Academic literature on the topic 'Caribe China (Firm)'

Resumen Las relaciones diplomáticas entre Chile y China, han cumplido cinco décadas y estas se caracterizan por los fuertes lazos construidos en forma bilateral, como también con otros países de América Latina y el Caribe. El presente artículo busca indagar sobre esta trayectoria desde los contactos de los años 50 con José Venturelli, un pionero, junto a otros viajeros en el marco de una diplomacia cultural que facilitó la firma de relaciones diplomáticas en 1970. Sin embargo, la reunión APEC celebrada en Santiago de Chile en el 2004 fue el punto de inflexión con la visita del presidente Hu Jintao impulsándose una estrategia comercial. Así se pasó desde los vínculos políticos y culturales, a una relación marcada por acuerdos económicos y la firma de un Tratado de Libre Comercio. Este nuevo escenario facilitó un estilo de cooperación abierta hacia el ámbito tecnológico y científico, pero también hacia un fortalecimiento de los acuerdos ya firmados. Esto nos permite hacer hoy un análisis desde las variables políticas, económicas, culturales y científicas buscando responder a la pregunta sobre los aspectos que han sido beneficiosos como también los puntos más débiles al querer ambos estados proyectarse dentro del sistema internacional.

Foreign Direct Investment (FDI) has served as a huge promoter of growth for many economies over the years, playing the role of supplementary income source for economies. The trend being identified now, however is that FDIs do come with adverse effect for host economies with one of the sector feeling the impact of the adverse impact being the local entrepreneurship. This study therefore measured the severity of the adverse effect of FDIs on the economy of China whiles also evaluating the contribution of FDIs to the overall economy using Sequential Explanatory Design (SED). Using Statistical Package for Social Scientist (SPSS), the researchers conducted statistical analysis like t-test, Correlation, Multiple Regression Analysis, R-Square, F-statistics and Variance Inflator Factors (VIF). The findings of the study revealed that FDIs indeed have both positive and negative implications for the Chinese economy. The positive effects come in the form of inspiring innovation and infrastructural development, influx of investment capital and the liberalization of the economy form monopolies and unfair trading The negative effect came in the form of stifling domestic entrepreneurship development as the foreign firms compete with local entrepreneurs for market, expertise, labor, capital and space for operation

Abstract Background Burn injuries place a heavy burden on the global healthcare system. However, there is still a lack of nationwide studies on the epidemiological characteristics of burn patients in mainland China. The present study aims to accurately analyze the clinical characteristics of burn patients by collecting data in mainland China from 2009 to 2018, which will provide effective strategies for healthcare systems and the government in mainland China. Methods Patients admitted for burn injuries to 196 hospitals in 31 provinces, autonomous regions and municipalities in mainland China from 2009 to 2018 were included. The data collected included sex, age, month distribution, etiology, region, clinical outcome, injury anatomical location, total burn surface area and mortality. SPSS 19.0 software was used to analyze the data. Results From 2009 to 2018, the burn patients were 333,995 (0.76%), which included 222,480 (66.61%) males and 111,515 (33.39%) females. From 2009 to 2018, the number of individuals admitted to hospitals for burns showed a downward trend year by year. The burn patients accounted for the highest proportion of inpatients in 0–10 years (38.10%), followed by 40–50 years (13.14%). The highest cure ratio of burn inpatients was in the 20–30 age group (31 394, 71.53%). Among 31 provinces, autonomous regions and municipalities, the province with the highest proportion of total inpatients caused by burns was Inner Mongolia (4.61%), followed by Zhejiang (3.17%), Hainan (2.88%) and Xinjiang (2.64%). Summer (29.16%) was the season with the highest incidence of burn patients admitted to hospitals, followed by spring (25.6%). Scalding (60.19%) was the most frequent kind of burn treated, followed by fire (20.45%). The patients had multiple burn sites (68.89%) most often, followed by burns on the lower limbs (10.91%). From 0% to 10% total body surface area (TBSA) accounted for the highest ratio (37.19%), followed by 90–100% TBSA (21.74%). Conclusions The present study is the first to describe the associated situation and trends of burn patients in mainland China from 2009 to 2018. Our findings will serve as the latest clinical evidence for healthcare planning and prevention efforts in China and other countries.

