Suchergebnisse

Introduction -- The residential neighborhood -- The cultural street -- The midtown of China -- The new economies -- Outlook -- Index of persons, institutions, and firms

Ein strategisches Bündnis von städtischer Umnutzung, Kreativwirtschaft, Konsumökonomie und Denkmalschutz hat eine bemerkenswerte Transformation innerstädtischer Quartiere in Shanghai geschaffen. In einer Verbindung von intimen Kenntnissen der lokalen Szene und kritischer Distanz entwirft die Autorin ein genaues Bild der Strategien, Akteure und Prozesse eines spezifisch chinesischen Modells städtischer Transformation. Konzepte wie "urbane Fluchten", "Erhalten durch Bewohnen" und "Gentrifizierung in Chinesischer Manier" werden als charakteristisch für die Mechanismen dieser Stadtentwicklung Vorgestellt. Urban Loopholes führt die Unverzichtbarkeit der Resilienz urbaner Räume gegenüber dem Veränderungsdruck der Globalisierung vor Augen.

With populations rapidly aging, the development over time in the cognitive function among the elderly approaching or reaching retirement is important for successful aging at work and planning pension policies. However, few studies in this field focus on this age group. This study characterizes time trends in cognitive function among 55-69-year-old Europeans from 2006 to 2015, and compares these trends by region, gender, and education. This study analyzes 40,689 subjects in Waves 2, 4, 5 and 6 of the Survey of Health, Aging and Retirement in Europe (SHARE) covering ten countries. Cognitive function was measured by Recall and Verbal Fluency. Educational levels were classified by quartiles. A Generalized Estimating Equation (GEE) model was used to explore the association between cognitive function and development over time after controlling for confounders. Further stratification analysis using GEE models was conducted, stratified by region, gender and education. Cognitive function improved significantly in southern and central Europe over the observed timeframe, whereas it did not in northern Europe. Those with relative low levels of formal education displayed the most rapid increases in cognitive function in southern and central Europe. Among those with lower education in southern Europe, males' cognitive function improved more quickly than females'. The improvement of cognitive function at ages 55-69 in southern and central Europe may contribute to continuing engagement with productive activities in old age. Educational interventions for people with lower levels of education may be most effective in achieving such engagement. This paper extends the literature on the development over time in the cognitive function among the elderly close to retirement age in Europe by analysing southern, central and northern Europe, as well as differences by region, gender and education. The results may provide evidence for planning pension policies and educational interventions.

