선전시는 1979년 8월에 설치된 중국 최초의 경제특구로 당시 중국의 후커우 제도 에 따라 전출입이 엄격히 금지되었던 사회구조에도 불구하고 인프라 건설을 위해 대 량의 타지 노동력 유입과 장기 체류가 불가피했다. 이러한 배경으로 선전시는 1983 년부터 임시거주증, 인재거주증 등 파격적인 후커우 개혁 조치를 가장 먼저 시행하 였다. 선전시 후커우 개혁 분석 결과, 단계별 후커우 개혁 조치를 중국에서 가장 먼 저 시행했다. 둘째, 지방정부인 선전시 정책이 중앙정부 보다 폭 넓은 혜택을 상주 후커우 보유자에게 부여하고 있었다. 셋째, 우수 투자자 및 납세자, 사회 취약 및 보 훈 계층, 인재, 점수 적립제 적용자 등 다양한 상주 후커우 부여 기준을 가지고 있었 다. 향후 중국 후커우 제도의 발전 방향은 도시 간 ‘인재 빼앗기’에 매몰될 가능성이 크다. 부유한 도시와 빈곤한 도시, 발전 경쟁력이 큰 도시와 그렇지 못한 도시 간 격 차를 심화시키는 작용을 할 전망이다.

Opportunity identification is the core issue of entrepreneurship research, and it is also an important prerequisite for the development of rural tourism. Although entrepreneurial opportunity identification research has achieved more results, there is still a lack of empirical research on rural tourism single industry. Based on social capital and experience learning perspectives, using data from 139 “Minsu” in China, which is now officially called homestay inn in China, we empirically examine the effects of social capital and previous experience on entrepreneurial opportunity identification. The results indicate that scales of embedded network and resources of social network have positively effect on entrepreneurial opportunity identification. The results also show previous industry experience and functional experience have positively effect on entrepreneurial opportunity identification, while previous working experience has no direct effect on entrepreneurial opportunity identification. These results show that entrepreneurs have a denser and larger scale of social network, they will have higher alertness for the potential entrepreneurial opportunities. These results also indicate that the entrepreneurs have more previous industry and functional experience, they will recognize more entrepreneurial opportunities.

The Bauhaus educational method gave the strong influences on Modern Japanese art and design education. In the 1920s and 1930s, Japan allied with Germany and Italy politically and tried to receive German system to be modernized. The reception of the Bauhaus and Moholy-Nagy's photographic theory was one of those activities at that time. Japanese intellectual class went to the Bauhaus and studied there; Ishimoto Kikuchi, Nakata Sadanosuke, Mijutani Takehiko, Yamawaki Iwao and Yamawaki Michiko(Yamawaki Iwao's wife). Especially, Yamawaki Iwao studied about the architecture at the Bauhaus, but his interest moved toward the photography and the photomontage based on Moholy-Nagy's theory. He studied at the photography workshop of the Bauhaus presented by Peterhans irregularly. Even though Yamawaki Iwao was an architect, he wanted to be admitted as an expert for the photomontage that he particularly studied at the Bauahus as a Bauhaus member. He had presented many articles about the photomontage at the photography magazines in Japan in order to introduce it to Japan since he returned in 1933. Thus, Yamawaki Iwao is the important person when we look back the Modern Japanese design and art history. In Japan, the art and design systems are managed by the Bauhaus educational system until now, and it has become a kind of cultural legacy in Modern Japan; The university of Tama and The university of Tsukuba are the representative educational systems which are based on the Bauhaus legacy. However, Yamawaki Iwao had been concealed as a photographer in Japanese design and photography history until the retrospective discuss named by ‘Bauhaus syashin(Bauhaus Photographies)’ at the photography magazine, Deja-vu in 1995 and the retrospective exhibition titled as ‘Bauhaus syashin(bauahustofografie)’ in 1997. This study rethinks of Yamawaki Iwao's historical position while looking at the term as ‘Bauhaus Syashin(Bauhaus Photographies)’ used in Japan. It is very important to bear in mind Moholy-Nagy's wide variety of approaches to photography at the Bauhaus, but it is impossible to name it ‘Bauhaus style’. ‘Bauhaus style’ is the international style in architecture, but that was never a Bauhaus style in photography. Eugene J. Prakapas indicated that the vague term of ‘Bauhaus Photographies’ in his article in 1985 as well. This study considers the historical background for the mistake of the term of ‘Bauhaus Syashin(Bauhaus Photographies)’ in Modern Japanese history, while looking at Yamawaki Iwao's photomontage faintly entering on the historical stage again to discuss the reception of the photomontage from him. In particular, Some of Yamawaki Iwao's photomontage presented as the wall photography in Japan during the Second World War, that was related to the propaganda of Japanese government. It had not been known well in the modern Japanese art and design history because it was related to a declaration of the Second World War by Japan. However, the historical position of his photomontage is very important for Japanese history when we rethink of the reception of the Bauhaus and Moholy-Nagys' photographic theory to build up the Japanese modern history. In the result, this study wants to discuss that the mistake of the term of ‘Bauhaus syashin(Bauhaus Photographies)’ in Japan is related to the interpretation for the the historical position for Yamawaki Iwao's photomontage in the reception of Bauhaus and Moholy-Nagy's photography in Japan.

