Literature assignment about change management and flexibility Article

Literature assignment about change management and flexibility - Article Example For attaining a success by an organisation , change is pervasive and is constant. Change in customers’ needs , markets , economy and trends are the factors that can influence the performance of a business orgnisation. Hence , those business organisations that fail to adopt to changes will definitely fail to succeed. A business may witness resistance to change by its employees or by its managers. Hence , a business is to perceive and educate the employees to respond to changes to remain in the business. This research article will focus on how those companies failed to stay in the business which did not respond to changes by citing real-life examples to demonstrate how significant it is for business to manage the change. Today, business managers need strategic flexibility, which is the capability to comprehend major external changes and to fastly respond to it by earmarking the required resources and to acknowledge when a strategic decision is not giving a desired result. As the business managers face a highly uncertain atmosphere in this competitive world, and the strategic flexibility appears to be absolutely needed (Robbins, Coulter & Vohra 2010:175). To maneuver efficiently in this new competitive setting, to develop and sustain competitive advantage, a business needs a novel type of organization. To attain success, the 21st century business organization needs to exercise strategic leadership, developing economic core competences, spotlighting and nourishing human capital, efficiently employing new information technologies and manufacturing, using cherished strategies thereby employing cooperative strategies and accessing global markets, introducing new organizational cultures and structures, acquiring innovative cultures, and administering the business as a mixture of assets. (Hamel et al 1998:2). Ever increasing globalization and technology innovation offer major confronts to business

Carl Jung and the Theory of Archetypes Essay Example for Free

Carl Jung and the Theory of Archetypes Essay CARL JUNG AND THE THEORY OF ARCHETYPES Background Carl Gustav Jung was born July 26, 1875, in the small Swiss village of Kessewil He was surrounded by a fairly well educated extended family, including quite a few clergymen and some eccentrics as well. [Jung’s father] started Carl on Latin when he was six years old, beginning a long interest in language and literature especially ancient literature. Besides most modern western European languages, Jung could read several ancient ones, including Sanskrit, the language of the original Hindu holy books. Carl was a rather solitary adolescent, who didnt care much for school, and especially couldnt take competition. He went to boarding school in Basel, Switzerland, where he found himself the object of a lot of jealous harassment. He began to use sickness as an excuse, developing an embarrassing tendency to faint under pressure. Although his first career choice was archeology, he went on to study medicine†¦he settled on psychiatry as his career. †¦Carl Jung was to make the exploration of this inner space his lifes work. He went equipped with †¦ an apparently inexhaustible knowledge of mythology, religion, and philosophy. †¦He had, in addition, a capacity for very lucid dreaming and occasional visions. In the fall of 1913, he had a vision of a monstrous flood engulfing most of Europe and lapping at the mountains of his native Switzerland. He saw thousands of people drowning and civilization crumbling. Then, the waters turned into blood. This vision was followed, in the next few weeks, by dreams of eternal winters and rivers of blood. He was afraid that he was becoming psychotic. But on August 1 of that year, World War I began. Jung felt that there had been a connection, somehow, between himself as an individual and humanity in general that could not be explained away. From then until 1928, he was to go through a rather painful process of self-exploration that formed the basis of all of his later theorizing. He carefully recorded his dreams, fantasies, and visions, and drew, painted, and sculpted them as well. He found that his experiences tended to form themselves into persons, beginning with a wise old man and his companion, a little girl. The wise old man evolved, over a number of dreams, into a sort of spiritual guru. The little girl became anima, the feminine soul, who served as his main medium of communication with the deeper aspects of his unconscious. A leathery brown dwarf would show up guarding the entrance to the unconscious. He was the shadow, a primitive companion for Jungs ego. Jung dreamt that he and the dwarf killed a beautiful blond youth†¦ For Jung, this represented a warning about the dangers of the worship of glory and heroism which would soon cause so much sorrow all over Europe†¦ Jung dreamt a great deal about the dead, the land of the dead, and the rising of the dead. These represented the unconscious†¦a new collective unconscious of humanity itself, an unconscious that could contain all the dead, not just our personal ghosts. Jung began to see the mentally ill as people who are haunted by these ghosts, in an age where no-one is supposed to even believe in them. If we could only recapture our mythologies, we would understand these ghosts, become comfortable with the dead, and heal our mental illnesses. Critics have suggested that Jung was, very simply, ill himself when all this happened. But Jung felt that, if you want to understand the jungle, you cant be content just to sail back and forth near the shore. Youve got to get into it, no matter how strange and frightening it might seem. †¦But then Jung adds the part of the psyche that makes his theory stand out from all others: the collective unconscious. You could call it your psychic inheritance. It is the reservoir of our experiences as a species, a kind of knowledge we are all born with. And yet we can never be directly conscious of it. It influences all of our experiences and behaviors, most especially the emotional ones, but we only know about it indirectly, by looking at those influences. There are some experiences that show the effects of the collective unconscious more clearly than others: The experiences of love at first sight, of deja vu (the feeling that youve been here before), and the immediate recognition of certain symbols and the meanings of certain myths, could all be understood as the sudden conjunction of our outer reality and the inner reality of the collective unconscious. Grander examples are the creative experiences shared by artists and musicians all over the world and in all times, or the spiritual experiences of mystics of all religions, or the parallels in dreams, fantasies, mythologies, fairy tales, and literature. A nice example that