“...children’s play seems to become more and more a product of the educational and cultural orientation of parents...” — Stephen Kline, The Making of Children’s Culture We live in a world saturated by design and through design artefacts, one can glean unique insights into a culture's values and norms. In fact, some academics, such as British media and film theorist Ben Highmore, see the two areas so inextricably intertwined as to suggest a wholesale “re-branding of the cultural sciences as design studies” (14). Too often, however, everyday objects are marginalised or overlooked as objects of scholarly attention. The field of material culture studies seeks to change that by focussing on the quotidian object and its ability to reveal much about the time, place, and culture in which it was designed and used. This article takes on one such object, a mid-century children's toy tea set, whose humble journey from 1968 Sears catalogue to 2014 thrift shop—and subsequently this author’s basement—reveals complex rhetorical messages communicated both visually and verbally. As material culture studies theorist Jules Prown notes, the field’s foundation is laid upon the understanding “that objects made ... by man reflect, consciously or unconsciously, directly or indirectly, the beliefs of individuals who made, commissioned, purchased or used them, and by extension the beliefs of the larger society to which they belonged” (1-2). In this case, the objects’ material and aesthetic characteristics can be shown to reflect some of the pervasive stereotypes and gender roles of the mid-century and trace some of the prevailing tastes of the American middle class of that era, or perhaps more accurately the type of design that came to represent good taste and a modern aesthetic for that audience. A wealth of research exists on the function of toys and play in learning about the world and even the role of toy selection in early sex-typing, socialisation, and personal identity of children (Teglasi). This particular research area isn’t the focus of this article; however, one aspect that is directly relevant and will be addressed is the notion of adult role-playing among children and the role of toys in communicating certain adult practices or values to the child—what sociologist David Oswell calls “the dedifferentiation of childhood and adulthood” (200). Neither is the focus of this article the practice nor indeed the ethicality of marketing to children. Relevant to this particular example I suggest, is as a product utilising messaging aimed not at children but at adults, appealing to certain parents’ interest in nurturing within their child a perceived era and class-appropriate sense of taste. This was fuelled in large part by the curatorial pursuits of the Museum of Modern Art (MoMA) in New York, coupled with an interest and investment in raising their children in a design-forward household and a desire for toys that reflected that priority; in essence, parents wishing to raise modern children. Following Prown’s model of material culture analysis, the tea set is examined in three stages, through description, deduction and speculation with each stage building on the previous one. Figure 1: Porcelain Toy Tea Set. Description The tea set consists of twenty-six pieces that allows service for six. Six cups, saucers, and plates; a tall carafe with spout, handle and lid; a smaller vessel with a spout and handle; a small round bowl with a lid; a larger oval bowl with a lid, and a coordinated oval platter. The cups are just under two inches tall and two inches in diameter. The largest piece, the platter is roughly six inches by four inches. The pieces are made of a ceramic material white in colour and glossy in texture and are very lightweight. The rim or edge of each piece is decorated with a motif of three straight lines in two different shades of blue and in different thicknesses, interspersed with a set of three black wiggly lines. Figure 2: Porcelain Toy Tea Set Box. The set is packaged for retail purposes and the original box appears to be fully intact. The packaging of an object carries artefactual evidence just as important as what it contains that falls into the category of a “‘para-artefact’ … paraphernalia that accompanies the product (labels, packaging, instructions etc.), all of which contribute to a product’s discourse” (Folkmann and Jensen 83). The graphics on the box are colourful, featuring similar shades of teal blue as found on the objects, with the addition of orange and a silver sticker featuring the logo of the American retailer Sears. The cover features an illustration of the objects on an orange tabletop. The most prominent text that confirms that the toy is a “Porcelain Toy Tea Set” is in an organic, almost psychedelic style that mimics both popular graphics of this era—especially album art and concert posters—as well as the organic curves of steam that emanate from the illustrated teapot’s spout. Additional messages appear on the box, in particular “Contemporary DESIGN” and “handsome, clean-line styling for modern little hostesses”. Along the edges of the box lid, a detail of the decorative motif is reproduced somewhat abstracted from what actually appears on the ceramic objects. Figure 3: Sears’s Christmas Wishbook Catalogue, page 574 (1968). Sears, Roebuck and Co. (Sears) is well-known for its over one-hundred-year history of producing printed merchandise catalogues. The catalogue is another important para-artefact to consider in analysing the objects. The tea set first appeared in the 1968 Sears Christmas Wishbook. There is no date or copyright on the box, so only its inclusion in the catalogue allows the set to be accurately dated. It also allows us to understand how the set was originally marketed. Deduction In the deduction phase, we focus on the sensory aesthetic and functional interactive qualities of the various components of the set. In terms of its function, it is critical that we situate the objects in their original use context, play. The light weight of the objects and thinness of the ceramic material lends the objects a delicate, if not fragile, feeling which indicates that this set is not for rough use. Toy historian Lorraine May Punchard differentiates between toy tea sets “meant to be used by little girls, having parties for their friends and practising the social graces of the times” and smaller sets or doll dishes “made for little girls to have parties with their dolls, or for their dolls to have parties among themselves” (7). Similar sets sold by Sears feature images of girls using the sets with both human playmates and