fait sa notoriété en Union soviétique, il apprend l’art à Moscou dans les institutions d’ancien régime, se formant tout particulièrement à la sculpture et ignore parfaitement le langage des avant-gardes. Il se fait un nom en tant que peintre dans la capitale en 1935 au moment où s’élabore la méthode artistique du réalisme-socialiste et réalise des compositions monumentales pour les expositions de la seconde moitié des années 1930. Au sortir de la Seconde Guerre mondiale, il reçoit le Prix Staline parce qu’il représente l’identité russe dans ses toiles et est aussitôt après nommé académicien. Parallèlement à cet aspect officiel, un autre fil le conduit à peindre portrait après portrait les paysans de son village. Il s’élèvera dans les années 1960, au moment où perceront de nouveaux courants sur la scène artistique moscovite, pour défendre le réalisme parlant ainsi pour toute une génération d’artistes convaincus de leurs choix. Il est pourtant relativement mis à l’écart à plusieurs reprises par la critique, parfois aussi par ses confrères et qualifié de peintre-paysan
Arkadiï Plastov’s career is atypical for an artist in the Soviet system. Born son of icon painter, Arkadiï Plastov grew up in a small village on the Volga. Before becoming one of the most celebrated painters of the Russian rural life, Plastov studied fine arts on the pre-Revolution curriculum in Moscow focusing mainly on sculpture and fully unaware of the Avant-Garde’s esthetic language. He became a prominent painter in the capital in 1935 creating monumental pieces for exhibitions inthe second half of the 1930s, at a time when the socialist-realism style and theory were being developed. After the Second World War, he received the Stalin Prize for depicting the Russian identity in his painting and became a member of the fine art academy. In parallel to his art work for exhibitions and other official requests, he continued to document the life in his village through numerous portraitsof mujiks. In the 1960s when new styles and theories were appearing and questioning the socialistrealism, Plastov stood up to defend a doctrine he and many artists of his generation had embraced. Despite his fame and status, he was often targeted by critics and set aside as a painter of peasant life

Pour un producteur d'aluminium, implanter une usine est un acte essentiel. Comment pechiney a-t-il choisi les sites de ses usines productrices de metal ? pour bien saisir le probleme pose au producteur, il faut d'abord connaitre les principaux rouages de la production d'aluminium ainsi que leur evolution depuis 1893, naissance de la premiere usine jusqu'en 1972, terme de ce travail. C'est l'objet de la premiere partie. Pour comprendre tout ce que le choix d'un site d'electrolyse implique et pour saisir l'evolution du type de site choisi, nous avons analyse quatre cas reels. Chacun represente une periode caracteristique dans le developpement de la production d'aluminium. Les cas etudies sont : la praz pour la periode 1893-1921, champagnier 1922-1939, edea 1945-1958, eastalco-p. N. L. 1959-1972. Ces etudes nous ont permis de determiner les criteres du choix des sites. Ce sont d'une part les : principaux composants du prix de revient de l'aluminium, electricite, position logistique, et d'autre part les risques courus : risques politiques, monnaie, droits de douane etc. Nous avons examine le bilan des sites etudies et dresse le palmares des durees de vie des sites edifies par pechiney. En conclusion nous brossons le cadre strategique de l'aluminium : l'aluminium et l'espace, l'aluminium et le temps, l'aluminium et les hommes. L'espace c'est la position logistique, le temps c'est le temps long. Pour les hommes nous avons dresse le profil de ceux qui ont compose les "sommets strategiques" successifs
Deciding on the location of a smelter project is a very critical point for any aluminium company. How did pechiney select its smelters locations ? to have a sound view of this strategic problem, one needs to know the main features of the aluminium smelting business as well as their evolution since 1893, the start-up date of the first smelter, up to 1972, the end of this survey. That is the first part of this thesis. In order to get a clear understandig of the many factors involved in the selection of an aluminium smelting site and of the evolution of the typical location over time, we have presented four examples illustrating the successive phases of development of the aluminium industry, i. E. La praz (1893-1921), champagnier (1922-1939), edea (1945-1958), and the couple eastalco- vlissingen (1959-1972). This study allowed us to determine the critical factors of site selection, which are on the one hand the main components of the smelting cost, i. E. Power and logistics, and on the other hand various potential risks such as politics, exchange rate and custom duties. We have made an evaluation of the performance and life time of these various sites. Eventually we broadly pictured the strategic constraints of the aluminium smelting industry : space as logistics, time as long run and people as an appropriate profile of salient managers