has been greatly discussed recently is the near-death experience. It seems that many people, of many different cultural backgrounds, find that they have very similar recollections when they are brought back from a close encounter with death. They speak of leaving their bodies, seeing their bodies and the  events surrounding them clearly, of being pulled through a long tunnel towards a bright light, of seeing deceased relatives or religious figures waiting for them, and of their disappointment at having to leave this happy scene to return to their bodies. Perhaps we are all built to experience death in this fashion. Archetypes The contents of the collective unconscious are called archetypes. Jung also called them dominants, imagos, mythological or primordial images, and a few other names, but archetypes seems to have won out over these. An archetype is an unlearned tendency to experience things in a certain way. The mother archetype The mother archetype is a particularly good example. All of our ancestors had mothers. We have evolved in an environment that included a mother or mother-substitute. We would never have survived without our connection with a nurturing-one during our times as helpless infants. It stands to reason that we are built in a way that reflects that evolutionary environment: We come into this world ready to want mother, to seek her, to recognize her, to deal with her. So the mother archetype is our built-in ability to recognize a certain relationship, that of mothering. Jung says that this is rather abstract, and we are likely to project the archetype out into the world and onto a particular person, usually our own mothers. Even when an archetype doesnt have a particular real person available, we tend to personify the archetype, that is, turn it into a mythological story-book character. This character symbolizes the archetype. The mother archetype is symbolized by the primordial mother or earth mother of mythology, by Eve and Mary in western traditions, and by less personal symbols such as the church, the nation, a forest, or the ocean. According to Jung, someone whose own mother failed to satisfy the demands of the archetype may well be one that spends his or her life seeking comfort in the church, or in identification with the motherland, or in meditating upon the figure of Mary, or in a life at sea. The shadow Sex and the life instincts in general are, of course, represented somewhere in Jungs system. They are a part of an archetype called the shadow. It derives from our prehuman, animal past, when our concerns were limited to survival and reproduction, and when we werent self-conscious. It  is the dark side of the ego, and the evil that we are capable of is often stored there. Actually, the shadow is amoral neither good nor bad, just like animals. An animal is capable of tender care for its young and vicious killing for food, but it doesnt choose to do either. It just does what it does. It is innocent. But from our human perspective, the animal world looks rather brutal, inhuman, so the shadow becomes something of a garbage can for the parts of ourselves that we cant quite admit to. Symbols of the shadow include the snake (as in the garden of Eden), the dragon, monsters, and demons. It often guards the entrance to a cave or a pool of water, which is the collective unconscious. Next time you dream about wrestling with the devil, it may only be yourself you are wrestling with! The persona The persona represents your public image. The word is, obviously, related to the word person and personality, and comes from a Latin word for mask. So the persona is the mask you put on before you show yourself to the outside world. Although it begins as an archetype, by the time we are finished realizing it, it is the part of us most distant from the collective unconscious. At its best, it is just the good impression we all wish to present as we fill the roles society requires of us. But, of course, it can also be the false impression we use to manipulate peoples opinions and behaviors. And, at its worst, it can be mistaken, even by ourselves, for our true nature: Sometimes we believe we really are what we pretend to be! Anima and animus †¦The anima is the female aspect present in the collective unconscious of men, and the animus is the male aspect present in the collective unconscious of women. Together, they are refered to as syzygy. The anima may be personified as a young girl, very spontaneous and intuitive, or as a witch, or as the earth mother. It is likely to be associated with deep emotionality and the force of life itself. The animus may be personified as a wise old man, a sorcerer, or often a number of males, and tends to be logical, often rationalistic, even argumentative†¦ Other archetypes Jung said that there is no fixed number of archetypes which we could simply list and memorize. They overlap and easily melt into each other as needed, and their logic is not the usual kind. But here are some he mentions: Besides mother, their are other family archetypes. Obviously, there is father, who is often symbolized by a guide or an authority figure. There is also the archetype family, which represents the idea of blood relationship and ties that run deeper than those based on conscious reasons. There is also the child, represented in mythology and art by children, infants most especially, as well as other small creatures. The Christ child celebrated at Christmas is a manifestation of the child archetype, and represents the future, becoming, rebirth, and salvation. Curiously, Christmas falls during the winter solstice, which in northern primitive cultures also represents the future and rebirth. People used to light bonfires and perform ceremonies to encourage the suns return to them. The child archetype often blends with other archetypes to form the child-god, or the child-hero. Many archetypes are story characters. The hero is one of the main ones†¦Basically, he represents the ego we do tend to identify with the hero of the story and is often engaged in fighting the shadow, in the form of dragons and other monsters. The hero is, however, often dumb as a post. He is, after all, ignorant of the ways of the collective unconscious. Luke Skywalker, in the Star Wars films, is the perfect example of a hero. The hero is often out to rescue the maiden. She represents purity, innocence, and, in all likelihood, naivete. In the beginning of the Star Wars story, Princess Leia is the maiden. But, as the story progresses, she becomes the anima, discovering the powers of the force the collective unconscious and becoming an equal partner with Luke, who turns out to be her brother. The hero is guided by the wise old man. He is a form of the animus, and reveals to the hero the nature of the collective unconscious. In Star Wars, he is played by Obi Wan Kenobi and, later, Yoda. Notice that they teach Luke about the force