Dissertations / Theses on the topic 'Handmade paper'

Solar energy has a great potential to give cheap and abundant energy to rural areas of the world, but is the technology ready to be implemented today? This stydy looked at the possibilities to introduce more renewable energy into the local hand-made paper production in Bangladesh. Specifically the potential of solar heated vacuum tubes filled with water as a heat carrier. This type of solar thermal collectors are cheap to produce, relatively efficient at converting both direct and diffuse solar energy into usable energy, and have a very simple construction that do not require a lot of training to handle. The study showed that the collector could convert about 70 % of the energy from the sun into usable energy in the form of hot water circulated in the system. On average in Bangladesh the 5 m2 collector used is expected to have an output of about 25.6 MJ per day (yearly average) and about 4.8 MJ was needed to evaporate 1 kg of water from the drying papers (including the system losses). This can be compared with the old system that used about 8 MJ per kg water evaporated. Finally the study includes a step by step guide into how to build a system like this by locally available material. The only parts that were imported were some measurement equipment and parts of the collector that was not yet available through local distributors. The pump was also not produced in Bangladesh, but a similar pump could be bought by local companies that import this type of equipment.

Master of Arts
Department of Sociology, Anthropology, and Social Work
Gerad D. Middendorf
The label “fair-trade” might seem to be a definitive designation: either a product is or isn’t. In fact, a continuum exists, resultant mostly from the participation in fair-trade by diverse groups of producer organizations, buyers, certifying organizations, and consumers. Therefore, the way fair-trade is perceived and practiced cannot be presumed to be homogenous. In order to better understand the complexities of fair-trade, a qualitative study was carried out to examine one fair-trade product and its producers. Two Nepalese handmade paper companies, Bhaktapur Craft Paper (BCP) and Get Paper Industry (GPI), were studied to gain insight into the producers’ perceptions, interpretations, and practices of fair-trade. This study also assesses the impact of fair-trade affiliation on the socio-economic conditions of producers and workers. To provide the opportunity for comparison, the cases of BCP and GPI were also compared, where possible, to those of a non-fair-trade company, Bagmati Paper Industries (BPI). The study finds that the fair-trade producer organizations were affiliated with fair-trade networks primarily to promote their business by way of the multiple and committed trading partners involved in fair-trade. Also, affiliation seemed to have positive impacts on the overall business of the paper companies, contributing to growth in sales over the years. Likewise, different training programs sponsored by fair-trade organizations, such as Fair Trade Group Nepal and World Fair Trade Organization-Asia, and fair-trade buyers also contributed to the capacity enhancement of producer organizations. The producers in the paper companies lacked an understanding of fair-trade due to a lack of participation in decision making, a high level of illiteracy among producers, and because management did not consider producer awareness of fair-trade as significant. The study finds positive impacts of fair-trade involvement on the producers’ socio-economic position: a company’s participation in and practice of fair-trade is positively related to improvement in the socio-economic conditions of producers. Considering wages, work-hours, working conditions, and job satisfaction of workers, the fair-trade companies were determined to more favorably affect workers’ lives than the non-fair-trade company.

My work is a response to the miraculous energy exhibited in nature, an invisible power that creates exquisite structures and designs in every living thing around us only to destroy them and begin again. Specifically, it is inspired by a lifelong fascination with the detritus left behind. Shimmering maple tree seeds, decaying oak leaves, or delicate marine relics awash on the beach are tangible (and daily) reminders that life is precious and fleeting, but also hopeful as that energy is always transformed into something new. The drawings, pulp prints and sculptures produced for my thesis are futher animated by the belief that nature is telling us something with its expressive vocabulary of lines, shapes, textures and colors. In every weather-worn remnant, there is a narrative—a life history and lessons to be learned. Captivated by the recurring forms and patterns found on land and in the sea, I find myself trying to decipher this language through close observation and interaction with the objects I collect, study and draw from, as well as the natural materials used to produce the work. Through the rituals of drawing and erasing, steaming, cooking and preparing fiber, concealing and revealing imagery, form and text, I find myself connecting with these narratives and participating in an age-old dialogue with nature.

