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Forecasting EduTech for the next decade. Scenario development teaching patterns in general versus academic educationKöhler, Thomas, Pengel, Norbert, Riedel, Jana, Wollersheim, Werner 17 December 2019 (has links)
Learning while studying is an individual process of actively acquiring knowledge through the co-construction of knowledge resources under supervision by teaching mentors. Mentoring activity typically consists of the interaction of two areas, namely the personal relationship between mentor and mentee, as well as individualized guidance on performance at the factual level, i.e. the partial result-based evaluation of the previous and advice on the future learning process. This in-process feedback is considered to be a key impact factor in learning success in international educational research, provided that it is as direct and as accurate as possible (Hattie & Yates, 2014). [... from the Indroduction]
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Co-operation in training and accreditation of accountants in Southern Africa : views of South African public accountants and auditorsDoussy, F. (Frank), 1958- 07 1900 (has links)
The study was prompted mainly by the need for and possibility of collaboration or even
mutual accreditation of practising chartered accountants and auditors in the countries of
Southern Africa. In establishing common ground between these countries of Southern
Africa it was found that the countries share not only geographical space but also strong and
increasingly important trade links, movement of people between the countries and in some
instances a common history, culture and language in the form of English. The current
harmonisation process of accounting standards worldwide enhanced this process.
A literature study was done emphasising South Africa as part of the Southern African
region, with a special emphasis on accountancy education. An analysis of current
international co-operation was done with special reference to the current international
harmonisation process. As part ofthe background an analysis was done of the current status
of the accountancy profession in each Southern African country.
As this study was done from a South African perspective, the emphasis was on the views
of members of the accounting profession in public practice with regard to greater cooperation
in the region in the accountancy field. This was achieved by means of an empirical
survey.
It was found that the aforesaid professionals are overwhelmingly in support of greater cooperation
in the region. They believe that it would enhance the status of individual
accounting bodies worldwide~ that costs, information and infrastructure could be shared;
and that it would enhance professionalism and improve service to clients.
Specific areas were identified where co-operation could be improved, namely that academic
training should be harmonised, practical tralning should be interchangeable and agreements
should be reached with individual countries. Some concern was expressed that above all,
control should be maintained over the standards of academic and practical education.
It is recommended that the bodies governing the accountancy establishment in South Africa,
especially the South African Institute of Chartered Accountants and the Public Accountants'
and Auditors' Board, should increase their current efforts to establish greater formal
relations with other countries in the Southern African region. / Auditing / D. Compt. (Accounting Science)
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Co-operation in training and accreditation of accountants in Southern Africa : views of South African public accountants and auditorsDoussy, F. (Frank), 1958- 07 1900 (has links)
The study was prompted mainly by the need for and possibility of collaboration or even
mutual accreditation of practising chartered accountants and auditors in the countries of
Southern Africa. In establishing common ground between these countries of Southern
Africa it was found that the countries share not only geographical space but also strong and
increasingly important trade links, movement of people between the countries and in some
instances a common history, culture and language in the form of English. The current
harmonisation process of accounting standards worldwide enhanced this process.
A literature study was done emphasising South Africa as part of the Southern African
region, with a special emphasis on accountancy education. An analysis of current
international co-operation was done with special reference to the current international
harmonisation process. As part ofthe background an analysis was done of the current status
of the accountancy profession in each Southern African country.
As this study was done from a South African perspective, the emphasis was on the views
of members of the accounting profession in public practice with regard to greater cooperation
in the region in the accountancy field. This was achieved by means of an empirical
survey.
It was found that the aforesaid professionals are overwhelmingly in support of greater cooperation
in the region. They believe that it would enhance the status of individual
accounting bodies worldwide~ that costs, information and infrastructure could be shared;
and that it would enhance professionalism and improve service to clients.
Specific areas were identified where co-operation could be improved, namely that academic
training should be harmonised, practical tralning should be interchangeable and agreements
should be reached with individual countries. Some concern was expressed that above all,
control should be maintained over the standards of academic and practical education.
