Does the longer tenure of local government heads affect the performance of local governments? The Korean case

The relationship between the length of tenure of elected heads of local governments (HOLG) and performance of local governments remains ambiguous, with few empirical studies on it. Korea presents a compelling case in that it has limited HOLG to serve only three consecutive terms based on the untested belief that longer tenures have a negative effect on local governments. To address these gaps, this study applies the fixed effect panel model, using the Korean government data from 2008 to 2014. Our findings reveal a negative relationship between tenure length and efficiency, particularly among local governments demonstrating a low level of efficiency. The relationship between the length of tenure and integrity is also negative, especially among local governments with low levels of integrity. However, given that these relationships disappear when factors specific to local governments are controlled, our findings should be interpreted cautiously.     

不同干燥方法对铁皮石斛多糖和甘露糖含量的影响

目的 研究不同干燥方法对铁皮石斛中有效活性成分石斛多糖和甘露糖含量的影响,为铁皮石斛药材的加工方法提供科学依据。方法 采用红外线、烘干、微波、真空冷冻4种方法干燥铁皮石斛,采用比色法测定多糖含量、高效液相色谱法测定甘露糖含量,分析比较不同干燥方法对多糖及甘露糖含量变化的影响。结果 不同干燥方法得到的铁皮石斛中多糖和甘露糖含量存在较大差异,真空冷冻干燥样品中多糖和甘露糖含量最高,明显优于另外3种干燥样品（P<0.05）。结论 真空冷冻干燥法能最大程度地保留样品中的多糖和甘露糖。     

高效液相色谱法测定山茱萸中熊果酸与齐墩果酸的含量

目的 采用高效液相色谱法同时测定山茱萸中熊果酸与齐墩果酸的含量,为山茱萸的质量控制提供依据。方法 Diamonsil-C18色谱柱（4.6 mm×250 mm,5 μm）,流动相为甲醇-（水∶冰乙酸∶三乙胺（30∶0.1∶0.05））（88∶12）,柱温25 ℃,流速1.0 ml/min,进样量20 μl,检测波长为210 nm。结果 熊果酸在0.031 5～0.315 mg/ml,齐墩果酸在0.015 6～0.156 mg/ml的浓度范围内与峰面积呈良好的线性关系;熊果酸和齐墩果酸的平均回收率分别为97.53%、100.08%,RSD分别为1.28%、1.98%。结论 本法操作简单,重复性好,结果准确可靠,可用于山茱萸的质量控制。     

The women's project: A profile

This paper offers an analysis of the Oprah Winfrey talk show's success as emanating from an ideal typical form of branding that we term “dynamic branding”, in which the gap between production and consumption is almost entirely bridged. Oprah has managed to maintain a dynamic relationship with her viewers based on multiple feedback and feed-forward processes in which consumers' concerns are immediately translated into Oprah's performed identity in her talk show. Such an ongoing exchange of information with her viewers was the basis for Oprah's performance of her own self as a “failed self” embattled with the problems of everyday life, thus creating an equalitarian relationship with her audience. The success of Oprah's brand identity thus derives from its content as much as from the mode of its construction, a mode which involves an intimate and adaptive relationship with consumers that enables Oprah to immediately respond to and incorporate viewers' concerns, values and norms. This paper analyzes in detail Oprah's performed identity with analytical tools informed by linguistic anthropology and brings it into conversation with contemporary branding theories.     

The production of a woman in Andrei Tarkovsky's the sacrifice

In this essay, I explore the semiotics of the terno, the Philippine national dress, creatively interpreted by diasporic artists as a dense metaphor for the proper and improper Filipina. These artistic deployments of the terno lay bare unquestioned notions of Filipina femininity and nationalism to be fabrications of colonialism, militarization and globalization. The reconfigurations of the infamous “butterfly dress” by multimedia artist groups Barrionics and Mail Order Brides (M.O.B.) take center stage in my discussion. The genealogy of the terno I focus on in this article emphasizes alteration and transformation, to resist facile binaries of the nation as traditional and the diaspora as the site of modern and innovative modifications. My historicization of the terno underscores it as an emergent form in which to situate the uses of the terno in Filipino American performance projects within the history of the terno itself. Specifically, the essay focuses on the defamiliarization of feminine constructs that operate both in the nation and the diaspora, as well as to foreground the imbrications of colonial histories and our neocolonial present in the current global circulation of Filipina bodies. I highlight how these artists in the Filipino diaspora spectacularize the inchoateness of categories of gender, race and sexuality. Their performance works delink the dressee from the dress, the terno from the Filipina, the dress from the girl and the boy, the dress from the straight and from the queer, the dress from the diasporic and from the national. Within such figurations, the terno emerges as an overprivileged icon – of ideal womanhood and of the mother nation – whose iconicity is re-routed through bodies that do not belong.     