Following on the proposition that the history of Western thought is importantly constituted by a discourse of male-male pedagogic or pederastic relations stretching in narrative form, according to Allan Bloom, from the Phaedrus to Death in Venice, the deconstructive project of reading 'against the visible grain' has been mobilised in the interests of interrogating and unsettling what can only be defined as homophobic misreadings of Martin Boyd. Critical discursive practice, by the near-uniform imposition of a tacit censorship, has refused by means of erasure, silence and repression to reflect on Boyd from the perspective of sexual definition or same-sex love and desire, presumably in the belief that there are no interpretive consequences. In the process, an hypothesis of Boyd as himself mounting an act of social criticism by surreptitiously contesting conventional and hierarchical typologies of masculinity in the margins of institutionalised and popular hegemonic culture, seems to have escaped inscription in the canonical records. Martin Boyd's 'dividedness', 'doubleness', ambivalences and dichotomies point to a complexity that is not ultimately or ontologically resolvable. The Derridean 'de-sedimentation' modus operandi used here makes no claim to a relevatory hermeneutics of Hegelian essence. It does, however, utilise the various tropes of ambivalence, uncertainty, anxiety and incoherence — aspects of Boyd which may be correlated, perhaps, with his sense of the unheimlich or not being at home with himself or his environment — to reposition him in terms of his psychosexual constitution. In the process, the advocacy of aestheticism and pleasure for which he is recognised is found to be tempered and/or subverted by an overt recourse to the transgressive and 'decadent', elements irretrievably linked to his fetishization of the beautiful male body and his obsessive redeployment of the Hellenic ideal of manly love. The interpretive frameworks applied in the reclamation of the 'different' sensibility Boyd articulates by means of an alternately subtilized and strenuous challenge to sex/gender identity and behavioural norms encompass a field ranging from late nineteenth century theoretical discourse on homosexuality through to the intertextual influences of cultural innovators like Pater and Wilde. It includes reference to the literary strategies devised by Sedgwick to uncover deviance and 'erotic pathways'; it surveys the psychoanalytic hypotheses of Freud and Adler as relevant; and it pays heed to an aesthetics of the religio-erotic.

Doctor of Philosophy
Following on the proposition that the history of Western thought is importantly constituted by a discourse of male-male pedagogic or pederastic relations stretching in narrative form, according to Allan Bloom, from the Phaedrus to Death in Venice, the deconstructive project of reading 'against the visible grain' has been mobilised in the interests of interrogating and unsettling what can only be defined as homophobic misreadings of Martin Boyd. Critical discursive practice, by the near-uniform imposition of a tacit censorship, has refused by means of erasure, silence and repression to reflect on Boyd from the perspective of sexual definition or same-sex love and desire, presumably in the belief that there are no interpretive consequences. In the process, an hypothesis of Boyd as himself mounting an act of social criticism by surreptitiously contesting conventional and hierarchical typologies of masculinity in the margins of institutionalised and popular hegemonic culture, seems to have escaped inscription in the canonical records. Martin Boyd's 'dividedness', 'doubleness', ambivalences and dichotomies point to a complexity that is not ultimately or ontologically resolvable. The Derridean 'de-sedimentation' modus operandi used here makes no claim to a relevatory hermeneutics of Hegelian essence. It does, however, utilise the various tropes of ambivalence, uncertainty, anxiety and incoherence — aspects of Boyd which may be correlated, perhaps, with his sense of the unheimlich or not being at home with himself or his environment — to reposition him in terms of his psychosexual constitution. In the process, the advocacy of aestheticism and pleasure for which he is recognised is found to be tempered and/or subverted by an overt recourse to the transgressive and 'decadent', elements irretrievably linked to his fetishization of the beautiful male body and his obsessive redeployment of the Hellenic ideal of manly love. The interpretive frameworks applied in the reclamation of the 'different' sensibility Boyd articulates by means of an alternately subtilized and strenuous challenge to sex/gender identity and behavioural norms encompass a field ranging from late nineteenth century theoretical discourse on homosexuality through to the intertextual influences of cultural innovators like Pater and Wilde. It includes reference to the literary strategies devised by Sedgwick to uncover deviance and 'erotic pathways'; it surveys the psychoanalytic hypotheses of Freud and Adler as relevant; and it pays heed to an aesthetics of the religio-erotic.

