{"id":13890,"date":"2024-08-08T16:44:04","date_gmt":"2024-08-08T08:44:04","guid":{"rendered":"https:\/\/arthistory.ntnu.edu.tw\/?page_id=13890"},"modified":"2024-08-08T16:52:03","modified_gmt":"2024-08-08T08:52:03","slug":"prof-valentin-nussbaum-cv","status":"publish","type":"page","link":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/prof-valentin-nussbaum-cv\/","title":{"rendered":"Prof. Valentin Nussbaum CV"},"content":{"rendered":"\t\t
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CURRICULUM VITAE \u7c21\u6b77\u8868 \n\u200b<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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VALENTIN NUSSBAUM \u8afe\u65af\u90a6<\/span>
vnussbaum@ntnu.edu.tw<\/a><\/span><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Current Position <\/span><\/span>\u73fe\u8077<\/span><\/span>
<\/span><\/strong>Professor, Graduate Institute of Art History,National Taiwan Normal University
\u570b\u7acb\u81fa\u7063\u5e2b\u7bc4\u5927\u5b78\u85dd\u8853\u53f2\u7814\u7a76\u6240\u6559\u6388<\/p>

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Work Address \u5de5\u4f5c\u5730\u5740<\/span> <\/strong><\/span>
Graduate Institute of Art History, National Taiwan Normal University
\u570b\u7acb\u53f0\u7063\u5e2b\u7bc4\u5927\u5b78\u85dd\u8853\u53f2\u7814\u7a76\u6240
162, He-ping East Road, Section 1, Taipei 10610, Taiwan 10610
\u53f0\u5317\u5e02\u5927\u5b89\u5340\u548c\u5e73\u6771\u8def\u4e00\u6bb5162\u865f<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Education \u5b78\u6b77
<\/span><\/strong><\/span>2005.07
1999.03<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Ph.D. University of Fribourg, Switzerland
M.A. University of Fribourg, Switzerland<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Specialization \u5c08\u9577<\/span><\/span><\/strong>
Western Art of the 19th and 20th Centuries 19\u820720\u4e16\u7d00\u897f\u65b9\u85dd\u8853
Cinema and Photography \u96fb\u5f71\u8207\u651d\u5f71
Portraiture and Identity (15th to 20th Centuries) \u8096\u50cf\u8207\u8eab\u5206(15\u81f320\u4e16\u7d00)
Relationships between Words and Images \u6587\u5b57\u8207\u5716\u50cf\u7684\u95dc\u4fc2
Forensic Imagery \u6cd5\u91ab\u5716\u50cf
Art and Crime \u85dd\u8853\u8207\u72af\u7f6a<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Experience \u7d93\u6b77
<\/span><\/strong><\/span><\/p>

2008.01~2008.12<\/p><\/td>

Research Assistant, Christie\u2019s Paris, the Yves Saint Laurent and Pierre Berge Collection\u2019s Catalogue , publication<\/p><\/td><\/tr>

2007.08~2008.07<\/p><\/td>

Teaching, Lausanne (EHL), Ecole hoteliere, Lecturer<\/p><\/td><\/tr>

2006.01 ~ 2006.12<\/p><\/td>

Research Assistant, University of Fribourg, Department of Preservation of Historical Monuments, Publication of the 850th Anniversary of the City of Fribourg<\/p><\/td><\/tr>

2005.08 ~ 2009.07<\/p><\/td>

Teaching, University of Fribourg, Department of Art History and Musicology, Assistant Professor<\/p><\/td><\/tr>

2005.01 ~2005.12<\/p><\/td>

Teaching, Lausanne (ECAL), School of Design and Visual Art, Lecturer<\/p><\/td><\/tr>

2004.01 ~ 2008.12<\/p><\/td>

Membership, Swiss Association of Young Scholars in Art History<\/p><\/td><\/tr>

1999.08 ~ 2005.07<\/p><\/td>

Musicology, Research and Teaching Assistant<\/p><\/td><\/tr>

1999.01 ~ 2005.12<\/p><\/td>

Musicology, Chair of Modern and Contemporary Art History: research assistant to Professor Stoichita<\/p><\/td><\/tr>

1999.01 ~ 2007.12<\/p><\/td>

Membership, Centre d\u2019art contemporain FRI-ART, Fribourg (Switzerland), the executive committee of the Kunsthalle, Member<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Publication \u51fa\u7248
<\/span>Journal Article \u671f\u520a\u6587\u7ae0<\/strong>
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2016<\/p><\/td>

