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This handbook aims to facilitate a greater understanding of the OECD statistics and indicators produced and so allow for their more effective use in policy analysis.
In the half century since the World War II, France has developed from a conservative, semi-rural society in which the great majority of the population had only a primary education to a highly developed modern one with a remarkably well-educated and well-trained citizenry and labour force. Technical and vocational education, which before 1960 were confined to an enclave within the French education system, now permeate the entire system. Business and industry, long isolated from education, now play a major role in educational decision making. The French educational system today meets the demand for skilled personnel in almost all fields while maintaining "a complement of general culture." The first book in English to treat the important subject of technical education in France, Schools and Work places technical education within the larger field of French public education, including the administrative and political backdrop, European industrial development, the nature of work, and global competitiveness.
In the Moroccan French Protectorate (1912-1956), the French established vocational and fine art schools, imposed modern systems of industrial production and pedagogy and reinvented old traditions. Hamid Irbouh argues that the French used this systematic modernisation of local arts and crafts regulation to impose their control. He looks in particular at the role and place of women in the structures of art production and education created by the French- that transformed and dominated Moroccan society during the colonial period. French women infiltrated the Moroccan milieu, to buttress colonial ideology, yet at critical moments, Moroccan women rejected traditional roles and sabotaged colonial plans. Meanwhile, the contradictions between reformist goals and the old order added to social dislocations and led to rebellion against French hegemony. Irbouh examines and analyses these processes and demonstrates how Moroccan artists have struggled to exorcise French influences and rediscover an authentic visual culture since decolonisation. This book reveals that the weight of colonial history continues to weigh heavily on artistic practice and production.