dolls. The quantity allowing service for six invites multiple users to join the party. The packaging makes clear that these toy tea sets were intended for imaginary play only, rendering them non-functional through an all-capitals caution declaiming “IMPORTANT: Do not use near heat”. The walls and handles of the cups are so thin one can imagine that they would quickly become dangerous if filled with a hot liquid. Nevertheless, the lid of the oval bowl has a tan stain or watermark which suggests actual use. The box is broken up by pink cardboard partitions dividing it into segments sized for each item in the set. Interestingly even the small squares of unfinished corrugated cardboard used as cushioning between each stacked plate have survived. The evidence of careful re-packing indicates that great care was taken in keeping the objects safe. It may suggest that even though the set was used, the children or perhaps the parents, considered the set as something to care for and conserve for the future. Flaws in the glaze and applique of the design motif can be found on several pieces in the set and offer some insight as to the technique used in producing these items. Errors such as the design being perfectly evenly spaced but crooked in its alignment to the rim, or pieces of the design becoming detached or accidentally folded over and overlapping itself could only be the result of a print transfer technique popularised with decorative china of the Victorian era, a technique which lends itself to mass production and lower cost when compared to hand decoration. Speculation In the speculation stage, we can consider the external evidence and begin a more rigorous investigation of the messaging, iconography, and possible meanings of the material artefact. Aspects of the set allow a number of useful observations about the role of such an object in its own time and context. Sociologists observe the role of toys as embodiments of particular types of parental messages and values (Cross 292) and note how particularly in the twentieth century “children’s play seems to become more and more a product of the educational and cultural orientation of parents” (Kline 96). Throughout history children’s toys often reflected a miniaturised version of the adult world allowing children to role-play as imagined adult-selves. Kristina Ranalli explored parallels between the practice of drinking tea and the play-acting of the child’s tea party, particularly in the nineteenth century, as a gendered ritual of gentility; a method of socialisation and education, and an opportunity for exploratory and even transgressive play by “spontaneously creating mini-societies with rules of their own” (20). Such toys and objects were available through the Sears mail-order catalogue from the very beginning at the end of the nineteenth century (McGuire). Propelled by the post-war boom of suburban development and homeownership—that generation’s manifestation of the American Dream—concern with home décor and design was elevated among the American mainstream to a degree never before seen. There was a hunger for new, streamlined, efficient, modernist living. In his essay titled “Domesticating Modernity”, historian Jeffrey L. Meikle notes that many early modernist designers found that perhaps the most potent way to “‘domesticate’ modernism and make it more familiar was to miniaturise it; for example, to shrink the skyscraper and put it into the home as furniture or tableware” (143). Dr Timothy Blade, curator of the 1985 exhibition of girls’ toys at the University of Minnesota’s Goldstein Gallery—now the Goldstein Museum of Design—described in his introduction “a miniaturised world with little props which duplicate, however rudely, the larger world of adults” (5). Noting the power of such toys to reflect adult values of their time, Blade continues: “the microcosm of the child’s world, remarkably furnished by the miniaturised props of their parents’ world, holds many direct and implied messages about the society which brought it into being” (9). In large part, the mid-century Sears catalogues capture the spirit of an era when, as collector Thomas Holland observes, “little girls were still primarily being offered only the options of glamour, beauty and parenthood as the stuff of their fantasies” (175). Holland notes that “the Wishbooks of the fifties [and, I would add, the sixties] assumed most girls would follow in their mother’s footsteps to become full-time housewives and mommies” (1). Blade grouped toys into three categories: cooking, cleaning, and sewing. A tea set could arguably be considered part of the cooking category, but closer examination of the language used in marketing this object—“little hostesses”, et cetera—suggests an emphasis not on cooking but on serving or entertaining. This particular category was not prevalent in the era examined by Blade, but the cultural shifts of the mid-twentieth century, particularly the rapid popularisation of a suburban lifestyle, may have led to the use of entertaining as an additional distinct category of role play in the process of learning to become a “proper” homemaker. Sears and other retailers offered a wide variety of styles of toy tea sets during this era. Blade and numerous other sources observe that children’s toy furniture and appliances tended to reflect the style and aesthetic qualities of their contemporary parallels in the adult world, the better to associate the child’s objects to its adult equivalent. The toy tea set’s packaging trumpets messages intended to appeal to modernist values and identity including “Contemporary Design” and “handsome, clean-line styling for modern little hostesses”. The use of this coded marketing language, aimed particularly at parents, can be traced back several decades. In 1928 a group of American industrial and textile designers established the American Designers' Gallery in New York, in part to encourage American designers to innovate and adopt new styles such as those seen in the L’ Exposition Internationale des Arts Decoratifs et Industriels Modernes (1925) in Paris, the exposition that sparked international interest in the Art Deco or Art Moderne aesthetic. One of the gallery founders, Ilonka Karasz, a Hungarian-American industrial and textile designer who had studied in Austria and was influenced by the Wiener Werkstätte in Vienna, publicised her new style of nursery furnishings as “designed for the very modern American child” (Brown 80). Sears itself was no stranger to the appeal of such language. The term “contemporary design” was ubiquitous in catalogue copy of the nineteen-fifties and sixties, used