\u201cVendre sa peau: Le march\u00e9 de l\u2019art entre fictions et r\u00e9alit\u00e9s\u201c ( \u201cSelling One\u2019s Skin: Realities and Fictions of the Art Market\u201c), Proceedings of the Second Swiss Congress of Art History, 22 -24 August 2013<\/p><\/td><\/tr>

2016<\/p><\/td>

Lin Mun-lee and Tsai Ming-liang (eds.), One Cannot See the Forest from the Trees. A journey in Tsai Ming-liang\u2019s Imaginary Landscapes, Stray Dogs at The Museum \u2013 Tsai Min-liang Solo Exhibition (exhibition catalogue), pp210-218<\/p><\/td><\/tr>

2013<\/p><\/td>

Valentin Nussbaum, As Seen on the Screen. The Artefact and the Cinematic Gaze, The Challenge of the Object: Proceedings of the 33rdCongress of the International Committee of the History of Art, vol. 3, pp803-807<\/p><\/td><\/tr>

2012<\/p><\/td>

Valentin Nussbaum, Ghost Images in Brian de Palma\u2019s Obsession, Journal of Taipei Fine Arts Museum, No. 23, pp79-100<\/p><\/td><\/tr>

2011<\/p><\/td>

Valentin Nussbaum, Classic = Modern. Godard\u2019s Bande \u00e0 part, McTiernan\u2019s The Thomas Crown Affair and the Question of Cinematic Modernity, Shida Studies in Art History, vol.1<\/p><\/td><\/tr>

2011<\/p><\/td>

Valentin Nussbaum, Christian Belin, Guy Bedouelle and Simone de Reyff (eds.), Le ma\u00eetre d\u00e9rob\u00e9: chroniques de l’appropriation dans les arts visuels, La Tradition du savoir, pp345-371<\/p><\/td><\/tr>

2011<\/p><\/td>

Valentin Nussbaum, Val\u00e9rie Favre, SIKART Lexikon und Datenbank \/ Dictionnaire et base de donn\u00e9es<\/p><\/td><\/tr>

2009<\/p><\/td>

Valentin Nussbaum, Christie\u2019s (ed.), James Ensor. Le D\u00e9sespoir de Pierrot ou Pierrot jaloux, cat. n\u00b0 17, Collection Yves Saint Laurent Pierre Berg\u00e9. Art impressionniste et moderne, pp68-74 & pp230-231<\/p><\/td><\/tr>

2009<\/p><\/td>

Valentin Nussbaum, and Christie\u2019s (ed.), Pablo Picasso. Poulet, verre, couteau et bouteille cat. n\u00b0 32, Collection Yves Saint Laurent Pierre Berg\u00e9. Art impressionniste et moderne, pp108-111 &32<\/p><\/td><\/tr>

2009<\/p><\/td>

Valentin Nussbaum, and Christie\u2019s (ed.), Alexander Calder. Dancers and Sphere, cat. n\u00b041, Collection Yves Saint Laurent Pierre Berg\u00e9. Art impressionniste et moderne, pp148-151&pp244-245<\/p><\/td><\/tr>

2009<\/p><\/td>

Valentin Nussbaum, and Christie\u2019s (ed.), Fernand L\u00e9ger. Ballet m\u00e9canique, cat. n\u00b0 49, Collection Yves Saint Laurent Pierre Berg\u00e9. Art impressionniste et moderne, p173 & p 252<\/p><\/td><\/tr>

2009<\/p><\/td>

Valentin Nussbaum, and Christie\u2019s (ed.), Giorgio de Chirico. Il Ritornante, cat. n\u00b057, Collection Yves Saint Laurent Pierre Berg\u00e9. Art impressionniste et moderne, pp204-207 &pp.261-262<\/p><\/td><\/tr>

2009<\/p><\/td>

Valentin Nussbaum, and Christie\u2019s (ed.), Paul Klee. Sollte steigen, cat. n\u00b058, Collection Yves Saint Laurent Pierre Berg\u00e9. Art impressionniste et moderne, pp210-211&p263<\/p><\/td><\/tr>

