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This chapter explores how critical language theory could be applied to the language dynamics in higher education that is created by internationalization and university's traditional role in maintaining national languages. Language policy is an instrument of governance that is increasingly used to regulate the linguistic situation at the university, so it is at the center of my analysis. As a broad concept, language policy is not limited to the formulations of the policy text but includes interactions of different actors and addresses instruments mediating the university's linguistic situation. A critical approach highlights that language policy is permeated with power, which is unequally distributed between different actors. I suggest further conceptualization of the language dynamics of the internationalized university created by national language protection and internationalization through three layers of analysis. The first layer derives from the Bourdieu's approach to language in society focusing on the societal hierarchies that are underpinned by language use. It also includes a discussion about structure versus agency, and a conversation about the navigational capacities of individuals to challenge preestablished social structures. The second layer discusses dialogue as a theoretical approach to the process of negotiating language policy. This is where agency is being realized, depending on the relative power of different actors in the particular social context. The third layer explores the conception of language, how different ways to understand what language is are turned into policy principles.

The purpose of this paper is to continue and extend the ongoing conversation about greatness in American business.

This survey, conducted in 2021, replicates and extends McCormick and Folsom’s 2001 and 2011 rankings of the greatest entrepreneurs and businesspeople in American history. The authors’ pool surveyed 51 experts to develop an updated ranking and explore factors of greatness.

Henry Ford topped the ranking followed by John D. Rockefeller and Steve Jobs. Business scholars ranked Oprah Winfrey the greatest female and minority businessperson.

The authors extend previous research by surveying the authors’ expert pool about factors of greatness in American business history. “Ability to imagine or envision the future” ranked highest with “created wealth for shareholders” in last place.

This paper aims to use the origin story of Dalhousie’s Faculty of Management as a foil for unpacking the tensions between deep disciplinary specialization and liberal education in business schools in Canada and the USA. Ultimately, the paper reveals that those tensions are not irreconcilable, and that through the fortunes of historical contingencies and deliberate decision-taking, a faculty can embrace the benefits of both breadth and depth.

The paper proposes a critical organizational history of management education through a case study. By drawing on secondary literature and archival sources, the authors focus on moments in business education, such as the founding of the Wharton School of Business, the release of the Carnegie and Ford Reports and the trend towards increased specialization to situate a case study of Dalhousie University’s Faculty of Management.

The authors find that the evolution of business education in North America from its broad, liberal origins towards narrow, specialization has come at a cost to some of the benefits of business and management education. An alternative approach, one reflected in the design of Dalhousie’s Faculty of Management, its programme offerings and its interconnection with other disciplines, enables the advantages of deep disciplinarity to co-exist (and cross-inform) with the advantages of liberal approach to knowledges.

The Dalhousie model offers business schools an example of a faculty that balances the rich insights of liberal interdisciplinarity with the need for sophisticated approaches to more granular, often disciplinary, topics. In addition, the paper offers the story of a multidisciplinary management faculty, some explanation for how that faculty was maintained despite pressures towards specialization; and in doing so, contributes to the limited historical research of management education, particularly in Canada, post-2000.

This chapter explores the approaches to digital representation of Australian Aboriginal art and visitor engagement in museum exhibition spaces from a digital design perspective. It discusses recent developments in the fields of digital representation of Aboriginal art, immersive exhibition design and visitor engagement. Through a case study of an immersive exhibition on Australian Aboriginal art in the National Museum of Australia, Canberra, this chapter identifies how Aboriginal art can be digitally represented by appropriate immersive technologies ranging from augmented realities [ARs] and virtual realities [VRs] to mixed reality [MRs] and extended reality [XRs] for enhancing visitors’ immersive digital experience. According to the analysis, the digital representation of Aboriginal artworks needs to be conducted practically, cognitively and ontologically based on understanding Australian Aboriginal history and culture. Visitors can engage with Aboriginal art stories meaningfully through immersive exhibitions through this holistic approach.

Understanding disabled people as gray-collar workers who are under-paid, under-valued and under-employed is recognized as in urgent need of attention but remains unaddressed. Based on 30 semi-structured interviews with disabled people, observations and document analysis, the authors argue that the disabled gray-collar workers in the performing arts provide a context and socio-cultural perspective on how gray-collar workers can attain dignity through social inclusion. Building on a novel framework of four dimensions of social inclusion theory – access, participation, representation and empowerment – the authors identify social interactions portrayed in the performing arts in order to deconstruct the processes that normalize and reinforce exclusion and inequality. The authors demonstrate how social inclusion can be “enabled” which has implications for theory, policy and practice.

In this chapter, Jared Thomas, a Nukunu person from the Southern Flinders Ranges and a Research Fellow at the South Australian Museum and University of South Australia, reflects on his efforts to enhance the Fire Exhibit within the Australian Aboriginal Cultures Gallery [AACG], which has not been updated in 20 years. Thomas draws from an international precedent of involving Indigenous communities in museum displays.