to describe everything from draperies (1959) and bedspreads (1961) to spice racks (1964) and the Lady Kenmore portable dishwasher (1961). An emphasis on the role of design in one’s life and surroundings can be traced back to efforts by MoMA. The museum’s interest in modern design hearkens back almost to the institution’s inception, particularly in relation to industrial design and the aestheticisation of everyday objects (Marshall). Through exhibitions and in partnership with mass-market magazines, department stores and manufacturer showrooms, MoMA curators evangelised the importance of “good design” a term that can be found in use as early as 1942. What Is Good Design? followed the pattern of prior exhibitions such as What Is Modern Painting? and situated modern design at the centre of exhibitions that toured the United States in the first half of the nineteen-fifties. To MoMA and its partners, “good design” signified the narrow identification of proper taste in furniture, home decor and accessories; effectively, the establishment of a design canon. The viewpoints enshrined in these exhibitions and partnerships were highly influential on the nation’s perception of taste for decades to come, as the trickle-down effect reached a much broader segment of consumers than those that directly experienced the museum or its exhibitions (Lawrence.) This was evident not only at high-end shops such as Bloomingdale’s and Macy’s. Even mass-market retailers sought out well-known figures of modernist design to contribute to their offerings. Sears, for example, commissioned noted modernist designer and ceramicist Russel Wright to produce a variety of serving ware and decor items exclusively for the company. Notably for this study, he was also commissioned to create a toy tea set for children. The 1957 Wishbook touts the set as “especially created to delight modern little misses”. Within its Good Design series, MoMA exhibitions celebrated numerous prominent Nordic designers who were exploring simplified forms and new material technologies. In the 1968 Wishbook, the retailer describes the Porcelain Toy Tea Set as “Danish-inspired china for young moderns”. The reference to Danish design is certainly compatible with the modernist appeal; after the explosion in popularity of Danish furniture design, the term “Danish Modern” was commonly used in the nineteen-fifties and sixties as shorthand for pan-Scandinavian or Nordic design, or more broadly for any modern furniture design regardless of origin that exhibited similar characteristics. In subsequent decades the notion of a monolithic Scandinavian-Nordic design aesthetic or movement has been debunked as primarily an economically motivated marketing ploy (Olivarez et al.; Fallan). In the United States, the term “Danish Modern” became so commonly misused that the Danish Society for Arts and Crafts called upon the American Federal Trade Commission (FTC) to legally restrict the use of the labels “Danish” and “Danish Modern” to companies genuinely originating in Denmark. Coincidentally the FTC ruled on this in 1968, noting “that ‘Danish Modern’ carries certain meanings, and... that consumers might prefer goods that are identified with a foreign culture” (Hansen 451). In the case of the Porcelain Toy Tea Set examined here, Sears was not claiming that the design was “Danish” but rather “Danish-inspired”. One must wonder, was this another coded marketing ploy to communicate a sense of “Good Design” to potential customers? An examination of the formal qualities of the set’s components, particularly the simplified geometric forms and the handle style of the cups, confirms that it is unlike a traditional—say, Victorian-style—tea set. Punchard observes that during this era some American tea sets were actually being modelled on coffee services rather than traditional tea services (148). A visual comparison of other sets sold by Sears in the same year reveals a variety of cup and pot shapes—with some similar to the set in question—while others exhibit more traditional teapot and cup shapes. Coffee culture was historically prominent in Nordic cultures so there is at least a passing reference to that aspect of Nordic—if not specifically Danish—influence in the design. But what of the decorative motif? Simple curved lines were certainly prominent in Danish furniture and architecture of this era, and occasionally found in combination with straight lines, but no connection back to any specific Danish motif could be found even after consultation with experts in the field from the Museum of Danish America and the Vesterheim National Norwegian-American Museum (personal correspondence). However, knowing that the average American consumer of this era—even the design-savvy among them—consumed Scandinavian design without distinguishing between the various nations, a possible explanation could be contained in the promotion of Finnish textiles at the time. In the decade prior to the manufacture of the tea set a major design tendency began to emerge in the United States, triggered by the geometric design motifs of the Finnish textile and apparel company Marimekko. Marimekko products were introduced to the American market in 1959 via the Cambridge, Massachusetts-based retailer Design Research (DR) and quickly exploded in popularity particularly after would-be First Lady Jacqueline Kennedy appeared in national media wearing Marimekko dresses during the 1960 presidential campaign and on the cover of Sports Illustrated magazine. (Thompson and Lange). The company’s styling soon came to epitomise a new youth aesthetic of the early nineteen sixties in the United States, a softer and more casual predecessor to the London “mod” influence. During this time multiple patterns were released that brought a sense of whimsy and a more human touch to classic mechanical patterns and stripes. The patterns Piccolo (1953), Helmipitsi (1959), and Varvunraita (1959), all designed by Vuokko Eskolin-Nurmesniemi offered varying motifs of parallel straight lines. Maija Isola's Silkkikuikka (1961) pattern—said to be inspired by the plumage of the Great Crested Grebe—combined parallel serpentine lines with straight and angled lines, available in a variety of colours. These and other geometrically inspired patterns quickly inundated apparel and decor markets. DR built a vastly expanded Cambridge flagship store and opened new locations in New York in 1961 and 1964, and in San Francisco in 1965 fuelled in no small part by the fact that they remained the exclusive outlet for Marimekko in the United States. It is clear that Marimekko’s approach to pattern influenced