2009<\/p><\/td>

Valentin Nussbaum, and Christie\u2019s (ed.), Paul Klee. Gartenfigur, cat. n\u00b061, Collection Yves Saint Laurent Pierre Berg\u00e9. Art impressionniste et moderne, pp214- 215&p264<\/p><\/td><\/tr>

2009<\/p><\/td>

Valentin Nussbaum, Charlotte Schoell-Glass, and Catriona McLeod (eds.), Serial K\u00fcnstler. Portrait of the Artist as a Malefactor, Elective Affinities, Testing Word & Image Relationships. Word & Image Interactions, book 6, pp205-219<\/p><\/td><\/tr>

2008<\/p><\/td>

Valentin Nussbaum, Wim et la sacr\u00e9e reliquerie. Enfance de l\u2019art et reliques du sacr\u00e9 dans l\u2019oeuvre de Delvoye, Kritische Berichte, vol.36, no.3, pp83-92<\/p><\/td><\/tr>

2007<\/p><\/td>

Valentin Nussbaum, and Francis Python (ed.), Places, parcs et jardins publics, ribourg une ville aux XIXe et XXe si\u00e8cles \/ Freiburg eine Stadt im 19. und 20. Jahrhundert, pp277-294<\/p><\/td><\/tr>

2007<\/p><\/td>

Valentin Nussbaum, Agostino Paravicini Bagliani, Jean-Michel Spieser, Jean Wirth (eds.), L\u2019aura de Laura. L\u2019\u00e9cho du portrait id\u00e9al au cin\u00e9ma, Le portrait. La repr\u00e9sentation de l\u2019individu, Micrologus\u2019 Library, vol.17, pp183-204<\/p><\/td><\/tr>

2006<\/p><\/td>

Valentin Nussbaum, and Christina Bacher (ed.), Der imagin\u00e4re Mord, Art in Crime. Kalender f\u00fcr Kriminalliteratur, 2007, pp30-36<\/p><\/td><\/tr>

2005<\/p><\/td>

Valentin Nussbaum, Claus Cl\u00fcver, V\u00e9ronique Plesch, and Leo H. Hoek (eds.), A l\u2019ombre de portraits en fleurs.Symbolisme et troubles de l\u2019identit\u00e9 de Whistler \u00e0 Hitchcock, Orientations. Space Time \/ Image \/ Word. Word & Image Interactions, 5, pp37-50<\/p><\/td><\/tr>

2003<\/p><\/td>

Valentin Nussbaum, Omar Calabrese, and Claudio Strinati (eds.), Giovanni Lanfranco, Ritratto della famiglia del pittore (cat. n\u00b042), Persone Ritratti di gruppo da Van Dyck a de Chirico, p175 (ill. p120)<\/p><\/td><\/tr>

1996<\/p><\/td>

Vald\u00e8s Leal : les Hi\u00e9roglyphes des Fins Derni\u00e8res de l’\u00e9glise de la Santa Caridad \u00e0 S\u00e9ville, Revue roumaine d’histoire de l’art (S\u00e9rie Beaux-Arts), Vol. 33, pp. 49-66<\/p><\/td><\/tr><\/tbody><\/table>

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Conference Paper \u6703\u8b70\u8ad6\u6587<\/strong>
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2011<\/p><\/td>

Cinematic! How Movies have changed the Vision of Art, Kaohsiung First University of Science and Technology, Kaohsiung, , 2011-06-03-2011-06-03<\/p><\/td><\/tr>

2011<\/p><\/td>

Renaissance de fa\u00e7ade.Treacherous Survival in Brian de Palma\u2019s Obsession, Eurotrash? Modern Simulacra of Renaissance Art, Zurich , , 2011-03-18-2011-03-18, International Conference organized by Dartmouth College and the University of Zurich<\/p><\/td><\/tr>

2010<\/p><\/td>

L\u2019art c\u2019est le vol. L\u2019originalit\u00e9 au d\u00e9fi de l\u2019appropriation, 1st Swiss Conference in Art History, , 2010-09-02-2010-09-04, Bern, (Conference organized by the Swiss Association of Art Historians (VKKS \/ ASHHA) and the University of Bern)<\/p><\/td><\/tr>

2010<\/p><\/td>

Classic = Modern. Questioning Cinematic Modernity, Taipei (Conference organized by GIAH, National Taiwan Normal University), , 2010-03-27-2010-03-27, International Conference Agent of Modernity<\/p><\/td><\/tr>

