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"The concept of world-class universities (WCU) has increasingly gained popularity in the past two decades around the world. WCU are regarded as cornerstone institutions of any academic system and imperative to develop a nation’s competitiveness in the global knowledge economy. The development of such universities is high on the policy agenda of various stakeholders worldwide, in both developed and developing countries and regions, and at both national and institutional levels, to promote their global competitiveness.Visibility and performance are among the most watched concepts in relation to develop WCUs, but remain complicated in nature and with no agreed upon definitions. Existing literature have focused on how to raise universities’ prestige, status, impact and rankings in the global and regional arena on the one hand, and how to enhance universities’ quality, efficiency, effectiveness and academic output on the other. However, whether visibility is a legitimate indicator of performance, or vice versa, is yet to be answered.Matching Visibility and Performance: A Standing Challenge for World-Class Universities provides insights of developing academic excellence from global, national and institutional perspectives, and intends to stimulate discussion on how universities can be ‘globally visible and locally engaged’ and how visibility and performance can be integrated and balanced in practice."
Seminar paper from the year 2016 in the subject Sociology - Culture, Technology, Nations, grade: 1.3, Friedrich-Alexander University Erlangen-Nuremberg (American Studies), course: American Cultures of Memory, language: English, abstract: The Martin Luther King, Jr. Memorial, which, since 2011, is located in the southwest of the National Mall in Washington D.C., was designed and built by Chinese sculptor Lei Yixin. It commemorates the civil rights activist that was murdered in 1968, the history of the civil rights movement of Afro-Americans, as well as the issues the movement dealt with and propagated. It was, like many other memorials throughout the USA, also subject to criticism, regarding its design, layout, material, expressiveness, the choice of its creator, and thus also its overall ‘Americanness’. In this paper, the focus will be on the questions of how this memorial works and why it works in a specific way. A memorial can serve many different purposes, such as to grieve, remember, recognize, celebrate, support, help to forget, heal, confront, equalize, understand, educate, acknowledge, etc. It will be argued that memorials are not only about the physical site, the monument or the venue in general, they are also to a huge extent about a number of external or complementary factors, such as the visitors or spectators of the site in question, and their respective performances with regard to the site of memory. Thus, a memorial never has a fixed meaning or message – to a certain extent, a memorial is always a floating signifier with meanings in constant flux, depending on its current social environment and various power relations. The visibility and interpretation of such ‘lieux des mémoire’ is of course also heavily dependent on contemporary discourses, as well as individual and national identity. The terms identity, performance, visibility, and the site’s ‘Americanness’, or in other words, what the afore-mentioned topics tell us about American culture in the general sense, and a presumed American ‘culture of memory’, will be at the center of this paper about the Martin Luther King, Jr. Memorial.
Like Conrad's Marlow, whose tale of journeying into the "heart of darkness" gives us as much insight into one man's personality as it does into the mysteries of the dark world he explored, so the anthropologist's record of another culture contains more than objective, scientific data about his investigation. Embedded within it are clues to the "personality" of anthropology itself: the attitudes, approaches, even prejudices that at any given stage in history are inextricable from the ideology of the anthropologist. Therefore, the mirror he holds up to show us another culture can never be a perfect one. His own professional attitude toward his subject, as well as his choice of medium, are factors that create "cracks" in the mirror of anthropology through which we believe we view the life of other cultures. Hence, the concept of "reflexivity" and the striving to recognize how it warps in the portrayal of anthropological truth lie at the core of the twelve finely wrought essays collected in this volume. Wide ranging in geography as well as viewpoint, they highlight various methods and media (film, ethnography, text) through which an anthropologist chooses to portray a culture, and the various forms, such as art, theater, and ritual, through which a culture portrays itself. Recognizing the link between these two processes provides the key to cultural and methodological self awareness. Reflexivity is defined and clarified in the introduction and in three of the essays, and the remaining nine essays evince the principle through fieldwork and startling case studies. Essays by Jay Ruby and Eric Michaels shed new light on the enormous potential of film and video, showing how a form generally thought to be "nonscientific" can in fact give fresh insight into the scientific premises underlying the discipline's methodology. Essays by Barbara Babcock and Carol Ann Parssinen focus on the novel and ethnography, examining existing works. Anthropologists, as well as students of film, art, and theater, will find that this intriguing work begins to redefine traditional distinctions between science and the arts and brings to light fresh resources that are utilized in the search for anthropological truth. Contributors: Richard Schechner, Victor Turner, Barbara Myerhoff, Jay Ruby, Eric Michaels, Dennis Tedlock, George Marcus, Paul Rabinow, Barbara Babcock, Carol Ann Parssinen, and Dan Rose.
Nicole R. Fleetwood explores how blackness is seen as a troubling presence in the field of vision and the black body is persistently seen as a problem. She examines a wide range of materials from visual and media art, documentary photography theatre, performance and more.
Regardless of your age or the tenure of your career, your organization and industry is changing at an exponential rate. Head-spinning advances in technology, endless bottom-line financial pressures, growing networks of global economies, and changing demographics are significantly impacting your experience in your workplace. In the winter of 2006, I experienced a change that impacted my career and I, like so many of my colleagues, unexpectedly found myself alone and vulnerable. The change for me came in the form of a new boss, who within minutes of meeting me, looked at me and said "I don't hear a lot about Ed Evarts in this organization." Until this time, I considered myself a well-performing, highly regarded contributor in my organization. I had received "exceeds expectations" performance appraisals. I was well known and I thought I had a great reputation. People liked me! During my time in transition, I quickly discovered that networking was no longer enough. In today's active and busy workplaces, individuals need to seek ways to raise their visibility that includes a vast number of additional activities in addition to networking. I also discovered that getting an "exceeds expectations" on my performance appraisal was no longer enough. Individuals like me needed to find ways to add value to the financial aspects that are important to my organization. Value is becoming the new corporate currency!Raise Your Visibility and Value explores the changing organizational and industry environment where networking and performance appraisals are slowly being replaced with visibility and value. Discover the seven visibility accelerators and uncover new and exciting ways to increase your engagement and productivity in your workplace and your visibility and value in your industry.
Within a generation we have seen an extraordinary global expansion of Higher Education. By focusing on systems and countries with near universal participation, and by developing a series of propositions about high-participation in Higher Education, this volume explores a transformation in education and society.
Visibility matters in contemporary societies; online, in the media and in the public eye. But who is seen and how? Are women still seen through a male gaze? This book explores the politics of looking and being looked at, and the relationship between actual and virtual worlds, for example in sport, art and cinema.
In The Scar of Visibility, Petra Kuppers examines the use of medical imagery practices in contemporary art, as well as different arts of everyday life. Among the works she investigates are the controversial Body Worlds exhibition of plastinized corpses, films like David Cronenbergs Crash that fetishize body wounds, representations of the AIDS virus on CSI: Crime Scene Investigations, and the paintings of outsider artist Martin Ram'rez.