<p>Culture has covered several areas which related to human beings’ life, it was manifested in process of doing, value judge, communication manners, education issues, historical events, economic situation and so on in communities. So, the culture would impact the operation ways of a corporation. Through the prevalent theory of Hofstede’s culture division, we understood that Chinese culture has its characteristics which could be portrayed as long power distance, collectivism, masculinity, uncertainty avoidance and long-term orientation. The Chinese enterprise has long been the epitome of the massive collective, where employees usually treated their organization as their family. Additionally, these large organizations and government related enterprises had a multitude of standardized procedures and regulations, numerous managerial levels, and promotions based on knowledge of and obedience to these procedures and policies, exemplifying the hierarchy culture (A.Ralson, Jane, H. Terpstra, Wang, C.Egri, 2006). And this study, we will review some literatures at first sector and get comprehensive insight of Chinese corporate culture, and discuss the relationship between corporate culture and innovation capability through interview with some corporations’ leaders in second sector. Through this work, we are trying to provide some successful experiences to Chinese corporations.</p> / <p>文化反映在人类生活中的很多方面，诸如做事情方式，沟通的礼节，教育，历史事件，经济状况等等方面。在很大方面，一个国家的文化会影响到企业的经营方式。通过当前比较流行的霍夫特德的文化区分理论，我们了解到中国的文化特点体现为比较长的权利距离，集体主义倾向，更男性化，强调风险规避以及考虑长期目标。因此，中国的企业也长期处在中国文化的影响中，表现起来就是中国的企业更强调集体文化，以及把企业当作家的思想。企业中存在许多的规章制度以及等级观念，员工的晋升与个人的成就和服从相关联。通过这篇文章，我们在一系列文献整理的基础上，更好的了解中国文化和中国企业文化，并进而讨论文化与创新之间的联系。并且最后我们将举出一些取得成功的中国本土企业的例子，并探讨他们成功的经验。</p>

Culture has covered several areas which related to human beings’ life, it was manifested in process of doing, value judge, communication manners, education issues, historical events, economic situation and so on in communities. So, the culture would impact the operation ways of a corporation. Through the prevalent theory of Hofstede’s culture division, we understood that Chinese culture has its characteristics which could be portrayed as long power distance, collectivism, masculinity, uncertainty avoidance and long-term orientation. The Chinese enterprise has long been the epitome of the massive collective, where employees usually treated their organization as their family. Additionally, these large organizations and government related enterprises had a multitude of standardized procedures and regulations, numerous managerial levels, and promotions based on knowledge of and obedience to these procedures and policies, exemplifying the hierarchy culture (A.Ralson, Jane, H. Terpstra, Wang, C.Egri, 2006). And this study, we will review some literatures at first sector and get comprehensive insight of Chinese corporate culture, and discuss the relationship between corporate culture and innovation capability through interview with some corporations’ leaders in second sector. Through this work, we are trying to provide some successful experiences to Chinese corporations. / 文化反映在人类生活中的很多方面，诸如做事情方式，沟通的礼节，教育，历史事件，经济状况等等方面。在很大方面，一个国家的文化会影响到企业的经营方式。通过当前比较流行的霍夫特德的文化区分理论，我们了解到中国的文化特点体现为比较长的权利距离，集体主义倾向，更男性化，强调风险规避以及考虑长期目标。因此，中国的企业也长期处在中国文化的影响中，表现起来就是中国的企业更强调集体文化，以及把企业当作家的思想。企业中存在许多的规章制度以及等级观念，员工的晋升与个人的成就和服从相关联。通过这篇文章，我们在一系列文献整理的基础上，更好的了解中国文化和中国企业文化，并进而讨论文化与创新之间的联系。并且最后我们将举出一些取得成功的中国本土企业的例子，并探讨他们成功的经验。

China is a cultural and economic giant in today’s world, but has been somehow misunderstood in the past decades . With more and more educational and economic communication between China and the western world, more non-Chinese people find a need to know China. This project has created a board game based on Journey to the West, a 2000-page novel which is one of the four great classical novels in China. The project seeks to transmit some of the cultural aspects of China, stimulate people’s interest in China through simple gameplay. The ultimate goal of this project was to develop a game which was fun for friends and families to play together, as well as to offer a relaxing and pleasant play space for people to experience a different culture without extensive reading. The paper explains the research that has been done to realize the project, Journey to the West: the Board Game, and the production expectation. A study has been done behind the project explored the game’s mechanics, appeal and effectiveness. The paper also details the results of this study to determine if players of this board game learn about Chinese culture more than readers of the book.