2010<\/p><\/td>

Holy Business. Art and Transit of Value, Kaohsiung , , 2010-03-18-2010- 03-18, Kaohsiung First University of Science and Technology<\/p><\/td><\/tr>

2009<\/p><\/td>

Cinema Connection. Reflections on Art History, Museums and Movies, Taiwan Art Historian Forum, , 2009-11-27-2009-11-27, GIAH, National Taiwan Normal University<\/p><\/td><\/tr>

2008<\/p><\/td>

Organization of the 12th conference of the Swiss Young Art Historians University of Fribourg , , 2008-10-17-2008-10-18<\/p><\/td><\/tr>

2008<\/p><\/td>

Le ma\u00eetre d\u00e9rob\u00e9. Chroniques de l\u2019appropriation dans le milieu artistique, International Conference La tradition du savoir: le ma\u00eetre et le disciple, University of Fribourg, , 2008-04-19-2008-04-19<\/p><\/td><\/tr>

2007<\/p><\/td>

Wim et la sacr\u00e9e reliquerie. R\u00e9flexions sur le sacr\u00e9 dans l\u2019oeuvre de Wim Delvoye, Conference Reste, University of Bern, , 2007-10-07-2007-10-07<\/p><\/td><\/tr>

2006<\/p><\/td>

Modus operandi. El\u00e9ments d\u2019enqu\u00eate sur la po\u00e9tique indicielle contemporaine, Conference The Making Of\u2026Gesture and Signature in the Art after 1950, University of Bern, , 2006-02-11-2006-02-11<\/p><\/td><\/tr>

2006<\/p><\/td>

Le titre \u00e0 l\u2019oeuvre, Conference History of Titles, University of Fribourg, 2006-01-09-2006-01-09<\/p><\/td><\/tr>

2005<\/p><\/td>

Portrait of the Rtist as a Malefactor, Artist and the Art World in Fiction, Penn University, Philadelphia, 2005-09-27-2005-09-27<\/p><\/td><\/tr>

2005<\/p><\/td>

Identit\u00e9 \/ alt\u00e9rit\u00e9: quand l\u2019un (ou l\u2019une) est l\u2019autre, Exhibition Double Consciousness, Kunsthalle \/ Centre d\u2019art contemporain, , 2005-05-23-2005-05-23, FRI-ART, Fribourg<\/p><\/td><\/tr>

2005<\/p><\/td>

A Likeness of Artistic Identity: Fra Filippo Lippi and Vasari\u2019s Lives, Meeting of the Renaissance Society of America, Session: – Socializing the Individual: Aspects of Renaissance Portraiture, Cambridge (UK), , 2005-04-09-2005-04-09<\/p><\/td><\/tr>

2004<\/p><\/td>

L\u2019aura de Laura. Les paradoxes du portrait au cin\u00e9ma, 3\u00e8me cycle romand de Lettres: Le portrait: la repr\u00e9sentation de l\u2019individu, University of Geneva, , 2004- 12-03-2004-12-03<\/p><\/td><\/tr>

2004<\/p><\/td>

Serial K\u00fcnstler. Portrait de l\u2019artiste en malfaiteur, Interdisciplinary Conference Art & Crime, University of Fribourg, , 2004-09-25-2004-09-25 2004 Organization of the interdisciplinary conference Art & Crime, University of Fribourg, , 2004-09-25-2004-09-25<\/p><\/td><\/tr>

2003<\/p><\/td>

A fleur d\u2019identit\u00e9: le portrait refigur\u00e9 chez Whistler et consorts, 7th Swiss Young Scholars in Art History Conference, University of Neuch\u00e2tel, , 2003-11-08- 2003-11-08<\/p><\/td><\/tr>

2002<\/p><\/td>

A l\u2019ombre des portraits en fleurs.Fin de si\u00e8cle et trouble de l\u2019identit\u00e9, 6th International IAWIS Word & Image ConferenceSession: Word and Image in History and Historiography: Perspectives, University of Hamburg, , 2002-07-22-2002-07-22<\/p><\/td><\/tr>

2001<\/p><\/td>

Organization of the 5th conference of the Swiss Young Art Historians, University of Fribourg, , 2001-05-11-2001-05-12<\/p><\/td><\/tr>

2000<\/p><\/td>

Autant en importe le nom, autant en emporte le temps: l\u2019intitulation du portrait, 30th CIHA Conference, Session: Look, See, Behold: The Spectator\u2019s Time, London, 2000-09-07-2000-09-07<\/p><\/td><\/tr>

