The Relationship between the Improvement of Foreign University Leadership and the Modernization of University Governance

Universities are leading, leading, basic, and monopolistic in terms of high-tech knowledge production and productivity transformation, knowledge innovation talents and high-tech research and development talents, which determine that universities have become a national economy. A productivity element with dynamic value that is indispensable for take-off, social progress and its stability and sustainable development. On the basis of discussing "why the modernization of university governance capabilities is so important" and clarifying the "relationship between university leadership and university governance capabilities", the paper starts with "ideological power", "organizational power", "Decision-making power", "institutional power", and "resource power". The 7 aspects of "cultural power" and "principal power" construct and interpret the university leadership element model.

Constituting the 'Woman Artist': A Feminist Genealogy of Aotearoa New Zealand's Art History 1928 - 1989

<p>This thesis considers the ways in which the figure of the ‘woman artist’ has been constituted in published sources in Aotearoa New Zealand’s art history, between 1928 and 1989. Most of the texts dedicated specifically to women artists in this country were written in the latter half of the twentieth century, and were produced with the intention of writing women artists back in to the histories from which they had been excluded. This thesis operates from a different perspective. Rather than assuming a starting point of women’s absence from a national art history, it traces instead those written representations of the ‘woman artist’ as they exist in the published literature. Through the construction of a genealogy of such representation, this thesis examines the ideologies which are both embedded in, and perpetuated by them. In doing so it makes evident and interrogates the gendered power dynamics which have shaped the writing of Aotearoa New Zealand’s art history. This thesis is structured chronologically, charting the formation and expansion of a coherent national arts discourse against shifting notions of national and cultural identity. The trajectory of this discourse was shaped by a canonical impulse, constructing an unfolding narrative which centres upon a succession of key artistic figures. This thesis argues that the structuring of this – largely male, Pākehā – narrative, acted to subsume gendered difference, rendering women increasingly peripheral within its pages. The model of subsumed difference is also apparent in feminist critiques of this dominant art history, which are critically interrogated in the latter half of this thesis. As women sought to challenge the relative exclusion of women artists from this dominant narrative, they also perpetuated their own exclusions, often in terms of culture or sexuality. Through discursive analysis of both ‘mainstream’ art history, and the feminist writings which addressed it, this thesis presents two significant arguments. First, that stereotypical representations of women artists play a structural role – to marginalise women – within Aotearoa New Zealand’s art history. Secondly, that feminist interrogations of such histories failed to account for the multiplicity of women’s subjectivity. I conclude by instantiating and calling for an alternative approach that challenges the subsuming of such difference within a single, homogenous narrative. Such an approach will produce histories that interrogate, rather than perpetuate, the gendered and cultural power dynamics embedded within society.</p>

Constituting the 'Woman Artist': A Feminist Genealogy of Aotearoa New Zealand's Art History 1928 - 1989

<p>This thesis considers the ways in which the figure of the ‘woman artist’ has been constituted in published sources in Aotearoa New Zealand’s art history, between 1928 and 1989. Most of the texts dedicated specifically to women artists in this country were written in the latter half of the twentieth century, and were produced with the intention of writing women artists back in to the histories from which they had been excluded. This thesis operates from a different perspective. Rather than assuming a starting point of women’s absence from a national art history, it traces instead those written representations of the ‘woman artist’ as they exist in the published literature. Through the construction of a genealogy of such representation, this thesis examines the ideologies which are both embedded in, and perpetuated by them. In doing so it makes evident and interrogates the gendered power dynamics which have shaped the writing of Aotearoa New Zealand’s art history. This thesis is structured chronologically, charting the formation and expansion of a coherent national arts discourse against shifting notions of national and cultural identity. The trajectory of this discourse was shaped by a canonical impulse, constructing an unfolding narrative which centres upon a succession of key artistic figures. This thesis argues that the structuring of this – largely male, Pākehā – narrative, acted to subsume gendered difference, rendering women increasingly peripheral within its pages. The model of subsumed difference is also apparent in feminist critiques of this dominant art history, which are critically interrogated in the latter half of this thesis. As women sought to challenge the relative exclusion of women artists from this dominant narrative, they also perpetuated their own exclusions, often in terms of culture or sexuality. Through discursive analysis of both ‘mainstream’ art history, and the feminist writings which addressed it, this thesis presents two significant arguments. First, that stereotypical representations of women artists play a structural role – to marginalise women – within Aotearoa New Zealand’s art history. Secondly, that feminist interrogations of such histories failed to account for the multiplicity of women’s subjectivity. I conclude by instantiating and calling for an alternative approach that challenges the subsuming of such difference within a single, homogenous narrative. Such an approach will produce histories that interrogate, rather than perpetuate, the gendered and cultural power dynamics embedded within society.</p>