This thesis makes a comparative study of cultural differences and similarities between Chinese and Western outlaw heroes. It examines this cultural phenomenon from eight angles: the outlaw hero as constructed by history, literature and folklore; outlaws constructed as archetypal heroes; social and cultural contexts; outlaw heroes and revolution; a comparative case study of outlaws in Northeast China and Australia; underground cultural products (the "lore" and 'law"); ballads and proverbs reflecting values of outlaw heroism; and the fate of outlaws and the outlaw hero.Historical and folkloric explanatory frameworks are applied to outlaw hero traditions. Archetypal outlaw heroes and their successors, praised or criticised, are all constructed through a long process which combines reality recreated and fiction made real. Characteristics of archetypal outlaw heroes are inherited by later outlaws in China and the West. Though there are common codes and values of outlaw heroes in China and the West, different attributes are manifested in their attitudes towards brotherhood, organisation and women, and also in bandit sources and bandit categories.Western outlaw heroes are seldom involved in revolution, but their Chinese counterparts are connected with the Taiping revolutionary movement, the republican revolution and the Communist revolution. Some Communists are no more than outlaw heroes in the eyes of the poor and bandits in the eyes of the Kuomintang However, the alliance between outlaw heroes and revolutionaries is a fragile one.Northeast China and Australia have some parallels in their outlaw hero traditions. Convicts and immigrants play an important part in frontier banditry. The environment of both provides fertile soil for banditry and immigration. Among modem outlaws in Northeast China are chivalrous bandits and bandits who heroically fight against foreign Invaders. ++ / Bandit culture is valuable heritage in China. Bandits' ceremonies, argot, internal regulations, worship and superstition, and routine and recreational activities are all important facets of Chinese outlaw culture.Outlaw heroes never bend their bodies under pressure; they rebel rather than wait for death; and they never rob the locals. This is all reflected in bandit ballads, proverbs and other lore discussed in the thesis. Death is what most outlaws have to face, and how to fade it is a significant element in the construction of the outlaw hero. The arguments of this thesis are based on folkloric, historic and literary sources, many of which are here translated into English for the first time.

This report discusses the design and development of Wu, a 2D action game intended to serve as a means for exporting Chinese popular culture to Western players. Developed with the Unity engine, the game features a dynamic difficulty system that monitors player behavior and automatically modifies the content to better match the observed level of skill. Feedback from playtesting confirmed that the dynamic difficulty adjustment significantly increased the probability of completing the game, and that most players acquired a better understanding of the Wuxia genre on which the game is based.

No description available.

Nous nous demandons constamment comment peut-on communiquer avec du parfum ? Ce langage sensoriel utilise le signe parfum dans un dispositif et comme une langue car le parfum est un système de signes qui forme une langue olfactive, dans la culture occidentale. Dans la première partie, nous confrontons cet argument à la culture chinoise, et nous observons que le parfum semble être un signe qui peut appartenir à un système de signes produisant du sens, de la signification, dans cette culture extrême-orientale. Le design, production occidentale, semble fortement influencé par la culture du signe extrême-orientale. La deuxième partie, étudie les manipulations de cette langue olfactive pour produire du sens : par le matériau, les images, la structure. Les clichés qui nous permettent de créer des projets de design olfactifs nous permettent de produire les codes d'un nouvelle langue, olfactive, pour produire un sens partageable, commun. Les formes de communication qui se dégagent de notre thèse sont l'écriture par le parfum, non pas sur un support, mais dans l'espace, et une forme pictographique et idéographique : une écriture imagée pour signifier une idée. Cette forme de communication logographique typique des écritures hiéroglyphiques et des sinogrammes, ne serait donc pas exotique. L'Occident aussi produit et manipule un tel langage, une telle écriture, mais pas uniquement sur une surface plane. Ceci s'applique au parfum, mais peut-être aussi à toute autre production de design. / We are constantly asking how can we communicate with perfume? This sensory language uses the sign perfume in a device and as a language because the perfume is a system of signs that form an olfactory language in Western culture. In the first part, we compare this argument to the Chinese culture, and we observe that the scent seems to be a sign that can belong to a system of signs producing meaning, in this far eastern culture. Design, western production, seems strongly influenced by the culture of the Far East sign. The second part studies the manipulations of the olfactory language to produce meaning: by the material, the images, the structure. The “clichés” that afford us to create projects of smell design allows us to produce the codes of a new language, olfactory, to produce a shareable and common meaning. Forms of communication that emerge from our thesis are written by the scent, not on a backing, but in space, and a pictographic and ideographic form: a pictorial writing to signify an idea. This form of communication typical logographic writing hieroglyphics and Chinese Character, would not be exotic. The West also produces and manipulates such language, such writing, but not only on a flat surface. This applies to perfume, but can also be any other production of design.

Title: IKEA's brand culture in today's Chinese market: Focus on Shanghai Level: Final assignment for Master of Business Administration Author: Hongming Yang, Chen Hu  Supervisor: Maria Fregidou-Malama Date: 2012-June Aim: The aim of this study is to analyze the collected information to study the IKEA's brand culture and consumer psychology and behavior in Shanghai market nowadays. By using Hofstede´s cultural dimensions to assess the IKEA's brand culture in Shanghai we give suggestions to IKEA about how to adapt to the regional market.  Method: Use of primary data which were collected through interviews, with a  questionnaire provided to managers. Secondary data in form of articles, books and published literature has been collected through databases such as DIVA, Emerald and the library at Gävle University. We use qualitative analysis to study the issue. Result &amp; Conclusions: IKEA's brand culture to provide good quality products to improve people's life in Shanghai in cheap price is not so clearly understood. IKEA has to adjust its marketing strategy, such as improving the quality of its products, or reducing the price, to remove the Shanghai consumers' confusion and misunderstanding of IKEA, in order to suit the Shanghai regional culture. Contribution of the thesis: We suggest that multinational enterprises should pay attention on the regional culture of the market they want to enter in. It is  important that the enterprises know the Shanghai consumers' culture requirements, which can lead enterprises to promote their brand culture.

