A comparison of the leadership styles of the leaders at New World School of the Arts

The purpose of this study was to determine if the perceived leadership styles of the leaders at New World School of the Arts were different according to their roles in the organization. The study focused on the top leaders of the organization: the Provost who heads the college program, and the Principal who heads the high school program.^ The Leadership Practices Inventory (LPI) Self and Observer developed by Kouzes and Posner (1990) was used to examine and compare the perceived differences between the leaders and the programs. The LPI measures five practices of exemplary leadership. The LPI Self and Observer was administered to the leaders, administrative subordinates, and faculty. In addition to the LPI a Demographic Inventory was used to collect data about the respondents.^ This study used a causal-comparative design to determine if differences existed between the leaders at NWSA as perceived by the leaders themselves and their respective administrative subordinates and faculty. T tests were conducted on the mean differences between the five leadership practices measured by the LPI. All tests were declared significant if exceeding the 5% level $(p={<}.05).$^ Significant differences were found within the college program across all five practice areas. To a lesser degree, significant differences were found within the high school in three practice areas: Inspiring, Enabling, and Modeling. Three significant differences were found between the college and high school in two practice areas, Enabling and Encouraging.^ There is little consensus of opinion within the college regarding the operative leadership style. Within the high school there is substantial similarity of perception regarding the operative leadership style. There is substantial similarity of perception between the programs regarding the operative leadership style. ^

Measuring the arts: The case of Dade County nonprofits arts organizations

The theoretical analysis and research of cultural activities have been limited, for the most part, to the study of the role the public sector plays in the funding and support of nonprofit Arts organizations. The tools used to evaluate this intervention follow a macroeconomic perspective and fail to account for microeconomic principles and assumptions that affect the behavior of these organizations. This dissertation describes through conceptual models the behavior of the agents involved in the artistic process and the economic sectors affected by it. The first paper deals with issues related to economic impact studies and formulates a set of guidelines that should be followed when conducting this type of study. One of the ways to assess more accurately the impact culture has in a community is by assuming that artists can re-create the public space of a blight community and get it ready for a regeneration process. The second paper of this dissertation assumes just that and explains in detail all the cultural, political, economic and sociological interactions that are taking place in the Arts-led regeneration process in Miami Beach, Florida. The paper models the behavior of these agents by indicating what their goals and decision process mechanisms are. The results give support to the claim that the public space artists create in a city actually stimulate development. The third paper discusses the estimation of a demand function for artistic activities, specifically the New World Symphony (NWS) located in Miami Beach, Florida. The behavior of the consumers and producers of NWS' concerts is modeled. The results support the notion that consumers make their decisions based, among other things, on the perceived value these concerts have. Economists engage in the analysis of the effects of cultural activities in a community since many cities rely on them for their development. The history of many communities is not told by their assembly lines and machinery anymore but by their centers of entertainment, hotels and restaurants. Many cities in Europe and North America that have seen the manufacturing sector migrate to the South are trying to face the demands of the new economy by using the Arts as catalysts for development. ^

The civil war of ideas: Ayn Rand, intellectual freedom, and the regulation of thought in the Soviet Union and United States, 1905-1943

The philosopher and novelist Ayn Rand (1905–1982) is an icon of American culture. That culture misunderstands her, however. It perceives her solely as a pure market conservative. In the first forty years of her life, Rand's individualism was intellectual and served as a defense for the free trade of ideas. It originated in the Russian Revolution. In 1926, when Rand left the Soviet Union, she developed her individualism into an American philosophy. Her ideas of the individual in society belonged to a debate where intellectuals intended to abolish the State and free man and woman from its intellectual snares. To present Rand as a freethinker allows me to examine her anticommunism as a reaction against Leninism and to consider the relation of her ideas to Marxism. This approach stresses that Rand, as Marx, opposed the State and argued for the historical importance of a capitalist revolution. For Rand the latter, however, depended on an entrepreneurial class that rejected Protestantism as ideology – which she contended threatened its interests because Christianity had lost its historical significance. This exposes the nature of Rand's intellectual individualism in American society, where the majority on the entire political spectrum still identified with the teachings of Christ. It also reveals the dynamics of her anticommunism. From 1926 to 1943, Rand remodeled American individualism and as she did so, she determined her opposition first to the New Deal liberals and second business conservatives. To these ends, Marxism and Protestantism served Rand's individualism and made her an American icon of the twentieth century.

The Exiled Intellectual and the American University

Dr Leon Botstein, Professor at Bard College, gives a lecture on the subject of the tradition of learning institutions providing exile to intellectuals from countries in crisis. Lecture held at the Graham Center, Modesto Maidique Campus, Florida International University on February 25, 2013.

Death and the Maiden

Staged reading of Ariel Dorfman's play "Death and the Maiden". Event held at Dieuxieme Maison, Modesto Maidique Campus, Florida International University on June 26, 2012.