I regard the culturally rich bookbinding as formats that hold great meaning; I made models of books that existed in different cultures through the history of the book. I became interested in how each structure had unique features and how the books themselves transmitted knowledge about their form. This interest in bookbinding formats led me to explore ways to add content to The binding plays a powerful role in producing my artist's books, the look and presence of these bindings is an integral part of my work and they are linked to the content and aesthetics. The final pieces encourage the viewer to interact with the work.

The Venus Series is an attempt to recreate the power, mystery and primal beauty of the pre-historic Venus Figurines. I created my own Venus Figurines out of handmade paper incorporating history, contemporary culture and autobiography. I then photographed these sculptures with the wet-plate collodion process in order to re-create the beauty and drama of the original Venus Figurines.

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Nowdays, recycling became a relevant social and educational aim among many other factors, which involve balance between man and nature. This study relates the experiences with the production of recycled handmade paper directed at the teaching in Universidade Federal do Rio Grande do Norte UFRN, and through workshops of carnauba recycled handcrafts papers as a pioneer activity accomplished at the Felix Rodrigues Foundation, in the city of Pend?ncias, A?u Valley, Rio Grande do Norte. A bibliographic review was done about the history of handmade paper and a discussion about carnauba?s paper artistic possibilities in art-education. Analyses within the context of art teaching, accordingly to Ana Mae Barbosa?s triangle propose and, also, Buoro, Ostrower and Nachmanovitch?s pedagogy of art. It deals with a group of artisans in order to establish the nature of their relationship and the possibilities of achieving more ecological awareness. Finally, we intend to realize a dialogue with Morin and other authors
Na contemporaneidade, a quest?o da reciclagem tem se destacado pela sua import?ncia social e educativa, entre tantos outros fatores que envolvem o equil?brio do homem e da natureza. Relata-se a experi?ncia de ensino de arte na Extens?o Universit?ria com a produ??o de papel reciclado artesanal, direcionado ao ensino no laborat?rio de artes pl?sticas da UFRN e em oficinas de papel artesanal com fibras de carna?ba, como atividade pioneira realizada na Funda??o F?lix Rodrigues, na cidade de Pend?ncias, munic?pio do Vale do A?u, no Rio Grande do Norte. Recomp?e-se a hist?ria do papel artesanal e um di?logo reflexivo sobre as possibilidades art?sticas do papel de carna?ba. Elabora-se ainda, uma discuss?o sobre o aproveitamento desse papel para a cria??o art?stica como elemento complementar no ensino da arte, conforme sugest?es das propostas de ensino de Ana Mae Barbosa, e outros autores da pedagogia do ensino de artes como Buoro, Ostrower, Nachmanovitch. Analisa-se a natureza das rela??es sociais estabelecidas nesses grupos numa perspectiva de renova??o da consci?ncia ecol?gica. Pretende-se trilhar os caminhos de religa??o entre saberes cient?ficos e da tradi??o, ? luz de um di?logo com Edgar Morin e outros autores