and, as Luke matures, they die and become a part of him. You might be curious as to the archetype represented by Darth Vader, the dark father. He is the shadow and the master of the dark side of the force. He also turns out to be Luke and Leias father. When he dies, he becomes one of the wise old men. There is also an animal archetype, representing humanitys relationships with the animal world. The heros faithful horse would be an example. Snakes are often symbolic of the animal archetype, and are thought to be particularly wise. Animals, after all, are more in touch with their natures than we are. Perhaps loyal little robots and reliable old spaceships the Falcon are also symbols of animal. And there is the trickster, often represented by a clown or a magician. The tricksters role is to hamper the heros progress and to generally make trouble. In Norse mythology, many of the gods adventures originate in some trick or another played on their majesties by the half-god Loki. There are other archetypes that are a little more difficult to talk about. One is the original man, represented in western religion by Adam. Another is the God archetype, representing our need to comprehend the universe, to give a meaning to all that happens, to see it all as having some purpose and direction. The hermaphrodite, both male and female, represents the union of opposites, an important idea in Jungs theory. In some religious art, Jesus is presented as a rather feminine man. Likewise, in China, the character Kuan Yin began as a male saint (the bodhisattva Avalokiteshwara), but was portrayed in such a feminine manner that he is more often thought of as the female goddess of compassion! The most important archetype of all is the self. The self is the ultimate unity of the personality and is symbolized by the circle, the cross, and the mandala figures that Jung was fond of painting. A mandala is a drawing that is used in meditation because it tends to draw your focus back to the center, and it can be as simple as a geometric figure or as complicated as a stained glass window. The personifications that best represent self are Christ and Buddha, two people who many believe achieved perfection. But Jung felt that perfection of the personality is only truly achieved in death. The archetypes, at first glance, might seem to be Jungs strangest idea. And yet they have proven to be very useful in the analysis of myths, fairy tales, literature in general, artistic symbolism, and religious exposition. They apparently capture some of the basic units of our selfexpression. Many people have suggested that there are only so many stories and characters in the world, and we just keep on rearranging the details. This suggests that the archetypes actually do refer to some deep structures of the human mind. After all, from the physiological perspective, we come into his world with a certain structure: We see in a certain way, hear in a certain way, process information in a certain way, behave in a certain way, because our neurons and glands and muscles are structured in a certain way. At least one cognitive psychologist has suggested looking for the structures that correspond to Jungs archetypes! Adapted from Carl Jung. Copyright 1997, C. George Boeree http://www. ship. edu/~cgboeree/jung. htmlÃ'Ž

Compare And Contrast Different Organisational Structures And Cultures

Compare And Contrast Different Organisational Structures And Cultures Introduction Organisations are complex, social systems which seek to make the best use of people as a vital and essential resource, especially in today’s increasingly dynamic, globalised and competitive environment (Mullins, 2010: 3–9). They posses distinct identities, which are developed and shaped from a mix of how they choose to create, present and market their business to the world, the type of services and/or products provided and the culture that emerges as a consequence (Clegg et al, 2011, 14-16). Organisational structure should be driven by corporate strategy and the resulting objectives and tasks in order to facilitate the delivery of: Economic and efficient business performance; Performance management and the monitoring of activities; Accountability; Co-ordination across the business; Flexibility and adaptability providing a framework for change and innovation (Hayes, 2010: 270-282); Social satisfaction for those working within the organisation. (Fineman et al, 2010: 1-12). Therefore, organisations are systematically arranged frameworks seeking to create a unified, organic body which relates people, key business assets, knowledge and intellectual property in a design that aims to achieve specific goals (Clegg et al, 2011: 666). Basic models of organisational structure which have evolved in an effort to balance these factors are illustrated in Appendix 1. However, to be successful organisations must not operate in isolation from the environment that surrounds them (Morgan, 2006: 38–42), and some of the key aspects to consider are highlighted in Appendix 2. One of the most complex factors is that of culture – comprised of the habits, values, mores and ways of acting – by which people identify themselves and others (Clegg et al, 2011: 216). Organisational culture therefore relates to those patterns of beliefs, values and learned ways of coping with experience that have developed during the course of an organisation’s history, and which tend to be manifested in its material arrangements and the behaviours of its members (Brown, 1998: 9; Schein, 2010: 7-21). The important, though often intangible, cultural aspects of an organisation ultimately shape which levers of power and influence are the most effective in driving individual and group behaviours, ultimately affecting business performance and success (Linstead et al, :149–194). These factors are summarised in Appendix 3. In essence, culture can be regarded as being the personality of an organisation and as it shapes how people feel it is not something that can be easily managed (Stacey, 2011: 78-89). Organisational structures (particularly those imposed or developed during a period of change) that do not consider these cultural aspects can generate discontent, inefficiency, resistance and resentment from employees (Cunliffe, 2008: 45–68). Consequently, it is vital to reflect upon culture when considering organisational design as the informal structures that result are as important as the formal mechanisms and management arrangements created (Schein, 2010: 177-196). Ultimately, the decisions, actions and major developments of organisations are influenced and determined by shifting coalitions of individuals attempting to protect or enhance their own interests (Burnes, 2009: 197). Comparing organisational structures In developing the organisational designs outlined in Appendix 1, key factors must be considered which will shape the structural decisions taken. These