Economic Inequality and the Conditions of Freedom- Views from the American Founding

Professor Clement Fatovic, Director of Graduate Studies for Politic Sciences, lectures on the subject of the American Founding. Lecture held at the Green Library, Modesto Maidique Campus, Florida International University, on April 10, 2013.

The Didache and Traditioned Innovation: Shaping Christian Community in the First Century and the Twenty-First Century

Church leaders, both lay and clergy, shape Christian community. Among their central tasks are: building communal identity, nurturing Christian practices, and developing faithful structures. When it comes to understanding the approach of the earliest Christian communities to these tasks, the Didache might well be the most important text most twenty-first century church leaders have never read. The Didache innovated on tradition, shaping the second generation of Christians to meet the crises and challenges of a changing world.

Most likely composed in the second half of the first century, the Didache served as a training manual for gentile converts to Christianity, preparing them for life in Christian community. This brief document, roughly one third the length of Mark’s gospel, developed within early Jewish-Christian communities. It soon found wide usage throughout the Mediterranean region, and its influence endured throughout the patristic and into the medieval period.

The Didache outlines emerging Christian practices that were rooted in both Jewish tradition and early Jesus material, yet were reaching forward in innovative ways. The Didache adopts historical teachings and practices and then adapts them for an evolving context. In this respect, the writers of the Didache, as well as the community shaped by its message, exemplify the pattern of thinking described by Greg Jones as “traditioned innovation.”

The Didache invites reflection on the shape and content of Christian community and Christian leadership in the twenty-first century. As churches and church leaders engage a rapidly changing world, the Didache is an unlikely and yet important conversation partner from two millennia ago. A quick read through its pages – a task accomplished in less than half an hour – brings the reader face to face with a brand of Christianity both very familiar and strikingly dissimilar to modern Christianity. Such dissonance challenges current assumptions about the church and creates a space in which to re-imagine our situation in light of this ancient Christian tradition. The Didache provides a window through which we might re-examine current conceptualizations of Christian life, liturgy, and leadership.

This thesis begins with an exploration of the form and function of the Didache and an examination of a number of important background issues for the informed study of the Didache. The central chapters of this thesis exegete and explore select passages in each of the three primary sections of the Didache – the Two Ways (Didache 1-6), the liturgical section (Didache 7-10), and the church order (Didache 11-15). In each instance, the composers of the Didache reach back into a cherished and life-giving aspect of the community’s heritage and shape it anew into a fresh and faithful approach to living the Christian life in a drastically different context.

The thesis concludes with three suggestions of how the Didache may provide a resource for the way the Church in the present thinks about training disciples, shaping community, and developing leadership structures. These conversation starters offer beginning points for a richer, fuller discussion of traditioned innovation in our current church context. The Didache provides a source of wisdom from our spiritual forebears that modern Christian leaders would do well not to ignore. With a look through the first century window of the Didache, twenty-first century Christians can discover fresh insights for shaping Christian community in the present.

Elizabeth Bowen and the art of visuality

This thesis is the first sustained assessment of Elizabeth Bowen’s writing from a visual perspective. By first compiling a visual biography of the author, I argue that Bowen’s responsiveness to art, her relationships with artists, and her knowledge of modern and traditional aesthetics are formative influences on her work. Investigating her assertion that she was a “visual writer,” my discussion develops into an examination of her technique of “verbal painting” through which she reinvents traditional visual modes as a personal modernist idiom. Close textual analysis of Bowen’s fictions forms the dominant methodology of this thesis and facilitates my delineation of her engagement with the Futurist and Surrealist aesthetics in addition to broader aspects of her visuality, including her treatment of the “vividly visual” dream-state to the distinct ocularcentricity of her writing. Ultimately, this thesis seeks to advance our knowledge of Bowen’s visual method and to offer a new approach in which to nuance our understanding of her modernism

Talom Rukbo and the Donyipolo Yelam Kebang: restructuring Adi religious practices in Arunachal Pradesh, Northeast India