Cette thèse a été conduite afin d’explorer le potentiel d’une nouvelle méthodologie utilisant la pyrolyse, la chromatographie gazeuse et la spectrométrie de masse pour la caractérisation et l’identification des fibres papetières utilisées dans la fabrication des papiers asiatiques traditionnels à partir de la caractérisation des métabolites de ces fibres. Cette méthodologie utilise un processus d’échantillonnage facilité nécessitant une très petite quantité d’échantillons (de l’ordre de quelques dizaines de µg). Après la pyrolyse des échantillons de papiers et la séparation chromatographique des composés formés, des distributions caractéristiques pour les métabolites des fibres papetières (considérant leur présence et leur intensité) ont été observées dans une région définie comme région d’intérêt dans les chromatogrammes: ces distributions se sont révélées spécifiques pour la caractérisation des papiers fabriqués à partir de différents types de fibres et ont été utilisées pour distinguer l’origine des différentes fibres papetières couramment utilisées dans la fabrication de papiers asiatiques traditionnels. Premièrement, les problèmes rencontrés dans l’étude des papiers faits à la main ont été présentés, comme l’origine de la fabrication du papier, l’incohérence de certains résultats dans l’identification des fibres (reportés dans différentes études scientifiques), les limites de la microscopie pour l’identification des fibres papetières d’origines botaniques similaires et les risques d’imprécision dans le référencement des échantillons. Tous ces problèmes montrent la nécessité d’explorer de nouvelles méthodes pour (1) améliorer la fiabilité de l’identification des fibres papetières des papiers asiatiques traditionnels, (2) valider et confirmer les résultats obtenus par l’analyse microscopique. À cette fin, dans un premier temps, des papiers asiatiques de référence ont été étudiés. Les résultats expérimentaux ont montré que les différentes fibres papetières utilisées pour la fabrication des papiers étudiés montraient des différences dans les distributions de leurs marqueurs spécifiques : par exemple, les fibres d’origine de la famille Moraceae montrent une distribution caractéristiques de composés triterpèniques alors que les fibres d’origine de la famille Thymelaeaceae montrent une distribution caractéristiques de composés de type stigmastanes. De leur côté, les fibres des plantes appartenant au groupe Ma montrent peu de métabolites caractéristiques. Les différences observées dans la distribution de ces métabolites ont été attestées par la comparaison entre distributions obtenues à partir des fibres végétales et celles des papiers faits à la main attestant de l’origine commune de ces métabolites issus des tissus végétaux d’origine. Ainsi, la méthodologie étudiée se révèle prometteuse en tant que méthode de chimiotaxonomie pour l’identification des fibres inconnues de papiers faits à la main. Avec les exemples d'applications fournies au cours du travail expérimental, le couplage de la pyrolyse, de la chromatographie en phase gazeuse et de la spectrométrie de masse (avec l’utilisation de la Py-GC/MS et de la Py-GCxGC/MS) a montré sa capacité à distinguer les fibres d'une même famille (qui peuvent présenter des caractéristiques similaires en microscopie) et peut ainsi constituer une méthode efficace d'identification des fibres et de validation des résultats d'identification obtenus par l'observation microscopique. Dans la présente thèse, les caractéristiques de la chromatographie gazeuse intégralement bidimensionnelle GCxGC, ses avantages pour les applications dans le domaine du patrimoine culturel et son apport potentiel pour le traitement des données 1D ont été discutées (...)
This study was conducted to explore a new methodology for handmade fiber characterizationand identification using pyrolysis, gas chromatography and mass spectrometry. It employseasy sampling process with minor quantity of samples required. After pyrolysis of handmadepapers, a featured metabolites distribution patterns (presence plus intensity) eluting in the defined region of interest (ROI) was observed to be characteristic for handmade papers of different material origins. The method utilizes these metabolites distribution patterns as markers to discriminate different fiber origins. Firstly, the problems encountered in the investigation of handmade papers were introduced such as the origin of papermaking, the inconsistency in the fiber identification results sometimes gained by different scholars, the limits of microscopy in identifying fibers from similar species and the likely imprecision of the reference sample labeling. All these problems showed the necessity to explore a new method in order to (i) make precise fiber identification of handmade papers and (ii) to validate or confirm the identification results obtained by microscopy. Then, modern reference handmade papers were firstly studied. The result revealed that different plant fibers used for papermaking have different marker distributions in the ROI, forinstance, the Moraceae family with a featured distribution of terpene compounds and theThymelaeaceae family with a featured distribution of stigmasta compounds. The fibers fromthe ma group usually revealed few compounds in the ROI. This metabolites difference in theROI was attested from the plant tissues with their similar distribution in handmade papers and plant raw fibers. Thus, the chosen methodology offers promise as a method of chemotaxonomy for unknown handmade paper fiber identification. With the examples ofapplications provided during the experimental work, the coupling of pyrolysis, gaschromatography and mass spectrometry (through the use of Py-GC/MS and Py-GCxGC/MS)showed its ability to distinguish fibers from the same plant family (that may present similar microscopic features) and thus, can constitutes an effective method for fiber identification as well as to validate the identification results of the microscopic observation. In the present thesis, the features of GCxGC and the benefits for cultural heritage applications and its help for the ID data treatment were discussed. The tested Py-GCxGC/MS methodology has been for the first time proposed in the cultural heritage field and it harbors the potential to promote the research in this domain, enhancing our capacity to handle small quantities of complex samples while providing an exhaustive response on its composition