are: Scale. Whilst larger organisations can benefit from efficiencies built around economies of scale, the greater complexity involved in managing large numbers of people with less likelihood of direct interpersonal contact often calls for more sophisticated organisational designs. Technology. This is the combination of resources, knowledge and techniques that creates an organisation’s products or services. The match between structure and technology – the technological imperative – is vital to maintain competitive advantage in modern business. For example, successful mass production operations have rigid structures built around large working groups. Environment. A successful business understands that they need to receive various inputs from the environment within which they operate and also sell their outputs into this environment. Structures therefore need to recognise factors such as global economics/markets, suppliers and competitors. Strategy. Organisational strategy – the process of positioning the organisation in its competitive environment and implementing actions to compete successfully – shapes design. Developing the organisation’s unique selling point or market differentiation by building a structure that protects and develops key competences is a critical issue if business growth is to be maintained. (French et al, 2008: 330–334) Consequently, in considering the relative merits of the structures shown in Appendix 1, the following observations can be made: Functional structure Organisations built around functional structures deliver clear task assignments which can be easily aligned to the skills and training of individuals and teams ((Stewart et al, 1999: 82-88). The structure is easy to explain to employees, suppliers and customers whilst also facilitating internal communications and problem solving as knowledge pools are recognised and shared. Importantly, such structures also assist in the development of leaders and managers as functional peers and superiors are clearly identified and should be accessible (French et al, 2008: 348). Unfortunately, such functional approaches can lead to the growth of sectional interests which may conflict with the needs of the organisation as a whole (Cole Kelly, 2011: 251). In focussing on the organisation’s functional hierarchy for direction and reinforcement, individuals and teams can lose sight of the importance of products, services or clients – the leadership is drawn into cross-functional problems (Adair, 2002: 17-25). As a consequence, conflict between functional units can increase with internal communications becoming ever more complex as they attempt to minimise such issues (French et al, 2008: 348). Product structure Large organisations with a wide product or service range are often attracted to a product-based structure as it can be more responsive to technological change as people are grouped on the basis of their expertise (and supporting infrastructure) within a particular unit (Hayes, 2010: 87-104). Such an approach also enables/supports rapid diversification and skills expansion in that additional product or service areas can be incorporated relatively easily (Cole Kelly, 2011: 251). This organisational methodology can introduce unnecessary internal competition between business units as certain product groups are promoted to the detriment of other elements of the organisation (Nadler Tushman, 1997: 71-88). Senior managers are faced with the challenge of controlling such behaviour whilst also recognising that the associated incentive and reward structures are inevitably built around the success of individual product lines (Burnes, 2009: 104–106). Geographic structure Large national or multi-national entities face significant logistical and communication challenges and this usually makes some kind of regional or area structure essential for effective decision making and control (Nadler Tushman, 1997: 59-70). Whilst this produces the benefits associated with a more decentralised approach (such as a focus on local customers and being responsive to regional market pressures), it does cause concern for senior managers seeking to set a unified corporate direction (Linstead et al, 2011: 225–226). Significant leadership and senior management effort must be spent on visiting geographically dispersed business elements in order to maintain personal relationships through face-to-face contact, thus avoiding corrosive and self-defeating internal competition (French et al, 2008: 350). Vertical specialisation The structures outlined above provide a clear separation of authority and activities on the basis of hierarchical ranking within the organisation. The chain of command created – on the basis of vertical specialisation – ensures that senior leaders plan and set the overall strategy with specific lower-level guidelines, and metrics issued for the implementation of that strategy (Morgan, 2006: 24–25, 104). Those organisations with many levels of hierarchy and control are considered as being â€Å"tall†, whilst those with only a few levels are described as being â€Å"flat† (French et al, 2008: 343). It is usually the case that the flatter structures allow greater decentralisation of decision-making and autonomy through the organisation whilst the taller structures focus on tighter, closer control mechanisms. The most effective balance for the organisation concerned must recognise the critical success factors set, the operating environment of the business and the existing corporate culture in relation to the perceived culture required (Mullins, 2010: 508–512; Stacey, 2011: 94-105). Unity of command, span of control and sensemaking As well as addressing the requirements of vertical specialisation, functional, product and geographic structures also seek to apply two key tenets of classical management theory: Unity of Command – an employee should receive orders and direction from only one superior. Span of Control – the number of people reporting to one superior must not be so large that it creates problems of communication and coordination. (Morgan, 2006: 19) These aspects are shaped by the organisations sensemaking abilities i.e. the skills and competences of managers to make sense of what they do (Clegg et al, 2011: 668). Sensemaking is a complex issue involving: Social context – considering the actual, implied or imagined views or presence of others; Personal Identity – a personal or group view of who they are (and their organisational identity); Retrospection – this is important within organisations, as sometimes the most important decisions are the least visible initially. Salient cues managers using past experiences and relating them to current scenarios in order to shape their actions and attitudes. Ongoing projects – what structure or patterns exist within the organisation to allow managers the time and space to review and reflect upon an issue and change direction