Finding the niche to reposition leadership in Africa’s developing economies for the global highway: review of literature on leadership development programmes – methods and techniques*

Africa’s developing economies remain in critical need for leadership. This paper asserts that Africa’s new growth opportunities rest with leadership that could champion organizational performance, innovativeness, and good ethics among others. A review of extant literature on leadership development programmes (LDPs) was done to examine possible initiatives that leadership developers can use to influence leadership practices in Africa. This paper proposes that in Africa, LDPs can be used to inculcate authentic leadership practices and enhance networking and acquisition of innovative skills among others. Furthermore, LDPs could target the youth considering them as an investment into tomorrow’s leadership talent pool. The paper suggests that Africa’s niche for the global highway rests in contextualization of LDPs from other regions to Africa’s unique environment.     

英汉思维方式对语言结构的影响

思维方式对语言的结构有哪些影响?本文从形合与意合在句法上与章法上的不同表现,论述了英汉两种语言在结构和表达方式上的不同,并通过实例归纳出一些具体做法,供同行进一步探讨。     

论林纾短篇小说的艺术创新及其缺陷

林纾短篇小说的艺术创新,一定程度上打破了清末停滞凝固的小说艺术模式,为当时的文坛注入了一股新鲜的血液.他是近代较早有意识地借鉴西方小说艺术的作家,大大拓宽了爱情小说的艺术领域.其独具特色的"技击小说"为后世的武侠小说提供了可贵的艺术经验.他的小说尽管存在着一些缺陷,但部分作品堪称文言小说的精品.     

试论美术教育中的美育问题——对先进文化在美术教育中重要性的认识

美术教育的目的是培养社会主义建设事业合格的接班人。在开展美术教育活动中必须把美育放在重要的位置。中国共产党是先进文化的代表,我们在实施美育的过程中,不但要培养青年学生热爱社会主义祖国、热爱劳动人民的情感,而且要牢牢把握中国共产党的指导思想,高举社会主义审美理想的旗帜,为国家、为人民培养思想性、时代性和艺术性兼容的美术专门人才。坚决反对把美术教育庸俗化,无论是美术教师还是青年学生都要牢记人民艺术为人民的宗旨,为繁荣社会主义精神文明做贡献。     

电影--一个存在主义的文本--科技进步与电影艺术的发展与终结

电影是现代科技进步的产物,且紧随科学技术的发展而发展.其本质并非固定不变的,而是变动不居的.本文除回顾历史上已经发生的电影技术革命(如声音技术、电视技术)引发的电影美学革命外,着重阐述电子计算机成像技术特别是数字化技术以及互联网技术所引发的、正在出现和已经出现的电影艺术的本体性变革,并指出由之而可能导致的电影艺术的终结.     

略论艺术的分类法

本文论述了中外艺术的多元分类法,对其进行科学、系统地对照比较,并结合中外艺术发展的现状和艺术教育的实际情况提出自己的见解,即艺术四大门类分类法是当今较为科学、较易接受、较能应用的艺术分类法.并在四大门类划分的基础上,对各门类中的艺术科目进行了重新整合和构建.     

论历史调节机制

法、政治、道德、艺术、宗教等最基本的历史调节机制,作为人类生存的基本需要,构成人类历史得以维系、延续和发展的永恒纽带和基础。当然,法、政治、道德、艺术、宗教的调节,在构建和谐社会中都不可能是单独起作用的,必须综合运用上述历史调节机制,以促进社会的和谐发展。     

论构成艺术的实质

本文阐述了具象与抽象在构成艺术中的把握和人为地把艺术规律图解化的倾向;构成艺术的具体运用与现代人审美上的后现代情结;构成艺术与图案、图形的关联。     

Strategic Shared Leadership and Organizational Dynamic Capabilities

We propose that the purposeful sharing of strategic decisions and the process of making and taking those between the dominant coalition of an organization (Strategic Shared Leadership or SSL thereafter), initiated and supported by a focal strategic leader or small team, engenders Organizational Dynamic Capabilities (ODCs) though the transfer of individually-residing DCs within the SSL team, the transformation -co-creation of novel ones and their embeddedness-institutionalization within the organization. It also enhances organizational cognition which mediates the relationship by enriching co-created ODCs and their capacity to deliver reliably change through sensing, seizing and reconfiguring. Accordingly, SSL serves as a co-creator and key predictor of the emergence of ODCs. This helps address the challenges of DCs to marry stability with change, be predictable and to be capable of predicting.     

Feminine or feminist? Women’s media leadership

This paper presents a small-scale qualitative case study of five women’s experiences of leadership roles in Irish media industries. Relational Leadership Theory is used to examine whether there is a gendered dimension to women’s leadership and to explore why women’s participation in leadership has not resulted in significant feminist gains or changes to media organisations. The article finds that: the women saw their leadership as relational and simultaneously as socially constructed in a gendered manner. Moreover, the women led organisational change towards greater gender equality in the norms of media work. However, while the women’s leadership was relational and feminine, it was not necessarily feminist; it did not aim to generate systemic changes within the gendering of the media as an institution. The changes that the women wrought incorporated women into a system of production that remained nonetheless masculinist.