The purpose of this dissertation is to examine and contextualize the recent changes in the articulation of Donyipolo faith among the indigenous community of the Adi from the 1980s until the present. This is achieved by documenting both ‘non-formalized’ and ‘formalized’ belief and ritual within this Eastern Himalayan community. Since the mid-1980s, the Adi – led by indigenous activist Talom Rukbo and the Donyipolo Yelam Kebang (Donyipolo Faith Council) – have been restructuring Donyipolo to fit the model of more mainstream religions via a series of processes that could be called ‘formalization’ or ‘institutionalization’, a reformation blueprint that has subsequently spread to neighboring ethnic groups. This ethnography, exploring both folk practice and the modern reformation, is rooted in radical empiricism – in this context, meaning to collect data and allow analysis to arise organically. Radical empiricism is employed alongside vernacular theorizing to allow for the acknowledgement of indigenous theory through which we can trace indigenous agencies and the construction of indigenous lifeworlds. Facilitating this space for the acknowledgement of ‘religious re-imaginings’ as a means of cultural preservation – and as a representation of creativity – is significant particularly when viewed in the context of contemporary research on similar movements in Northeast India, which sometimes tends toward the negation of indigenous innovation by representing such religious revivals as conversion tools attributed to the Hindu right. It is hoped that the reader will come away from this dissertation with an understanding of the ‘constellations of faith’ that comprise ‘traditional’ Donyipolo and a comprehension of the innovative institutionalization processes that have shaped the new Adi praxis. Donyipolo should be viewed as a complex, nuanced, and independent indigenous faith, whether in its forms of folk expressions or in its new structure as expressed through the Donyipolo Yelam Kebang.

Pedem referens: art historical memory and the analogue in the work of Tacita Dean, Jeremy Millar and Lucy Skaer

This thesis explores the new art historical turn in contemporary art through close engagement with three British artworks. These are Tacita Dean’s, Section Cinema (Homage to Marcel Broodthaers), 2002, Jeremy Millar’s, The Man Who Looked Back, 2010, and Lucy Skaer’s, Leonora, 2006. Each of these artworks combines an art historical agenda with a celebration of the specificities of analogue film and photography in the context of our digital age. This thesis combines twentieth century photographic theory from Roland Barthes, André Bazin and Walter Benjamin, among others, with the psychoanalytic theory of Jacques Lacan in order to argue that the indexical qualities of analogue film and photography place the medium in close proximity to the Lacanian Real. In its obsolescence the analogue’s language of both touch and loss is heightened. Each chapter of this thesis explores a different aspect of the Real in relation to specific attributes of the analogue, such as its propensity for archiving cultural traumas, its receptiveness to chance, and its proximity to death.

Value creation in capital waterway projects: Application of a transaction cost and transaction benefit framework for the Miami River and the New Orleans Inner Harbour Navigation Canal

Waterways have many more ties with society than as a medium for the transportation of goods alone. Waterway systems offer society many kinds of socio-economic value. Waterway authorities responsible for management and (re)development need to optimize the public benefits for the investments made. However, due to the many trade-offs in the system these agencies have multiple options for achieving this goal. Because they can invest resources in a great many different ways, they need a way to calculate the efficiency of the decisions they make. Transaction cost theory, and the analysis that goes with it, has emerged as an important means of justifying efficiency decisions in the economic arena. To improve our understanding of the value-creating and coordination problems for waterway authorities, such a framework is applied to this sector. This paper describes the findings for two cases, which reflect two common multi trade-off situations for waterway (re)development. Our first case study focuses on the Miami River, an urban revitalized waterway. The second case describes the Inner Harbour Navigation Canal in New Orleans, a canal and lock in an industrialized zone, in need of an upgrade to keep pace with market developments. The transaction cost framework appears to be useful in exposing a wide variety of value-creating opportunities and the resistances that come with it. These insights can offer infrastructure managers guidance on how to seize these opportunities.

Public narratives and the construction of memory among European Muslims

This chapter draws on group and individual interviews with 735 European Muslims in 5 European countries and explores some key aspects of the politics of memory that form an inextricable component of European Muslim self-definitions, discourses and narratives deployed in the attempt to negotiate their inclusion in European societies.

Re-modelling clay: ceramic practice and the museum in Britain (1970-2014)

This thesis analyses how the dialogue between ceramic practice and museum practice has contributed to the discourse on ceramics. Taking Mieke Bal’s theory of exposition as a starting point, it explores how ‘gestures of showing’ have been used to frame art‑oriented ceramic practice. Examining the gaps between the statements these gestures have made about and through ceramics, and the objects they seek to expose, it challenges the idea that ceramics as a category of artistic practice has ‘expanded.’ Instead, it forwards the idea that ceramics is an integrative practice, through which practitioners produce works that can be read within a range of artistic (and non-artistic) frameworks. Focusing on activity in British museums between 1970 and 2014, it takes a thematic and broadly chronological approach, interrogating the interrelationship of ceramic practice, museum practice and political and critical shifts at different points in time. Revealing an ambiguity at the core of the category ‘ceramics,’ it outlines numerous instances in which ‘gestures of showing’ have brought the logic of this categorisation into question, only to be returned to the discourse on ‘ceramics’ as a distinct category through acts of institutional recuperation. Suggesting that ceramics practitioners who wish to move beyond this category need to make their vitae as dialogic as their works, it indicates that many of those trying to raise the profile of ‘ceramics’ have also been complicit in separating it from broader artistic practice. Acknowledging that those working within institutions that sustain this distinction are likely to re-make, rather than reconsider ceramics, it leaves the ball in their court.