ENGLISH ABSTRACT: This thesis interrogates my own memory in order to illustrate its fragmented and unstable nature. I revisit a specific childhood memory and attempt to recreate it visually through the creation of jewellery pieces. However, the unattainability of a consistent memory becomes increasingly evident in the process of its externalization. My work thus speaks of the unravelling of memory, as well as the piecing together and imagining of a new memory. This thesis and my practical work are an exploration of this ambivalent nature of memory. Even though memory is concerned with the past, it is also about the present as our memories can also be manipulated by present prejudices. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek my eie geheue met die doel om die onstabiele en gefragmenteerde aard daarvan uit te wys. Ek verwys na ‘n spesifieke herinnering van my kinderdae en poog om dit visueel uit te beeld deur die maak van juweelstukke. Die onbekombaarheid van ‘n konstante geheue word egter al hoe duideliker wanneer ek my herinneringe visueel probeer uitbeeld. My werk demonstreer die ontrafeling van my herinnering en die konstruksie en verbeelding van ‘n nuwe herinnering. Hierdie tesis en my praktiese werk dui op die ondersoek van die wispilturige aard van die geheue. Hoewel herinneringe en die geheue te make het met die verlede, het dit egter ook te make met die hede, aangesien die hede ons herinneringe van die verlede kan manipuleer om aktuele behoeftes te bevredig.

This writing is an experiment in combining the two most important frameworks through which I understand the world, the storytelling traditions of my people, the Mvskoke(Creek), and the rational tradition that began with European Enlightenment era thinking. By weaving allegorical narrative (much of it personal) into theoretical speculation, I draw connections between recollection, truth, and the act of making. This examination of the gaps and connections between seemingly disparate worldviews, runs in parallel to the purpose of my work, wherein I construct fictive symbiotic and parasitic relationships between jewelry and wearer. This work takes advantage of the wearer as environment, resource, and propagator. By abstracting from real-world biological structures, this work conflates genetic and memetic dissemination. I am creating systems and models of systems using individual jewelry pieces for specific wearers that reflect the structure of arrangements that are repeated throughout nature. Ultimately I am raising questions about the hard lines that we draw between things in nature—including ourselves—and our place in biological, cultural, and personal systems.

The aim of this work is to answer the question, whether it is possible to run a successful business with czech costume jewelry and beads under the current economic crisis situation and under changes that business with costume jewelry and beads in general is facing. The paper analyzes international trade with costume jewelry and beads. It also analyzes current position of the Czech Republic on the market and finds reasons, which cause current unfavourable situation of the jewelry industry in the Czech Republic. Based on the findings, it proposes business strategy, which should be used by businesses with Czech costume jewelry and beads in order to achieve business growth. This strategy is then tested under real market conditions.

錢華. / 顯微膠片卷端, 作者名誤作"HUA, Qian" / 呈交日期: 2006年11月. / 論文(哲學博士)--香港中文大學, 2007. / 參考文獻(p. 183-189). / Xian wei jiao pian juan duan, zuo zhe ming wu zuo "HUA, Qian" / Cheng jiao ri qi: 2006 nian 11 yue. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (p. 183-189). / Qian Hua.

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The primary objective of this creative project was to develop an imagery source through the observation and analysis of historical and contemporary clothing. The secondary objective was to produce both jewelry and functional objects in metal that reflected the author's personal interpretation of such garment forms. This body of work employed a variety of traditional metalsmithing techniques. / Department of Art

I am interested in humans, bodies, movements, directions and how they affect each other. How we move towards each other or away from each other, inside a home or outside. How we relate to each other and to what people say and do. Co-operations between people that occasionally, possibly, do not work; how certain relationships, like certain materials, can have various breaking-points; that materials can be laden with numerous preconceptions, for instance what they should be used for. Beginning from the perspective of a feminist commune, I have explored the concepts of family, belonging, and loneliness. I have interviewed, observed, photographed, and through living in the commune during shorter periods of time, I have taken part in their every-day life. Through this investigation I have become more aware of my view on loneliness and belonging, regarding both myself and others. Can we as humans stand alone, or is interdependence necessary to reach our full potential? Can we experience loneliness in spite of co-existence? And can we feel togetherness in our loneliness? I have created objects in which I hope the observer can recognise themselves, in the emotions I wish to communicate. It may be about shame; shame for not fitting in; not belonging; a nagging sensation that you are not “right”. It may be the dark side which can arise through togetherness; like being situated in an environment where you are surrounded by people but still do not feel you belong; but also the feeling of release that a self-imposed seclusion can give. Through my jewellery I want to show that the way in which something or someone is decorated can raise standards, values and preconceived ideas. / <p>Har tagit bort bilder av upphovsrättsliga skäl</p>

The lustre and luminous qualities inherent in lacquer objects speak of a revered historic technology chronicled by remarkable achievements. Sophisticated lacquer objects from East Asia and Vietnam are products of the integrated histories, technologies, and cultural expressions of these territories. The application of lacquer as a decorative medium originally developed in China. Through exchange and trade, the material was transmitted to neighbouring countries where each region explored the material and developed distinctive styles and techniques. Although lacquer from East Asia and Vietnam share similar material natures, the cultural attributes of lacquer, it's aesthetics, design, form, and symbolism provide for marked distinctions across the zone. Vietnamese lacquer contributes surface techniques and motifs to the lacquer repertoire. The aim of this research is to investigate the materiality and processes of Vietnamese lacquer as a surface ornamentation integral to the design and making of objects. The published material is dominated by descriptions of the aesthetic achievements of lacquer objects with little coverage of the technology, techniques, and practices employed. There is a scarcity of contemporary research on Vietnamese lacquering processes written in the English language. This research was fuelled by a research field trip to Vietnam during 2004 workil,1g with Vietnamese lacquer artists on traditional lacquering techniques. During a residency at Hue the lacquer working processes were observed, documented and techniques sampled. This traineeship incorporated the preparation of traditional tools, of the substrate, and the application of lacquer painting techniques. Preparatory samples and templates were made in Australia for later experimentation in Vietnam. These samples were treated with lacquer and illustrate the possible exploration of Vietnamese lacquering techniques in a contemporary context. The research is a material investigation of traditional Vietnamese lacquering processes applied to jewellery and object making. The studio practice aims to reinterpret the traditional material language of lacquer by allying it with contemporary methods and techniques. This synthesis combining traditional art methods and digital technology is expressed as a series of objects inspired by floral motifs. The seasonal floral images are significant, evoking concepts of creation and renewal. The interpretation of these graphic florals provides a contemporary representation, aesthetic, and cultural reading for the material, maker, and motif.

Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript. Includes bibliographical references (leaves 26-27).

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