The author outlines the limitations of renovations in terms of budget, space, and Indigenous protocols, while considering the potential impact of the proposed Tarrkarri Centre for First Nations Culture. He emphasises the importance of fostering relationships between Aboriginal and non-Aboriginal peoples, allowing Indigenous voices to speak for themselves.

Thomas focusses on the Fire Exhibit, discussing its significance in Aboriginal culture, the lack of contextualisation, and the need for improved representation. He proposes short-term actions such as adding QR-code-based text for context, and long-term ambitions like incorporating audio-visual and augmented reality elements. He highlights the importance of Aboriginal fire land management practices, especially in the aftermath of the 2019 Australian bushfires.

Thomas proposes strengthening the exhibit’s connection to foods, medicines, and fixatives that benefit from cultural burning. He envisions collaboration with the Adelaide Botanic Gardens and acknowledges the resource constraints faced by the museum. He concludes by envisioning a template for extending improvements across the museum and fostering better understanding and representation of Aboriginal culture.

The purpose of this study is to examine the perceptions and attitudes of arts and design faculty on teaching sustainability in higher education institutions in the USA.

Arts and design faculty from nine universities in the USA were approached for the study, using both closed and open-ended questions in a survey instrument. Descriptive statistics and content analysis were used to analyze the collected data.

Results related to arts and design faculty’s perception of sustainability showed high confidence in teaching sustainability but lower confidence in inspiring students to take action on sustainability issues. Faculty also perceived time, resources, knowledge and support as barriers to the integration of the topic into the curriculum. This study revealed that the faculty’s attitude toward sustainability demonstrated their recognition that sustainability should be at the core of their discipline and that they support its integration into courses.

This study is limited to arts and design faculty in higher education institutions in the USA. The results may not be generalizable to other fields or locations. In addition, the use of self-reported data may be subject to bias.

The findings of this study can inform the development of curriculum and pedagogy in arts and design sustainability education. It can also guide institutions in addressing the challenges and barriers related to incorporating sustainability into their curriculum.

Prioritizing sustainability education is crucial in addressing global climate change and related issues. Art and design educators’ perspectives on teaching sustainability can contribute to constructing a sustainable future for everyone.

This study provides insight into the perception and attitude of sustainability among arts and design faculty in higher education in the USA and highlights areas for improvement such as training and resources to better integrate sustainability into the curriculum.

Despite a large volume of theoretical and empirical research, defining the ‘entrepreneur’ and ‘entrepreneurship’ within the cultural and creative sector, a sector with high heterogeneity in organisational and other aspects across its various segments remains challenging. In this regard, there should be a wide variety of differences in the characteristics and challenges of cultural entrepreneurs across industries, countries and regions. Nonetheless, the key role of the arts and cultural sector has increasingly piqued the interest of policymakers and the private sector, and it has been recognised for its importance within the South African economic landscape; as a result, the government has prioritised arts and culture as a pillar in their development strategies. Furthermore, while there has been some consensus over the past decade on what constitutes a creative industry, many questions about defining arts and cultural entrepreneurship still need to be answered, necessitating further definitional and policy coherence. As a result, some efforts at definitions are required to advance the sector and develop useful knowledge in policy formulation.

This chapter proposes an understanding of arts and cultural entrepreneurship as an exploration of a person, a community or a network's artistic resources (arts, creative and cultural) in value creation. It utilises meta-analysis, a non-empirical method, to review and analyse the existing literature. Further research is needed to investigate and evaluate the efficacy of established arts incubators, and the extent to which perceived entrepreneurial competencies affect organisational performance. Moreover, additional research is required to examine the entrepreneurial factors inhibiting or stimulating the influence on start-up financing (capital acquisition) in the South African arts and cultural industry.

There has been a recently growing interest by architects in practice-based research and the impact of research. At the same time, several post-graduate architecture programmes with practice-led research agendas were founded. This shift towards architectural design research is analysed using the notions of “process-driven research”, “output-driven research” and “impact”. The study aims to investigate and unveil the link between graduate programmes and graduates with a research interest and to test the tripartite model of “process-driven research”, “output-driven research” and “impact” in the context of small architectural practices.

The study uses a qualitative and exploratory research approach that includes 11 in-depth interviews conducted in 2020, during the first nationwide COVID-19 lockdown in the United Kingdom (UK) selected interviews were architects representing (1) members or alumni of practice-related graduate architecture programmes in London and (2) founders of London-based small architectural practices within the last decade.

While focussing on the London context, the paper offers transferable insights for the key potentials of practice-led design research in small architectural practices and the actions that might improve research practice.

This paper addresses a lack of studies on how design research differs between diverse types and sizes of architectural firms, why emerging small architectural practices increasingly engage with research and how this shapes their practice. This knowledge is important to fully understanding architectural design research and its strengths or weaknesses.