Managing Change In The Workplace Management Essay

Managing Change In The Workplace Management Essay High performance workplaces are by nature vibrant. Organisations that want to survive as well as to flourish are innovative, plus effective change management is a requisite skill across all workplaces. Novel technology, novel systems, company mergers in addition to the impact of global trade mean that workplace change is a feature of all of our work lives. Winning employees commitment to innovation and change in the workplace is the key challenge for contemporary management. (Mullins, 2006) Workplace changes are introduced for many reasons. A number of these reasons will be obvious to everyone in the workplace as well as some less so. Cost saving, quality improvement, increased management control, increased employee empowerment, introduction of novel technology, service expansion and improvements to health in addition to safety are some of the goals that may be sought through workplace change. The impact of any change depends a great deal on how it is implemented. (Mullins, 2006) Change processes usually include four phases planning, consultation, implementation and monitoring/evaluation. Each phase takes time, as well as while it is important to reach the outcome, not putting the maximum effort into any of these phases may result in problems impacting on the outcome for a very long time. (Mullins, 2006) An understanding of culture in organisations can offer insights into individual and group behaviour, in addition to leadership. It can help to explain not just what happens in an organisation, however why it happens. (Mullins, 2006) However, many people are concerned not just by means of understanding culture, as well as hence organisational life. They see culture as something to be influenced to achieve organisational goals of productivity, profitability, and success in core business. They want to manage culture. (OConnor, 1997) High performance organisations are successful for the reason that they adapt and move by means of the changing times. They know that the most important thing in preparing for change and in implementing novel arrangements is ensuring they involve their key resource their employees. Effectively involving employees through consultation as well as participation at the outset in any change management process is vital to ongoing workplace productivity in addition to efficiency. (OConnor, 1997) Can culture be managed? Optimists believe culture can be managed; pessimists deny that it can be, according to (Mullins, 2006). They claim that optimists are often business oriented people, who optimistically see the culture of an organisation as being unified and unitary. On the other hand, pessimists are often academically or theoretically oriented, as well as more interested in explanations than practical utility. (Mullins, 2006) Realists, however, can see both sides of the debate. They are frequently interested in exploring culture change and are ready to admit some sway à ´Ã¢â€š ¬Ã¢â‚¬Å¾Ã†â€™ if not control à ´Ã¢â€š ¬Ã¢â‚¬Å¾Ã†â€™ of culture. Can culture be changed? One of the major ways that managers believe they can manage culture is by changing it. They can use one of the guides that are available, that suggest how to form, transmit or change culture, such as that by (Mullins, 2006). However, just for the reason that peoples behaviours have changed in a number of measurable way, it does not mean the organisational culture has changed à ´Ã¢â€š ¬Ã¢â‚¬Å¾Ã†â€™ although behaviour change may be all that managers are interested in. (Mullins, 2006) Difficulties in managing culture Management of culture is hard if there is no agreement on what culture is in addition to culture can be viewed in an enormous variety of ways. The complexity of culture can lead organisations to attempt „quick fixes ° that are superficial. Value-laden judgements on what is the right culture for organisations, devoid of taking into account the unique environments in which they exist, can also make success hard for managers. What are the ethics of trying to manage culture? (Proctor, 2002) poses organisations by means of ethical questions they could ask before attempting to manage à ´Ã¢â€š ¬Ã¢â‚¬Å¾Ã†â€™ or change à ´Ã¢â€š ¬Ã¢â‚¬Å¾Ã†â€™ culture to influence organisational capability: What are the moral and ethical implications of trying to alter such things as feelings, beliefs, values as well as attitudes? Is culture the prerogative of management furthermore does management having the right to try to control or change it? What does culture change do to the quality of life for people in organisations? What costs to individuality result as of encouraging people to devote themselves to the values and products of the organisation, and then asking them to assess their own worth in these terms? (Proctor, 2002) What tools can one use to manage culture? Tools for managing culture comprise: 1. Management systems 2. Organisation models 3. Strategies. A number of these have been influential for a time, and have then been replaced or extended by novel ideas. They can frequently be seen as trends as well as fashions à ´Ã¢â€š ¬Ã¢â‚¬Å¾Ã†â€™ a number of enduring in addition to some not. (Proctor, 2002) 1. Management systems A number of management systems used by managers attempting to manage organisational culture include: Organisational growth (OD): This is a management system of slow, planned change. It is slackly shaped around organisational culture, emphasising how participation, teamwork in addition to problem solving can assist an organisation survives environmental challenges. It is still being used; however its effectiveness is being challenged. (Proctor, 2002) Total Quality Management (TQM): This is a management system used to increase an organisations productivity and quality by focusing on people making continuous incremental development inside existing cultures. A number of see it, however, simply as a control system which produces as well as enforces uniformity, devoid of an understanding of existing organisational culture and the possibility of sub-cultures. (Proctor, 2002) Business Process Re-engineering (BPR): This is a management system of forced, speedy culture change. Where TQM builds a culture that supports improvement, BPR is a result of frustration over the time it takes to do this. Organisation models: A number of organisation models used by managers attempting to manage organisational culture include: Sustainable organisations: The sustainable organisation demands a radical change in thinking regarding culture, transforming the organisation as of being part of the problem to being part of the solution. It is concerned by means of increasing productivity in the long-term in order to survive. Its managers aim to build human capabilities that create continuing innovation as well as high performance. It challenges the dominant economic paradigm and involves broader interests than just shareholders, such as the community in general, the biosphere in addition to future generations (Senge, 1994). Innovative enterprises: This model is similar to that of the sustainable organisation; however its managers attempt to institutionalise innovation to give the market edge. They aim to make innovation ordinary and frequent good practice. This model is useful for those who want to build an organisational culture in which innovation flows naturally as of how the organisation faces its environment, structures its bureaucracy, leads itself, and manages its internal management system. (Senge, 1994) Learning organisations: This is not a one-size-fits-all model. The learning organisation continually expands its abilities to shape its own future, influenced by specific elements of organisational culture, which determine, for example, whether the organisation learns as of mistakes or ignores them, sees opportunities or threats, as well as is pro-active or reactive in its strategies. Such organisations try to make a working reality of such attributes as flexibility, team work, continuous learning in addition to employee participation and growth. (Rosenhead, 1989) High performing organisations: In this British model, managers focus on people and their learning, and the growth of trust, personal responsibility as well as leadership. Supporting elements such as structure, strategy, systems, procedures in addition to resources are seen as useful only in empowering people and enabling them to achieve the full measure of their abilities. (Senge, 1990) Strategies: Strategies used to manage culture include: Strategic alliances: These are cooperative efforts on specific ventures and joint projects, which demand an understanding of each partners culture. Knowledge management: This is a strategy of transmitting culture by making use of novel technology in information systems, as well as by reinforcing the value of people in addition to their contributions to organisations. Knowledge management can encourage organisations to be learning organisations which are open to change. (Proctor, 2002) Flexible learning, which includes e-learning, is regarding the learner deciding what, where, when and how they learned. Flexible learning therefore offers a client-centred and workplace-centred focus for an organisation. Flexible learning practices have had a wide impact on many determinants of organisational culture: learners; teachers, their job designs, work, safety in addition to professional growth; human resources practices; organisational management; as well as technological resources. (Pedler, 1992)