It is recommended that the bodies governing the accountancy establishment in South Africa,
especially the South African Institute of Chartered Accountants and the Public Accountants'
and Auditors' Board, should increase their current efforts to establish greater formal
relations with other countries in the Southern African region. / Auditing / D. Compt. (Accounting Science)
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Les artistes chinois en France et l’Ecole nationale supérieure des beaux-arts de Paris à l’époque de la Première République de Chine (1911-1949) : pratiques et enjeux de la formation artistique académique. / Chinese artists in France and the Higher National School of Fine Arts in Paris (École nationale supérieure des beaux-arts de Paris) during the Republic of China (1912-1949) : issues and practices of the academic artistic education and training.Cinquini, Philippe 30 March 2017 (has links)
La présence des artistes chinois en France durant la première moitié du XXe siècle s’est fixée de manière exceptionnelle et durable à l’École des beaux-arts de Paris, au point qu’on puisse, à partir du dépouillement des archives nationales (cote AJ52), parler d’un « phénomène chinois à l’École des beaux-arts de Paris ». Ce phénomène a engagé plus de 130 élèves chinois inscrits dans les galeries et dans les ateliers de peinture et de sculpture entre 1914 et 1955. Aussi, cette présence à l’École des beaux-arts constitua une caractéristique essentielle du mouvement des artistes chinois en France et plus largement en Occident. À ce titre, ce phénomène a joué un rôle important dans l’évolution du champ artistique chinois moderne, sur le plan social,technique et artistique à travers un processus de « transfert culturel ». Ce phénomène fut possible grâce à une relation privilégiée qui exista entre la France et la Chine au début du XXe siècle (le « dialogue entre deux républiques »). Mais l’École des beaux-arts fut aussi un espace de concurrence entre les différentes tendances artistiques modernes chinoises dont beaucoup des chefs de file passèrent par les ateliers de l’École. Parmi eux,Xu Beihong (1895-1953) occupa une place particulière car il développa une stratégie sociale et artistique cohérente qui posait comme fondamentales la formation artistique académique et l’expérience à l’École des beaux-arts de Paris. Cette expérience enrichie par la maîtrise du dessin académique, de l’anatomie artistique et de la peinture d’histoire, fut orientée vers une production inédite à bien des égards en Chine, à l’huile et à l’encre. Aussi, après une période consensuelle des années 1910 aux années 1920, il semble qu’à partir des années 1930, le phénomène chinois à l’École des beaux-arts de Paris alimenta essentiellement le pôle éducatif et artistique de Xu Beihong en France et en Chine. Ce phénomène chinois à l’École des beaux-arts de Paris,attaché à la formation académique et à l’art académique français, fut un élément dynamique dans l’élaboration de la modernité artistique en Chine au XXe siècle. / The presence of Chinese artists in France during the first half of the Twentieth Century was an exceptional and enduring phenomenon at the National School of Fine Arts of Paris (École nationale des Beaux-Arts de Paris). Based on the analysis of the documents from the French National Archives, the number of Chinese students was so substantial that it deserves to be called as the 'Chinese phenomenon at the École des Beaux-Arts'. Between 1914 and 1955, more than 130 Chinese students enrolled at the 'Galeries' (preparatory training in drawing) and at the painting and sculpture studios called 'Ateliers'. This situation at the École des Beaux-Arts essentially reflected the movement of Chinese artists in France and more widely in the West. It played an important role in the changing field of the modern Chinese art, socially, technically and artistically ,through a process of "Cultural Transfer" and was made possible by the privileged relationship between France and China at the beginning of the Twentieth Century (the "Dialogue between two Republics"). Nevertheless, the École des Beaux-Arts also became an area of competition between the various modern Chinese artistic tendencies, as many leaders of different groups studied at the workshops of the École des Beaux-Arts. Amongthem, Xu Beihong (1895-1953), who developed a coherent social and artistic strategies, was especially significant. Xu received fundamental academic artistic training at the École des Beaux-Arts in Paris. Xu’s experience, enriched by his mastery of academic drawing, artistic anatomy and history painting, made his artistic production unprecedented in many respects of Chinese art, in oil and in ink. In addition, after a consensual period from the 1910s to the 1920s, it seems that from the 1930s, the Chinese phenomenon at the École des Beaux-Arts in Paris mainly fostered Xu’s central position in educational and artistic camps inFrance and China. This Chinese phenomenon at the École des Beaux-Arts in Paris, which is attached to academic training and to French academic art, was a dynamic element in the elaboration of artistic modernityin Twentieth Century China.
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