or tempo if necessary. Plausibility – developing enough meaning to drive forward with a project. Enactment – The ability to react and shape or amend an evolving situation. Drafting and Doing – the ability to understand an emerging business scenario and then isolate key themes in order to understand what is going on. (Clegg et al, 2011: 22) Given these complexities, many organisations are seeking to develop mixed structures which seek to obtain the benefits potentially provided by the functional, product and geographical forms of organisation whilst also recognising the importance of these inter-personal aspects (Morgan, 2006: 50–52). Appendix 1 illustrates two models that aim to do so – Divisional and Matrix structures. Divisional structure A divisional structure seeks to overcome the problems associated with product or geographic diversity as each division can respond to the specific requirements of its product or market strategy (Johnson et al, 2011: 434). Divisional managers have greater personal ownership of their strategies and their teams, allowing for the development of competences focussed on a particular product range, technology area or customer grouping (Henry, 2011: 318–319). A divisional structure also provides significant flexibility as organisations can add, close or merge divisions as circumstances change (Johnson et al, 2011: 435). Whilst delivering a flexible and responsive organisation, a divisional structure does present a business with three key disadvantages: Divisions can become too autonomous, operating as independent businesses but introducing inefficiency by duplicating the functions and costs of the corporate centre. Personal and team identity is rooted in the division rather than the wider business, inhibiting cooperation, knowledge sharing and fragmenting expertise. Divisions can end up pursing their own strategies regardless of the needs of the corporate centre which loses control and is only able to add minimal value to the operation (Cole Kelly 2011:251–252). Matrix structure A matrix organisation seeks to overlay a horizontal structure based on products, projects, business activities or geographic area upon the more traditional vertical specialisation structure (Clegg et al 2011: 544). This introduces dual or even multiple lines of authority and responsibility in an effort to deliver flexibility in relation to the forming of project teams, improve the utilisation of resources and to encourage cross-functional cooperation (Linstead et al, 2011: 216–218). The vertical specialisation is seen as enduring, with the horizontal interaction often regarded as being temporary with the relationships dissolved as activities or projects are completed (Pettigrew Fenton, 2000: 117–143; Wall Minocha, 2010: 319–321). However, unless carefully controlled, matrix management complicates the unity of command and span of control aspects previously discussed (Morgan, 2006: 19). Without clear boundaries, organisational conflict between functional and project managers can emerge, the autonomy of line managers can be eroded and decision making becomes more inefficient leading to increased overheads (Clegg et al, 2011: 545). Organisational culture Having recognised that organisations do not operate in a vacuum and that it is important to create a structure that maximises the business return from the environment within which it operates, it is important to consider how culture (the shared ways of thinking and behaving) shapes success (Cole Kelly, 2011: 590). Eight cultural characteristics have been identified as being critical for organisational success: A bias for action – doing rather than discussing; Staying close to the customer – learning about their requirements and meeting them in full; Autonomy and entrepreneurship – being encouraged to think; Productivity through people – recognising and rewarding best efforts; Hands on – executives keeping in touch and displaying corporate values; Core competences – focussed on what you do best; Simplicity where possible – lean organisations with the fewest possible layers; Loose-tight properties – focussed on core values whilst allowing tolerance to explore and challenge. (Peters Waterman, 1982: 89-318) In shaping an organisation in an attempt to maximise the potential return from these cultural characteristics, it is sensible to recognise the origins of corporate culture which are essentially: The societal or national culture within which an organisation is physically situated. For large, multi-national organisations this introduces the challenge of understanding and incorporating different and cultural frameworks; The vision, management style and personality of an organisation’s founder or dominant leader; The type of business an organisation conducts and the nature of its business environment. (Brown, 1998: 42) Culture is therefore about an organisations history, stories, language and values rather than the application of theoretical models (Cunliffe, 2008: 55). Culture in the organisational context becomes a critical success factor because: It shapes the image that key stakeholders (including customers) have of the company and can become a crucial element of product or business differentiation within a market segment; It influences performance as a positive culture (supporting the image and success of the business) that is essential to meeting corporate goals and the requirements of the wider business environment. A negative or counter-culture – such as that which could emerge during a period of restructuring – can work against organisational effectiveness; It provides direction, as mission, vision and values statements identify where the business is going and how it plans to get there. A culture that creates a shared ownership of goals and which guides decision making can reduce the need for direct control because people know what is expected of them, how to behave and what they will be rewarded for. It can attract and retain skilled and motivated staff. Strong cultures can have a powerful effect on the behaviour and commitment of employees. (Cunliffe, 2008: 58–59) In terms of cultural analysis, three levels of review can be considered: Observable culture, often described as â€Å"the way things are done†, which are often the methods, rituals, ceremonies and symbols used to impart an organisations shared values and approaches to new members (such as within induction programmes); Shared values, often manifested through statements aimed at delivering direction and cohesion and underpinned by identifiers such as the wearing of a uniform; Common assumptions i.e. the accepted truths (often implicit and unspoken) that members of an organisation share as a result of their joint experiences. (French et al, 2008: 380–382) Attempts have been made to codify the core organisational cultures that are presented and the commonly found models are: Role Culture – focussed