ŶŮŢŨŢŻŪůŦġŪŴŴŶŦġljĸ ljĺ டᚠଆ ŇņłŕŖœņġŔŕŐœŚ ంี ᏰҡࡦՃ Ыըਣ᠓ϫࢨକьϞᐯӠ的 ظ Ϣ۶ணሃȉԯթ，ࠜ ශᆽ ᔝჰϞ ߩ ༡ຜु ٿ Ӡ෭，ᄁᔽҁেԨԢᐯ۶гಿ ж ݙڳ ᐯфु ٿ ，ލ ᛟ ل ऎᐯӠु ٿ 的ᛟ， ܠڭ ง ـ 。ӨൾЀࢽ，ഺዹՉవ࣏ྐ ᐯӠᅆྏ ᒸᎷ的ᑢҫ་֖ ಎϢւᅅ，੶ನ۶ж ՜ޘ ༰ۖ 的ҫਫ਼， ڭ ѽӠஜࣿ ጐ ўՑ ٿ ुد ה ೀ 。ࡈ ՁሲȈȶ ا ௱ᅆᐯӠᗾ，ҫ ਫ਼බ࣏ᑢҫ的ᗏর。۬ ធҫਫ਼，༷ ᕖఀ ѧႵ ث Ҽ，ం Ⴍћм、ԑಧൎ ڎ ࢘ᣍᅅ，ទᚰѷጢԳ د ഺ ڱ ᗏর ᘘ১。ȷ ಲ֯ ࡡਣȶУ៹的ዃ ט ѵधȈশີ 、ᛁሃग़୧ȷ Ӥ ֜ی Џಲ的ु ٿ ӠᏒᒖ ޟ ۶ᗦሦ֯ ，ᜱϞ֘ ў ־ݑ Ă ᣍᅆаԳУ、бϩՐ҃ ዃ ט ᠩ，ѽфઐћмᅆ К҃ ҫ的ᎏᕝ。 ֜ی ᐯӠ՜༰Ђ༓ညՐ的ዃ ט ઔඡ ф，գϧਣӯ֘ ў的యᏚຉರՂ֣ Ӈ༟аҾඞ， ዾራ҃ К的༟ᇑ。Ꮢᒖ ޟ ሲȈȶ ا ে௲ ڽ ϞധԺ ၃ ۏ 的ዃ ט ઔඡ，ġంփᒚణҍည的ઐग़ᐯ。ȷᗦ ሲȈȶഺ ڱ ઔඡಎ ֘ۦ ўᠩ，Ժ ے 푸ടьЃԴْ ϯ的ඩ，ഺলညࣹ֖࢝ ，ࣙ࢘ϯх࣍ ڤ К Ѓ ݑ Գ֜ 。ȷ 鄧や⅙ૂ 㯑惠的ȶӊᖟᯇᯋ的ᔙь⮂Ȉ俏㨮、䟡㰛㠽㗄䞈ȷ ‘ Beautiful Adverts: Cigarettes, Drugs and Wines’ by Deng Yingxin and Xue Hui ńŰůŵųŪţŶŵŪŰůŴġŧųŰŮġŔŵŶťŦůŵŴ !e Galleries would not be complete without contributions from students. !us, a prominent corner of !e Galleries is reserved as ‘!e History Students’ Space’ to inspire and motivate MA students and PhD candidates from the department to introduce their own research projects to other students' and the general public. !e theme varies from time to time, depending on the students speci"c projects. ‘!is Space allows our students to examine thoroughly the history they are interested in, consolidate and analyse the collected data, and demonstrate their skills in laying out their research "ndings in an intriguing manner,’ says Dr Puente-Ballesteros. ‘I always say to my students that sources are the voices of history and therefore we must honour them by using rigorous interpretation and sophisticated methodological approaches from comparative, transcultural and global perspectives’. An inspiring panel entitled ‘Beautiful Adverts: Cigarettes, Drugs and Wines’ by Deng Yingxin and Xue Hui, two graduate students from the department, o#ers their own explanation of how the Western conception of gender roles greatly in$uenced Chinese advertisements in the 1950s and 1960s, and how consumer culture shaped Chinese modernity. A substantial number of advertising posters and paintings of the time are collected and displayed as eloquent evidence, o#ering guests a glimpse of how Western advertising tactics conquered Chinese markets and marked the beginning of modern China. ‘We brought a lot of time-honoured advertising graphics that witness the aesthetics of Chinese consumers of the time,’ says Deng. ‘!ese posters were in$uenced by Western advertisements and were successful in advertising and giving recognition to the artists. From these commercial posters, you might see lots of portrayals of elegant young ladies dressed in cheongsam, sitting on a sofa, which were exceptionally popular and in some way re$ected the social status of Chinese women at that time,’ Xue says.
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