designers and manufacturers across industries. Design historian Lesley Jackson demonstrates that Marimekko designs influenced or were emulated by numerous other companies across Scandinavia and beyond (72-78). The company’s influence grew to such an extent that some described it as a “conquest of the international market” (Hedqvist and Tarschys 150). Subsequent design-forward retailers such as IKEA and Crate and Barrel continue to look to Marimekko even today for modern design inspiration. In 2016 the mass-market retailer Target formed a design partnership with Marimekko to offer an expansive limited-edition line in their stores, numbering over two hundred items. So, despite the “Danish” misnomer, it is quite conceivable that designers working for or commissioned by Sears in 1968 may have taken their aesthetic cues from Marimekko’s booming work, demonstrating a clear understanding of the contemporary high design aesthetic of the time and coding the marketing rhetoric accordingly even if incorrectly. Conclusion The Sears catalogue plays a unique role in capturing cross-sections of American culture not only as a sales tool but also in Holland’s words as “a beautifully illustrated diary of America, it’s [sic] people and the way we thought about things” (1). Applying a rhetorical and material culture analysis to the catalogue and the objects within it provides a unique glimpse into the roles these objects played in mediating relationships, transmitting values and embodying social practices, tastes and beliefs of mid-century American consumers. Adult consumers familiar with the characteristics of the culture of “Good Design” potentially could have made a connection between the simplified geometric forms of the components of the toy tea set and say the work of modernist tableware designers such as Kaj Franck, or between the set’s graphic pattern and the modernist motifs of Marimekko and its imitators. But for a much broader segment of the population with a less direct understanding of modernist aesthetics, those connections may not have been immediately apparent. The rhetorical messaging behind the objects’ packaging and marketing used class and taste signifiers such as modern, contemporary and “Danish” to reinforce this connection to effect an emotional and aspirational appeal. These messages were coded to position the set as an effective transmitter of modernist values and to target parents with the ambition to create “appropriately modern” environments for their children. References Ancestry.com. “Historic Catalogs of Sears, Roebuck and Co., 1896–1993.” <http://search.ancestry.com/search/db.aspx?dbid=1670>. Baker Furniture Inc. “Design Legacy: Our Story.” n.d. <http://www.bakerfurniture.com/design-story/ legacy-of-quality/design-legacy/>. Blade, Timothy Trent. “Introduction.” Child’s Play, Woman’s Work: An Exhibition of Miniature Toy Appliances: June 12, 1985–September 29, 1985. St. Paul: Goldstein Gallery, U Minnesota, 1985. Brown, Ashley. “Ilonka Karasz: Rediscovering a Modernist Pioneer.” Studies in the Decorative Arts 8.1 (2000-1): 69–91. Cross, Gary. “Gendered Futures/Gendered Fantasies: Toys as Representatives of Changing Childhood.” American Journal of Semiotics 12.1 (1995): 289–310. Dolansky, Fanny. “Playing with Gender: Girls, Dolls, and Adult Ideals in the Roman World.” Classical Antiquity 31.2 (2012): 256–92. Fallan, Kjetil. Scandinavian Design: Alternative Histories. Berg, 2012. Folkmann, Mads Nygaard, and Hans-Christian Jensen. “Subjectivity in Self-Historicization: Design and Mediation of a ‘New Danish Modern’ Living Room Set.” Design and Culture 7.1 (2015): 65–84. Hansen, Per H. “Networks, Narratives, and New Markets: The Rise and Decline of Danish Modern Furniture Design, 1930–1970.” The Business History Review 80.3 (2006): 449–83. Hedqvist, Hedvig, and Rebecka Tarschys. “Thoughts on the International Reception of Marimekko.” Marimekko: Fabrics, Fashions, Architecture. Ed. Marianne Aav. Bard. 2003. 149–71. Highmore, Ben. The Design Culture Reader. Routledge, 2008. Holland, Thomas W. Girls’ Toys of the Fifties and Sixties: Memorable Catalog Pages from the Legendary Sears Christmas Wishbooks, 1950-1969. Windmill, 1997. Hucal, Sarah. "Scandi Crush Saga: How Scandinavian Design Took over the World." Curbed, 23 Mar. 2016. <http://www.curbed.com/2016/3/23/11286010/scandinavian-design-arne-jacobsen-alvar-aalto-muuto-artek>. Jackson, Lesley. “Textile Patterns in an International Context: Precursors, Contemporaries, and Successors.” Marimekko: Fabrics, Fashions, Architecture. Ed. Marianne Aav. Bard. 2003. 44–83. Kline, Stephen. “The Making of Children’s Culture.” The Children’s Culture Reader. Ed. Henry Jenkins. New York: NYU P, 1998. 95–109. Lawrence, Sidney. “Declaration of Function: Documents from the Museum of Modern Art’s Design Crusade, 1933-1950.” Design Issues 2.1 (1985): 65–77. Marshall, Jennifer Jane. Machine Art 1934. Chicago: U of Chicago P, 2012. McGuire, Sheila. “Playing House: Sex-Roles and the Child’s World.” Child’s Play, Woman’s Work: An Exhibition of Miniature Toy Appliances : June 12, 1985–September 29, 1985. St. Paul: Goldstein Gallery, U Minnesota, 1985. Meikel, Jeffrey L. “Domesticating Modernity: Ambivalence and Appropriation, 1920–1940.” Designing Modernity; the Arts of Reform and Persuasion. Ed. Wendy Kaplan. Thames & Hudson, 1995. 143–68. O’Brien, Marion, and Aletha C. Huston. “Development of Sex-Typed Play Behavior in Toddlers.” Developmental Psychology, 21.5 (1985): 866–71. Olivarez, Jennifer Komar, Jukka Savolainen, and Juulia Kauste. Finland: Designed Environments. Minneapolis Institute of Arts and Nordic Heritage Museum, 2014. Oswell, David. The Agency of Children: From Family to Global Human Rights. Cambridge UP, 2013. Prown, Jules David. “Mind in Matter: An Introduction to Material Culture Theory and Method.” Winterthur Portfolio 17.1 (1982): 1–19. Punchard, Lorraine May. Child’s Play: Play Dishes, Kitchen Items, Furniture, Accessories. Punchard, 1982. Ranalli, Kristina. An Act Apart: Tea-Drinking, Play and Ritual. Master's thesis. U Delaware, 2013. Sears Corporate Archives. “What Is a Sears Modern Home?” n.d. <http://www.searsarchives.com/homes/index.htm>. "Target Announces New Design Partnership with Marimekko: It’s Finnish, Target Style." Target, 2 Mar. 2016. <http://corporate.target.com/article/2016/03/marimekko-for-target>. Teglasi, Hedwig. “Children’s Choices of and Value Judgments about Sex-Typed Toys and Occupations.” Journal of Vocational Behavior 18.2 (1981): 184–95. Thompson, Jane, and Alexandra Lange. Design Research: The Store That Brought Modern Living to American Homes. Chronicle, 2010.