García Márquez and the Global South

Even when its focus is ostensibly local, Gabriel García Márquez’s literary output registers the global forces—and, specifically, the imbalances of economic, political, and cultural power—that condition those local circumstances. These same forces are the dynamics that define the Global South in the present. Following the most recent work in the field, the Global South is here understood not simply as a place name or post–Cold War substitute for the Third World, but as the resistant political imaginary arising from the mutual recognition of shared or analogous circumstances by marginalized or dispossessed groups throughout the world. This article explores the three principal intersections between García Márquez’s work and the Global South understood as a relational and analytical category. First, it outlines the ways in which his work registers global—and, importantly, South-South—circuits of exchange, opening up new comparative itineraries. Second, it elaborates the ways in which these comparative connections build toward a critique of the global system, such that García Márquez provides both the grounds and a model for what this article calls “Global South thinking.” The final section addresses the circulation and influence of García Márquez’s work in the literatures of the Global South. Much of the existing commentary on this topic (his influence on Third World, postcolonial, or even world literature) has focused on magical realism and One Hundred Years of Solitude. But, the article shows, works such as The Autumn of the Patriarch and Chronicle of a Death Foretold have also had a profound influence, on both individual texts and their reception.

The Bible and American Empire

The influence of the Bible in the shaping of American empire is rooted in the colonial era but is most clearly in evidence in the nineteenth century. In the spirit of postcolonial frameworks, this chapter seeks to lay bare some of the ways in which scriptural discourse undergirded the religious, political, and cultural power of Anglo-American settlers that legitimated the land dispossession of Native Americans and enslavement of African Americans. The first part of the chapter contrasts some alternative epistemologies about mapping land by colonial settlers, Native Americans, and Mormons. The second half of the chapter evaluates the racialized interpretations of the myth of Ham that supported the southern plantation “slaveocracy” and some alternative scriptural interpretations offered by African Americans in their aspirations for liberation from slavery and equal treatment in society.

Research on the Path of China's Rural Green Development under the Governance System of "Three Integration Governance"

The governance system of "three integration governance" reflects the organic relationship of mutual supplement and restriction among autonomy, rule of law and rule of virtue. The governance system of "three integration governance" is not only the inevitable requirement of China's modern rural development, but also an important path to realize China's rural green development. The governance system of "three integration governance" provides multiple subject forces, legal system guarantee and spiritual and cultural power for the smooth implementation of China's rural green development. Discussing China's rural green development from the "three governance integration" rural governance system not only has important theoretical value, but also has a far-reaching practical impact on solving the practical problems faced by China's rural green development.

Performing Power in Nigeria

For decades, Pentecostalism has been one of the most powerful socio-cultural and socio-political movements in Africa. The Pentecostal modes of constructing the world by using their performative agencies to embed their rites in social processes have imbued them with immense cultural power to contour the character of their societies. Performing Power in Nigeria explores how Nigerian Pentecostals mark their self-distinction as a people of power within a social milieu that affirmed and contested their desires for being. Their faith, and the various performances that inform it, imbue the social matrix with saliences that also facilitate their identity of power. Using extensive archival material, interviews and fieldwork, Abimbola A. Adelakun questions the histories, desires, knowledge, tools, and innate divergences of this form of identity, and its interactions with the other ideological elements that make up the society. Analysing the important developments in contemporary Nigerian Pentecostalism, she demonstrates how the social environment is being transformed by the Pentecostal performance of their identity as the people of power.

Renewed Patronage and Strengthened Authority of Chiefs Under the Scarcity of Customary Land in Zambia

The Zambian government enacted the 1995 Lands Act with the aim of stimulating investment and agricultural productivity. This Act strengthened the role and power of traditional leaders, particularly chiefs, as it empowered them to allocate customary land to individuals and companies, including foreign investors. In the Bembachiefdom of northern Zambia, a new chief issued new land rights and invalidated the land rights issued by the old chiefs. As a result, land owners with documents in the old formats were required to obtain new certification from the new chief. Concerned about the land within his territory, this chief also decided to invalidate the title deeds issued by the central government so that he could release the protected land to local people. Alongside their historical and cultural power, the chiefs strengthened their patronage over land distribution as well as their authority over the residents in their territories. With high demand for land, anxiety among local people due to land scarcity has created political power and authority for the chiefs.