Our research focuses on the genesis of the teaching of art history in secondary schools in France. This precisely means its foundation and initial development under the Third Republic. We will first study the educational institution and the discipline of art history at the time, since the teaching of art history is closely linked to them. In Chapter I, the study will show the complexity of the secondary school system in France at the time. There is not only the distinction between male and female audiences, but also between classical education and modern education, so that the teaching of art history is not homogeneous across the board in terms of importance and aims. Chapter II will seek to reestablish the history of the institution of the discipline of art history in France, since secondary school education is concerned with the progress of its own discipline. At the time, the discipline of art history was in an initial phase, where its definition was still imprecise. Therefore, the purpose and practice of its teaching in secondary school are not clear. Then, our research will study the evolution of this teaching. In the first place, it is observed that it is never autonomous. That is to say, it is grafted onto other courses, that of drawing or history in particular. The role assigned to art history in the teaching of drawing differs from that in the teaching of history: in Chapter III, we will deal with several major reforms in the teaching of drawing, hence the fact that in drawing courses, art history is generally supposed to complement the drawing practice of an high culture; in Chapter IV concerning one art history in the teaching of history, it is noted that the more "the history of civilization" dethrones "the history of facts", the more art history is considered, in history, to be essential for the understanding of general history. As the discipline of art history became more autonomous, its teaching in secondary school was also supposed to be autonomous by the reform of 1925. The study of students should focus on the works of arts themselves - in view of the importance of this event, we will dedicate Chapter V to it. To this, however, there is no independent training regime for special teachers. Teaching continues to be entrusted to drawing or history teachers. The study of the selection regime followed by these professors shows that a professor's competence in art history varies with the effects of the previously mentioned reforms. Chapter VI will focus on the educational means and tools for this teaching, as art books, photos, projection, walk and visit, etc. We are going to approach lastly "the teaching of music history at secondary school in France", since this teaching which is given almost in parallel with the teaching of art history, or sometimes merges with it, is not yet fully studied by historians. In addition to the school system or the so called discipline itself, artistic currents and the democratic trend on all social levels give their repercussions to this teaching, so that art now comes into play in civic education and knowledge in applied or industrial arts occupies the central place of the study of art history. At the same time, the movement of new pedagogy based on practice and observation at the beginning of the twentieth century also inspires this teaching. ; Notre recherche a pour sujet la genèse de l'enseignement de l'histoire de l'art à l'école secondaire en France. Il s'agit précisément de sa fondation et son développement initial sous la IIIe République. Nous allons en premier lieu étudier l'institution scolaire et la discipline d'histoire de l'art à l'époque, car l'enseignement de l'histoire de l'art leur est lié étroitement. Dans le Chapitre I, l'étude va montrer la complexité du régime scolaire secondaire de France à l'époque. Il y a non seulement la distinction entre le public masculin et le public féminin, mais aussi entre l'enseignement classique et l'enseignement moderne, de telle sorte que l'enseignement de l'histoire de l'art n'est pas homogène au sens de l'importance comme de la finalité. Le chapitre II va chercher à rétablir l'histoire de l'institution de la discipline d'histoire de l'art en France, car l'enseignement à l'école secondaire s'attache au progrès de sa propre discipline. A l'époque, la discipline d'histoire de l'art se tient en phase initiale, où sa définition reste toujours imprécise. Par conséquent, la finalité et la pratique de son enseignement à l'école secondaire ne sont pas solides. Par la suite, la recherche va étudier l'évolution de cet enseignement. En premier lieu, il est constaté qu'il n'est jamais autonome. C'est-à-dire, il est greffé à d'autres cours, celui de dessin ou d'histoire en particulier. Le rôle qu'on assigne à l'histoire de l'art dans l'enseignement du dessin se différencie de celui dans l'enseignement de l'histoire : nous allons traiter dans le chapitre III plusieurs réformes majeures de l'enseignement du dessin, d'où peut se dégager le fait qu'au cours de dessin, l'histoire de l'art est généralement supposée compléter la pratique de dessin d'une culture élevée ; dans le Chapitre IV concernant l'histoire de l'art dans l'enseignement de l'histoire, il est constaté que, plus « l'histoire de la civilisation » détrône « l'histoire des faits », plus l'histoire de l'art est considérée, au cours d'histoire, comme étant indispensable à la compréhension de l'histoire générale. Au fur et à mesure de l'autonomisation de la discipline d'histoire de l'art, son enseignement à l'école secondaire est aussi censé être autonome par la réforme de 1925. L'étude des élèves doit porter sur les œuvres d'arts elles-mêmes – en considération de l'importance de cet événement, nous allons y dédier le Chapitre V. Il n'en existe pourtant pas, jusque-là, de régime indépendant de formation des professeurs spéciaux. L'enseignement continue à être confié aux professeurs de dessin ou d'histoire. L'étude sur le régime de sélection que suivent ces professeurs amène au constat que la compétence en histoire de l'art d'un professeur varie au gré des effets des réformes susdites. Le Chapitre VI va porter sur les moyens et outils pédagogiques à l'usage de cet enseignement, comme ouvrage d'art, photographie et projection, promenade et visite, etc. Nous allons aborder en dernier lieu « l'enseignement de l'histoire de la musique à l'école secondaire en France », vu que cet enseignement qui se donne presque en parallèle avec l'enseignement de l'histoire de l'art, ou fusionne parfois avec celui-ci, n'est pas encore pleinement étudié par les historiens. Outre le régime scolaire ou la discipline proprement dite, les courants artistiques et la tendance démocratique sur tous les plans sociaux donnent leurs répercussions à cet enseignement, si bien que l'art entre désormais en jeu de l'éducation civique et que le savoir en arts appliqués ou industriels occupe la place centrale de l'étude d'histoire de l'art. En même temps, le mouvement de pédagogie nouvelle fondée sur la pratique et l'observation au début du XXe siècle inspire cet enseignement ; 本文研究的是法国中学艺术史教学的初期情况,即在第三共和国时期的设立与发展情况。该教学与学校制度、学科制度息息相关,因此将首先对这两个问题进行考察。在第一章节中,研究展示了这一时期法国中学制度的复杂性。不仅有男校女校之分,还有古典教学与现代教学之分。艺术史教学在这些体系中的比重和要求均不相同。第二章节展示了艺术史学科在法国的建立过程,因为中学艺术史教学依托于学科的发展。这一时期,艺术史学科在法国还处于初级阶段,并且它的定义又始终存在模糊性,导致了中学艺术史教学的目标和实施也是不稳定的。接下来,论文将研究中学艺术史教学的发展过程。在这一时期,艺术史一直未被设立为独立课程,而是被移植到其他课程进行教学,尤其是素描课与历史课。这两个课程对艺术史的定位并不相同:在第三章节中,研究展示了几次重大素描教学改革中,艺术史是如何被当作素描练习的理论补充;第四章节则展示了,随着"文明史"逐渐取代传统的"事件史",艺术史也相应地被确立为年轻人必学的历史。。到了二十世纪,艺术史学科的独立性愈加明显。到了1925年,艺术史在中学正式被设立为独立教学内容,即对作品本身进行分析学习。第五章节将对这一重大改革展开研究。但直到这个时候,仍然不存在专门的艺术史教师培养制度。艺术史教学主要还是由素描老师或历史老师承担。论文通过对这些老师的选拔制度进行研究,展示了老师的艺术史素养是随着上述教学改革而变化的。第六章节主要考察了几种主要教学手段和教学工具,例如艺术类著作、照片与投影、参观与散步等。本文最后一章节对法国中学音乐史的教学情况展开一段初步的研究,因为该教学与艺术史教学几乎同时发展,有时还合并到一个教学大纲中。除了学校制度和学科本身,该论文还展示了给艺术史教学带来影响的艺术潮流与方方面面的民主化趋势。首先,对艺术的认知成为公民素养的一部分。其次,应用艺术和工业艺术,作为经济发展的推动力,逐渐成为了艺术史教学的重要内容。同时,二十世纪初,重视实践与体验的新教学法运动来到法国,也给该教学带来了新的启发