La présence chinoise en Amérique latine et Caraïbes (ALC), tout comme dans d’autres régions du monde, a fortement augmenté depuis une quinzaine d’années. Au-delà des motifs traditionnels de cette expansion au niveau économique (la recherche de ressources et de nouveaux marchés), la Chine représente un partenaire particulier pour les pays latino-américains en raison des frontières floues entre les formes de propriété publique et privée, et des objectifs stricts de son gouvernement en matière de politique industrielle et de développement sur le long terme. En outre, des disparités régionales sont apparues entre l’Amérique du Sud, longtemps favorisée par l’augmentation de la demande chinoise en matières premières, et le Mexique, qui s’est rapidement retrouvé en situation de concurrence ouverte avec la Chine sur différents segments de son secteur secondaire, et dont la dynamique d’intégration en Amérique du Nord fut profondément impactée par l’arrivée des entreprises chinoises sur le marché des États-Unis. En combinant une analyse approfondie des bases de données disponibles sur les investissements directs à l’étranger (IDE) de la Chine en ALC et trois études de cas originales d’entreprises chinoises installées dans le domaine manufacturier au Mexique, cette thèse montre que ces opérations présentent des modalités inédites notamment en termes de rythme d’expansion et de capacités d’adaptation aux environnements locaux. Cependant, les externalités positives ou négatives des IDE chinois demeurent tributaires des interactions entre le contexte institutionnel du pays d’accueil et les stratégies des entreprises
Chinese footprint in Latin America and the Caribbean (LAC), as in other parts of the globe, has surged in the last fifteen years. Beyond the traditional drivers of this expansion from an economic perspective (securing resources and new markets), China represents a special partner for Latin-American countries because of grey lines delimiting public and private ownership, strict industrial policy and long-term development goals. Besides, regional discrepancies have appeared between South America, which benefited from the boom of Chinese demand for raw materials, and Mexico, which found itself in direct competition with China on different segments of his secondary sector, and whose integration dynamic in North America was deeply impacted by the growing shares of Chinese companies in the US market. Combining an extensive analysis of existing databases about foreign direct investments (FDI) from China in LAC and three original case studies of Chinese companies located in the manufacturing industry in Mexico, this dissertation shows unique features in these operations such as an accelerated growth path and relative adaptive skills to foreign environments. Nevertheless, the positive or negative externalities of Chinese FDI remain dependent upon the interactions between the institutional context of the host country and the companies’ strategies

This concluding chapter discusses the departure of the Chinese from their involvement in lumbering, years after making a significant contribution to the building of the American West. In the 1880s Chinese immigrants constituted the majority of the men employed in the lumber trade in the Sierra Nevada. They undertook a variety of jobs, from wood transportation and mill operation to digging ditches, grading roads, cooking and cleaning, and caring for the animals. The wages they earned were determined by the type of job they did. This chapter shows that Chinese laborers in the logging industry had moved either into other occupations or to work in other forests—some even returned to China—by 1920 due to a variety of factors, such as the emerging forest conservation movement, technological improvements in logging, decreased demand for lumber, and the rise of large corporations that drove the smaller lumber firms out of business.

Esta obra tem por objetivo apresentar produções acadêmicas que possuem em comum a grande área Ciências Agrárias. Permeando por este vasto tema, nas próximas páginas serão apresentados trabalhos que abordam sobre Ciência e Tecnologia de Alimentos, Engenharia Agrícola, bem como na Ciência Animal. Desta forma, para melhor direcionar o fluxo da leitura, o livro está dividido em capítulos, nos quais os primeiros apresentados abordam o tema “Ciência e Tecnologia em Alimentos” e apresenta trabalhos desenvolvidos com ênfase em controle de qualidade, aproveitamento de subprodutos e planejamento experimental. Acredito que o controle de qualidade de alimentos e o aproveitamento de subprodutos são temas de grande relevância para nosso país e desta forma, nós como professores e pesquisadores, devemos, por meio da ciência sempre trazer novas pesquisas a fim de preencher lacunas no conhecimento e apresentar novas possibilidades e soluções para o melhor aproveitamento e utilização dos alimentos. Na sequência, são apresentados trabalhos desenvolvidos na temática de produção e caracterização de forrageiras de cereais de inverno, predição da produtividade da cultura da soja por meio da aplicação de modelos de regressão linear, bem como relatar um estudo casos de onfalite em bezerros. Neste sentido, os trabalhos aqui apresentados, alinham-se a estas demandas e trazem novas analises que condizem com as necessidades emergentes da nossa sociedade. Profª. Drª. Heloisa Gabriel Falcão. Instituto Federal de Educação (IFG) – Campus Inhumas O crescimento da economia e da taxa de urbanização de alguns países, especialmente da Ásia, resultou em significativas