The 2002 World Development Report provides the following information for Colombia and Thailand:
Data is given in the attached file.
(a) Explain carefully what each of the entries in the final four columns of this table measures. What concepts are being presented and what is their importance to economic development?
(b) The table above shows that Colombia and Thailand are roughly at the same level of economic development as measured by the level per capita national income. Their performance in terms of poverty indicators is quite different. What factors may contribute to their differing performance?
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Choose one of the questions below, and write a 550-word response. Be sure to have a clear thesis that directly and succinctly answers the questions. Provide a number of examples from the Narrative to support your claim.. Your response should be completed by the end of the day on Sunday, July 18. (You should consider an early submission in order to have time for discussion and feedback before you take the midterm exam also due on Sunday).
1. There are a number of themes central to the development of Douglass’s Narrative of the Life. Choose one from the shortlist below, and discuss various scenes and incidents from the Narrative that reflect or develop the theme.
Ignorance Used as a Tool to Perpetuate Slavery
Knowledge as the Path to Freedom
The Impact of Slavery on Slave and Slaveholder
Slaveholding as a Perversion of Christianity and a Subversion of Democratic Ideals
2. Douglass defines freedom as more than an escape from slaveholders. What is freedom according to Douglass, and how does he achieve it? Make sure to cite specific examples from the Narrative to support your claims.
3. What does Douglass tell us about the ways in which slaves used culture as a buffer against the dehumanizing aspects of slavery? [The way in which you define culture will be key to the development of your response].
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Instructions are attached to the word document below.
Read the story in the links attached below and write a (4 pages maximum, Arial 12 font, double spaced, MLA style) explaining the below questions:
I want you to delve deeper into the story. What lesson, moral, or universal truth is the author leading readers to?
What I really want you to show me is that you have an understanding of, and can give examples by name, (without re-telling the story)
Foreshadowing?
What kinds of Conflicts do you see? in other words, what’s driving the narrative (antagonist vs protagonist)?
Is there heavy use of Symbolism?
How many kinds of Irony can you identify (in its different forms)?
Is there heavy use of Motif?
Themes (what are the main ideas driving the narrative)?
Read “between the lines” and interpret what you think the story really means, or what philosophical ideas or universal truths the author is using the story to discuss.
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FAULKNER DEFINES POETRY AS “SOME MOVING, PASSIONATE moment of the human condition distilled to its absolute essence.”[1] If we transcribe this essence into fiction, then the teller becomes the tale. Faulkner plays continually with narrative’s intrinsic subjectivity: from the disjointed, compulsive repetitions[2] of the Compson brothers in The Sound and the Fury to the equivocal, evocative fables of Absalom, Absalom!, he experiments with narrative strategy to portray the teller as the tale. “Barn Burning” dramatizes an intriguing variation of Faulkner’s narrative strategy–a “doubling” of perspective–in which an anonymous, omniscient narrator fuses with Sarty Snopes, the ten-year-old protagonist, to texture the story with a multiple narrative presence: the narrator; the young, traumatized Sarty; and the mature Sarty, whom the narrator evokes to ponder his tormented childhood “[l]ater, twenty years later.”[3] “Barn Burning” depicts a very straightforward plot: Abner Snopes, Sarty’s father, terrorizes his son and impels him prematurely toward manhood when Sarty must choose between the dictates of his own conscience and his father’s frontier justice. The narrator–a sophisticated, intellectual, and foremost poetic presence–absorbs and interprets Sarty’s anguish for the reader. The reader simultaneously experiences the terror-stricken child’s distress and the narrator’s rationalizing of Sarty’s suffering. This supple narrative strategy, an intricate intertwining of diverse levels of consciousness, compresses time to the poetic moment. R. Rio-Jelliffe states that “as the different viewpoints and voices intertwine, planes of time converge.”[4] For Faulkner, every moment contains the element of the past and the promise of the future: the protean narrator intermixes Sarty’s past, present, and future, and, by superimposing these layers of time on one another, “distills” this “moving, passionate moment … to its absolute essence.” According to Rio-Jelliffe, Faulkner reinvents the conventional narrative techniques of flashback, flashforward, and the suspended moment to capture and preserve not an instant of “timelessness” but a moment of “all-timeness” (pp. 101-102).
