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The paper offers a preliminary theory about the effect of agricultural Foreign Direct Investment (FDI) on the host country using the case of cross-strait agricultural cooperation between Fujian and Taiwan. Currently land is allocated through integration in all the cross-strait agricultural co operations. Given the fact that land provides social security to Chinese peasants and the fact that the agricultural FDI is very different from the industrial FDI in terms of their respective demand for land, this paper finds that the land allocation mode through integration in the cross-strait agricultural cooperation will bring great risks to mainland Chinese society. We suggest that mainland China to adopt the networkization as an alternative mode of land allocation based on an analysis of the cost-benefit of these two modes of land allocation. [ABSTRACT FROM AUTHOR]

After years of development, Women's visual arts have increased in aspects of its genre or quantity. Women's spirituality related creative works have also provided audiences with more varieties of thinking and dialogic modes. Especially, since 1990s, major joint art exhibitions in Taiwan have pioneered and expanded the exploration, the content of Women's visual arts and their aestheticism. An observation on the exhibitions in three major official museums in Taiwan (Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, and Kaohsiung Fine Arts Museum) reveals the fact that the attempts and efforts of Women's visual arts to expand new models and formats have formed important directions, and have thus constructed an indispensable part of art development in Taiwan. Facing the rapid changes and developments of art scenes in the 21st century, how do Taiwanese Women artists confront the world trend and their situation in life while proposing their own point of view through the artworks? The present paper attempts to sort out the characteristics of Taiwanese Women's visual arts from the angle of Women spirituality. Through a replenishing point of view, the multiplicity to the Women's Arts should be revealed. Through the re-exploration of different Women's arts orient and occident, and reconsider the oppressions and persecutions of female body and mind enforced by the structure of traditional paternal monotheism and industrial science, this paper will provide a spiritual enlightenment to Taiwanese Women's spirituality & eco-political arts. [ABSTRACT FROM AUTHOR]

This paper investigates an emerging social phenomenon in Taiwan: the new unemployed cohort ("Not currently engaged in Employment, Education or Training", or "NEET"). The author examines how the changing social environment, personal history, family intergenerational relationship, and education contribute to making this cohort isolated and unable to enter the labor force. The paper further discusses the impact of the NEET cohort on the family and the social problems arising from the NEET phenomenon, and makes policy recommendation. [ABSTRACT FROM AUTHOR]

It is widely recognized that Taiwanese democrat Wan-chu Lee, a so-called half-mainlander who spent a good part of his career in China, was in general in favor of democracy in his coping with the national issue. However, this paper argues that his understanding of the Chinese nation is primarily a cultural nation and he gave this cultural identity an authentic reading that is not to be transcended by his promotion of democracy. Despite that the prospect for democracy was aborted by the actual development in China, his identification with cultural China never faded away. This paper traces the evolution of his cultural identity and how he was able to stay with it throughout his career. [ABSTRACT FROM AUTHOR]

In the 21th century's first decade, China has made great progress in social legislation. The Female Rights Protection Law of 2005, the Employment Promotion Law of 2007, the Labor Contract Law of 2007 and the Social Insurance Law of 2010 were passed to regulate a wide scope of labor practices and to provide fair employment, better labor conditions as well as social benefits regarding unemployment, occupational injuries, retirement and healthcare. The Labor Contract Law drew more public attention than any other laws. It invited 190,000 recommendations in the month following the disclosure of its draft bill. Unlike Taiwan's Collective Agreement Law of 1930 governing the practice of collective agreement between unions and management, Chinese Labor Contract Law also regulates collective labor contract's equivalence to a collective bargaining agreement. This paper compares the provisions specifically governing collective labor contracts with Taiwan's Collective Agreement Law. The findings of the comparison are: 1. The laws of both sides governing the agreements or contracts are, in nature, substantially private laws even though China set several compulsory administrative requirements for concluding a valid collective labor contract. 2. The legal concept denoting a Collective Labor Contract or Collective Agreement is a separate concept from the employment contract or individual labor contract and refers to a private contract regulating labor conditions and subject matters regarding labor relations between union and management. The contract will impose civil obligations on the parties and may be litigated due to a breach of covenanted term. 3. With the government's assistance, collective labor contract has been widely established for self-regulating the labor conditions and labor relations in China but a Collective Agreement has not yet become a significant scheme for self-regulating the labor conditions and labor relations in Taiwan. [ABSTRACT FROM AUTHOR]

The creation of painting in Taiwan in the early twentieth century was first inspired by Japanese art teachers. The new idea of "realistic painting" introduced at the time allowed the discovery of "local colors." However, the Taiwanese painters who employed the artistic ideal of "painting one's intent" were able to escape the limitation imposed by the concept of "local colors." How did the painters explore the artistic styles offered by the new global contexts through the colonization of Japan is an important issue that requires in-depth investigation. This issue is further complicated by painters who were not only influenced by the Japanese arts but also the traditional Chinese arts, as some of the Taiwanese painters moved to China after their training in Japan in order to search for a new style that conflates the Eastern and the Western arts. Taking several painters, Liu Jintang, Chen Chengpo, and Guo Bochuan as examples, this paper explores issues of identity, cultural impacts, and stylistic developments of the arts in the early twentieth century. [ABSTRACT FROM AUTHOR]

The paper induces three stylized facts about the present situation of the cross-strait relations and Taiwan's political ecology. These stylized facts may be summed up as the deterioration of the Taiwanese people's Chinese national identity. And these problems are to a great extent the result of Mainland China's totalitarianism political system and the low level of livelihood and the underdevelopment of the civil rights conditions in the Mainland as well as the improper policies of the Mainland towards Taiwan. In conclusion, Mainland China needs to reform its totalitarian political system, increase the level of livelihood and the civil rights conditions, as well as improve its policies towards Taiwan. These measures may help to optimize the policies of the Mainland China towards Taiwan and reconstruct the cross-strait imagined communities. [ABSTRACT FROM AUTHOR]