碩士
國立嘉義大學
林產科學暨家具工程學系研究所
99
Handmade paper, always adds straw pulp to spread ink evenly, and often adds rosin size to control the water absorption. However, the addition of straw pulp in handmade paper often decreases the absorbency of handmade paper, and it is reported that the application of alum in traditional rosin sizing has caused the deterioration of paper seriously. The purpose of this study was to investigate the effect of alkali treatment of straw pulp on the water absorbency of handmade paper. Commercial alum and paper alum were compared and their impact on the deterioration of handmade paper was also determined. The results showed that alkaline impregnating treatment can really increase the absorbency of handmade paper, and the high temperature alkali treatment show more effective than room temperature treatment. Among the three alkaline impregnating reagents, CaCO3 have the best result, followed by NaOH, and Ca(OH)2 of the worst. Acid leaching after alkali treatment can further improve the water absorbency of paper. All kinds of alum used in this study accelerate the deterioration of paper, and there are different effects among paper alum (Al2(SO4)3) and the commercial alum (KAl(SO4)2 •12H2O).

M.Tech. (Fine Art)
Papermaking as an activity area at the Technikon Witwatersrand (TWR) was initially introduced to equip fine art students with the basic knowledge and skills required to produce their own handmade papers, primarily for printmaking techniques. This need was identified through the fact that quality art papers were only available on campus at an expense that aspiring students could not afford. As the Papermaking Research and Development Unit (PRDU) at TWR expanded, students were able to specialise in paper-based research that targets certain issues that impact on and in our immediate environment. One issue that took priority was to investigate the properties, use and production of archival handmade papers to service local artists and students. South Africa does not have an extensive indigenous history or tradition in hand papermaking. It is a relatively new medium with little literature available on the subject. Research has become necessary to understand the properties of this medium in order to explore its various possibilities. This investigation would be viable to the local marketand manufacturers of paper, as well as to those who utilise paper in their creative activities. The bulk of archival papers available on the South African market are currently manufactured overseas and are imported to our country. With importing costs and current exchange rates, this increases their price in the South African market. The research specifically aims at producing a local handmade equivalent to the imported product that will meet, or lower, the cost and increase the availability of the product to the local market. Handmade papers have many advantages to the artists that exceed mould-made papers, all of which are investigated in this research. The specific market had to be identified in order to streamline the research possibilities and improve product potential. This market was identified as papers for selected traditional printmaking techniques, such as silkscreening; intaglio and relief processes. The research thesis, once published, will provide a resource on the subject, with specific application to a local situation. It will enable papermakers to further understand the composition of their product, as well as expand on its use and application.

碩士
國立臺灣師範大學
美術學系
98
The culture of paper is the accumulation of time, records of human history and tradition. It's the carrier of emotions and memories, carrying our lives. The change in the media and the mode of transmission, while both the future of culture and communication are the way to the digital computer, electronic communication has become the mainstream of modern society, the paper industries will certainly lead to gradually declining; but relatively speaking, paper culture is all the more important. My hometown is in Guanyin Township, Taoyuan County, and the annual “Lotus Festival” is a very important event for local tourism, but the trend is gradual decline and commercialized year by year. This study hopes to combine the hometown festival culture and the arts of handmade-paper, pass and educate our traditional cultural heritage, also promoting local industry by creative paper design, recreate local aesthetics of life. This thesis surveys the history and cultural significance of handmade-paper, to analyze the handmade-paper industry development in Taiwan. To research the successful paper design as examples, and to create handmade-paper and design relative products, hoping by the re-innovation and redesign of handmade-paper can develop business opportunities for Taiwan's new life aesthetics. The author went to C&J special papers (Philippines) INC., learning the procedures of making large handmade-paper. This project created new paper for "Guanyin Lotus Festival", as a material to design the peripheral products of "Guanyin Lotus Festival". This research invented new handmade-paper of lotus, and use for "Guanyin Lotus Festival" products development. Basing on the traditional Chinese "lotus" cultural symbolization and aesthetic of life, create modern lotus Images of the handmade-paper, and use this material to develop such as lighting products. Turning traditional cultural assets into creative paper art, by integrating traditions and innovation, crafted handmade paper and modern design, combined with the local cultural industry festival and the local cultural, expect that the culture of paper can be passed along, and to awaken awareness of human life aesthetic.

