An exploration of female leadership language:case studies of senior women in Bahrain

This is a multiple case study of the leadership language of three senior women working in a large corporation in Bahrain. The study’s main aim is to explore the linguistic practices the women leaders use with their colleagues and subordinates in corporate meetings. Adopting a Foucauldian (1972) notion of ‘discourses’ as social practices and a view of gender as socially constructed and discursively performed (Butler 1990), this research aims to unveil the competing discourses which may shape the leadership language of senior women in their communities of practice. The research is situated within the broader field of Sociolinguistics and the specific field of Language and Gender. To address the research aim, a case study approach incorporating multiple methods of qualitative data collection (observation, interviews, and shadowing) was utilised to gather information about the three women leaders and produce a rich description of their use of language in and out of meeting contexts. For analysis, principles of Qualitative Data Analysis (QDA) were used to organise and sort the large amount of data. Also, Feminist Post- Structuralist Discourse Analysis (FPDA) was adopted to produce a multi-faceted analysis of the subjects, their language leadership, power relations, and competing discourses in the context. It was found that the three senior women enact leadership differently making variable use of a repertoire of conventionally masculine and feminine linguistic practices. However, they all appear to have limited language resources and even more limiting subject positions; and they all have to exercise considerable linguistic expertise to police and modify their language in order to avoid the ‘double bind’. Yet, the extent of this limitation and constraints depends on the community of practice with its prevailing discourses, which appear to have their roots in Islamic and cultural practices as well as some Western influences acquired throughout the company’s history. It is concluded that it may be particularly challenging for Middle Eastern women to achieve any degree of equality with men in the workplace because discourses of Gender difference lie at the core of Islamic teaching and ideology.

The impact of university research on corporate patenting

This paper analyses the association between the number of patenting manufacturing firms and the quantity and quality of relevant university research across UK postcode areas. We show that different measures of research `power' and `excellence' positively affect the patenting of small firms within the same postcode area. Patenting by large firms, in contrast, is unaffected by research undertaken in nearby universities. This confirms the commonly held view that location matters more for small firms than large firms. We also investigate specific channels of technology transfer, finding that university-industry knowledge transfer occurs through both formal and informal channels. From a methodological point of view, we contribute to the existing literature by accounting for potential simultaneity between university research and patenting of local firms by adopting an instrumental variable approach. Moreover, we also allow for the effects of the presence of universities in neighbouring postcode areas to influence firms' patenting activity by incorporating spatial neighborhood effects.

The impact of the changing weaving industry on the culture and socioeconomic development of Maya women in Guatemala

Growing demand for handwoven Maya textiles from Guatemala parallels recent international fascination with Maya civilization. This thesis surveys the effects of increases in demands for artisan textiles in Guatemala, and explores the reactions of women involved in Aj Quen, a weavers' association. The hypothesis is that the well-being of Maya women depends on their participation in the association. This is tested by using indicators of the weavers' attitudes defined as their "well-being" regarding (1) health, (2) education levels, (3) child care practices, and (4) economic stability. Interviews were conducted with 127 Maya women. Data were documented, providing a crucial missing link in the current literature of "women in Guatemala." The results of this study yield baseline data demonstrating that health and child care practices are not directly related to women's participation in the association. Their education levels increased as a direct result of working with the association, as did economic stability, although less consistently.

Miami Art Show, June 1, 1974

Dahlia Morgan with Charles Perry. In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Online Education, Accrediting Standards, and Student Success: An Examination of the Relationship Between the Southern Association of Colleges and Schools Commission on Colleges Standards for Online Education and Student Success

Prior to 2000, there were less than 1.6 million students enrolled in at least one online course. By fall 2010, student enrollment in online distance education showed a phenomenal 283% increase to 6.1 million. Two years later, this number had grown to 7.1 million. In light of this significant growth and skepticism about quality, there have been calls for greater oversight of this format of educational delivery. Accrediting bodies tasked with this oversight have developed guidelines and standards for online education. There is a lack of empirical studies that examine the relationship between accrediting standards and student success. The purpose of this study was to examine the relationship between the presence of Southern Association of Colleges and Schools Commission on College (SACSCOC) standards for online education in online courses, (a) student support services and (b) curriculum and instruction, and student success. An original 24-item survey with an overall reliability coefficient of .94 was administered to students (N=464) at Florida International University, enrolled in 24 university-wide undergraduate online courses during fall 2014, who rated the presence of these standards in their online courses. The general linear model was utilized to analyze the data. The results of the study indicated that the two standards, student support services and curriculum and instruction were both significantly and positively correlated with student success but with small R2 and strengths of association less than .35 and .20 respectively. Mixed results were produced from Chi-square tests for differences in student success between higher and lower rated online courses when controlling for various covariates such as discipline, gender, race/ethnicity, GPA, age, and number of online courses previously taken. A multiple linear regression analysis revealed that the curriculum and instruction standard was the only variable that accounted for a significant amount of unique variance in student success. Another regression test revealed that no significant interaction effect exists between the two SACSCOC standards and GPA in predicting student success. The results of this study are useful for administrators, faculty, and researchers who are interested in accreditation standards for online education and how these standards relate to student success.

The impact of the changing weaving industry on the culture and socioeconomic development of maya women in Guatemala

Growing demand for handwoven Maya textiles from Guatemala parallels recent international fascination with Maya civilization. This thesis surveys the effects of increases in demands for artisan textiles in Guatemala, and explores the reactions of women involved in Aj Quen, a weavers' association. The hypothesis is that the well-being of Maya women depends on their participation in the association. This is tested by using indicators of the weavers' attitudes defined as their "well-being" regarding 1) health, 2) education levels, 3) child care practices, and 4) economic stability. Interviews were conducted with 127 Maya women. Data were documented, providing a crucial missing link in the current literature of "women in Guatemala." The results of this study yield baseline data demonstrating that health and child care practices are not directly related to women's participation in the association. Their education levels increased as a direct result of working with the association, as did economic stability, although less consistently.