One pivotal moment of “all-timeness” occurs during the crisis when Abner strikes Sarty for desiring to testify against him at the trial which opens the story. Abner had threatened to torch Mr. Harris’s barn, but the Justice of the Peace hesitates to question Sarty, the only available witness. Instead of compelling the young boy to testify, against his father, the Justice of the Peace banishes Abner from town. That evening, as the Snopes family camps on their way to Major de Spain’s plantation, Abner–the “archetype of unsubmissiveness”[5]–displays his contempt for order, for community, by fueling his frugal fire with a fence railing, in lieu of twigs or underbrush:
a small fire, neat, niggard almost, a shrewd fire; such fires were his father’s habit and custom always, even in freezing weather. Older, the boy might have remarked this and wondered why not a big one; why should not a man who had not only seen the waste and extravagance of war, but who had in his blood an inherent voracious prodigality with material not his own, have burned everything in sight? Then he might have gone a step farther and thought that that was the reason: that niggard blaze was the living fruit of nights passed during those four years in the woods hiding from all men, blue or gray, with his strings of horses (captured horses, he called them). And older still, he might have divined the true reason: that the element of fire spoke to some deep mainspring of his father’s being, as the element of steel or of powder spoke to other men, as the one weapon for the preservation of integrity, else breath were not worth the breathing, and hence to be regarded with respect and used with discretion. (pp. 7-8)
According to Karl F. Zender, the narrator’s speculations about Abner’s pyromania not only project Sarty’s intellectual and moral maturity, but also direct the reader to an “active, intuitive, passionately engaged reading” of the story.[6] Zender insists that the narrator distinguishes between moments of “false” and “true” insight by shifting from “thought” to “divined” in this passage, by converting from an experiential to an intuitive understanding of human nature (p. 50). Certainly the narrator’s conjectures evolve from “wondered” to “thought” to “divined,” from doubtful speculation to prophetic insight, but the auxiliary verb “might” qualifies this entire process. Zender glosses over how the narrator distances the young Sarty deliberately from these speculations. The narrator proposes a series of plausible reasons for Abner’s malice–the havoc of war, moral deficiency, criminal instincts, even psychosis–but Sarty can never fathom his father’s evil. Rather, the narrator assigns a “truth,” some sense of meaning, to the evil afflicting the child.
Images of war haunt the narrator’s speculations, from Abner’s marauding during the War Between the States to the narrator’s ascribing of his militant code of honor. As the narrator ages Sarty from “older” to “older still,” this passage sweeps the youth not only towards maturity, but also towards the experience of battle. Sarty’s dilemma–“being pulled two ways like between two teams of horses” (p. 17)–enacts the classic conflicts of good versus evil, son versus father, and individual versus familial identity.[7] In the midst of these deliberations, the narrator hypothetically marches Sarty towards deeper insights into his father’s character–“then he might have gone a step farther.” Throughout “Barn Burning,” the narrator links movement to volition. In moments of crisis, such as when Mr. Harris calls on Sarty to testify against his father, Sarty yearns to escape but cannot flee from his “frantic grief and despair” (p. 4); the narrator likens Sarty’s peril to dangling “over a ravine,” grasping only a grape vine, “caught in a prolonged instant of mesmerized gravity, weightless in time” (p. 5). Sarty, petrified by fear, endures the terror of the sublime moment until Mr. Harris releases him (both literally and figuratively)–only then can Sarty seek anchorage in his “fluid world” (p. 5). As the narrator, however, speculates about Abner’s fascination with fire, he portrays Sarty as gradually asserting himself to progress from doubtful speculation to prophetic insight, from “wondered” to “thought” to “divined,” and ultimately to exert what Oliver Billingslea calls his “moral vision” (p. 303).