碩士
中原大學
商業設計研究所
100
Nowadays, consumers have increasingly higher demands for products. A product’s price or brand is no longer the foremost concern; it is now style, taste, and image. In order to acquire a precise knowledge of consumer opinions and preferences so as to develop suitable products, a questionnaire survey was conducted in this study to obtain data on the image texture perceptions of and preferences for various types of handmade paper from females living different lifestyles. The research purposes are as follows: 1) to review the lifestyles of female consumers; 2) to explore females’ image texture perception of handmade paper; and 3) to discover the degree of influence that lifestyle has on female consumers’ image texture perceptions of and preferences for handmade paper. There are a number of research results. 1) The lifestyles of females between the ages of 18 to 35 could be differentiated into the six types of practical rational, subjective idealist, reserved traditional, open and foreign servility, carpe diem, and natural lohas. 2) Handmade paper can be divided into eleven categories according to the visual perception: pulpous, smooth, diffused dotting, concentrated dotting, concentrated long fibres, diffused long fibres, concentrated short fibres, concentrated short fibres, diffused flakes, concentrated flakes, and organic shapes. 3) Regarding the visual sense of the texture of the handmade paper, the visual sense that contained the strongest sense of natural harmony and retro vintage was diffused long fibers, that contained the strongest sense of cool-toned modern and refined elegance was organic shapes; that contained the strongest sense of fun liveliness was diffused dotting. 4) The lifestyles of female consumers were found to have positive effects on their preferences for handmade paper. The practical rational type preferred pulpous handmade paper; the reserved traditional type preferred smooth paper; the open and foreign servility type preferred organic shapes; the natural lohas type preferred diffused flakes, diffused dotting, and concentrated short fibres; and neither the subjective idealist nor the carpe diem types had any special preferences for handmade paper. 5) Lastly, the preferences for all groups were positively influenced by the image vocabularies of natural harmony, refined elegance, and fun liveliness; however, different degrees of nfluence resulted in different preferences.

碩士
國立臺灣師範大學
美術學系
97
We are getting ready to break the ground on the second phase of development of Cultural and Creative Industry in Taiwan. Under the trend of globalization, Cultural and Creative Industries have gained significant footholds in modern societies as they always top the priority lists of development projects. Time-honored cultures are precious heritage, by transforming the grass-root culture into localized culture and creative industries, traditional cultures can carve niches for themselves along with the rapid development of national economies. This thesis is a synthesis of information obtained from literature review and field research activities regarding the handmade paper industries in Taiwan. For the reason that the pronunciation of pineapple in Taiwanese (Weng Lai) is symbolic of “wheel of fortune arrives”, it is widely used in company inaugurations. By merging green design with traditional culture, cultural assets have been revived in the form of eco-friendly commercial sources, the design of pineapple handmade paper thus emerged as thesis conclusion. It is hoped that the design can bring brand new Chinese culture to the world, as well as it can be value-adding to the cultural and creative industry.