1999<\/p><\/td>

Tableau, que me veux-tu?, 3rd Swiss Young Scholars in Art History Conference, University of Zurich, 1999-05-08-1999-05-08<\/p><\/td><\/tr><\/tbody><\/table>

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Book \u5c08\u66f8<\/strong>
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2003<\/p><\/td>

Persone Ritratti di gruppo da Van Dyck a de Chirico, David Teniers il Giovane, L\u2019artista e la sua famiglia, Milano: Silvana Editoriale, editor: Omar Calabrese, Claudio Strinati<\/p><\/td><\/tr>

2003<\/p><\/td>

Persone Ritratti di gruppo da Van Dyck a de Chirico, Antonio Domenico Gabbiani, Trio di musici del Gran Principe Ferdinando con servitore nero , Milano: Silvana Editoriale , editor: Omar Calabrese, Claudio Strinati<\/p><\/td><\/tr>

2003<\/p><\/td>

Persone Ritratti di gruppo da Van Dyck a de Chirico, Jacques Autreau, I bevitori di vino, Milano: Silvana Editoriale, editor: Omar Calabrese, Claudio Strinati 2003 Persone Ritratti di gruppo da Van Dyck a de Chirico, Francesco Hayez, Autoritrato con gruppo di amici, Milano: Silvana Editoriale , editor: Omar Calabrese, Claudio Strinati<\/p><\/td><\/tr>

2003<\/p><\/td>

Persone Ritratti di gruppo da Van Dyck a de Chirico, Jean B\u00e9raud, La Madeleine chez le Pharisien, Milano: Silvana Editoriale , editor: Omar Calabrese, Claudio Strinati<\/p><\/td><\/tr>

2003<\/p><\/td>

Persone Ritratti di gruppo da Van Dyck a de Chirico, David Davidovic Burljuk, Ritratto di Christian Brinton e di nove amici artisti, Milano: Silvana Editoriale, editor: Omar Calabrese, Claudio Strinati<\/p><\/td><\/tr>

2003<\/p><\/td>

The Enduring Instant. Time and the Spectator in the Visual Arts \/ Der bleibende Augenblick. Betrachterzeit in den Bildk\u00fcnsten, Naming the Subject. Time and Identification in Portraiture, Berlin: Gebr. Mann Verlag, pp. 270-283 , editor: Antoinette Roesler-Friedenthal, Johannes Nathan<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Project \u8a08\u756b<\/span>
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2012.08 ~ 2013.12<\/p><\/td>

Cinematic Representations of Forensic Quests NSC (National Science Council, Taiwan) Project: No. NSC 101-2410-H-003-060 (100WFA0300440)<\/p><\/td><\/tr>

2010.09 ~ 2011.08<\/p><\/td>

Cinematographic Close-Up and Evidentiary Paradigm NSC Project: No. NSC99-2410-H003-153 (99B0579)<\/p><\/td><\/tr>

2010.01 ~ 2011.03<\/p><\/td>

Cinematographic Imagery and Forensic Unconscious NTNU Project: No. 98091047<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Honor \u69ae\u8b7d
<\/strong><\/span><\/p>

2005<\/p><\/td>

Senior Prize of the Richterich Foundation and the Swiss Association of Art Historians (VKKS \/ ASHHA)<\/p><\/td><\/tr>

2000<\/p><\/td>

Prize of the Faculty of Arts (University of Fribourg, Switzerland) for the MA Thesis<\/p><\/td><\/tr><\/tbody><\/table>

\u00a0<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

CURRICULUM VITAE \u7c21\u6b77\u8868 \u200b VALENTIN NUSSBAUM \u8afe\u65af\u90a6vnussbaum@n […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"","ocean_second_sidebar":"","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"","ocean_custom_header_template":"","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"","ocean_menu_typo_font_family":"","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"","footnotes":""},"class_list":["post-13890","page","type-page","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/pages\/13890","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/comments?post=13890"}],"version-history":[{"count":13,"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/pages\/13890\/revisions"}],"predecessor-version":[{"id":13903,"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/pages\/13890\/revisions\/13903"}],"wp:attachment":[{"href":"https:\/\/arthistory.ntnu.edu.tw\/index.php\/wp-json\/wp\/v2\/media?parent=13890"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}