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<p>The reemergence of China is changing the world, and that EU needs to develop a long-term approach based on research-based knowledge in order to engage strategically with an increasingly assertive China.</p> <p>This dataset consists of a semi-structured interview with a person of Chinese nationality, carried out in Chinese and transcribed in Chinese language.</p> Crockatoo

<p>The reemergence of China is changing the world, and that EU needs to develop a long-term approach based on research-based knowledge in order to engage strategically with an increasingly assertive China.</p> <p>This dataset consists of a semi-structured interview with a person of Chinese nationality, carried out in Chinese and transcribed in Chinese language.</p> Crockatoo

Several masterpieces by the 16th century painter, Pieter Bruegel from the Low Countries, can function as eyeopeners to understand how 'popular culture' is mediated or how successful multi-media inventories can be for cultural repertoires. These paintings were also used in Peter Burke's Popular Culture in Early Modern Europe. In order to fully understand the recent developments before and since the 2003 UNESCO Convention, it is necessary to situate these in a long term perspective, and Burke's book remains a relevant classic. This exercise helps us to recognise a number of implicit or invisible criteria for the lists of the Convention - like the 'no-electricity' rule. For the UNESCO lists, both popular and court/elite forms of culture from outside Europe seem to qualify, but for Europe, only expressions of popular culture are listed; the 'elite culture' tacitly falls outside the scope, up to now. Waiting for a wikipedia-like formula with peer review to facilitate a really representative list, the New Delhi consensus expressed in the first paragraphs of the operational directives holds up to now: easy criteria, but a hair-splitting treatment of the forms and bottle necks and dams in the pipelines of processing the files, in order to slow down the inflation effect that would follow mass inscription. The constructivist nature of the definition of intangible cultural heritage in Article 2 of the 2003 Convention, and the possibility of using the lists - and registration system - to create eye-openers and precedents allows for innovation and change. Abstract in Korean 16?? ???? ??? ?? ??? ???(Pieter Bruegel)? ???? ?? ???? '?? ??'? ??? ?????, ????? ????? ?? ???? ??? ??? ?????? ??? ??. ?? ??? ?? ??(Peter Burke)? ??? ?? ??? ???? (Popular Culture in Early Modern Europe)???? ????. 2003? ???? ?? ??? ??? ??? ???? ???? ???? ???? ??? ???? ??, ? ???? ??? ??? ?? ???? ?? ?? ??? ??. ???? ??? ??? ??? ???? ?? '??????(no-electricity rule)'?? 2003? ?? ??? ??? ??? ?? ??? ???? ? ?? ??? ? ???. ?? ? ??? ???? ?? ??? ??(???) ?? ?? ?????? ?? ?? ??? ???? ? ????, ??? ???? ?? ???? ?? ???? ???? ? ??. '??? ??'? ???? ????? ??? ???? ???? ??. ??? ??? ??? ??????(wikipedia-like) ??? ??? ????? ??? ??? ???? ???, ????? ????? ???? ??? ??(New Delhi consensus)? ????. ??? ????? ???? ???? ?? ???? ?? ??? ?? ?? ???? ???? ?? ??? ??? ?? ??? ?? ????? ??? ???? ?? ???? ????? ???. 2003? ?? ?2?? ??? ??????? ??? ?? ?? ? ?? ??? ?? ?? ?? ???? ??? ??? ??? ??? ???.

In the context of globalization, the reconstruction of material spaces and the evolution of social relations have accelerated the loss of emotions in traditional villages. Intangible heritage can play an important role in the emotional maintenance of traditional villages as an emotional carrier for its residents. Previous studies have been less involved in the synergistic relationship between the interactive game of power subjects and the evolution of emotions in the practice of intangible heritage. Particularly, research on the evolution of the emotional exchange mode is insufficient. Taking the Dong minority chorus of Huangdu Village as an example, this study adopts qualitative research methods, such as semi-structured interviews and participant observation, to construct an analytical framework of "daily life practice-emotional exchange", and to deeply explore the evolution process and motivational mechanism of the emotional exchange mode in the daily life practice of traditional village residents. The study found that: 1) According to the changes in the subject and relationship, motive and mode, resource and situation, perception and experience of emotional exchange in the natural, livelihood, institutional, and spiritual dimensions, the daily life practice of Huangdu Village can be divided into four stages: primitive equilibrium, passive compromising, active resisting, and regenerating. 2) In the process of intangible cultural heritage practices, the manipulation of capital and the suppression of power have broken the original balance of Huangdu Village, and the division of power and status among subjects has squeezed the living spaces of local residents, forcing them to become involved in power struggles. They resist the control of the "other" by means of physical empowerment and restatement of the local subjectivity, and ultimately strike a balance of power within the village. In the daily practice of intangible cultural heritage, the mode of residents' emotional exchange changes from reciprocity to general negotiation and production modes. 3) Emotional exchanges in traditional villages are produced during power struggles between residents and other subjects. When power is balanced, residents master the discourse of intangible cultural heritage and produce positive emotions such as attachment and belonging. When residents are suppressed by power and capital, they gradually lose discourse and produce negative emotions, such as a sense of crisis and separation. 4) The evolution of emotional exchange modes in the daily practices of traditional village residents is systematic. The evolution of the outer system pushes the kernel system to adapt, and the driving, pulling, and supporting forces promote the synergistic evolution of "daily life―emotional exchange―intangible cultural heritage practice" in Huangdu village. The evolution of emotional exchange patterns during the practice of the Dong minority chorus in Huangdu Village was an inevitable process for reconstructing the cultural subjectivity of local residents in the context of tourism development. Exploring emotional exchange patterns at different stages of daily life practices can help understand the developmental law of traditional villages and provide useful references for its emotional governance and sustainable development.

