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AbstractThis study aims to discuss how Chinese‐oriented heritage from Ming and Qing dynasties has been incorporated in the discourse of 'Taiwanese' culture to bolster the identity of Taiwan. Drawing upon the interconnected theoretical concepts of 'imagined communities' and 'nationalising the past', this study focuses on the 'selective' presentation of the Chinese‐oriented monuments in historic Tainan City, where the documented history of Taiwan began. This study concludes that these Chinese‐oriented monuments are represented as containing a wealth of transposable imagery, as one embodiment in the context of Taiwanese culture, and the mark of political distinction between 'Taiwan' and 'China', in the process of heritagisation. In the interpretation of heritage, this research result also suggests that the state of Republic of China (ROC) re‐invented 'Taiwanese' nationhood and that the state's goals of cultural establishment could be reinforced through social agents.

The aim of this study is to reveal the characteristic features of the influence and spread of European opera art in Chinese music culture throughout more than one and a half century of its development (from the last quarter of 18th century to the end of 1940s)Research methodology is based on the combined usage of culturological, historical and comparative methods.Results. Historical, political and cultural events that occurred in the late 18th century and in the early 20th century had significant influence on the spread of European opera art in this country. The wide spread of European opera is the most notable in the early 20th century. German, Russian and Ukrainian migrants, as well as touring artists from all over Europe played a major role in this. Active concert performance and pedagogical activities of these artists were mostly unfolding in the large Chinese cities — Beijing, Harbin, Shanghai, Nanjing and others. Due to the actions of the talented people, various partnerships, associations and unions were being created for the main purpose of popularizing the best European opera works and spreading them in the Chinese cultural space.Novelty. The characteristic features of the influence that European opera art had on Chinese music culture of the late 18th — early 20th century are reviewed for the first time in Ukrainian art studies and culturology.The practical significance. Studying the influence of European opera art on Chinese music will ensure broader understanding of intercultural relations of East and West.Conclusions. The general influence of European opera art played a major role in further formation and development of Chinese professional music, greatly influencing its cultural enrichment. ; Розглянуто проблему впливу європейського оперного мистецтва на професійну китайську музику періоду кінця ХVIII — першої половини ХХ ст. в контексті культурного діалогу «Схід — Захід». Визначено суттєве значення в поширенні цього виду мистецтва історичних, політичних та культурних подій і явищ, які відбувалися в країні в зазначений період. З'ясовано, що процес найактивнішого поширення європейської опери в Китаї починався з ХХ ст., обґрунтовано важливу роль у ньому творчої діяльності відомих співаків-емігрантів (як виконавської, так і вокально-педагогічної), а також багатьох відомих оперних артистів, котрі приїздили на гастролі до Китаю з різних країн Європи.

The aim of this study is to reveal the characteristic features of the influence and spread of European opera art in Chinese music culture throughout more than one and a half century of its development (from the last quarter of 18th century to the end of 1940s)Research methodology is based on the combined usage of culturological, historical and comparative methods.Results. Historical, political and cultural events that occurred in the late 18th century and in the early 20th century had significant influence on the spread of European opera art in this country. The wide spread of European opera is the most notable in the early 20th century. German, Russian and Ukrainian migrants, as well as touring artists from all over Europe played a major role in this. Active concert performance and pedagogical activities of these artists were mostly unfolding in the large Chinese cities — Beijing, Harbin, Shanghai, Nanjing and others. Due to the actions of the talented people, various partnerships, associations and unions were being created for the main purpose of popularizing the best European opera works and spreading them in the Chinese cultural space.Novelty. The characteristic features of the influence that European opera art had on Chinese music culture of the late 18th — early 20th century are reviewed for the first time in Ukrainian art studies and culturology.The practical significance. Studying the influence of European opera art on Chinese music will ensure broader understanding of intercultural relations of East and West.Conclusions. The general influence of European opera art played a major role in further formation and development of Chinese professional music, greatly influencing its cultural enrichment. ; Розглянуто проблему впливу європейського оперного мистецтва на професійну китайську музику періоду кінця ХVIII — першої половини ХХ ст. в контексті культурного діалогу «Схід — Захід». Визначено суттєве значення в поширенні цього виду мистецтва історичних, політичних та культурних подій і явищ, які відбувалися в країні в зазначений період. З'ясовано, що процес найактивнішого поширення європейської опери в Китаї починався з ХХ ст., обґрунтовано важливу роль у ньому творчої діяльності відомих співаків-емігрантів (як виконавської, так і вокально-педагогічної), а також багатьох відомих оперних артистів, котрі приїздили на гастролі до Китаю з різних країн Європи.

In this paper, I analyze an example in which two perfectly informed experts advise a decision maker. Each expert has private information about her own bias. I show that consulting two experts is better than consulting just one. I compare the efficiency of information transmission between simultaneous, sequential, and hierarchical forms of communication. I show that simultaneous communication achieves the highest efficiency, followed by sequential and hierarchical communication. However, hierarchical communication, in which a second expert chooses whether to block the first expert's message, achieves a moderate level of efficiency, even though the decision maker receives only one message. Finally, there are preference settings in which both sequential and hierarchical communication are superior to simultaneous communication.