A Comparison of Vistor Frankenstein and Henry Jekyll Essay -- Papers C

A Comparison of Vistor Frankenstein and Henry Jekyll Mary Shelley's Frankenstein and Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde are two horrific tales of science gone terribly wrong. Shelley?s novel eloquently tells the story of a scientist, Victor Frankenstein, who creates a living monster out of decomposed body parts, while Stevenson?s novel describes the account of one, Henry Jekyll, who creates a potion to bring out the pure evil side to himself. Although the two scientists differ in their initial response and action to their creations, there are strong similarities between their raging curiosity to surpass human limitation, as well as their lack of responsibility concerning their actions. These similarities raise an awareness of human limitation in the realm of science: the further the two scientists go in their experiments, the more trouble and pain they cause to themselves and to others. In Frankenstein, Victor is extremely excited about his creation, but once the monster becomes animated with life, he is horrified and abandons his work. Dr. Frankenstein, upon seeing the reality of what he had created, had a moment of realization, ? . . . when those muscles were rendered capable of motion, it became a thing such as Dante could not have conceived? (Shelley 57). In the previous quotation, we, the reader, see Victor?s utter shock and abandonment of the project. When Victor notices the creature?s muscles twitching, his eyes are opened to what he has really done: ?Oh! No mortal could support the horror of that countenance? (Shelley 57). He had not thought about the consequences of creating a being, only the actual task. Unlike Dr. Frankenstein?s abandonment, Dr. Jekyll finds his experiment intriguing eve... ...ankenstein is horrified of what he is done, whereas Jekyll seems to be virtually proud of his scientific accomplishment and murderous ruse. Both scientists discover that all of their pride and knowledge cannot conquer the unknown and unimaginable. For this and other reasons, despite their differences, Dr. Frankenstein and Dr. Jekyll are both captivating literary characters that attempt to create and conquer the human mind. By investigating their similarities, we, as readers, critics, and scholars, can more fully understand the mode of scientific thinking and rationale in the nineteenth century. We also observe the consequences of two characters that overstep the bounds of reality and human conscience. Bibliography: Shelley, Mary. Frankenstein. New York: Penguin, 1983. Stevenson, Robert Louis. Dr. Jekyll and Mr. Hyde. New York, Penguin, 1978.