The use of team has expanded dramatically in response to competitive challenges. In addition, academics have increasingly selected teams and team effectiveness as important areas for research in response to the increased use of teams in organizations (Cohen & Bailey, 1997). The influence of group was has manifested itself in many ways (Gusso & Dickson, 1996). Meanwhile, Moreover, a recent finding suggests that while cultural factors are important in the economic growth in the Far East (Hall & Xu, 1990), especially in organizations. Hofstede (1980) pointed out the difference of values between Chinese and American is obvious. Thus, most theories chiefly have been limited to the United States, where the vast majority of such studies were conducted (Erez & Earley, 1993). However, the process of globalization has created opportunities for transferring managerial techniques across cultures, and such attempts have not always been successful (Adler, 1986; England, 1983; Hofstede, 1980; Jaeger, 1983). Failures in transferring methods of human resource management across cultures suggest that culture acts as a moderator in the relationship between managerial techniques and employee behavior (Erez & Earley, 1993). The purpose of the present study is to investigate the effects of team members¡¦ identification in top management team that expose Chinese culture of ¡§quanxi¡¨ on team performance. The work took an innovative perspective to investigate the invisibly managerial role in Chinese team. In order to develop the initial exploratory surveys, the work will integrate Chinese cultural influence within current work on teamwork of role identity theory, social identity theory, leadership and commitment in whole discussion. On the basis of the study findings are congruent with role identity theory, and Chinese culture of ¡§quanxi¡¨ affects on team members¡¦ identity and commitment in Taiwanese top management team remarkably. In addition, perceived the leader¡¦s expertise and interpersonal competency shows positive attitudes toward team members in terms of contribution to their commitment on team. The significant results propose the informal team exists in team leader¡¦s recognition that is hided in formal team in organizational structure. At the same time, formal team members possess commitment on informal team unconscious. That is, the six propositions are built in such a way. Proposition 1: The past existence of social ¡§quanxi¡¨ in Chinese culture among team members influences their role identities and behaviors respond to other members in Taiwanese top management team. Proposition 2: The past existence of social ¡§quanxi¡¨ in Chinese culture contributes to the positive strength of team member¡¦s commitment on team in Taiwanese top management team. Proposition 3: The past existence of social ¡§quanxi¡¨ in Chinese culture may inspire team member¡¦s commitment on other members¡¦ expectations in Taiwanese top management team. Proposition 4: Team members perceived leader¡¦s behavior and leadership may affect the relationship between team member¡¦s identity and team member¡¦s team commitment in Taiwanese top management team. Proposition 5: The existence of informal team is hided in the formal team in organizational structure in Taiwanese top management team. Proposition 6: The members in formal team commit on informal team unconsciously in Taiwanese top management team.

Issues of culture and worldview and their impact on students' learning of science have become increasingly important to science teachers. This study details work that I carried out in the period 1995-1999 which examined the effect of culture on students' conceptualisations of nature. It is framed as the creation of my own 'living educational theory' as I, a teacher-researcher, dealt with what I perceived were the cultural inequities experienced by students in my classroom. I carried out my first study with a group of seven rural high school students in the Far North of Queensland in Australia, where I was teaching in 1995. Later, in two visits to China, I was able to carry out the same sort of research with a group of seven Chinese college students in Jinan, Shandong Province, PRC, largely using the Chinese language. I used a naturalistic inquiry approach and a semi-structured interview technique to determine students' conceptualisations of nature. I have chosen to embed the results of these two studies within narratives that describe my experiences in the two cultures as I carried out my research. For each culture, I have also developed an epic description of the role of science from the literature and history of that culture. From my three sources of data, interview, narrative and historical description, I have made knowledge claims about the students' beliefs about the natural world.My research findings are ironic to me since they are diametrically opposite to what I had expected. Initially I had believed that Mainland Chinese students would possess a world view full of alternative perspectives to that of Western school science. My research indicates however that students in rural Mainland China hold a traditional and integrated modem Western scientific world view. Although some researchers in other South-East Asian communities propose alternative frameworks for ++ / the teaching of science, frameworks that are actually 'pre-modern' these do not appear to be appropriate for Mainland Chinese students. I had expected that the Australian students would bring a modern Western scientific world view to the science classroom. However, the group of rural Western students that I interviewed displayed a world view that is not recognisable as that of modern Western science. Postmodernism and other cultural and social effects appear to have influenced them to such an extent that some have clearly not 'crossed the border' to a modern Western scientific world view. This thesis reflects my desire to overcome the perceived problem of inequity in my own teaching. The knowledge claims made here give some indication as to how I may improve my own practice. A return to the classroom will allow me to continue the cycle of action and reflection by which I can validate, develop and refine my living educational theory.