Main theme of this paper is the evaluation of the historical significance of Luciano Baldessari's exhibition works mainly during the Fifties. In order to understand the formal and logical basis of those project, his relationship with the historical Avant-gardes and the consequences expressed in his pavilion projects for the Breda Industrial Company are analyzed. The first part focuses on the influence of Italian Futurism, German Expressionism and Italian Rationalism on the formation and experience of Baldessari during the interwar years. The encounter with these movements determine the interest but also the principles along which Baldessari represents his idea of object, space and place. Specially his professional activities during Fascism would determine his attitude toward political power and the necessity of autonomy in artistic sphere. In the second part, different themes that Baldessari affronted in each project of Breda Pavilions is analyzed. Another important issue regard the historiography of the contemporary architecture. Often, many important works that lies in the threshold of the disciplines such as painting and sculpture and media art were excluded in the history of architecture just because they do not deal with the architectural object. Recently, many elements such as theatrical project and temporary objects are considered as part of urban reality and architecture with acknowledgment of their capacity to create event and situations. Along this thought, not just the reconfiguration on the territory of architecture in present but also the criterion to evaluate the past history of architecture is changing drastically. This study on the pavilions of Baldessari intends to contribute indirectly on the current issue of dominion of architecture, but also to evaluate objectively recent architecture. Consequently, architectural protagonists such as Baldessari and their ephemeral projects would be evaluated compressively in their multiplicity of significance.

The propaganda paintings in oil colors or in forms of posters made from 1949 to1966 have gone through some changes experiencing the influence of the Soviet Union Artand discussion of nationalization, while putting political messages of the time in the pictureplanes. The propaganda paintings which have been through this process became aneffective means of encouraging the illiterate people in political ideologies, production, andlearning. Alike other propaganda paintings in different mediums, the ones which werepainted in oil colors and in the form of posters have been produced fundamentally basedon Mao Zedong’s intensification of the literary art on the talks on literature at Yenan. Yet,the oil paintings and posters were greatly influenced by the socialist realism andpropaganda paintings of the Soviet Union, compared to other propaganda paintings indifferent mediums. Accordingly, they were preponderantly dealt in the discussions ofnationalization of the late‘50s. To devide in periods, the establishment of People’s Republic of China in 1949 as adiverging point, the propaganda paintings made before and after 1949 have differences insubject matters and styles. In the former period, propaganda paintings focused on thepolitical lines of the Communists and enlightenment of the people, but in the latter period,the period of Cultural Revolution, the most important theme was worshiping Mao Zedong.This was caused by reflection of the social atmosphere, and it is shown that thepropaganda painters had reacted sensitively to the alteration of politics and the society. Onthe side of formalities, the oil paintings and posters made before the Cultural Revolutionwere under a state of unfolding several discussions including nationalization whileaccepting the Soviet Union styles and contents, and the paintings made afterwards showmore of unique characteristics of China. In 1956, the discussion about nationalization which had effected the whole world ofart, had strongly influenced the propaganda paintings in oil colors more than anything.There were two major changes in the process of making propaganda paintings in oilcolors. One was to portray lives of the Chinese people truthfully, and the other was toabsorb the Chinese traditional styles of expression. After this period, the oil painters usually kept these rules in creating their works, and as a result, the subject matters, characters, andbackgrounds have been greatly Sinicized. For techniques came the flat colored surface ofthe new year prints and the traditional Chinese technique of outlining were used forexpressing human figures. While the propaganda paintings in oil colors achieved high quality and depth, theposters had a very direct representation of subject matters and the techniques wereunskilled compared to the oil paintings. However, after the establishment of People’sRepublic of China, the posters were used more than any other mediums for propagation ofnational policy and participation of the political movements, because it was highly effectivein delivering the policies and political lines clearly to the Chinese people who were mostlyilliterate. The poster painters borrowed techniques and styles from the Soviet Unionthrough books and exhibitions on Soviet Union posters, and this relation of influencesconstantly appears in the posters made at the time. In this way, like the oil paintings, theposters which have been made with a direct influence of the Soviet Union had developeda new, sinicised process during the course of nationalization. The propaganda paintings in oil colors or in forms of posters, which had undergonethe discussion of nationalization, had put roots deep down in the lives of the Chinesepeople, and this had become another foundation for the amplification of influences ofpolitical propaganda paintings in the following period of Cultural Revolution.

The Chinese reports of the 1930s always show propaganda characteristics. First, at the that times the Chinese reports had a clear aim; second, the reports recorded social facts, and a turbulent situation provided right chance for the propaganda; third, the reports really knew how to grasp anopportune moment to pass on their idea . The last , the reports mastered a good propaganda ways.