<p>The reemergence of China is changing the world, and that EU needs to develop a long-term approach based on research-based knowledge in order to engage strategically with an increasingly assertive China.</p> <p>This dataset consists of a semi-structured interview with a person of Chinese nationality, carried out in Chinese and transcribed in Chinese language.</p> Crockatoo

<p>The reemergence of China is changing the world, and that EU needs to develop a long-term approach based on research-based knowledge in order to engage strategically with an increasingly assertive China.</p> <p>This dataset consists of a semi-structured interview with a person of Chinese nationality, carried out in Chinese and transcribed in Chinese language.</p> Crockatoo

Le thème de ce numéro spécial est « Multiculturalité, matérialité et art contemporain ». La multiculturalité est un nouveau concept dans l’art contemporain et la recherche esthétique, qui s’inscrit dans la lignée des concepts établis d’internationalisme, de transnationalité, de multiculturalisme, d’hybridité et d’interculturalité. Le concept de multiculturalité vise à mettre en évidence les diverses formes et manifestations du pluralisme culturel que nous partageons tous dans le contexte contemporain de la mondialisation. La question de la multiculturalité dans l’art et l’esthétique contemporains est avant tout différente de la vision de Charles Taylor du multiculturalisme en tant que support politique de l’identité. La signification esthétique de la multiculturalité dans le travail d’un artiste ou d’une œuvre d’art est qu’il cherche à transcender les limites de la monoculture présentée par les civilisations établies et à mettre en place les possibilités du pluralisme culturel à travers sa création. Ainsi, la multiculturalité se distingue des questions d’identité ou de nationalisme culturel, et se concentre sur la portée de l’expérience artistique.En outre, dans l’esthétique contemporaine, parmi les nombreuses pratiques artistiques qui abordent la multiculturalité, la question esthétique de la matérialité a retenu l’attention. Il s’agit en particulier de l’intérêt de l’anthropologie pour la culture matérielle. Ceci est différent de la perspective matérialiste du matérialisme moderne. La signification de la matérialité d’une œuvre d’art n’est pas seulement la matérialité de la forme de l’œuvre. La matérialité de l’objet n’est pas une propriété fixe de la matière, mais un processus et une relation. La matérialité de l’objet est également différente de l’objet d’étude objectif de la physique moderne. Non seulement les différentes disciplines ont des compréhensions et des interprétations différentes de la matérialité des objets, mais la matérialité des objets est la base de la création artistique dans différentes régions culturelles. La matérialité des objets est également une riche source d’informations transmises silencieusement à travers différentes cultures, révélant par défaut la multiculturalité des objets et des artistes. The theme of this special issue is “Multiculturality, Materiality and Contemporary Art”. Multiculturality is a new concept in contemporary art and aesthetic research, following the established concepts of internationalism, transnationality, multiculturalism, hybridity and interculturality. The concept of multiculturality aims to highlight the various forms and manifestations of cultural pluralism that we all share in the contemporary context of globalisation. The question of multiculturality in contemporary art and aesthetics is above all different from Charles Taylor's view of multiculturalism as a political support of identity. The aesthetic significance of multiculturality in the work of an artist or artwork is that it seeks to transcend the limits of the monoculture presented by established civilisations and to set up the possibilities of cultural pluralism through its creation. Thus, multiculturality is distinct from questions of cultural identity or nationalism, and focuses on the scope of the artistic experience.Furthermore, in contemporary aesthetics, among the many artistic practices that address multiculturality, the aesthetic question of materiality has received attention, in particular, the anthropological interest in material culture. This is different from the materialist perspective of modern materialism. The significance of the materiality of a work of art is not only the materiality of the form of the artwork. The materiality of the object is not a fixed property of matter, but a process and a relationship. The materiality of the object is also different from the objective object of study of modern physics. Not only do different disciplines have different understandings and interpretations of the materiality of objects, but the materiality of objects is the basis of artistic creation in different cultural regions. The materiality of objects is also a rich source of information silently transmitted across different cultures, revealing by default the multiculturality of objects and artists.

The value discovery of data is the core of industrial internet,but for historical reasons,there are many information islands exist in enterprises.The identifier is the key technology for solving information isolated island and industrial big data gathering.Also,the identifier is the basis technology of understanding industrial big data.Several key elements in the application of identifier in industrial internet were analyzed,and some research ideas for the future study of industrial big data’s understanding were given.

In the Book of Odes, how to describe the rhythmic pattern has been a question. In order to answer the question, this study presents an algorithm in order to extract the rhythm from the text at the line (ju 句) level and interpret the incentive process (xing 興) : 1. Note down the frequency of each Chinese character in each position in each line, 2. For each line, the variation of frequency of each Chinese character can be interpreted as literary rhythm, 3. Compare each line by the defined literary rhythm which can be identical, complementary or symmetrical, 4. Such comparison is expected to explain the feeling of a reader about a textual unity, especially between lines produced with the incentive process. This work proposes a new way of reading and allows evaluation of style distance between poetic texts.

By reviewing and studying relevant historical materials, this study presents the advanced and fruitful clinical teaching in Peking Union Medical College Hospital(PUMCH) nearly a hundred years ago. It proved that the clinical teaching of PUMCH had reached the internationally advanced level in 1925. The bed-side teaching, case discussion, multidisciplinary joint ward round, interdisciplinary teaching, and resident training system still have practical significance presently. As it turns out, many of the teachers who were passionate about teaching and students who were actively involved in teaching went on to become medical masters. The spirit of taking teaching as an honor, responsibility and mission has been passed on and deeply rooted in the spirit of PUMCH and has remained unchanged for a century.