Ma Rainey’s phonograph

This essay engages a series of performance routines by the blues artist Gertrude “Ma” Rainey, as a way of critiquing the epistemological tenets of sound reproduction technology. Between 1923 and 1925 Gertrude “Ma” Rainey carried out an elaborate quasi-burlesque performance routine in which she sang while hidden inside a giant phonograph; this routine precisely references and troubles the legacy of black sounds and bodies and their conflicted forms of capture andembodiment through sonic technologies. I think about how black sounds and bodies have been rendered as documentary objects within sonic and visual performance contexts and how this history is both referenced and complicated in Ma Rainey’s performances. I argue further that Rainey’s performance illustrates how sonic technologies always require, what I term black documentary embodiment, through the sonic and the visual. To this end I illustrate how reducing black art to an evidentiary object was central to the phonograph’s material and epistemological construction. In addition to analyzing Rainey’s performance I briefly engage the contemporaneous visual culture of the blues as a means to trace the legacy of black documentary embodiment within a longer visual-sonic tradition.     

Other forms of conviviality: The best and least of which is our daily care and the host of which is our collaborative work

In this collaboratively written essay, artists Park McArthur and Constantina Zavitsanos take a queer materialist feminist approach to the entanglement of dependency and reproductive labor, disability, intimacy, and the impossibility of exchanging incommensurables. The text merges the authors' experiences receiving and providing one another care with their artistic practices, and includes instructive performance scores for past, rather than future, events.     

Editing the 1930s: The Lost Work of Josephine Johnson Excerpts from Josephine Johnson's published and unpublished writings are quoted with permission of the Estate of Josephine Johnson Cannon. All quoted materials © Estate of Josephine Johnson Cannon 2005.

The radical avant-garde has aged profoundly. Yet, led by director Judith Malina, the Living Theatre, founded in 1947, remains the longest surviving political theatre collective in the US. The Living Theatre opened its doors at a new theatre/home on New York City's Lower East Side in 2007, where Malina directed a much lauded revival of the company's groundbreaking 1963 production of Kenneth Brown's The Brig, and performed the role of Maudie in the premiere production of Hanon Reznikov's adaptation of Doris Lessing's Maudie and Jane. Vibrant and luminous at 81, an aged Venus rising from the half shell, Malina (dis)played the decaying and decrepit Maudie, standing naked onstage, sensually and lovingly bathed by Pat Russell, playing Jane. Malina's ageing activist/artist's body and voice spoke volumes about decades of societal and cultural transformations, of sexual revolutions, and of wounds that never heal.

Evoking Pierre Nora's ‘sites of memory’—this performative lieu de memoire ‘talks back’ on many levels, both in contemporary contexts and re-membering the zeitgeist of Malina's earlier performances—nearly naked, strident and much younger in the Living Theatres’ legendary production of Paradise Now (1968–70), and eloquently, flamboyantly anarchist, if too old, playing Antigone in Malina's adaptation of Brecht's version of Sophocles play (1967–84). This essay analyses the mise en scène and the reception of Maudie and Jane in light of the working processes and performance history of director/performer/inspirator Malina. Finally, the challenges and hope made visible and corporeal in Malina's on- and off-stage performances are explored.     

Performance's mode of reproduction I: searching for Danh Võ’s mother

This essay returns to key debates in performance theory regarding the relationship between performance and reproduction, offering a Marxian inflected theory of performance’s mode of reproduction. It suggests that both performance theory and Marxist theory appropriate the mother function in describing performance’s mode of reproduction and the reproduction of capital, while displacing the mother in the process. Through a reading of the work of contemporary artist Danh Võ, the essay explores how performance’s mode of reproduction can affect the reproduction and sustenance of minoritarian life against historical, social, and economic forces of elision, erasure, and annihilation.     

Ted Shawn’s Labor Symphony: aesthetic work and productive performance

Ted Shawn’s all-male modern dance company, Ted Shawn and His Men Dancers, toured extensively throughout the United States from 1933 to 1939 with the explicit goal of making concert dance a legitimate career for men. Shawn trained his dancers and choreographed their performances with careful attention to theme and movement aesthetic, proffering a version of modern dance meant to counter prevailing cultural prohibitions against men dancing. One of the company’s early works, Labor Symphony (1934), depicts the evolution of work from field to factory while critiquing the equation of the male body with labor power within capitalist economic systems; it also presents itself as labor, countering modern preoccupations with bodies enervated through repetitive movement or sedentary work, and with alienation from community through overly individuated tasks. The dance exemplifies Shawn’s novel movement aesthetic while expanding notions of productive labor by placing work itself in the context of performance. Emphasizing its status as productive work for men, the four sections of Labor Symphony display the Men Dancers’ strength, agility, and musculature prominently, exposing the piece as both means and end: it produces both the dance itself and bodies capable of performing it, much as agricultural and manual labor offer both product and a body disciplined to produce it.