碩士
國立臺灣藝術大學
圖文傳播藝術學系
104
In the era of ‘handicrafts’, many handmade products generate emotion, warm and texture. Comparing with the stationery was produced, a handmade stationery has more intimacy and warm people’s hearts easily. In recent years, Guang-Shin Taiwan Paper Corporation uses varieties of Taiwan plants and crops to make unique handmade paper full of natural aroma and texture. The Guang-Shin handmade paper adopted as has been one of the major elements of the Taiwan cultural and creative industry. Therefore, according to the analysis and property of the paper’s material in the study, combining sensory and visual experience of paper material into these creative ideas and connect consumer with cultural and creative products. Meanwhile, the researcher explored the cultural and creative industries, handmade economy, emotional design and consumer attitudes in the first place, and turned into them the reference and the basic theory in the study. And them, designing the office stationery which could deliver emotional design concepts in natural materials, and conducting the questionnaire survey. The research finding are as follow (1) The emotional design of office stationery has better evaluation, and the instinct level has better evaluation than behavior and reflection level , and cause better feedbacks on environment protection, texture, eye catching, comfy, and appearance economic value and the overall design were evaluated as highly agreed. (2) When natural material paper apply on cultural and creative product on series office stationary, it could generate stronger sense of feeling. The vision tends to handmade, natural and simple. Sense of touch tends to be handmade and natural. Sense of smell tends to be simple. As mentioned previously, those are satisfied to the study design sample concept that emphasized on the senses. (3) The study samples were divided into different cultural and creative products to analysis four types of consumer attitudes. Indicated by the results, there’re no significant differences between the cultural and creative product evaluations, but it is significant on the visual only. Compared to the rational type of consumer, the reactive type of consumer has obviously visual senses. The conclusion in the research could provide suggestions and references for natural material handmade paper apply on office stationary cultural and creative products design.

碩士
臺北市立師範學院
視覺藝術研究所
89
I believe that if a person express himself sincerely, his/her own soul will shine with the light of life. Maybe it is because I''''m not interested in following rules, I feel hard to formalize my free inspiration of creation into serious research paper. I''''d rather follow my intuition and feelings than to vainly waste my time to pursuit outside intellectual field. It is not because I''''m lazy to obtain knowledge but I need to concentrate on my creation. Thus, this is a statement of my art work rather than a graduate paper. My aim is to record the process of my creation accurately and honestly so that others can take my frank description as supplement to see my work. I use pulp as the medium to create all my art work and the heart shape as the basic image to develop other images. I hope through the thick and diverse texture of the pulp to evoke the connection between the sense of knowing, seeing and touching. By relating the depth of these senses, to question the problem of our superficial conception and shallow thinking. With self examination and exploration, I try to build a more substantial self. As my inner thought eventually formed and became concrete, I hope the power of my work can be stronger and deeper. And I wish as my creation continuously develop, it meanwhile can expand the texture and form in the art field.

博士
國立成功大學
創意產業設計研究所
107
Regarding conventional approaches of practice-based research in artistic research have not been focused on the phenomenology, which is the essence of the study of lived experience. In the dissertation, as I am a Thai Buddhist and ceramic artist, Thai Culture, and Dhamma teaching influenced me to investigate my own experiences. The purpose of the study is to examine my lived experience and to develop the new method of using handmade paper and porcelain slip in relation to Thai Culture to create unconventional ceramic artworks. Secondly, it aims to explore the participants’ responses concerning my unique ceramic artworks, exhibitions, and workshops in order to create new knowledge of making ceramic artworks. Employing practice-based research in creating ceramic artworks with phenomenology approach is relevant to documentation and reflection methods which applied in the study as photographing, writing, and recording for collecting the data as well as the open-ended questionnaire is implemented to analyze the participants’ responses. The significant of the study is to contribute the new insight of methods, processes, and materials which used handmade paper and porcelain slip to create unconventional ceramic artworks becomes the new territory of the ceramic arts field. Moreover, my ceramic creation journey with Thai Culture, handmade paper, and porcelain slip in the creative process from start to finish is an example of having a practice of daily life to develop the habit, and skill created the dynamic of a creative process. Furthermore, the results show that the new knowledge of making ceramic artworks using handmade paper and porcelain slip create peaceful and playful to the visitors and participants at the exhibitions and workshops. Limitation and suggestions for future research are also discussed.

This master thesis consists of two main parts: the theoretical and the practical one. The theoretical part is focused mainly on artist book, its history and some authors, who worked in this sphere. It peripheraly deals with invention of paper and paper development history. In the practical part, the motivation sources influencing processing of this topic and technological procedure during artist book production are explained.