Edmond L. Volpe argues that Faulkner portrays Sarty’s “awakening sense of his own individuality” through the interplay of “two levels of consciousness”: “an adult narrator to translate the boy’s tensions and interpret the moral significance of his anxiety” and the child character to dramatize his distress.[8] The narrator’s quest to decipher Abner’s motiveless malignancy establishes a context for the violence that Abner inflicts on Sarty. The reader perceives Abner only through the eyes of his son, yet the narrator describes a satanic caricature–the depthless silhouette, the “stiff and implacable limp,” the “impervious quality of something cut ruthlessly from tin” (p. 10)–a burlesquing of evil markedly similar to what the reader perceives in the portrayal of the sinister Popeye in Faulkner’s brutal novel Sanctuary. Abner’s surreal presence symbolizes his son’s nightmarish existence, for Sarty has fallen “half asleep” by his father’s meager fire before Abner abruptly summons him to the starlit road, then strikes him: “His father struck him with the flat of his hand on the side of the head, hard but without heat” (p. 8). Susan S. Yunis argues that the narrator stifles Sarty’s pain by focusing exclusively on Abner and presenting his violence objectively. The narrator thus enacts a basic survival strategy for abuse: diminish the aggressor’s brutality by ignoring his victims.[9] Yet Faulkner’s intricate narrative strategy underscores Sarty’s trauma by distancing the reader aesthetically from the young boy’s “frantic grief and despair” (p. 4). Rather than objectifying and degrading Sarty, this dispassionate narrative imitates nightmare’s disembodiment and disorientation. The reader perceives the terror-stricken child’s suffering much more intensely through this manifold narrative perspective. Yunis assumes that the mature Sarty remains obsessed with his past, locked within an “endless” and unfulfilling narrative (p. 26). By discounting the narrator’s empathy for Sarty, Yunis misconstrues how the narrator establishes a context for Sarty’s trauma to intensify his tragedy. Regrettably, Yunis likens the narrator to the abusive, negligent men of the Snopes clan, then reviles “him” for controlling the reader’s animosity towards Abner (p. 24); this strident misinterpretation of the narrator’s poetic function–this distilling of the conflict between devotion and fear–severely underestimates the suppleness and complexity of Faulkner’s prose.
On the starlit road to the De Spain plantation, Abner castigates his silent son: “‘You’re getting to be a man. You got to learn. You got to learn to stick to your own blood or you ain’t going to have any blood to stick to you'” (p. 8). Abner rationalizes his dispute with Mr. Harris and the Justice of the Peace as sheer persecution: “Don’t you know all they wanted was a chance to get at me because they knew I had them beat?” (p. 8; emphasis added). Abner insists that his audacity incensed the prosperous landowner; he then demands, with the imperative interjection “Eh?” (p. 8), that his son confirm his interpretation of the hearing. The narrator intervenes at this crucial moment, disrupting the story’s immediacy to refer to the future, to Sarty’s maturity: “Later, twenty years later, he was to tell himself, ‘If I had said they wanted only truth, justice, he would have hit me again'” (p. 8). Time frames and narrative perspectives converge to form this poetic moment, this single glimpse of Sarty’s future. The narrator evokes the mature Sarty to offer us a glimmering of hope: somehow, despite horrendous odds, Sarty will survive “the terrible handicap of being young” (p. 9), will surpass his beleaguered childhood and mature into a worthy human being; somehow, Sarty will preserve his integrity, will escape the curse that his father inflicts on his family. Billingslea believes that Sarty reflects the idealism of the American Romantics, “the Emersonian blending of personal will with one’s fate” (pp. 288, 290). As the narrator had previously imagined Sarty’s comprehending of his father’s obsession with fire, this presence now evokes the mature Sarty–the inspiration for these imaginings–to thwart Abner’s threatening his young son’s integrity.
