This study explored the effect of learning strategies in a student organization on cake art creativity. The participants were 27 student members of a cake decorating art club from one central university in Taiwan. A quasi-experimental pretest-posttest design was adopted, with 90 h of experimental teaching over 16 weeks. The results, which included the use of a questionnaire, classroom observation, and in-depth interviews, suggest that in terms of creativity, the group participating in flipped classroom learning significantly outperformed the group using (...) traditional learning strategies. Furthermore, flipped classroom learning promoted learner motivation and satisfaction. (shrink)

This paper demonstrated the influences of initiation, development, turn-down, and reinitiation of the dynamic capability of an entrepreneurial firm in the solar energy industry. The focus is on the impact of entrepreneurial hubris, which may affect the decision of ambidexterity that can vitalize dynamic capability. The findings indicate that, when the major decision maker has the trait of hubris, the decision-making process may be overly arbitrary, and a decision of being exploratory or exploitative alone is likely to be made. On (...) the contrary, when the founder entrepreneur is aware of the hubris and shares decisive power, the decision of being ambidextrous as a dynamic capability is more freely achieved. This paper contributes by discovery of the cognitive-based microfoundation of entrepreneurial ventures and linkage of such microfoundation to organizational ambidexterity. (shrink)

According to tradition, Mah?praj?pat?, the Buddha’s aunt and stepmother, when allowed to join the Buddhist monastic community, accepted eight ‘fundamental rules’ that made the nuns’ order dependent upon the monks’ order. This story has given rise to much debate, in the past as well as in the present. This article first shows how the eight rules became an integrated part of the vinaya, and more particularly of the Dharmaguptakavinaya, that forms the basis of monastic ordinations in East Asia. Against the (...) background of a much debated attack on these gurudharmas by the Taiwanese nun Shih Chao-hwei, we have then analysed the viewpoints of contemporary Taiwanese nuns, focusing on some less studied, yet very influential, Taiwanese monastic institutes. This research has brought to light a diversity of opinions on the applicability of the rules, relying in each case on a clear vision on Buddhism and vinaya. (shrink)

Comrade Huang Yüeh-mien's article, "A Discussion of the Aesthetics of the Wealthy" [Lun shih-li che ti mei-hsüeh], which criticized my point of view in aesthetics, was published later than my self-criticism. Before he published it, he had presented it at a discussion meeting at Peking Teachers College. He let me read it only after he had submitted it to Literature [Wen-i pao] for publication. I wrote to the editor of Literature, Comrade K'ang Cho, saying that basically I accepted his (...) criticisms but that I wished to raise a number of points. I pointed out that the author's method of dealing with the problems of "empathy emotion," "forgetting self," and "inspiration" was not very different from the method that I had used before. I pointed out that "association of ideas" occupied an important position in his aesthetics — he seems to substitute "association of ideas of form" for "intuition of form." Furthermore, I stated that I did not think he had answered clearly the questions of whether "beauty exists in the mind or in the thing," of the relationship between beauty and sense of beauty, and of the difference between formal thought and abstract thought; and I said that I hoped he would give me more assistance with these questions. However, Comrade Huang Yüeh-mien for the most part ignored the points that I had raised and the questions to which I had sought answers, and he published in Literature the paper that he had presented at Peking Teachers College almost unaltered. Consequently, the questions that I raised concerning Comrade Huang Yüeh-mien's point of view in aesthetics remain unanswered. At that time I still felt that his point of view in aesthetics basically was materialistic, although there were some tendencies in it that raised doubts in my mind. This explains the fact that my judgments on idealist aesthetics remain to be improved. (shrink)

"The essence of literature may be compared to the various plants and trees," Liu Hseih writes, "alike in the fact that they are rooted in the soil, yet different in their flavor and their fragrance, their exposure to the sun."1 The character of each work is manifest in its unique savor and in its scent. In other works, the uniqueness of a work can be savored: texts may echo other works, but the personality of any work is instantaneously verified by (...) what Liu Hseih calls wei, flavor, and hsiu, fragrance. It is this uniqueness that persists and survives innumerable bad imitations, shifts in circumstances, lost phonetics, and changing styles. It is what remains fresh in the classics and enables the contemporary reader to feel a sense of discovery and newness. Liu Hseih says that of these lasting works that their "roots are deep, their foliage luxuriant, their expression succinct yet rich; the things described were familiar, but their ramifications are far-reaching: so, although they were written in the past, they have a lasting savor that remains fresh."2 · 1. Liu Hseih, Wen-hsin tiao-lung chu, ed. Fan Wen-lan , p. 519; Shih, The Literary Mind and the Carving of the Dragons , p. 232.· 2. Liu Hseih, p. 22; Shih, p. 24. Although the same Chinese word wei is used in this passage, I have translated it as "savor" to stress the combination of qualities inherent in a work rather than restrict these qualities to a single "flavor." Eugene Eoyang is an associate professor of comparative literature and of East Asian languages and literatures at Indiana State University. He has contributed over fifty translations to Sunflower Splendor: Three Thousand Years of Chinese Poetry and is the author of an anthology of Chinese fiction, Links in the Chain. (shrink)