on rules, tasks, procedures and job descriptions; Power Culture – power exercised by a central figure with few formal rules; Person Culture – the organisation exists for the benefit of its members; Process Culture – the following of highly regulated processes; Tough-guy Culture – driven by the need to take quick decisions, underpinned by risk-taking and a competitive ethos; Work Hard/Play Hard Culture – aiming to balance performance with work-place enjoyment; Bet-Your-Company Culture – a long-term outlook built upon significant (early) investment; Bureaucratic Culture – a focus on consistency, control, efficiency and conformity; Clan Culture – focussed on commitment, involvement, teamwork and participation; Task/Mission Culture – goal oriented with rewards based on achieving mission and goals; Adaptability Culture – focussed on flexibility, innovation, risk-taking, empowerment and learning. (French et al, 2008: 394–395; Cunliffe, 2008: 65, Cole Kelly, 2011: 146-149) If strategies are to be developed that may change the structure of an organisation then it will also be necessary to potentially challenge and change the underpinning culture (Hayes, 2010: 438-447) – considering purely rational processes such as planning and resource allocation will not be enough (Johnson et al, 2011: 181). However, dangers do exist when conducting any analysis of organisational culture as it is too easy to over-simplify or even trivialise the issues involved – it is not something that can be reduced to a few traits, easily linked to performance issues or readily managed (Johnson et al, 2011: 182). Managers can shape culture through vision and value statements, supported by their own actions and expectations and this includes the organisational structure applied (Cunliffe, 2008: 67). The power levers to be applied within the organisation and the cultural interaction that results should also be considered (see Appendix 3). However, perspectives on culture will influence the corporate view as to its relevance and importance to the sustainable success of the business and these views are essentially: Integration – the culture of the organisation is relatively clear, unambiguous and straightforward; Differentiation – recognising the existence of sub-cultures within groups that are not easily identified or understood and which can inhibit change or development initiatives if not addressed; Fragmentation – no real cultural consensus can be identified around which any business strategy or organisation can be built (Brown 1998: 296-297) Summary and conclusions Ultimately, organisational design is taken forward by corporate leaders and key decision makers whose choices are based upon their own predispositions (experiences, values and beliefs) (Cole and Kelly, 2011: 256, Nadler Tushman, 1997: 21). Therefore, although decisions are overtly based upon what is seen to be the best and most efficient construct for the business, in reality cultural factors prove to be just as important. Organisational culture is the basic assumption and beliefs shared by the members of an organisation, operating unconsciously and which help to define a company’s view of itself and its operating environment (Schein, 2010:219-234). Culture may contribute to the capabilities and strategic direction/effectiveness of an organisation, but it can also stifle necessary development and evolution if internal values and mores do not reflect external changes. Organisational structures and cultural influences can therefore both inform and constrain the strategic development and ultimately the competitiveness of a business In order to maintain competitive advantage and to avoid any strategic drift (where culture and organisational factors drive the business rather than the needs of customers and key stakeholders), both should be critically reviewed and their impact considered regularly by leaders and senior managers. References Adair, J. (2002). Effective Strategic Leadership, Basingstoke: Pan Macmillan Ltd. Brown, A. (1998). Organizational Culture, 2nd Edition, Harlow: Pearson Education Ltd. Burnes, B. (2009). Managing Change, 5th Edition, Harlow: Pearson Education Ltd. Cole, G.A., Kelly, P. (2011). Management Theory and Practice, 7th Edition, Andover: Cengage Learning EMEA. Clegg, S., Kornberger, M., Pitsis, T. (2011). Managing Organizations: An Introduction to the Theory Practice, 3rd Edition, London: Sage Publications Ltd. Cunliffe, A.L. (2008). Organization Theory, London: Sage Publications Ltd. Fineman, S., Gabriel, Y., Sims, D. (2010). Organizing Organizations, 4th Edition, London: Sage Publications Ltd. French, R., Rayner, C., Rees, G., Rumbles, S. (2008). Organizational Behaviour, Chichester: John Wiley Sons Ltd. Hayes, J. (2010). The Theory and Practice of Change Management, 3rd Edition, Basingstoke: Palgrave Macmillan Ltd. Henry, A.E. (2011). Understanding Strategic Management, 2nd Edition, Oxford: Oxford University Press. Johnson, G., Whittington, R., Scholes, K. (2011). Exploring Strategy, 9th Edition, Harlow: Pearson Education Ltd. Kakabadse, A., Ludlow R., Vinnicombe, S. (1988). Working in Organisations, Aldershot: Penguin. Linstead, S., Fulop, L., Lilley, S. (2009). Management Organization: A Critical Text, 2nd Edition, Basingstoke: Palgrave Macmillan. Morgan, G. (2006). Images of Organization, London: Sage Publications Ltd, Mullins, L.J. (2010). Management Organisational Behaviour, 9th Edition, Harlow: Pearson Education Ltd. Nadler, D.A., Tushman, M.L. (1997). Competing by Design: The Power of Organizational Architecture, New York: Oxford University Press Inc. Peters, T.J., Waterman, R.H. (1982). In Search of Excellence: Lessons from America’s Best Run Companies, New York: Harper Row Inc. Pettigrew, A.M., Fenton, E.M. (2000). The Innovating Organization, London: Sage Publications Ltd. Schein, E.H. (2010). Organisational Culture and Leadership, 4th Edition, San Francisco: John Wiley Sons Inc. Stacey, R.D. (2011). Strategic Management and Organisational Dynamics: The challenge of complexity to ways of thinking about organisations, 6 th Edition, Harlow: Pearson Education Ltd Stewart, G.L., Manz, C.C., Sims, H.P. (1999). Team Work and Group Dynamics, New York: John Wiley Sons Inc. Wall, S., Minocha, S., Rees, B. (2010). International Business, 3rd Edition, Harlow: Pearson Education Ltd. APPENDIX 1 MODELS AND ASPECTS OF ORGANISATIONAL

freeclo Violence and Free Will in Anthony Burgess A Clockwork Orange