M.Tech. (Fine Art)
Unemployment and the crime levels which escalate as a result of it, are very realistic social problems in South Africa and training for job skills and entrepreneurship has become a priority. This study identifies the use of invasive plant fibres as a viable resource for the hand papermaking industry and the development of a new cultural industry. The research' funded by the National Research Foundation (NRF) and the Technikon Research Committee (TRC) has been implemented in an established poverty relief programme called Phumani Paper', which creates jobs especially in rural or impoverished sectors through technology transfer and training. A curriculum is currently being developed for current and future participants of this programme to obtain qualifications in hand papermaking. An investigation has been undertaken to define suitable invasive plant species for the purpose of this research. The investigation included the extent of invasive encroachment, plant identification, methods of control and government legislation. Initially water hyacinth (eichhomia crassipes) was identified as a suitable fibre, but because Phumani Paper supports 21 small paper businesses in seven provinces, research had to be undertaken on several different species found in each of the regions. Species such as moth catcher (Araujia sericifera), milkweed (Asclepias fruticosa), pampas grass (Cortadeira selloana), giant reed (Arundo donax) and bugweed (Solanum mauritianum) have been identified as viable fibres for the hand papermaking industry, due to their fibrous characteristics...

碩士
朝陽科技大學
設計研究所
97
This study, which aims to find new outlets for traditional handmade paper, has been carried out in three stages. In Stage 1 an investigation on the current situation of traditional handmade paper industry and products has been carried out by means of literature review, observation, interview, and comparison and analysis of handmade paper and ordinary industrial machine-made paper. A development strategy, which emphasizes the exquisiteness of handmade paper to justify its high price, has been preliminarily proposed for handmade paper based on its exquisiteness and expensiveness. Stage 2 is a search for new horizons for the development of handmade paper. By analyzing modern life patterns, we come to the conclusion that wedding is one of those modern affairs which can afford the exquisiteness and expensiveness of handmade paper. Accordingly, we proceed to explore the wedding culture. In the process, traditional wedding ceremonial culture is reviewed, wedding related items are summarized, and wedding congratulations, wedding related proverbs, and characteristics and symbolic meanings of betrothal gifts are analyzed. As a result, such issues as wedding items into which handmade paper can be incorporated, design elements that can be adopted in wedding ceremonies, principles for the development of design, and principles for the development of wedding items made with handmade paper are all summarized as follows: (1) The design of these items should highlight the distinctive natural texture and grains of handmade paper; (2) the handmade effects of the texture should also be highlighted; (3) Elements of wedding culture should be embedded into patterns and modeling of the items, so that the items will be endowed with profound symbolic meanings; (4) They should be positioned as high-end products in terms of price position. In Stage 3, the design concept is unfolded. Design approaches proposed by various scholars on image transformation have been analyzed, reviewed, and summarized. A 4-step procedure which involves (1) image association; (2) association strengthening; (3) image decoding; and (4) transformation has been designed for the implementation of the study. The design process is divided into 3 stages, which are (1) analysis stage; (2) design concept development stage; and (3) design simplification(concentration) stage. A major design model for the development of design concept is to get an understanding of wedding customs & culture and look for a symbolic meaning with which to start the development of concept. Two major designs developed from the symbolic meanings of the two congratulations of “linked together” and “love & sweet” have been proposed during the process of actual application of design creation, and two series of concepts which incorporate handmade paper into the design of wedding items also take shape in the study.