In his important book, The Play of Faulkner’s Language, John T. Matthews defines narrative as “perpetual tracings and retracings. … the trail is the destination,” for one does not seek to capture “truth” when creating fiction, but merely relishes the quest.[10] “Language,” for Faulkner, “embodies consciousness, it does not reveal it”; so, when he depicts a character resisting the narrative, refusing to speak, that character’s refusal becomes a “worded silence–a silence that corresponds most nearly to the space of writing” (pp. 16, 41). After Abner strikes his son and demands that he affirm his father’s perverse ideals, the narrator immediately evokes the mature Sarty; at the very moment when Abner compels Sarty to endorse his father’s version of events, to actively commit himself to his father’s ideals, the narrator opens a compact space of resistance in which Sarty can redefine his father’s eccentric vision. Young Sarty–repulsed by his father’s iniquity, yet powerless before his father’s implacable malice–hesitates to acquiesce. The narrator highlights Sarty’s profound reluctance by delaying the inevitable, the moment when the young boy must concede to his father’s wrath to survive. The narrator frustrates the power of language–Abner demands a positive, verbal confirmation from his son, not mere acquiescence–to empower Sarty, albeit temporarily, as he silently reappraises his father’s actions.
Rio-Jelliffe claims that Henri Bergson’s theory of the fluidity of time greatly influenced Faulkner’s narrative technique as he strove to create “moments of significance” that “empower words to speak in silence” (pp. 9899). By evoking the mature Sarty, the narrator uses this silent moment to depict the young boy as countering his father’s coercion, not with passive resistance but with a creative instant of self-realization. Throughout the story, the narrator stresses the young Sarty’s inability to articulate his “frantic grief and despair” (p. 4). Longing desperately to love and respect his father, the young Sarty cannot admit, even to himself, his father’s iniquity. Sarty’s lack of language signifies his vulnerability, “the terrible handicap of being young” (p. 9). He dare not think, much less voice, his own convictions, and he dare not dissent from his father’s point of view. The family’s itinerant lifestyle isolates Sarty from the world beyond his father’s control, and Abner stifles all opposition by compelling his family to be utterly dependent on him. Sarty’s father denies his son a separate identity: “‘You got to learn to stick to your own blood or you ain’t going to have any blood to stick to you'” (p. 8). Abner invariably squelches Sarty’s quest for individuality, for otherness, by quelling his attempts to define himself: the father silences the son to perpetuate his own image. Nevertheless, Sarty disrupts this disquieting silence repeatedly as he struggles to define himself against “the old fierce pull of blood” (p. 3). The narrator describes Sarty’s youth as a “terrible handicap … the light weight of his few years, just heavy enough to prevent his soaring free of the world as it seemed to be ordered but not heavy enough to keep him footed solid in it, to resist it and try to change the course of its events” (p. 9). Young Sarty’s inability to express himself, to use language to impart his own meaning to his existence, testifies to the power Abner wields over him: “But now he said nothing” (p. 8). The narrator, however, disrupts this power by evoking the mature Sarty to presage the ending of Abner’s reign of terror. The thirty-year-old man’s composure contrasts sharply with the ten-year-old boy’s insecurity. The man expresses the dissent that the boy feels so acutely but dares not state: the mature Sarty provides the young Sarty with a voice.