Il s'agit, a partir des concepts girardiens de mimesis et de bouc emissaire, de construire un modele pertinent aussi bien du cote de la psychologie que de la sociologie. Parti de la litterature, comme girard, nous faisons travailler ses concepts dans les domaines psychologique et sociologique, mais aussi erotique, esthetique, religieux et politique. Concurremment avec le besoin sexuel central chez freud, et le besoin alimentaire et economique central chez marx, on peut, a partir de girard et diel (d'alfred adler aussi), montrer que le lien social est largement fonde sur le besoin d'estime. Ce besoin, sous sa forme saine (agape), et sous sa forme malsaine (mimesis), determine les modalites du lien social au plan sexuel comme au plan economique; il rend compte aussi de comportements comme la vanite, l'accusation injuste, la jalousie ou la violence, au niveau de la personne, comme l'esprit de caste, le totalitarisme, le manicheisme, l'integrisme, au niveau du groupe. A contrario, l'harmonie, l'amitie, l'amour, le socialisme, se trouvent definis comme un echange d'estime (un potlatch) libre et equilibre. Par un retour aux sources, nous trouvons chez son fondateur, pierre leroux, une definition du socialisme conforme a ces conditions d'equilibre : une forme de lien social base sur l'egalite, mais aussi sur la fraternite et la liberte.

The objective of this research was to examine whether the United States and Canada have successfully implemented their Great Lakes Water Quality Agreement and to identify the factors determining the continuation of any injury to human health from pollution of the boundary waters. The Agreement was first negotiated in 1972 as part of the legitimation of the social unrest of the 1960s and gave special responsibilities to the International Joint Commission to advise the Parties of problems of water quality. It has been subject to periodic review and occasional renegotiation and amendment. Specifically, the Agreement was renegotiated in 1978 to address the health effects from the imperceptible exposures to persistent toxic substances. Though extensive scientific evidence of continuing injury to health from persistent toxic substances has been available, there has been a consistent pattern of deliberate failure by the authorities to report the injury and to implement many of the remedial provisions contained in the Agreement. The thesis claims that the failure of the International Joint Commission to advise the Parties of the new information about the injury to health and the failure of the Parties to act upon the information when it was obtained from other sources constituted dereliction of duty. While synthesis of the science linking the pollutant-induced injury to specific causal agents was necessary to provide an empirical measure of the failure to implement the Agreement, consideration of the social, economic and political aspects was needed to provide a sufficient explanation for the failure of the International Joint Commission to inform and of the authorities to act. There have been active attempts to use diversionary reframing of the Agreement, based on a multi-causal ecosystem theory proposed by fisheries ecologists, to attenuate the risk message and transform the Great Lakes Water Quality Agreement into a more inclusive and less focused agreement on restoring ecosystem integrity. This has been welcomed by industry and governments as a means to remove the focus from addressing the unresolved dangers of persistent toxic substances through costly remedial actions. The International Joint Commission undermined its credibility when it recommended ‘sunsetting’ the use of chlorine in chemical manufacturing. The Parties failed to use a precautionary approach to prevent the commercial introduction of new persistent toxic substances, such as the brominated flame retardants. Since