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Often overlooked, yet still a significant and visible social code, jewelry and its symbolic power are barely analyzed in literary criticism. In this thesis, by tracing jewelry's various functions and representations throughout the 19th century, one discovers its ability to also blur and reinforce boundaries that so typifies the tensions and redefinitions happening throughout this era. With the rise of the bourgeoisie and industrial production, jewelry became more available to the masses than it ever had before. Its transformation occurred alongside the newfound desire for women to be seen, perhaps as a direct result of patriarchal society's attempt to relegate them to the private sphere where they were to carry out their domestic duties. For women, the beginning of the century marked itself as an "[époque] stricte, corsetée, guindée et protégée," the fin-de-siècle was an era that promoted the sensual liberation for women whose existence had been relegated to the private sphere to perform only domestic duties (Coupeau 85). Thus, by tracing jewelry's representation in the 19th century, I unveil how women broke through social restrictions by transforming their literal chains of submission and esclavage into pieces of adornment that brandished their desire to be seen, to be liberated, to be desired. / Master of Arts / Jewelry and its symbolic power are barely analyzed in literary criticism. In this thesis, by tracing jewelry's various functions and representations throughout the 19th-century, one discovers its ability to also blur and reinforce boundaries that so typifies the tensions and redefinitions happening throughout this era. With the rise of the bourgeoisie and industrial production, jewelry became more available to the masses than it ever had before. For women, the beginning of the century marked itself as a period of restrictions and protection while the fin-de-siècle promoted the sensual liberation for women whose existence had been relegated to the home to carry out their domestic duties (Coupeau 85). Thus, by tracing jewelry's representation in the 19th century, I unveil how women broke through social restrictions by transforming their literal chains of submission and esclavage into pieces of adornment that brandished their desire to be seen, to be liberated, to be desired.

The use of jewelry is just one of many avenues for individual self-expression, but even in the most individualistic society it is also a reflection of certain cultural norms, values, and expectations. This thesis is an analysis of Nabataean jewelry in burial contexts from the three main regions of the ancient kingdom - Medina Selah, the Negev, and Petra – with the aim of reaching a better understanding of Nabataean culture through their jewelry. The types of jewelry, materials used in their construction, and many other variables are compared and reveal unique regional variations within an overall Hellenistic style.

Since the East Texas area has many minerals in the categories which yield semiprecious stones of commercial value--jasper, wood agate, wood opal, and silicified stone, the author undertook this study to determine: (1) the extent which these minerals could be utilized as sources for gems; (2) the equipment necessary for cutting and polishing the stones; and (3) the techniques for finishing the gems.

我國「文化創意產業發展法」於2010年三讀通過，根據第3條之定義，文化創意產業共計15類產業，及一款經中央主關機關指定之產業。法令規章所建構之文化創意產業類別體制，於文化創意產業政策實務推動中之執行完整度，扮演著極為重要角色。 本研究爰從文獻分析，針對文化創意產業政策計畫演變，比較我國與韓國文化創意產業制度設計。在個案選取上，以珠寶產業為例，探究文化創意產業政策執行實務，說明官僚組織設計，對文化創意產業政策執行影響的情形，並提出若干省思及相關建議。 / Taiwan's "Cultural Creative Industry development act" was adopted in 2010 after the third reading. According to the definition in article 3, there are a total of 15 types of industries that are classified as part of the "Cultural Creative Industry" , as well as other industries designated by the Central Competent Authority. The classification system of the Cultural Creative Industry decreed in the regulations plays an extremely important role in implementing the promotion of practical Cultural Creative Industry policies. The present study aims to elucidate the changes in policy planning of the Cultural Creative Industry through a literature review and compare the design of Taiwan's Cultural Creative Industry policies with those of South Korea. The jewelry industry was selected as a study case to investigate the practicality of policy implementation of the Cultural Creative Industry, explain the influences on the policy implementation by the design of the bureaucratic organization, and propose a number of reflections and related suggestions.

The purpose of this project is to apply marketing tactics in the form of website and online services. The goal of this plan is to improve company image and customer service and relationships, Moreover, website and online service can also increase the sales and profits of the company and expand its market.

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