By evoking the mature Sarty, the narrator defuses, albeit fleetingly, Abner’s malignancy by relegating him to the past. Young Sarty grapples with his father’s iniquity to distinguish himself from “the old blood which he had not been permitted to choose for himself, which had been bequeathed him willy nilly and which had run for so long (and who knew where, battening on what of outrage and savagery and lust) before it came to him” (p. 21). Jane Hiles argues that “the deterministic language of the story … suggests that Sarty may be doomed to repeat the pattern established by his father.”[11] Hiles believes that Sarty cannot escape his savage heritage because he grapples with “instinct and intent” (p. 336). Hiles drastically simplifies Sarty’s dilemma because she underrates what Matthews calls the play of Faulkner’s language. According to Hiles, “Sarty’s inability to analyze his feelings emphasizes the subconscious nature of the boy’s conflict, explains his lack of insight into the dilemma that he faces, and justifies the role of the narrator … [as] interpreter and analyst” (p. 335). This reductive reading denies the narrator’s empathy with Sarty and flattens the intricate narrative presence by freezing the supple interplay between its multiple perspectives. Zender aptly refutes Hiles’s strident determinism by arguing that “a developmental reading limits our capacities as readers to those exhibited by Sarty himself: it allows us to see with Sarty, but not beyond him” (p. 52). Allusions to Darwinism pervade “Barn Burning” to portray Abner as an avatar of “latent ravening ferocity” (p. 7) and to dramatize the extent of Sarty’s peril. The narrator, however, continually undermines this devastating incarnation by showing Abner succumbing to the sheer passage of time. Sarty’s father cannot remain impervious to age; Abner’s graying brows, the “friction-glazed greenish cast” on his well-worn formal coat (p. 11), even the broken clock that comprised his wife’s dowry–all portend his diminishing influence, his limited resources, his inevitable demise.
In the holograph manuscript of “Barn Burning,” this single-sentence glimpse of Sarty’s future reads, “Later, 20 years later, he then was to tell himself “‘If I had said they wanted only truth, justice, he would have hit me again.'”[12] The adverb “then” marks this comment as a transition that connects the two time frames even as it intensifies the disparity, between them. Faulkner uses italics to show either shifts in time, as in Benjy’s section in The Sound and the Fury, or subconscious thought, as in Light in August. Here, the printing style appears to do both: the italics emphasize the emotional and intellectual distance separating the self-assured man from the insecure boy as the mature Sarty articulates a thought that the young Sarty shares unconsciously with him. Faulkner revised the story slightly for publication, so the version presented in the Collected Stories reads, “Later, twenty years later, he was to tell himself, ‘If I had said they wanted only truth, justice, he would have hit me again'” (p. 8). Faulkner stresses the strength and consistency of Sarty’s convictions by eliminating not only the adverb, which sharply divides his youth from his maturity, but also the italics, which imply subconscious thought. Faulkner’s revisions create a deliberate judgment by the mature Sarty that originated in, but remained unspoken by, the terror-stricken child.
In December 1938, a destitute Faulkner attempted to capitalize on his publisher’s interest in Flem Snopes by proposing an ambitious trilogy to chronicle this despicable character’s enigmatic career. Faulkner planned to begin this trilogy with the events depicted in “Barn Burning,” so Sarty appears as a pivotal figure in his synopsis.
[Flem Snopes’s] youngest brother tries to keep his father [Abner] from setting fire to his landlord’s barn, believes he has caused the father to be shot, and runs away from home, goes west, has a son which the other Snopes know nothing about.
Flem moves to town with his wife whose child pretty soon sees what a sorry lot Snopes are. She goes to New York (has money from her actual father) and is overseas in the War with ambulance corps, where she meets the son of the boy who ran away from home [Sarty], finds him a kinsman, finds how his father has tried to eradicate the Snopes from him. After the war she brings together this Snopes [Sarty’s son] and the daughter of a collateral Snopes who also looks with horror on Snopeses. She and her remote cousin marry, have a son [Sarty’s grandson] who is the scion of the family.
What this will tell is, that this flower and cream, this youth, whom his mother and father fondly believed would raise the family out of the muck, turns out to have all the vices of all Snopes and none of the virtues–rut
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Enjoy Please Note-You have come to the most reliable academic writing site that will sort all assignments that that you could be having. We write essays, research papers, term papers, research proposals. FAULKNER DEFINES POETRY AS “SOME MOVING, PASSIONATE moment of the human condition distilled to its absolute essence.