mudanças no estilo de vida das populações neles residentes, com incrementos no consumo de bens duráveis, energia e alimentos. Além disso, estima-se que a população mundial ultrapassará 8,5 bilhões de pessoas até 2030 e que a maior porção desse crescimento demográfico ocorrerá na China, Índia e Indonésia. Esse contexto representa um desafio para a segurança alimentar e energética mundial, uma vez que, se as tendências atuais forem mantidas, a área agrícola deverá aumentar em cerca de 42 milhões hectares até 2027. Contudo, a limitação de terras agricultáveis permitirá um crescimento de apenas 10% em escala mundial, sendo que, quase metade disso se dará no Brasil e na Argentina. Assim, a América do Sul será a mais importante fonte de expansão agrícola do mundo. Com abundantes recursos naturais e grande potencial de desenvolvimento agropecuário, a América do Sul configura importante elemento estratégico para melhorar a segurança alimentar global. Em particular, o setor agropecuário brasileiro é reconhecido internacionalmente pela elevada inserção no mercado globalizado, com destaque para produção de carne de frango, açúcar, suco de laranja, fumo, café e soja... produtos do agronegócio brasileiro que são campeões no ranking de exportações do mercado global. Outros produtos agropecuários brasileiros que merecem grande destaque por configurarem entre as primeiras posições no ranking mundial de produção e exportação são: carne bovina, óleo de soja, farelo de soja, milho e leite bovino. A pandemia de Covid-19 impactou negativamente a economia mundial em razão das necessidades sanitárias e de distanciamento social. Ainda assim, mesmo em momentos de maiores restrições de circulação e transportes, vários segmentos agropecuários do Brasil experimentaram expressiva elevação na produção e vendas nacionais e internacionais. Isso ocorreu em razão das políticas preventivas de vários países no sentido de garantir a segurança alimentar de suas populações, restringindo as exportações e aumentando as importações de alimentos para ampliar suas reservas estratégicas. Essas políticas preventivas não foram adotadas pelo Brasil e, devido ao desmonte dos estoques reguladores e da redução substancial dos recursos destinados a agricultura familiar desde 2017, o mercado interno foi drasticamente afetado pelas exportações record de 2020 e 2021. A redução da quantidade de milho, soja e carnes, principalmente bovina, no mercado interno promoveu expressivo aumento dos preços num momento onde houve aumento de desemprego e queda de renda das classes menos abastadas da população brasileira. O Brasil, que já tinha voltado ao mapa da fome em 2018, sofreu um aumento de 14% no número de domicílios com algum tipo de insegurança alimentar entre 2018 e 2020. Estima-se que mais de 55% da população brasileira sofreu de insegurança alimentar entre 2020 e 2021, conforme dados da rede Penssan e da Organização das Nações Unidas. Nesse contexto, apesar das reduções dramáticas no volume de recursos públicos destinados a produção cientifica no Brasil, tornou-se ainda mais imprescindível a produção de pesquisas e a disseminação do conhecimento resultante delas. Composto por sete capítulos que apresentam pesquisas relevantes, esse livro pretende contribuir com subsídios significativos para o enfrentamento desse imenso desafio que se apresenta, ainda mais intenso nesses tempos de pós-Covid-19, que é elevar a eficiência da produção agropecuária a fim de garantir melhores condições de segurança alimentar para a população brasileira. O primeiro capítulo apresenta uma proposta de utilização da farinha de okara para o enriquecimento do hamburguer de carne bovina. Um dos produtos mais conhecidos do processamento da soja é o leite de soja ou extrato aquoso de soja. Ele é obtido a partir da lavagem, maceração, aquecimento e filtração dos grãos de soja. O okara é o subproduto solido do processo de filtração que separa o leite de soja. Aproximadamente, 250 g de farinha de okara são obtidos a partir do processamento de cada quilo de soja. Trata-se de um alimento altamente nutritivo, fonte de isoflavonas, antioxidantes, fibras solúveis e insolúveis que, além de auxiliar na redução de colesterol e triglicerídeos, previne a ação carcinogênica do bolo fecal. Os capítulos 2 e 3 apresentam um estudo que desenvolveu e avaliou as características químicas, físicas e funcionais de biscoitos, tipo cookie, com substituição parcial de farinha de trigo por farinha de gérmen de milho. Essa proposta se mostra extremamente relevante do ponto de vista econômico e nutricional. Uma vez que o advento do conflito bélico entre Rússia e Ucrânia tende a reduzir a oferta de trigo no mercado global e elevar seus preços. O Brasil é o segundo maior produtor de milho do planeta e apenas o 21º produtor de trigo. O resultado disso é que o Brasil importa cerca de 50% do trigo consumido no mercado interno. Além disso, o aumento da prevalência de pessoas com sensibilidade ao glúten, apontado pela pesquisa nacional de saúde do IBGE em 2017, torna esse tipo de experimento, muito relevante para o aumento de alternativas alimentares para esse público. O capítulo 4 compreende um estudo que identificou os agentes causadores de mastite em vacas leiteiras. Além disso, avaliou a relação entre a sua ocorrência de mastite e a qualidade do leite. A mastite é uma reação inflamatória da glândula mamária, geralmente associada à presença de microrganismos, que reduz a qualidade do leite e seus derivados, bem como a segurança do consumidor em razão de alterações na composição físico-química e sensorial dos