the 1980s, the economic politics of the two nations have been profoundly influenced by neo-liberalism and one of the consequences has been the removal of environmental health as a priority from the respective political agenda. Advisory bodies seem to have been captured not only by the prevailing neo-liberalism but also by corporate interests and these factors seem to underlie the reluctance to report the injury to health from exposures to persistent toxic substances. Though there were many different health endpoints affected by exposures to water pollutants in the Great Lakes, the thesis concentrated on the evidence of neuro-teratogenic effects. The adequacy of the implementation of the Agreement during the past thirty-three years was tested by using Health Canada data on cerebral palsy hospitalisation to evaluate whether there were indications of previously undetected outbreaks of congenital Minamata disease in human populations in Canadian Great Lakes communities potentially exposed to methyl mercury from natural sources or from historic industrial uses of mercury. The uncertainties in the apparent association that was found were reduced by the application of Hill’s guidelines. While these findings indicated both the need for further multi-disciplinary research to locate and diagnose the victims and for a precautionary approach to the consumption of Great Lakes fish, they also indicated that, for more than three decades, health authorities have not diligently implemented the Agreement. The inclusion of the social, economic and political considerations in the forensic audit has revealed the dangers inherent in any renegotiation of the Great Lakes Water Quality Agreement.

O poema icônico de T. S. Eliot The Waste Land, publicado em 1922, é indiscutivelmente o texto principal de poesia moderna em inglês. Eliot residia em Londres no momento da sua composição, e embora o poema contenha numerosas citações literárias e culturais, The Waste Land não é considerado como tendo sido influenciado por nenhum dos poetas ingleses que foram contemporâneos de Eliot. Pelo contrário, o poema é tido como um afastamento radical e uma reação contra, a poesia inglesa escrita antes e durante a Primeira Guerra Mundial (1914-1918). Neste artigo, eu argumento que The Waste Land contém ecos da obra dos poetas ingleses Harold Monro e Herbert Read, ambos os quais conheciam Eliot bem. Olhando retrospectivamente a partir de 1922, tendo The Waste Land como meu texto modernista base e ponto de partida crítico, eu conduzo uma reavaliação da cena poética inglesa do período 1910- 1922, a partir dos Georgian Poets do pré-guerra até o aparecimento, no pós-guerra, da obraprima de Eliot. Ambos Monro e Read foram influenciados pelo movimento radical 'Imagism' de Ezra Pound, que formou um elemento central na cena da poesia progressiva de Londres nos anos que antecederam a guerra. Portanto, utilizo ambos The Waste Land e os experimentos 'Imagist' de Pound como modelos de prática modernista através dos quais comparar e contrastar a obra dos Georgian Poets (especificamente Wilfrid Gibson), a poesia produzida durante a Primeira Guerra Mundial, e a obra de Monro e Read. Os princípios orientadores da minha abordagem analítica são dois: em termos de prática poética, eu avalio o trabalho de Eliot e seus contemporâneos, comparando as suas abordagens quanto à forma, a fim de demonstrar como a forma poética não apenas define o conteúdo, mas também revela mudanças nos valores culturais. Em segundo lugar, minha abordagem teórica é baseada nos conceitos mutantes da função estética da poesia, buscando demonstrar como valores estéticos estão historicamente relacionados a, e determinam, a produção e a recepção da poesia, expondo como os experimentos modernistas de Eliot e Pound estão historicamente relacionados com princípios estéticos românticos.
