Leadership has attracted a significant amount of scholarly attention in the past few decades. However, most research and theory contributions are to a great extent limited to accounting for leadership practices in the West (Littrell, 2002). This study is designed to develop an effective leadership model that works in the Chinese context. Paternalistic leadership, a dominant leadership style in an Eastern business environment, is compared with transformational leadership, a dominant leadership style in a Western business environment. The notion of transformational leadership was developed under the tutelage of Bernard Bass (1998). Transformational leadership is found to be compatible with collectivistic values (Walumbwa & Lwwler, 2003) and is believed to be appealing and generalizable to Chinese leadership situations (Chen & Farh, 1999). Other researchers have found that within Chinese organizations, leader behaviors are quite distinct from transformational leadership, referring to this leader style as paternalistic leadership (Redding, 1990; Cheng, 1995). The questions are asked, “Transformational or paternalistic leadership, which one is more effective in Chinese organizations? Is one type of leadership superior to the other one in the Chinese culture?” To answer these questions, a model is proposed to clarify the mediating effects of trust and harmony on the relationship between leadership style and its effectiveness, and to interpret the moderating effects of generation on the relationships between both paternalistic and transformational leadership with trust and harmony. Most theories of leadership in organizational behavior originated in the United States and Western Europe and are hypothesized to be universally applicable to non-Western contexts. Departing from this tradition, the current study proposes a Chinese culture-specific leadership theory, built on traditional Confucianism. The principle aim is to examine and articulate a culturally informed and warranted ground for a leadership model in the Chinese context. The results of the study provide a new perspective on leadership in the Chinese context by focusing on three dimensions of paternalistic leadership (authoritative, benevolent, and moral leadership) that are ignored in the Western leadership literature. The results also suggest that trust in the leader and harmonious relationships in an organization are key mechanisms for explaining effective leadership in Chinese organizations regardless of whether paternalistic or transformational leadership is used. What’s more, as the younger generation is becoming the dominant workforce, a successful leader in China should use Western practices and integrate them to fit in Chinese organizations in a way that also acknowledges Chinese traditions.

Abstract As a novel always deemed eccentric and chaotic, Laurence Sterne¡¦s Tristram Shandy has constantly drawn attention of the reading public but has also incurred multitudinous attacks by the critics for its apparent disorderliness. Exteriorly, the novel indeed exhibits chaotic features, whether by its digressions or interludes; however, after a close and meticulous analysis we could actually find harmony and unity within all the confusions and irregularities. Since the author utilizes the eccentricity of the novel to camouflage harmony within, we could assume that a force of some kind is surreptitiously in motion to conduct all the exterior chaos into harmony. Thus my objective in this thesis is to indicate and analyze the ¡§force¡¨ which can trample down all the external irrationalities and enables harmony and order to reveal themselves once again. The thesis will analyze the novel in three main aspects. Formally, the digressions of the novel will be mainly investigated. All the seemingly irrelevant opinionative and explanative digressions will be discussed and examined in close analysis. In dealing with digressions, the ideas of the Russian Formalist Victor Shklovsky will be referred to. Reciprocally, Sterne¡¦s demand for his reader¡¦s participation (interaction) is another distinguishing feature of the work. This part of the thesis will examine the balancing force while it exhibits itself when readers act as active agents bestowing meanings through interaction and Wolfgang Iser¡¦s Reader-Response theory will applied. The closing section of the thesis endeavors to analyze the content of the novel by inspecting the discrepancies and exemplify how Sterne attempts to liberate his reader¡¦s imagination. The thesis will end with the analysis of the author¡¦s philosophical attitude towards life as I realign the novel in strict time-order and trace the causality of the events within. Key words: Laurence Sterne, Tristram Shandy, Russian Formalism, reader response, interaction, digressions, harmony, chaos, discrepancy, causality

Thesis (Ph. D.)--University of Rochester, 2009. / Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10978

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In this thesis, a new approach to an understanding of the harmonic language in Scriabin's final compositions is presented. The analytical methods used draw significantly upon previous work done by Varvara Dernova, as well as some of the concepts of Manfred Kelkel. The thesis presents a qualified vindication of the structural importance of the quartal spacing in Scriabin's harmonic language. (This characteristic feature of the composer's pitch organization tends to be regarded by most contemporary theorists as merely an idiomatic spacing that the composer favoured.) / The thesis proposes that a structural, ten-note, harmonic matrix (formed through the summation of the octatonic and whole-tone scales) is the key to an understanding of the harmonic language in Scriabin's final works. Graphic illustrations are an important feature of the various analyses presented; these depict both horizontal and vertical aspects of Scriabin' s musical language in his final works, specifically, selections from the piano compositions op.71-74. The analyses also present an evaluation of the importance of the octatonic scale, believed by George Perle, Jay Reise, and Claude Herndon, among other theorists, to be the structural matrix in the late Scriabin oeuvre.

This thesis deals with the nature and definition of phonological similarity and shows that, when similarity plays a role in the motivation of phonological processes, it is evaluated over abstract, phonological features and not purely phonetic properties. Empirical evidence for this position is drawn from the domain of consonant harmony. Typological studies of consonant harmony (Hansson 2001, Rose and Walker 2004) have argued that segments which interact in consonant harmony processes must be highly similar to one another. This thesis provides analyses of a range of consonant harmony processes and demonstrates that, in each case, the notion of similarity needed in order to determine participating segments is evaluated over contrastive feature specifications. Contrastive specifications are established according to language-specific feature hierarchies (Jackobson and Halle 1956, Dresher 2003, forthcoming) with some features taking scope over others. Languages analyzed in some detail include Bumo Izon, Kalabari Ijo, Hausa, Dholuo, Anywa, Tzutujil and Aymara. Two definitions of similarity are proposed in order to account for two sets of cases. In one set of consonant harmony processes, interacting segments are similar in the sense that they constitute the natural class of segments contrastively specified in the harmonic feature. In another set of cases, participating segments must be similar according to the following definition; they must differ in only a single marked and contrastive feature specification.

Thesis (Ph. D.)--University of Washington, 2007. / Includes bibliographical references (leaves 268-272).

Thesis--Indiana University. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.