The Leap

Francisco Mata Mrs. Harschlip Eng 102 â€Å"The Leap† In James Dickey’s poem â€Å"The Leap,† he tells about his memory of a â€Å"thin/and muscular, wide-mouthed, eager to prove† (21-22) girl, Jane MacNaughton. He talks about how she goes from being, â€Å"the fastest runner in the seventh grade†, (3) to a â€Å"Mother of four. † (28) Jane who spurned the earth, as a seventh grade runner, left behind the â€Å"slow-footed yokels† (44) in her cloud of dust. The playground champion is finally overcome by reality. She returns to dust as a victim of the â€Å"eternal process†. During a school dance, Jane â€Å"with a light/Grave Leap†, touches the end of a paper ring.Dickey sees this as a farewell to childhood and a new beginning into adulthood. She is well respected by others and has self-respect, at least enough to leap to touch the paper chain in front of her classmates. She is a young, strong girl and has a world of oppo rtunities at this time in her life. He describes her as the, â€Å"the fastest runner in seventh grade. † (3) This implies that she is a girl who capable of accomplishing any dreams she wishes. Dickey knew and admired Jane, he was â€Å"nailed to the ground†, unable to escape his feelings for her ever since the seventh grade.He feels a connection to her when she touches the paper ring hanging from the ceiling. He says that she â€Å"touched the end of something I began. † (47) He does not make it sound as if he had a personal relationship with her; however he says that she should hold on, â€Å"to that ring I made for you. † (51) He wants the Jane of his school age memory to hang on to the paper ring so that he will always remember her as a young, â€Å"muscular, wide-mouthed, eager to prove,† (22) girl that is capable of doing anything. He uses the ring as a symbol in his memory, as a way to keep her alive so that he does not have to cope with her eath. The ring can also be a symbol of marriage or companionship. He uses this first leap to represent Jane in all of her brilliance, as he remembers, so that he will not have to face the fact that she is not who she used to be and to honor her as the outgoing seventh grader who was willing to live life to the fullest. He does not go into detail to describe the second leap. This may be because he knows more about her in her childhood, or it may be because he does not want to know about her death at length. When she commits suicide, he knows she is not the same person that he once knew; she is now a, â€Å"mother of four. (28) She has changed, but it has not been for the better because she may have had a hard life. One day she was unable to handle the pressures of her life any longer and committed suicide. He says, as he holds the newspaper containing the article of her suicide, â€Å"that I held / without trembling a picture of her lying cradled / in the papery steel as though ly ing in the grass. † (30-32) It is not that he does not care about her death; he just cannot face her death and this is why he does not tremble. She is hardly the same person to him, and so he is able to save the image of her first leap.He will always use this one image as her identity, full and alive, to him. These two leaps are different, but are used to represent the same idea. Jane leapt in order to express her sense of freedom in the first leap. She leapt with strength; she showed to everyone around her that she was very alive, free and capable. Yet, the second leap was a cry for help, a searching for freedom. By taking this second leap she was able to become free by death. Her life was hard by, â€Å"some boy who did not depend/On the speed of foot, caught and betrayed her,† (40-41) and the heartache was too much for her to handle, so she took the leap so she can be free.The two instances are so different that he is able to separate them in his mind and supplement his memory for childhood Jane, who he saw gracefully leaping with a sense of ambition to touch the paper ring and the Jane of modern reality, who leapt to her death from a hotel window to rest in the, â€Å"papery still† (32) of a taxi cab, still graceful as â€Å"though lying in the grass. † (32) Work Cited Dickey, James. â€Å"The Leap†. Literature and the Writing Process. Ed. Elizabeth McMahan, Susan X Day, Robert Funk, and Linda S. Coleman. 9th ed. 2011. pg 630. Print.

Essay on Camus’ The Stranger (The Outsider) Reader...

Reader Response Criticism to Camus’ The Stranger (The Outsider) In The Stranger (The Outsider), Albert Camus anticipates an active reader that will react to his text. He wants the reader to form a changing, dynamic opinion of Meursault. The reader can create a consciousness for Meursault from the facts that Meursault reports. By using vague and ambiguous language, Camus stimulates the reader to explore all possibilities of meaning. Camus also intends to shock the reader into rereading passages. Through discussion of narrative structure, the opening lines, the role of pity, resentment toward Meursault’s judges, and the relationship between murder and innocence, I will prove that Camus’ purpose is to bring the reader to†¦show more content†¦The reader is intentionally left to compare Meursault’s impression on themselves with the consciousness that Camus creates. Camus uses this other, reader-created Meursault as a bridge and a tool to put the reader in Meursault’s shoes. On trial, the reader compares the mental reaction of Camus’ Meursault with their consciousness for Meursault. Already the reader sympathizes with Meursault (ostensibly because we create his consciousness and it is inherently similar to the reader’s), but in the court, Camus has the reader to place themselves on trial. The reader introspects on whether they are guilty of indifference to society. Camus has the reader create a consciousness for Meursault so that Camus can inspire introspection in the reader. Camus anticipates the reader will re-read his startling opening. By the opening lines, he sets a tone and standard that the reader should continually reassess their attitude toward Meursault. Aujord’hui, maman est morte. Ou peut-à ªtre hier, je ne sais pas. J’ai reà §u un tà ©là ©gramme de l’asile: lt;lt; Mà ¨re dà ©cà ©dà ©e. Enterrement demain. Sentiments distinguà ©s. gt;gt; Cela ne veut rien dire. C’à ©tait peut-à ªtre hier (L’Etranger 9). 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