Suchergebnisse

Adult education is considered as a part of non-formal education in Turkey, and its aims, scope and practices have been bound by legislation and regulation. Public Education Centers (HEM) that offer general and private classes on several issues and education institutions for various professions provide adult education and non-formal education. Adult education and non-formal education offers education opportunities to people who never had a chance to be a part of the public education system or who started but later dropped out of school. Most of the non-formal education activities are carried out by the Ministry of National Education at HEMs. HEMs were initiated in 1953 and begun spreading in 1956 with the aims of solving the literacy problem which was common back then, spreading the Turkish national culture, and adopting republican ideals and Ataturk23393Bs principles as a part of popular campaigns promoted by the young Turkish Republic. The total number of HEMs in Turkey reached 969 today, where modular education model is applied through quot3BProfessional and Technicalquot3B and quot3BGeneralquot3B education programs. In this scope, there are modular education programs for fine arts education in the quot3BGraphics and Photographyquot3B and quot3BArt and Designquot3B fields. This research tries to collect data by accessing literature on the types, goals and education conditions of fine arts education in HEMs that are a part of the mass education in Turkey.

PurposeComparing of the efficacy and safety of treatment of chronic hepatitis C PegIFN and RBV in HIV‐infected patients receiving HAART with phosphazide (PhAZT) or abacavir (ABC).Methods81 co‐infected with HIV/HCV patients with ART>3 months, treated by PegIFN and RBV (1000–1200 mg/day by weight) during 24–48 weeks. 50 patients (group 1) received PhAZT+3TC+EFV or PIs, and 31 patients (group 2) ‐ABC+3TC+EFV or PIs. Patients in both groups did not differ by sex, age, stage of HIV infection, body mass index, HCV genotype, HCV RNA levels, the degree of hepatic fibrosis.ResultsVirologic response EOT in 1st group was 74% (genotype 1–56%, genotype 3–92%), in 2nd group‐75.9% (genotype 1–61.5%; genotype 3–87.5%). Sustained virological response (SVR) in 1st group was 62% (genotype 1–44%, genotype 3–80%), and in 2nd group −53.3% (genotype 1–46.7%, genotype 3–60%). Relapse of HCV replication within 24 wks after therapy was observed in 12% of pts with 1st group and 22.6%‐2nd group (p<0.05). The frequency of relapse in pts with G1 was 12% and 14.8%, with G3‐12% and 27.5% (in 1st and 2nd groups, p<0.05). If the duration of HCV therapy was <48 wks, SVR rates in pts of both groups was 50% and 41.1%, and if 48 wks and more−73.1% and 71.4%, respectively (p<0.05). When using PIs‐SVR was 52% and 57% in 1st and 2nd groups. In appointing EFV SVR in 1st group − 76.2% (genotype 1–70%, genotype 3–81.8%), in 2nd group−50% (genotype 1–44.4%, genotype 3–57.1%), p<0.05. Inclusion in the regime of HAART PhAZT had no significant effect on the performance of peripheral blood. Decreased hemoglobin, neutrophil and platelet counts were similar in both groups and no more than 1–2 degrees of toxicity. Reducing the CD4+count during HCV treatment has been less pronounced when using PhAZT (compared with ABC) in combination with EFV, and with PI.ConclusionsPegIFN and RBV therapy in pts with HIV/HCV co‐infection receiving HAART, is effective in 44–47% (genotype 1) and 60–80% (genotype 3). Application of the regime PhAZT+3TC+EFV was safe and allowed to reach the maximum frequency of SVR−76.2%.

In 1975 a major change was brought about in the curriculum in the Fine Art faculty at The National College of Art and Design in Dublin. The introduction of this curriculum followed a period of unrest at the college. This unrest was a direct consequence of major social changes that had taken place in Ireland throughout the 1960s. These changes saw Ireland shed the isolationist political philosophy of the new state that had followed independence and adopt a new outward looking philosophy. The principal effect of this change at the college in Dublin in the 1960s was a rebellion by students against what they perceived, in the light of the above changes, as an outmoded curriculum. The values of the curriculum that students rejected were rooted in the neo-classical curricula of the eighteenth century academies of art and the nationalist political ideology of post-independent Ireland. The values that students espoused were those of modernism. Following the student rebellion a new structure was introduced at the school of art in Dublin. This structure was modeled on the system of art education that had been developed in Britain in the 1960s in the context of the rapid expansion of the British education system at that time. Fine art education in Britain as it developed at this time owed much to the reformative aspect of developments that took place in British society and education after the Second World War and in particular to the influence of the so-called Coldstream Report of 1960. ; TARA (Trinity?s Access to Research Archive) has a robust takedown policy. Please contact us if you have any concerns: rssadmin@tcd.ie

This paper focuses on two stages in the development of post-war production interior porcelain. The first stage is the completion of the development in the decorative and industrial arts of the grand style. The second stage is the development of modern style, which is reflected in the works of mass porcelain. The research refers to the Leningrad Factory of Porcelain and the production of the enterprise from 1956–1966. The products of the plant have not been studied sufficiently so far. However, the factory was one of the many Soviet porcelain enterprises that was involved in the creation of a new living environment. Two stages in the development of industrial art related to the organisation of the residential interior were reflected in the company's products, i.e. works of small porcelain plastics, utilitarian porcelain, i.e. vases, boxes, bottles, night lamps, etc. The first stage is filled with works of small plastic arts (second half of the 1950s). The second stage is associated with the interior, in which porcelain goods played the role of accents in the interior, emphasising empty space (first half of the 1960s). The author of the article carries out analysis of caskets and vials of the enterprise (40 Years of October caskets, casket with a lion, Matryoshka casket, Summer Garden, a series of bottles and caskets), vases and pots (Lines planters, decorative vases, damask, and stacks), lamps (Chinese Pagoda night light, Golden Cockerel night light). Based on the interpretation of the value of the enterprise in the formation of the interior, the value of products in the processes of transition from the grand style to the modern style, a conclusion is drawn about the importance of the plant in the formation of the living environment. The massive nature of the works of the plant influenced the fact that the current stylistic trends were available to a vast number of Soviet citizens, who perceived new aesthetic norms.