Violence as an Expression of Free Will in A Clockwork Orange      Ã‚  Ã‚  Ã‚  Ã‚   This essay will deal with the subject of free choice, which is the main topic of the novel, A Clockwork Orange . This significant problem is already indicated in the very first line of the text when an unknown voice asks Alex - and certainly by that the reader - "What' s it going to be then, eh'?" (13). Being repeated at the beginning of the second part and at the beginning of the very last chapter of the third part this question sets up the thematic frame of the book. It asks the protagonist what he is going to chose, good or evil. Likewise it addresses to the reader to consider his own choice, too (14).    Anthony Burgess is intensely committed to this problem in "A Clockwork Orange". In his own words the book "was intended to be a sort of tract, even a sermon on the importance of the power of choice." (15)    So he wrote the story of Alex, an anti-hero being robbed of his capacity for free choice and condemned to be mild, if he wants it or not. But from now on his moral beliefs are not really altered. Alex has not recognized his failures, he is only unable to commit any crime although he would like to. Furthermore he is an ambiguous character. On the one hand Alex is a sadistic criminal, guilty of murder and rape and fascinated by acts of senseless destruction. At the same time he is a quite intelligent and smart boy, deeply interested in music and language. His adoration for classical music and his elaborate use of the "Nadsat" dialect render him likeable to the reader. It lies in the intention of Burgess to make him sympathetic, for we have to feel pity when Alex is abused in the last two parts of the novel. Thus the author fo... ..., (1965), S. 171-177 10. Hahn, Ronald M. und Volker Jansen. Uhrwerk Orange, in: Hahn, Ronald M. und Volker Jansen. Kultfilme: Von "Metropolis" bis "Rocky Horror Picture Show". 4. Auflage. Mà ¼nchen: Wilhelm Heyne Verlag, 1990, (1985), S. 293-303 11. Kagan, Norrnan. A Clockwork Orange, in: Kagan, Norman. The Cinema of Stanley Kubrick. New Expanded Edition. New York: The Continuum Publishing Company, 1989, ( 1972), S.167-187 12. Melchior, Claus. Zeittafel zu Leben und Werk von Anthony Burgess, in: Burgess, Anthony. A Clockwork Orange. 1. Auflage. Stuttgart: Phillip Reclam jun., 1992, S. 247-249 13. Melchior ,Claus. Nachwort, in: Burgess, Anthony. A Clockwork Orange. 1. Auflage. Stuttgart: Phillip Reclam jun., 1992, S. 251-260 14. Rabinovitz, Rubin: Ethical Values in Anthony Burgess' A Clockwork Orange, in: Studies in the Novel, 11 (1979) S. 43-50 freeclo Violence and Free Will in Anthony Burgess' A Clockwork Orange Violence as an Expression of Free Will in A Clockwork Orange      Ã‚  Ã‚  Ã‚  Ã‚   This essay will deal with the subject of free choice, which is the main topic of the novel, A Clockwork Orange . This significant problem is already indicated in the very first line of the text when an unknown voice asks Alex - and certainly by that the reader - "What' s it going to be then, eh'?" (13). Being repeated at the beginning of the second part and at the beginning of the very last chapter of the third part this question sets up the thematic frame of the book. It asks the protagonist what he is going to chose, good or evil. Likewise it addresses to the reader to consider his own choice, too (14).    Anthony Burgess is intensely committed to this problem in "A Clockwork Orange". In his own words the book "was intended to be a sort of tract, even a sermon on the importance of the power of choice." (15)    So he wrote the story of Alex, an anti-hero being robbed of his capacity for free choice and condemned to be mild, if he wants it or not. But from now on his moral beliefs are not really altered. Alex has not recognized his failures, he is only unable to commit any crime although he would like to. Furthermore he is an ambiguous character. On the one hand Alex is a sadistic criminal, guilty of murder and rape and fascinated by acts of senseless destruction. At the same time he is a quite intelligent and smart boy, deeply interested in music and language. His adoration for classical music and his elaborate use of the "Nadsat" dialect render him likeable to the reader. It lies in the intention of Burgess to make him sympathetic, for we have to feel pity when Alex is abused in the last two parts of the novel. Thus the author fo... ..., (1965), S. 171-177 10. Hahn, Ronald M. und Volker Jansen. Uhrwerk Orange, in: Hahn, Ronald M. und Volker Jansen. Kultfilme: Von "Metropolis" bis "Rocky Horror Picture Show". 4. Auflage. Mà ¼nchen: Wilhelm Heyne Verlag, 1990, (1985), S. 293-303 11. Kagan, Norrnan. A Clockwork Orange, in: Kagan, Norman. The Cinema of Stanley Kubrick. New Expanded Edition. New York: The Continuum Publishing Company, 1989, ( 1972), S.167-187 12. Melchior, Claus. Zeittafel zu Leben und Werk von Anthony Burgess, in: Burgess, Anthony. A Clockwork Orange. 1. Auflage. Stuttgart: Phillip Reclam jun., 1992, S. 247-249 13. Melchior ,Claus. Nachwort, in: Burgess, Anthony. A Clockwork Orange. 1. Auflage. Stuttgart: Phillip Reclam jun., 1992, S. 251-260 14. Rabinovitz, Rubin: Ethical Values in Anthony Burgess' A Clockwork Orange, in: Studies in the Novel, 11 (1979) S. 43-50

A Yellow Raft in Blue Water

Nicole Freche Mr. Ontiveros World Literature – 2nd period December 5, 2010 Friends Forever! â€Å"Trust is like a vase†¦ once it’s broken, though you can fix the vase, it’ll never be the same again† – Author unknown. Almost every person has had at least one person who he or she can confide their secrets. Over time one can learn whether or not he or she can trust or believe another will hold that confidence. If that certitude is shattered, it takes time again to reconcile and to earn it back.In Michael Dorris’s novel, A Yellow Raft in Blue Water, Ida is a girl who entrusts in her young Aunt Clara with secrets from school to boys. When Clara reveals Ida’s hope about Willard Pretty Dog, the trust is broken; despite this, Ida still helps Clara and also creates herself a new certitude through Clara’s daughter, Christine. Clara comes to live with Ida and her family to take care of Mama and instantly Ida becomes infatuated with he r. Clara is the opposite of Ida: pretty, little, and neat. Ida acts very friendly and giving towards Clara.After a while she admits that she â€Å"confided my secrets and sought her advice† (Dorris, 303). Ida even felt â€Å"encouraged by her sureness† (304) with what she has told her; especially when Ida tells Clara about her crush and hope of Willard Pretty Dog. Clara makes Ida feel good about herself with the advice she gives her. Ida feels as if she has a friend that she can trust and a person who can be a role model. Ida has created her certitude through Clara. Clara has brought shame to the family and is pregnant with Ida’s father’s child.In order to hide this shame Clara came up with the idea of Ida pretending to be with child. Clara mentioning this hurts Ida but what hurts Ida even more is the reason behind the story that makes it more plausible to Mama and Papa. Clara tells them that â€Å"No one would be surprised. Everyone’s aware sheâ €™s after Willard Pretty Dog† (309). Ida is shocked at Clara’s betrayal of revealing her hopes. Clara’s remark does not only break Ida’s certitude in her, but also shows the low inclination Clara has on Ida.

