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This research is consecrated to Mussorgsky's famous cycle of character pieces, Pictures at an Exhibition. The author of this study examines, analyzes, and compares divergent perceptions about Mussorgsky's renowned cycle that have emerged among Mussorgsky scholars in Russia and abroad. Due to the fact that there is such an array of diverse viewpoints about Pictures at an Exhibition, some of which are conflicting or even contradictory, there is need to collect, expose, and discuss these findings. Therefore, the purpose of this study is to come to a better understanding of Mussorgsky's composition through a thorough examination of internal evidence and through studying the various insights presented by numerous Mussorgsky researchers. The discoveries shared by Western and Russian scholars will then help performers create a more authentic interpretation of Pictures at an Exhibition based on a solid foundation of knowledge. The other goal of this study is to introduce viewpoints and ideas shared by Russian researchers in the materials that are unavailable in English. These numerous findings shared by Russian scholars may help popularize and promote Mussorgsky's work among the non-Russian readers and performers, as well as introduce Russian perception about Mussorgsky's cycle. Another objective of this document is to study and analyze the composer's score markings, in order to draw performers' attention to this important link between a performer and the composer. Mussorgsky's detailed score markings represent a unique message, in which the composer gives direct and explicit instructions toward interpretation. Therefore, a wise performer would choose to pay close attention to these suggestions in order to create a meaningful performance.This document is organized in three chapters. Chapter I represents an overview of the life and traditions of Russian society in the 18th and 19th centuries; it describes the beginning of the nationalistic movement in Russian music and outlines some significant facts from Mussorgsky's life. Chapter II is dedicated to the genesis and structural analysis of Pictures at an Exhibition. Chapter III explores the divergent perceptions about Mussorgsky's suite expressed by Russian and Western researchers. Illustrations by Victor Hartmann and other Russian painters accompany this document as well as a many musical examples.

This paper breaks down my process of transitioning to a new environment through ethnographic documentation. Through the progression of my creative work, I explore the various ways in which I express my own internal feelings through my art. By expressing an alienation within a foreign country in a multitude of filmic ways, these depictions help illustrate my mental and physical journey. My work is informed by psychoanalytic theory and I am most influenced by Jacques Lacan and Sigmund Freud. These theories help me understand the human condition and how I create media art to help me come to terms with my surroundings. Another part of my influence is the genre of ethnographic film, and in my use of this style, I attempt to portray the isolation that I’ve experienced as an American citizen while living in Ankara, Turkey. Many contemporary artists have influenced my approach to the post-production treatment of my ethnographic footage such as David Lynch and the Propeller Group. In addition to a summary of these influences, I discuss the thesis exhibition and my plans for the future.

By entering this thesis was to create exposure Earthen Architecture in the fortress Rymice, resolving outdoor exposure with clay workshop. Outdoor space devoted clay consists of two main parts. These are the elements of clay production and exhibition features. The exhibition section consists of clay trails and glass showcases for exhibits, which form a linear streaks, and thus linking production and exposure space.

By entering this thesis was to create exposure Earthen Architecture in the fortress Rymice, resolving outdoor exposure with clay workshop. Outdoor space devoted clay consists of two main parts. These are the elements of clay production and exhibition features. The exhibition section consists of clay trails and glass showcases for exhibits, which form a linear streaks, and thus linking production and exposure space.

Architectural solution takes into account the existing shape of objects and functional use of objects. Largely focuses on the completion of the museum interior and obovenie jestvujúcih exposure. Using architectural elements to be linked to the existing condition of the building and its character as national cultural monument and therefore were significantly architectural elements used in a limited range. The main focus was on functional objects and art commissioning. Existing facilities have been made-the insertion of separate objects, more or less dependent on the original space.