碩士
國立中興大學
森林學系
84
The art of papermaking is one of the great inventions in ancient China.Paper as a medium for carrying creative ingenuities of mankind, hascontributed tremendously to the progress of human civilization. Nowadays, mostpapers are made by machine in massive quantities and therefore handmade papersseem on the verge of extinction. However there is still a fine potential forus to have research and development of handmade paper due to its pure anddelicate nature, excellent permanence, and great versatility. I addition,handmade paper has lots of attributes that are irreplaceable with machine-madepapers. The purpose of this study intends to analyze the fiber dimension andchemical composition of different raw materials for handmade paper, and thento compare their differences in pulping and bleaching properties. Theexperimental results were summarized as follows:1.Length/width ratios of various bast fibers have higher value (>150) andlower lignin content than those of wood fibers. These fibers are suitable forfine paper manufacturing.The differences in chemical compositions of samespecies are small, and a noticeable differences exist for various species.2.For the High holocellulose content in Paper Mulberry resulted in a higherpulp yield is obtained. It is easy to fiberize for the high 1%NaOHextractives-containing Gampi and Paper Birch. From the results of EDSanalysis, higher calcium content in barks’ ashes, and then potassium werefound; but the potassium content is higher than calcium for Paper Mulberryfrom Thailand and the Paper Birch from China. In addition, small amount of Mg,P, S, and Si elements are found in barks’ashes as well.3.Soda-AQ pulping of the Gampi from Philippine in a closed digester may reducethe Kappa No. of unbleached pulp to a bleachable degree. Except tear, theGampi from Japan has the highest strengths as compared to other species. Athoroughly pretreatment of the Paper Mulberry from Japan has a very low KappaNo., high yield and brightness.4.Generally speaking, the reduction in paper strengths are found afterbleaching for all varieties of pulps. The higher dosage of bleaching agents inbleaching stages results in lower strengths. However, there are no significantdifferences for the reduction of Kappa No. and the increase in brightness uponbleaching the pulps by 5% and 10% NaOCl levels.5.Upon the accelerated aging, the Philippine，s Gampi pulp with open digesterhas greater tendency of color reversion as compared with others. In addition,under sunlight exposure bleached Wingeeltis pulp has the least tendency ofcolor reversion. Bleached soda-AQ Philippine，s Gampi pulp with closeddigester pulping may reduce the tendency of color reversion.

O cinema e a literatura, apesar de terem linguagens distintas, estabeleceram desde muito cedo uma relação de proximidade quando a sétima arte percebeu o potencial narrativo da literatura, procurando apoiar-se num modo já consagrado de contar histórias, a literatura. Por outro lado, a literatura ao se deparar com essa nova arte do movimento, não apenas incorporou muito dela em si mesma, como também percebeu que finalmente poderia se libertar a tarefa de narrar, pois o cinema ocupava agora esse lugar, e se aventurar no campo da experimentação. A inter-relação entre literatura e cinema é consubstanciada pela adaptação, resultado de um trabalho que procura transportar os sentidos de um texto escrito para um texto audiovisual, coloca o adaptador perante uma questão normalmente alimentada pelo espectador e pela crítica em geral, que é a fidelidade do filme ao romance, sobretudo quando este tem reconhecida qualidade literária. Abordaremos os fundamentos que atribuem relevância ao critério da fidelidade, averiguando se este é importante na relação entre estas duas manifestações artísticas, literatura e cinema, e qual o papel do adaptador neste processo. Todas estas questões que pretendemos elucidar serão apoiadas pelo estudo da premiada adaptação televisiva do romance de The Handmaid´s Tale de Margaret Atwood e adaptada em 2017 por Bruce Miller. Esta análise será de carácter comparativo entre as duas obras de forma a perceber se existe diferenças em relação ao original.
Cinema and literature, although having different languages, established a relationship of closeness from an early age when the seventh art realized the narrative potential of literature, seeking to rely on an already established mode of storytelling, literature. On the other hand, literature, when faced with this new art of movement, not only embodied much of it in itself, but also realized that it could finally free itself from the task of narrating, for cinema now occupied this place, and ventured into field of experimentation. The interrelationship between literature and cinema is embodied by the adaptation, the result of a work that seeks to convey the senses of a written text to an audiovisual text, places the adapter before an issue usually fed by the viewer and the critic in general, which is the fidelity of the film to the novel, especially when it has recognized literary quality. We will approach the fundamentals that attribute relevance to the criterion of fidelity, ascertaining if this is important in the relationship between these two artistic manifestations, literature and cinema, and what the role of the adapter in this process. All of these issues we want to elucidate will be supported by the study of the award-winning television adaptation of Margaret Atwood's The Handmaid's Tale novel and adapted in 2017 by Bruce Miller. This analysis will be of a comparative nature between the two works in order to perceive if there are differences in relation to the original.