Interview Essays

Interview Essays Interview Essay Interview Essay Jean Pierre Peguero Interview Environmental factors do have a great impact on the development of a persons life view. Throughout life we Learn new things, go through trials and tribulations, and overcome hardships. All the things we experience and go through in life help form and shape the way we look and live our life’s. â€Å"Influence may be the highest level of human skills. † I conducted an interview with a good family friend of mine Jose-Luis DeJesus. Jose-Luis is of Puerto Rican descent. He works as a registered nurse at Brigham and Womens Hospital. We differ from age, up bringing, religion and our career paths are complete opposites. His age is 55 years old and I am 22 Years old, which makes that a 38 year difference to me. Our up-bringing was different on the count of I was brought up more modernized than him, Jose-Luis grew up his early years working on a farm. Our religions are also different. Jose-Luis religion is christianity, and is a dedicated church goer. I on the other hand, am Un-decided and dont believe much in religions. Jose-Luis chose to be a nurse as his career path because helping people is what he likes to do. I chose graphic design as my career path because i want to leave a mark visually on this earth. The highest dollar check I could get now in high school basketball would Just depend on what school I went to and what their budget is, but more than likely a coaching Job in Texas for high school would pay more than a high school coaching Job in Oklahoma. The pros of teaching and coaching are that you can make sure that your players are being more respectful in class, keeping up in their classes, and getting to be around them more because like I said once basketball season starts there like my family he said. Coach Thomlinson said he oes an occasional summer school for students who have failed and need to make up classes for some extra money but other than that the wife Just brings in the big bucks. If I could do it all over again I would definitely choose this profession because day in and day out it might not pay as well as other Jobs or some nights might be a lot rougher than others but the feeling you get when youre helping the kids on your team get to play the game they love and teaching them about the game they play couldnt be traded in for anything in the world I think

Free Essays on Social Security Reform

Social Security Reform In today’s society there is a problem that has been progressing worse as the days go bye. This problem is social security. There are many possible approaches that can be concluded, the two main ideas are either getting rid of Social Security also known as â€Å"privatization†, or merely cutting back on it. I recently read in article by Jeff Nygaard who is a free lance writer and activist in Minneapolis, and the founder of the social security project of Minnesota. His points are clearly stated throughout this short paper on Social Security Reform. Social security is a program in the Unites States that pays cash benefits to workers and the families of those workers, who suffered loss of wages from death, disability or retirement. Savings and pension are two other ways of retirement that are supposed to be used with social security, however people often rely on social security to take care of all of there expenses. 537 dollars a month is the average benefit for a low wage retiree, which is clearly not enough money to live comfortably with. Another sad fact is that social security leaves one out of every nine persons poor. Another reason why social security doesn’t work is because the U.S lacks a national system of universal health care and maternity leave, whereas many other wealthy countries such as Sweden do. One of the new proposals is called â€Å"privatization†, which is getting rid of social security in a whole, and instead setting up Personal Security Accounts, wherein each worker would put money aside for retirement in stocks. Each person would be using just as much money as they usually pay for their social security taxes and possibly more money. The bad news about privatization is that the ones who would suffer the most would be the poor and working class people. Another more liberal approach to social security reform is cutting back on the current system, which would include raising th... Free Essays on Social Security Reform Free Essays on Social Security Reform Social Security Reform In today’s society there is a problem that has been progressing worse as the days go bye. This problem is social security. There are many possible approaches that can be concluded, the two main ideas are either getting rid of Social Security also known as â€Å"privatization†, or merely cutting back on it. I recently read in article by Jeff Nygaard who is a free lance writer and activist in Minneapolis, and the founder of the social security project of Minnesota. His points are clearly stated throughout this short paper on Social Security Reform. Social security is a program in the Unites States that pays cash benefits to workers and the families of those workers, who suffered loss of wages from death, disability or retirement. Savings and pension are two other ways of retirement that are supposed to be used with social security, however people often rely on social security to take care of all of there expenses. 537 dollars a month is the average benefit for a low wage retiree, which is clearly not enough money to live comfortably with. Another sad fact is that social security leaves one out of every nine persons poor. Another reason why social security doesn’t work is because the U.S lacks a national system of universal health care and maternity leave, whereas many other wealthy countries such as Sweden do. One of the new proposals is called â€Å"privatization†, which is getting rid of social security in a whole, and instead setting up Personal Security Accounts, wherein each worker would put money aside for retirement in stocks. Each person would be using just as much money as they usually pay for their social security taxes and possibly more money. The bad news about privatization is that the ones who would suffer the most would be the poor and working class people. Another more liberal approach to social security reform is cutting back on the current system, which would include raising th...