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近年來由於會議展覽服務業的興起，所以一些具有商業意義的展覽相關議題亦逐漸被重視，然而過去的研究多著重在探討商展買賣雙方（參展者、參觀者）的關係，甚少以策展單位的角度切入，來完整觀察整個展覽之規劃、營運、執行、以及其在產業上所扮演的角色。此外，由於展覽不僅只是一個單純的交易平台，更是產業上商機、資源、資訊匯集交流的場所，以及創新概念、技術、產品的擴散地，此猶如扮演著產業上的「守門」角色一般。 因此，本研究便藉由產業的「守門機制」理論來從新檢視展覽，透過以資訊電子產業中具有極重要地位和完整發展、消長歷史的世界三大電腦展COMDEX Fall、CeBIT、COMPUTEX Taipei為個案，進而發現、瞭解展覽的策展單位如何在展覽前期將自己定位，透過劃定邊界、篩選遞送內容來扮演好守門機制的功能與角色，並配合自身的守門能耐，進一步地影響到展覽活動內容的呈現，使其能夠在不同的活動內容中扮演不同類型的守門機制，以及最終其在守門成果對於產業上創新概念、技術、產品的影響為何，並且是否會因而影響參展者與參觀者的參與意願。 本研究所得的研究結論如下。 1、展覽中的各項活動內容（展覽會、會議、獎項）在商品化的過程中，藉由策展單位「劃定邊界」、「篩選內容」守門機制之執行，各自扮演著產業守門機制的不同角色。 →展覽活動內容的「展覽會」，屬於守門類型中，策展單位會對於參展、參 觀者來加以設定、限制，並從展覽會現場中持續地篩選遞送全面性、系統性資訊內容的「創新型守門機制」。 →展覽活動內容的「會議」，包含了「主題演講」、「論壇、研討會」、「產品發表會」三種類型的活動。其中「主題演講」和「產品發表會」，屬於守門類型中，策展單位不會對參與群眾加以限制，並且從活動中傳播較為區段性資訊內容的「資訊型守門機制」。而「論壇、研討會」則屬於策展單位會對參與群眾加以設定、限制，並從中遞送區段性資訊內容的「典範型守門機制」。 →展覽活動內容的「獎項」，屬於守門類型中，策展單位需對參賽者加以設定、限制、評選，而且從獎項的頒佈、宣傳向其相關廠商和大眾產生示範、鼓勵的作用，進而遞送出區段性資訊內容的「典範型守門機制」。 2、策展單位守門機制之執行會與守門能耐之間彼此相互影響，並且在策展單位執行守門機制時，策展單位的守門能耐會有時序上的順序展現。 3、策展單位守門機制的運作與執行，會受到策展單位不同的組織類型所影響。 4、策展單位的守門能耐會受到策展單位組織的類型、資源、網路所影響。 5、展覽守門成果在創新概念、創新技術、創新產品的傳播、擴散上，會受到展覽的產業守門機制所影響。若是策展單位在展覽的產業守門機制上沒操作執行好，將會使得展覽守門成果的代表性和創新性不足、參展成效不彰，進而影響參展者和參觀者的參與意願，最終將會導致展覽的衰亡。 6、展覽本身的守門成果會深受其展覽舉辦所屬產業發展的影響，進而會影響到展覽產業守門機制的展現。 / Recent years, with the growth of the M.I.C.E industry, some subjects about commercial exhibitions have also been attached importance to. However, the researches in the past almost emphasize on the relation between exhibitors and visitors in the trade shows, and there are few researches which is from the organizer perspective to obverse the plans, operation, administration, and the special roles in the industry of the exhibition. Besides, the exhibition is not only just a trade platform, but also a place in which people can collect and exchange business opportunities, resources, information of the industry. It is also a diffuse place of innovative concepts, technology, and products in the industry. Above all, the exhibition is just as the role of the industrial “gatekeeper”. As a result, this study uses the theory of the industrial gatekeeping mechanisms to review the function of the exhibition, and take computer exhibitions COMDEX Fall, CeBIT, and COMPUTEX Taipei, which play very important roles in the ICT industry and have complete history, as examples. This study digs deeply into these three computer exhibitions and expects to find how the organizer of the exhibition positions itself in the earlier preparation stage. In addition, how does it play the role of the gatekeeping mechanisms well by delimiting the boundaries and sifting the content? Furthermore, how the organizer further impact the display of the exhibition with their gatekeeping function and ability, so that it could play different kinds of gatekeeping mechanisms in different exhibition events. Finally, this study wants to find the influence of industrial gatekeeping mechanisms results on innovative concepts, technology, and products in the industry, and investigates whether the results affect exhibitors and visitors’ will of participating in exhibitions . The conclusions of this study can be summarized as below: 1.There are three kinds of events, including “Trade Show”, “Conventions”, and “Award” in the exhibition. In the process of commercialization, these three events severally play different kinds of roles of gatekeeping mechanisms by delimiting the boundaries and sifting the content. →In the exhibition, the “Trade Show” belongs to the “Innovative gatekeeping mechanism”. →In the conventions of the exhibition, there are also three kinds of events, including “Keynote Speech”, “Forum”, and “Product Debut”. ”Keynote Speech” and “Product Debut” belong to the “Informational gatekeeping mechanism”, but “Forum” belongs to “Paradigm gatekeeping mechanism”. →In the exhibition, the “Award” belongs to the “Paradigm gatekeeping mechanism”. 2.For the exhibition organizer, its administration of gatekeeping mechanisms and its gatekeeping ability would affect each other. And the organizer would also reveal its gatekeeping ability in order to help itself carry out gatekeeping mechanisms. 3.The administration of the organizer’s gatekeeping mechanisms would be affected by itself organization types. 4.The organizer’s gatekeeping ability would be affected by itself organization types, resources, and networks. 5.The results of gatekeeping mechanisms of the exhibition, such as the diffusion of innovative concepts, technology, and products in the industry, would be influenced by industrial gatekeeping mechanisms of the exhibition. If the organizer doesn’t work industrial gatekeeping mechanisms of the exhibition well, it will lack representative and innovative display, and also affect exhibitors and visitors’ will of participating in exhibitions. Finally, the exhibition declines and falls. 6.The result of gatekeeping mechanisms would be deeply affected by the development of the industry which the organizer holds the exhibition in, and it develops with its industrial life cycle. Besides, the development of the industry also affects the administration of industrial gatekeeping mechanisms of the exhibition.

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