produtos. Trata-se de uma pesquisa de grande relevância, uma vez que a retomada das exportações de leite para a China em 2021 tende a reduzir a oferta no mercado interno. Ainda sem as exportações para a China, o Brasil vendeu cerca de 29 milhões de toneladas de leite para Argélia, Venezuela, Estados Unidos, Argentina e Uruguai em 2021. Isso explica parte da pressão inflacionaria sobre o produto desde o início das medidas de contenção da Covid-19. Nesse contexto, contribuições que auxiliem na melhoria da qualidade e aumento da produtividade são salutares. O capitulo 5 nos relata um experimento que analisou as características químicas e bromatológicas de forragens de cereais de inverno em duas alturas de corte do solo e os benefícios da manutenção da cobertura vegetal na forma de matéria seca. Cereais de inverno, como centeio, trigo, triticale, cevada e aveia, além de produzirem grãos utilizados na alimentação humana, podem servir de alimento para aves, suínos, bovinos de corte, ovinos e, principalmente, vacas leiteiras. Na região Sul do Brasil, durante o inverno, não é incomum que grande parte de áreas agrícolas e máquinas fiquem ociosas. Dessa forma, a produção de cereais de inverno para forragear os rebanhos e para formar reservas para épocas de escassez parece ser uma estratégia viável para melhorar a constância da produtividade animal, gerando renda e diluindo os custos fixos da propriedade rural. Ademais, a manutenção de matéria seca no solo contribui para a redução de custos por meio da conservação da fertilidade do solo e redução da perda de carbono e necessidade de insumos. O sexto capítulo trata da utilização de técnicas de sensoriamento remoto para estimar a produtividade da cultura da soja, com a utilização de imagens de satélite. São apresentados modelos de regressão múltipla para prever a produtividade a partir de índices de vegetação (NDVI, SAVI, NDWI e EVI2). Ainda que pesquisas oficiais com as do IBGE e CONAB estimem a produtividade da soja com relativa precisão em escala estadual, elas são baseadas em abordagens qualitativas com grupos focais. Assim, o desenvolvimento de novas técnicas para o acompanhamento das culturas em escala microrregional pode contribuir para a redução de custos e maior precisão nas pesquisas oficiais. Além disso, os produtores e operadores do agronegócio podem fazer uso de insumos específicos para o planejamento da cultura e tomada de decisões. O capitulo 7, último desse livro, relata um estudo de 30 casos de onfalite em bezerros, dos quais 15 animais foram tratados conservadoramente e 15 submetidos ao tratamento cirúrgico. A onfalite constitui uma infecção dos remanescentes umbilicais cuja evolução pode resultar em óbito do animal ou comprometer o crescimento e rentabilidade do sistema produtivo desse. Os escassos estudos epidemiológicos brasileiros, a respeito dessa afecção umbilical, relatam que entre 21% e 45% dos bezerros neonatos desenvolverão algum nível dessa infecção e desses, entre 5,5% e 10% irão a óbito. Os resultados do estudo descrito nesse capítulo são extremamente relevantes para que criadores, zootecnistas e médicos veterinários tenham maios evidencias na tomada de decisão a respeito dos procedimentos a serem adotadas diante de tal situação. João Francisco Severo Santos. Doutor em Ciências do Ambiente – UFT. Analista de Pesquisas Agropecuárias - IBGE

Introdução: O surto da doença causada pelo novo coronavírus (Covid-19) se iniciou em dezembro de 2019 em Wuhan na China, a partir de um novo agente patológico da linhagem Severe acute respiratory syndrome coronavírus 2 (SARS-CoV-2), a ausência de conhecimento ao seu respeito alcançou proporções incontroláveis, resultando em uma pandemia. Com a grande disseminação do SARS-CoV-2, agente do surto de Covid-19, os diversos países afetados utilizaram de forma empírica medicações, a fim de controlar os agravos da doença, incluindo o uso indiscriminado de antibióticos, que logo houve a reprodução coletiva dessa prática como uma tentativa profilática. Objetivos: Avaliar a ocorrência de multirresistência bacteriana devido ao uso indiscriminado de antibióticos durante a pandemia de Covid-19. Material e métodos: Consiste em uma revisão bibliográfica fundamentada por trabalhos científicos a partir de buscas em plataformas online, como Google Acadêmico, Scielo e Pubmed com publicações do ano de 2019 a 2021. Resultados: Há métodos profiláticos, porém não medicamentosos para essa enfermidade, contudo foi descrito um vasto uso de diferentes medicações prescritas e de automedicação em sua terapêutica, entre elas os antibióticos, mesmo com uma baixa incidência de coinfecção bacteriana com a infecção viral provocada pelo SARS-CoV-2, essa associação medicamentosa desnecessária provoca impactos negativos de resistência bacteriana, visto que esses agentes apresentam uma rápida reprodução e um alto índice de mutações, como resposta adaptativa ao meio, assim gerando novas linhagens, como também o comprometimento ao organismo por sua ingestão, afetando não só bactérias maléficas, mas também a própria microbiota do indivíduo. Conclusão: Sob esse cenário de desconhecimento, ao lidar com essa nova patologia carece de informações sobre fármacos que podem combater a carga viral de Covid-19, diante disso é observado o uso indiscriminado de antibióticos no protocolo medicamentoso e na automedicação na tentativa de tratar essa doença, sendo, então, necessários novos estudos a respeito de terapias eficientes, visto que o uso descomedido dessas drogas pode culminar em um grave problema de multirresistência bacteriana.