Briefly respond to all the following questions. Make sure to explain and backup your responses with facts and examples. This assignment should be in APA format and have to include at least two references.Provide your thoughts and understanding of requirements:1. Who consumes requirements?2. Getting security requirements implemented.3. Why do good requirements go bad?
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1. There are 12 general categories of threat to an organization’s people, information, and systems. Explain at least six of the general categories of threat, and provide an example of each of the six chosen categories.Your response must be a minimum of 100 words in length.
2. Outline the different types of data ownership and their respective responsibilities. Which is more important to know? Explain.Your response must be a minimum of 100 words in length
3. Briefly describe the Structured Query Language (SQL) injection attack on a relational database. Why is it important to recognize the injection? Explain.Your response must be a minimum of 100 words in length.
4. Briefly describe the Structured Query Language (SQL) injection attack on a relational database. Why is it important to recognize the injection? Explain.Your response must be a minimum of 100 words in length
5. Computer systems are subjected to many different threats and attacks. Which do you believe will cause more damage: threats or attacks? Why?
Your response must be 250 words in length or more.
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Review the video below and write a two page review plus cover page and reference page. The first page of your paper should be a summary of the video. The second page is an opinion page covering how your company does or should use the information provided.The Secret to Successful Crisis Management in the 21st Century – Melissa Agnes TEDx Talkhttps://www.youtube.com/watch?v=VQGEPEaEWtgoutube.com)
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BSc (Hons) Human Resource Management Cohort: BHRM/20A/FT [Batch 2 ] Semester II 2020/2021 & SEMESTER I 2021 Assignment I I for Year 2021 Module Name: Leadership, Teams & Empowerment M odule Code: HRMT 2109 Lecturer’s Name: Mr. Jessen Seringhen Coopoomootoo 2 INSTRUCTIONS & INFORMATION TO CANDIDATES 1. There are TWO questions in the assignment (Case Study) . You have to answer BOTH questions. 2. Each question carries 25 marks . 3. State clearly the question number that you are answering. 4. You should properly reference your answers using Harvard referencing style and include a bibliography at the end of each essay properly arranged in alphabetical order. Note that plagiarism may be penalized. 5. Use Times New Roman as font, 1 .5 line spacing and font size 12. 6. Each answer should not exceed 1500 words (excluding graphs, charts, appendixes and referencing list). 7. This assignment will account for a total of 50% for the module . 8. Deadline for submission of assignment is 01 August 2021 . Kindly note that the rules and regulations of the university governing submission of assignment after the deadline will be enforced. 9. You need to include a cover page in your answer showing clearly your full name, student ID number , programme of st udy, cohort name, level of study, module name and module code . 10. You are required to submit your assignment in soft co py either in Microsoft W ord or Adobe Acrobat format on the following email address: jcoopoomootoo @umail.utm.ac.mu and to forward a copy of same on cssbmfexams@umail.utm.ac.mu . 11. Note that this is an individual assignment. The onus for maintaining confidentiality of your work rests on you. Make sure that you do not share your answers with anyone from your batch or from any other batches. In case any cheating is suspected, you may be penalized , as per the university regulations. 3 Creating a High -Performing Workplace It’s well known that the Beyster Institute provides consulting guidance to companies and their leaders on the development of effective employee ownership programs. Less familiar to many is the work we do in classroom education. In fact, one of the most i mportant ways that we build understanding and support for employee ownership among business leaders is through the teaching we do in the MBA program at the UC San Diego Rady School of Management. Our offerings include a whole range of classes from Equity Compensation to Managing an Employee -Owned Company. Among those is one especially interesting course with a human resource slant. Currently, Beyster Institute Senior Consultant Martin Staubus is teaching a course entitled “Creating a High -Performing Wor kplace,” which is offered as an elective course in the organizational development area. In a recent interview, Professor Staubus described the content of the course. “In Creating a High -Performing Workplace , we explore five themes. As a bit extra fun, I play a theme