From the turn of the twentieth-century onward, especially after 1905, the conviction that democracy as a political system would save and strengthen China was widely accepted in the government and in society. This conviction stimulated several initiatives for institutional change in Chinese society. Institutional reforms in education and politics entangled with each other at the outset of fundamental changes that took place in China at the beginning of the twentieth century. This entanglement required the renovated educational system to accord itself with more democratic politics and anticipated a physically, mentally, and spiritually qualified citizenry that would be produced through modern-style schooling. This study on the development of democratic education in primary and secondary schooling in China during 1901-1937 focuses on the relationship between education, citizenship, and democracy. The research on the institutional changes in education and their relation to the broader sociopolitical circumstances in search for and in pursuit of political democracy was based on state provisions on education, proposals and resolutions on crucial educational issues presented at educational meetings and conferences, and journal and newspaper articles. Its examination of the development of education for citizenship in relation to various democratic ideals and political practices was based on textbooks for primary and secondary schooling. This study deals with the impetuses, developments, and problems of democratic education, reveals the triadic interrelationship between education, citizenship, and democracy in a context of constant changes, and sheds new light on the initial stage of democratic education in a crucial period of modern China.

The nature of the New Policies in China (1901–1911) has been hotly debated for decades. While scholars doubt the sincerity of the Qing government in their pursuit of constitutional reform, there is a general agreement on the high quality of their educational reform. Some even consider their educational innovations as "genuine reform" but condemn the political reform as "pseudo reform". How could educational reform be independent of political influence? To understand the institutional change in education in the final decade of imperial China, this article analyses the relationship between educational reform and political ideology in the New Policies before 1905 by comparing the 1902 and 1904 Decrees on education. It will be shown that the 1902 Decrees deemphasised the imperial orthodoxy, and they were therefore unacceptable for the ruling circle and did not work out. The 1904 Decrees, on the contrary, succeeded because of their accordance with the dominant political ideology. The "genuineness" of the educational reform in the New Policies seem not to be an indicator of the central government's determination to pursue fundamental reform before 1905. Rather, to a large extent, this determination was manifested in the substantial achievement of educational reform at the local level during 1906 to 1911.

Precarious work, which is characterized by the uncertainty and unpredictability of employment, can found in the labor market of most industrialized countries. Although precarious work was relatively rare in China until the 1980s, it has experienced rapid growth over the past two decades. The factors underlying the diffusion of precarious work are varied and interrelated, notably reflecting the impact of changes in the structure of industry, occupations, urbanization, state policies, and labor market institutions, as well as employers' manpower strategies. Although the spread of precarious work is sometimes advocated as an effective means of generating employment and increasing labor market flexibility, substantial evidence shows that such work is plagued by a series of problems, including low pay, low skill, high work intensity, poor working conditions, and lack of employment protection. This article reviews research on the trends and quality of precarious work in China in the past two decades and offers insights for policy makers with respect to the ways to integrate precarious workers into the primary labor market.

Front Cover -- Mapping Good Work: The Quality of Working Life Across the Occupational Structure -- Copyright information -- Table of contents -- List of Figures and Tables -- List of abbreviations -- Notes on the Authors -- Acknowledgments -- Introduction -- The Good Work agenda -- Good Work is multidimensional -- An occupational perspective -- The evolving structure of occupations -- Structure of the book -- One Mapping Good Work -- Introduction -- Approaches to the quality of work -- Surveying the quality of work -- Making visible disparities in the quality of work

International organizations play a crucial role in promoting and achieving global governance, and their importance in the contemporary world cannot be overstated. As of the end of 2022, the Union of International Associations (UIA) had accredited 227 international organizations registered in mainland China's provinces and municipalities. This paper reviews the background of UIA and the relative authority of its Yearbook of International Organizations. It analyzes the basic situation of UIA-accredited international organizations headquartered in China according to the principles of UIA organization classification, and ultimately offers a brief assessment and policy recommendations for these organizations.