T. S. Eliot’s iconic poem The Waste Land, published in 1922, is indisputably the key Modernist poetry text in English. Eliot was living in London at the time of its composition, and although the poem contains numerous literary references, The Waste Land is not thought to have been influenced by the poetry of Eliot’s English contemporaries. On the contrary, the poem is regarded as a radical departure from, and reaction against, the English poetry being written before and throughout the Great War (1914-1918). In this paper, I argue that The Waste Land contains echoes of the work of English poets Harold Monro and Herbert Read, both of whom knew Eliot well. Looking back retrospectively from 1922, with The Waste Land as my exemplary Modernist text and critical starting point, I carry out a reassessment of the English poetry scene from 1910 to 1922, from the pre-war Georgians to the post-war appearance of Eliot’s masterpiece. Both Monro and Read were influenced by Ezra Pound’s radical ‘Imagism’ movement, which formed a central plank in the progressive London poetry scene in the years leading up to the war. I therefore employ both The Waste Land and Pound’s ‘Imagist’ experiments as models of Modernist practice by which to compare and contrast the work of the Georgians (particularly Wilfrid Gibson), the poetry produced during the Great War, and the work of Monro and Read. The guiding principles of my analytical approach are twofold: firstly, in terms of poetic practice, I evaluate the work of Eliot and his contemporaries by comparing their approaches to form, assessing how poetic technique both defines content and offers insight into shifts in cultural values; secondly, my theoretical approach is based on changing concepts of the aesthetic function of poetry, revealing how aesthetic values are historically relative to, and determine, the production and reception of poetry, ultimately exposing how Eliot and Pound’s Modernist experiments are historically related to Romantic aesthetic principles.

Dans cette thèse de doctorat on étudie la carrière et les films «américains » de cinq cinéastes, d'origine germanique, qui ont immigré aux États-Unis et à Hollywood plus particulièrement pendant les années 20, et qui ont influencé significativement les formes cinématographiques américaines, en portant parallèlement un regard différent, parfois critique et même un-American, sur la société, sur les tabous et sur les codes moraux du pays d'accueil. L'émigration européenne vers les États-Unis est, historiquement, un fait constant. Depuis toujours l'Amérique et Hollywood, depuis sa naissance, ont exercé une grande fascination sur les Européens. Dans le cadre de son désir pour une forme (Kunstwollen), exprimé par une politique offensive de « recrutement » pendant les années 20-30, le cinéma américain a tenté d'attirer les meilleurs réalisateurs, scénaristes et techniciens du cinéma allemand, afin de s'imposer sur le marché européen et affaiblir les cinématographies antagonistes, mais aussi pour y introduire une qualité plus artistique. En examinant les raisons diverses de ce phénomène, ce permanent stream, comme les Américains eux-mêmes le caractérisent, on peut dire qu'il existe plusieurs cinémas de l'exil et de la migration; probablement un pour chaque cinéaste immigrant. Cependant, dans cette étude, on a décidé de limiter le champ d'étude aux œuvres hollywoodiennes de cinq cinéastes: celles d'Erich von Stroheim, d'Ernst Lubitsch, de Josef von Sternberg, de Michael Curtiz et de William Dieterle ; qui représentent cinq différents paradigmes des réalisateurs d'origine germanique, cinq différents cinémas de l'immigration. Autrement dit, on essaie d'examiner leurs visions d'Amérique, à travers l'étude de leurs films les plus personnels, leur imagerie et leurs systèmes de représentation, avant et après leur arrivée aux États-Unis. Il est donc utile d'adopter une perspective historique, sociologique et parallèlement esthétique, pour tenter d'approcher les formes et les thèmes de leurs œuvres.

