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This article examines China's efforts to launch new international institutions in order to advance its interests globally. The Asian Infrastructure and Investment Bank (AIIB) presents an opportunity for China to create a China-led Multilateral Development Bank (MDB) to promote its vision of how to improve the existing world order. The operation of the AIIB has evolved in the last five years. Beijing's priority at the initial stage was to exercise precaution to ensure its success. More recently, Beijing has adopted a bolder approach to embed a new set of ideas, norms, principles and practices into the AIIB project selection and implementation with an emphasis on efficiency and flexibility, less formality and legality, and more equal participation of the borrowing developing countries. (J Contemp China/GIGA)

Zaji (杂技), which means « various competences » and is sometime translated in French "Acrobatie chinoise", is a form of art at least three thousand years old. To date, there is no French synthesis available to trace its origin, development and evolutions up to the present day.This thesis aims to fill this gap by documenting the subject from a corpus of Chinese and French publications and documentation. The author of the thesis, Chinese to French translator and teacher, has conducted an investigation through her access to documentary resources, exhibits of artifacts and live shows of Chinese acrobatic arts.The thesis provides a synthesis of the results obtained during this survey, presented chronologically in a broad panorama with bibliographical references (250) refrences and iconographical (128).The thesis is composed of three chapters. The first chapter proposes a chronology of the development of the forms of Chinese acrobatics in the context of each dynasty until the last dynasty in 1912, referring to archives and documents in China, including the published and unpublished, original and translations of ancient or contemporary texts. This chapter is completed with the assistance from historians of Zaji such as Professor Fu Quifeng, as well as the support of Nanjing Library. By confronting problems of translations, the thesis makes it accessible to French readers a major history of the world's oldest performing arts.The second chapter examines the integration and reception of Chinese acrobatics in France from senventeenth century to twentieth century and its influences on French theatre, particularly in the fashion of the "Chinoiserie", then go through reciprocal exchanges during the Republic of China until the rebound of Chinese acrobatics in the twentieth century after the founding of the People's Republic of China in 1949, specifically its new artistic forms and cultural codes, the political messages it conveys, the invitation of Chinese artists to circus festivals in France and Monaco.The third part briefly ...

Zaji (杂技), which means « various competences » and is sometime translated in French "Acrobatie chinoise", is a form of art at least three thousand years old. To date, there is no French synthesis available to trace its origin, development and evolutions up to the present day.This thesis aims to fill this gap by documenting the subject from a corpus of Chinese and French publications and documentation. The author of the thesis, Chinese to French translator and teacher, has conducted an investigation through her access to documentary resources, exhibits of artifacts and live shows of Chinese acrobatic arts.The thesis provides a synthesis of the results obtained during this survey, presented chronologically in a broad panorama with bibliographical references (250) refrences and iconographical (128).The thesis is composed of three chapters. The first chapter proposes a chronology of the development of the forms of Chinese acrobatics in the context of each dynasty until the last dynasty in 1912, referring to archives and documents in China, including the published and unpublished, original and translations of ancient or contemporary texts. This chapter is completed with the assistance from historians of Zaji such as Professor Fu Quifeng, as well as the support of Nanjing Library. By confronting problems of translations, the thesis makes it accessible to French readers a major history of the world's oldest performing arts.The second chapter examines the integration and reception of Chinese acrobatics in France from senventeenth century to twentieth century and its influences on French theatre, particularly in the fashion of the "Chinoiserie", then go through reciprocal exchanges during the Republic of China until the rebound of Chinese acrobatics in the twentieth century after the founding of the People's Republic of China in 1949, specifically its new artistic forms and cultural codes, the political messages it conveys, the invitation of Chinese artists to circus festivals in France and Monaco.The third part briefly ...

Zaji (杂技), which means « various competences » and is sometime translated in French "Acrobatie chinoise", is a form of art at least three thousand years old. To date, there is no French synthesis available to trace its origin, development and evolutions up to the present day.This thesis aims to fill this gap by documenting the subject from a corpus of Chinese and French publications and documentation. The author of the thesis, Chinese to French translator and teacher, has conducted an investigation through her access to documentary resources, exhibits of artifacts and live shows of Chinese acrobatic arts.The thesis provides a synthesis of the results obtained during this survey, presented chronologically in a broad panorama with bibliographical references (250) refrences and iconographical (128).The thesis is composed of three chapters. The first chapter proposes a chronology of the development of the forms of Chinese acrobatics in the context of each dynasty until the last dynasty in 1912, referring to archives and documents in China, including the published and unpublished, original and translations of ancient or contemporary texts. This chapter is completed with the assistance from historians of Zaji such as Professor Fu Quifeng, as well as the support of Nanjing Library. By confronting problems of translations, the thesis makes it accessible to French readers a major history of the world's oldest performing arts.The second chapter examines the integration and reception of Chinese acrobatics in France from senventeenth century to twentieth century and its influences on French theatre, particularly in the fashion of the "Chinoiserie", then go through reciprocal exchanges during the Republic of China until the rebound of Chinese acrobatics in the twentieth century after the founding of the People's Republic of China in 1949, specifically its new artistic forms and cultural codes, the political messages it conveys, the invitation of Chinese artists to circus festivals in France and Monaco.The third part briefly ...

China's economic initiative in Africa has been advanced by its image-building efforts, though there are limits to the utility of China's soft power. Currently, mutually penetrating economic relations are at the core of China's soft power. However, the efficacy of Chinese soft power depends upon the broader applicability of its attractive elements, including culture, political values, and economic model. Fortunately for China, its attractive soft-power elements resonate in Africa. (Asian Perspect/GIGA)

The remarkable economic growth of China in the past two decades has generated both admiration and concern. As an "undemocratic capitalist" country, Beijing's grand stategy and true intentions once it becomes stronger are under strutiny by the rest of the world. This article examines how economic globalization has transformed China's national policy preferences. It explores China's foreign economic policy and recent activism in regional and multilateral settings, and within geographic regions that China had minimal contact with as recently as ten years ago. China's resource endowments combined with its rapid and highly globalized growth have shaped its trade profile. The article suggests that, regardless of China's grand strategy or future intentions, its policy options have been deeply constrained by its highly globalized economy. (Asian Perspect/GIGA)

China's GATT/WTO accession process has been dynamic and complex, affected by the broad political and economic factors at both the international and the domestic levels, and by a complex intertwining of bilateral and multilateral negotiations. This paper attempts to review this 15-year-long negotiation by focusing on the correlation and interaction between three variables - international factors, bureaucratic politics, and societal factors - and the negotiation process. Among them, the author identifies the first two variables as the primary factors shaping negotiation positions, strategies and outcomes, while societal factors such as Congress, interest groups and the public media are also worth noting. They played a minor but growing role in China to affect the ebb and flow of the negotiation process. Furthermore, they functioned differently in the West and in China and these differences themselves also contributed to influencing the negotiation process. (J Contemp China/DÜI)