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Art Museum Riga Bourse: Director’s Choice

為了解決head目錄的問題，作者Upeniece, Daiga 這樣論述：

Daiga Upeniece is an art historian. Since 2011 she has been the head of the Art Museum RIGA BOURSE, which is part of the Latvian National Museum of Art. From 1995 to 2010 she was the director of the Museum of Foreign Art. She is the curator of many international exhibition projects and author of man

y publications.

head目錄進入發燒排行的影片

女性教練領導風格之發展歷程：以團隊運動為例

為了解決head目錄的問題，作者洪鈺涵 這樣論述：

傳統父權社會的影響之下，運動場域中的女性發展長期遭受性別意識形態的阻礙，呈現弱勢的發展樣態。但現今在運動場域管理階層中，有越來越多的女性跨越傳統的束縛與障礙，突破性別刻板印象，在運動場域中嶄露頭角，成為團隊中的領導角色。其中運動體系中的教練角色就是一個值得探討的位置。因此本研究以女性教練為主要研究對象，希望探討女性教練在帶領團隊運動時，其領導風格及發展歷程。為充分了解女性教練領導內容，本研究採取質性研究，以深度訪談為主要蒐集資料方式，將訪談文本以紮根分析方法進行文本分析。研究結果發現：（一）女性教練領導風格兼具家長型領導及轉換型領導；（二）女性教練領導風格受個人特質、社會情境與生命經

驗影響，是一個動態、非持續線性的歷程。

Il Tempio. La Nascita Dell’’eidos: The Temple. Birth of the Eidos

為了解決head目錄的問題，作者 這樣論述：

Ilaria Bignotti has a PhD in Theory and History of Art, and is an independent curator. Since 2013, she has been Scientific Curator of the Associazione Archivio Paolo Scheggi, Milan, and since 2015, Scientific Director of the Francesca Pasquali Archives, Bologna. Since 2016, she has been Head of Spec

ial Projects and Scientific Curator of Associazione Archivio Antonio Scaccabarozzi, Milan. Since 2003, Dr. Bignotti has designed, organized, and curated international exhibition projects, working constantly with museums, institutions and foundations. She is Professor and Coordinator of disciplinary

studies at the Accademia di Belle Arti ＂SantaGiulia＂ in Brescia. She is also a Visiting Professor at many distinguished Italian and international universities and museums. She is a member of the Scientific Committee of ＂MoRE Museum- an on-line museum that identifies, collects, catalogs and digitaliz

es 20th and 21st century refused and unrealised art projects. She has published hundreds of books, catalogs of Modern and Contemporary Art for exhibitions, and has written widely for scientific monographs and catalogs raisonnés. Some of her main research is focussed on Spatialism and the study of mo

nochromatic, analytical, and conceptual art, the artistic and cultural relationships between Balcanic countries and Italy from the 1950s to the present time; resilience in Contemporary Art, and the relationship between artworks, the environment and the public. Bruno Corà is one of Italy’s most renow

ned critics of contemporary art. He has written extensively on the Arte Povera period and its artists, in particular Alberto Burri, and has curated exhibitions on Burri, Louise Nevelson, Lucio Fontana, Michelangelo Pistoletto and Fausto Melotti, among others. He has been involved in the running of n

umerous notable art institutions, including the Palazzo Fabroni in Pistoia, the Pecci Museum in Prato, and the CAMEC (Centro d’arte moderna e contemporanea) in La Spezia. He has written extensively (monographs on artists and texts for innumerable exhibitions) and has taught at the Accademia di Belle

Arti in Perugia, and the Università di Studi di Cassino. He is currently the president of the Fondazione Burri.

羽球視覺訓練系統建構與測試

為了解決head目錄的問題，作者侯展承 這樣論述：

　　目的：現今羽球教練訓練選手大多透過多球訓練或選手多打一的方式來提升選手各在羽球方面技術的能力。為能幫助教練及選手進行更簡單且有效的訓練，本研究以運動視覺為依據，研發一套可在羽球的專項多球訓練中，模擬擊球目標區、對手站位及實際比賽情境之視覺訓練裝置。訓練裝置主要元件為1組LED燈控制盒及6盞LED燈。　　方法：本研究以高中青少年羽球單打選手為研究對象（實驗組N=16，控制組N=16），實驗組透過此羽球視覺訓練系統介入訓練後，再以ATHLEVISION運動視覺檢測軟體（ASICS Corporation, Japan）進行檢測，再將所得之資料以混合設計二因子變異數分析（mixed desig

n tow-way ANOVA）進行考驗，若交互作用有顯著，則以單純主要效果進一步考驗。　　結果：結果發現實驗組之選手經介入訓練後，在各項運動視覺能力檢測中，在動態視覺銳度-下、眼球運動、周邊視野與瞬間視覺結果皆呈現顯著的訓練成效。