A partir de 1870, le théâtre européen est saisi d'un intense besoin de réformes. Sous l'impulsion d'une nouvelle génération de théoriciens et de scénographes un mouvement s'initie. Il mènera à l'émergence du metteur en scène. Envisageant la mise en scène comme une « suggestion de rêve à base tangible », Adolphe Appia fixe dans La Musique et la mise en scène les prérogatives du régisseur, devenu chef de l'orchestre scénique. En 1905, à Berlin, Max Reinhardt pose les fondations d'un empire théâtral qui rayonnera sur l'art Allemand jusqu'au début des années 1930. Innovant, expérimentant, exploitant les possibilités offertes par le progrès technologique, Reinhardt concrétise le concept d'orchestration scénique, la Kapellmeisterregie.Ce travail de recherche est consacré à l'élaboration d'un vaste continuum déterminé par un principe de transposition intermédiale liant théâtre et cinéma, et l'Europe à Hollywood. S'élaborant en fonction des notions de mouvement et de rythme, cette étude envisage la perpétuation au sein du cinéma américain de principes scénographiques développés par Adolphe Appia et Max Reinhardt. A ce titre, les œuvres de William Dieterle, Michael Curtiz, Vincente Minnelli et Otto Preminger apparaîtront comme d'hypothétiques ramifications d'une vision de la mise en scène dont le spectacle cinématographique hollywoodien serait l'un des aboutissements
Since 1870, European theatre has been in need of a wide range of reforms. A new movement was started with a new generation of theoreticians and scene designers which lead to the emergence of a director. Adolphe Appia, who envisaged directing as a “suggestion of an obtainable dream” established in La Musique et la mise en scene the director's rights in front of the set choreographers. In Berlin in 1905, Max Reinhardt laid down the foundations for a theatrical empire which would later go on to influence German art in the early 1930s. With the aid of new, continuously developing technology, Reinhardt set in stone the concept of scenic orchestration, the Kapellmeisterregie. This thesis is devoted to the development of a comprehensive continuum determined by a principle of intermedial transposition linking theatre to cinema, and Europe to Hollywood. Developing on the concepts of movement and rhythm, this study considers the perpetuation within American cinema in scenic principles developed by Adolphe Appia and Max Reinhardt. As such, the works of William Dieterle, Michael Curtiz, Vincente Minnelli and Otto Preminger appear as hypothetical ramifications with a vision of staging a show in which a Hollywood film would be one of their aims

碩士
國立清華大學
台灣文學研究所
106
Entitled “The Study of ZHANG LI DE-HE’s Cross-border Activities and Interpersonal Networks” ,this thesis understands the role and interpersonal relationship network in the community activities through a complete review of ZHANG LI DE-HE and the community activities. Through the network diagram of the interpersonal relationship organized in this paper, the background factors of her extraordinary achievements in her life are explored. Throughout the current research on ZHANG LI DE-HE, we can find that its research perspective mainly focuses on her artistic achievements, life aesthetics or his relationship with the literary and philosophical, and the development of the life process and the expression of poetry in the writer's personal life. However, in addition to his literary achievements, ZHANG LI DE-HE and her ceremonies have also performed quite actively in the fields of horticulture, politics, and social welfare. From her cross-border activities as a starting point to further enlarge the friendships and friends. The network of friends is an important basis for her participation in social activities, and this particularity is also more conspicuous because of her female identity. So the paper begins with its family background to explore how ZHANG LI DE-HE is so active? What kind of capital does the original family and the marriage family give, so that they have the opportunity and interact with the literati community? Secondly, through combing the various community activities in which they participate, explore the background factors of their participation, understand ZHANG LI DE-HE 's role in social activities and how to gradually develop interpersonal relationships and build her own social networks. Finally, the friends in these communities are completely connected in series, and the social network analysis method is used to draw ZHANG LI DE-HE 's interpersonal network map to understand the interpersonal network that supports her enthusiasm in society. In addition to seeing more moods in the face of turbulent society in ZHANG LI DE-HE 's poems, I also tried to use the methods of literary sociology to explore the connections between ZHANG LI DE-HE and the people established in different periods to establish his literary, cultural and social activities. What kind of foundation, and by combing the appearance of friends in the response to poetry, can understand ZHANG LI DE-HE from a more perspective.

碩士
國立臺北藝術大學
美術學系碩(博)士班
105
Entitled “Researching The Painting Achievement of Ms. Luo Shan Chang Lee Te-Ho (1893-1972) in Period of Taiwan Governor-General Office Exhibitions of Fine Arts (1938-1943),” this study analyzed Chang Lee’s artistic importance in painting of the Japanese Rule and what her achievements mean to Taiwan’s contemporary painting community, by looking at her personal creative experiences, the focuses and characteristics of the Governor-general Office Fine Arts Exhibition, the regional culture of Luoshan (Chiayi), and Chang Lee’s social status as a much respected lady. Presently, most of the studies on Chang Lee are about her life and painting experiences, praising her works via aspects such as family background, talent in Han poetry, and ethics held as a learned woman. As opposed to such, this study listed the following four highlights, “a Toyoga painter excelling in poetry, calligraphy and painting,” “Chang Lee Te-ho’s artworks displayed at the Taiwan Governor-general Office Fine Arts Exhibition and the era’s wartime characteristics,” “how Chang Lee Te-ho established her reputation in the art and cultural scene during the Japanese Rule and the regional culture of Chiayi (Luoshan),” and “gender awareness in Chang Lee Te-ho’s paintings,” to re-examine Chang Lee Te-ho’s creative experiences and the meaning of her works of the Japanese Rule, and to further conclude her painting achievements. First, the study examined the education which Chang Lee Te-ho received – intellectually and artistically, she was influenced by Han, Japanese and Western cultures. This was for specifically explaining “contemporarity” in Chang Lee’s paintings. Then, considering Chang Lee Te-ho’s knowledge of Han Chinese studies and wartime circumstances, this study analyzed how special the painter was at the Taiwan Governor-general Office Fine Arts Exhibition, and specified the characteristics of her works displayed at that exhibition. Thirdly, the essay delved into how Chang Lee’s reputation grew from “personal” to “regional” and then finally to “island-wide,” and reflected upon the factors which might have enabled her to secure a high social status in Chiayi. The fourth is, Chang Lee Te-ho was first a student, a talented female artist, and then the leader of the Baojia Women’s Group during the Japanese Rule. The essay examined the type of gender awareness which Chang Lee’s paintings express, as the painter’s roles changed, in addition to the femininity she possessed. Lastly, the study made a conclusion on Chang Lee’s achievements in painting, and found a proper position for her in Taiwan’s fine arts history. Through the aforementioned research concentrations and results, the study is expected to gain the following research contributions: (1) Adding “contemporarity” to the studies of “tradition” in Chang Lee Te-ho’s paintings. (2) Exploring more views for the studies of the Toyoga Painting Division of the Taiwan Governor-general Office Fine Arts Exhibition which promoted war paintings during the Japanese Rule. (3) Introducing aspects such as Chiayi’s regional cultural influence to the studies of Taiwan’s contemporary fine arts history. (4) Offering new comparisons to related studies on Taiwanese female painters of the Japanese Rule.

This internship project’s main theme is centered around contemporary Portuguese Glazed Tilework and the different approaches to the handling and display of its panels when relocated from their point of origin to a museological setting. It describes the process of restauration of three glazed tile panels one authored by João Segurado, another by Almada Negreiros and a small panel comprised of ceramic tiles from the early 16th century. This study focused itself toward the understanding of problems related to the materials or support structures and how they interact with the tiles, more specifically regarding deterioration. Through this investigation it became clear that a further study of these support structures’ materials was needed, so as to not compromise the integrity of the tiles. This was achieved through a combination of both the use of scientific analysis and historic heritage research. As a result, at the end of this internship, it was possible to grasp the complexity of the work the professionals go through at the laboratory of restauration and conservation of art at MNAz. Furthermore it allowed for a better understanding of the finer details of displaying works of art to the public, while both maintaining its educational facet and promoting its aesthetic experience. The knowledge acquired in this period made this internship a unique learning opportunity that provided invaluable professional growth