song for each theme – students get extra course credit for naming the song and the artist.” The themes are: High Performance in the Innovation Age. Before we can explore how to create a high -performing workplace, it only makes sense that we know what that is. If you don’t know what you’re trying to create, how can you talk about the steps to create it? Our first theme, therefore, begins with the observation that, in the U.S. and other developed economies, the Industrial Age that dominat ed most of the last century has evolved into the Innovation Age of the 21st century. Yes, there is still traditional manufacturing in the U.S., and there are workers who do repetitive manual tasks. But the work that really drives economic growth in the U .S. now involves activities that require employees to use independent judgment and creativity and to collaborate effectively with others. There simply aren’t many jobs left where employees just carry out the instructions handed down by the boss. If your organization isn’t constantly striving to make your customer experience better and/or cheaper, it’s unlikely to see long -term growth. An important point here is that innovation doesn’t only mean “product innovation” – coming up with the next iPad or other big hit. And innovation doesn’t just mean 4 one heroic individual coming up with a brilliant insight. Rather, companies thrive when its people are constantly figuring out lots of small ways to make the company’s existing products or services a little better, a little easier to produce or a little cheaper. And most innovation actually results from people i nteracting, pooling their knowledge, bouncing ideas off each other, and collaborating to come up with improvements on the status quo. In the Innovation Age, then, a high -performing workplace is one in which the people in the organization are proactively a pplying not only their technical training, but their creativity and good judgment, collaborating as a team to continuously improve their company’s ability to deliver value to customers. One of the great challenges of American business – and the reason for this course – is that the management methods that were developed for the Industrial Age now are very poorly suited to meet these needs of the Innovation Age. Yet American business is being led by old guys who in turn were mentored in their younger days b y executives who cut their management teeth in the heyday of the Industrial Age. Too much of current management remains rooted in Industrial Age practice. Our theme song? “The Times They Are a -Changin’” by Bob Dylan. Historical Development of Workp lace Management. American business didn’t just wake up last week and decide that perhaps it should try to get its workplaces to operate at a high level. In fact, since the industrial revolution, when large -scale production first became dominant, people h ave been trying to figure out how best to organize people in workplaces so as to achieve high productivity and performance. What have they learned along the way? The “science” of management as an applied technology dates to Frederick Taylor, a man origin ally trained as a mechanical engineer, who became a management consultant around the start of the 20th century. Interestingly, he also was from a Quaker family, and was deeply troubled by the often -bloody workplace conflict that was prevalent in industria l America at that time . As other manager s, Taylor deemed ignorant and applied brute force in his efforts to maximize productivity. As might be expected of a mechanical engineer, he conceived of the workplace as a great machine, with efficient productivity being achieved through an engineering process that assigned clear, consistently repeatable tasks to employees, so that they functio ned like parts in a machine. In this model, it was imperative that the workers never depart from the assigned process. Not even managers were authorized to engage in improving the production process. That authority was reserved to “industrial engineers” specially trained to design workplaces as machines. 5 Ultimately, Taylor’s methods never did quite achieve his goal of harmonious, high productivity in the workplace. Despite the failure of this approach, the mental model of “workplace as machine,” with t op management manning the controls, has had tremendous staying power. As the 20th century went on, people with advanced training in human psychology began to study workplace performance issues, and soon identified the fatal flaw in Taylor’s machine model of the workplace: people aren’t cogs, and don’t react well to being deployed that way. Leading thinkers of the time – Abraham Maslow, Kurt Lewin and Douglas McGregor – developed better -informed ideas about fostering workplace productivity, taking into acc ount the unique emotional make -up of human beings that make us so different from machines. Perhaps the biggest flaw in Taylor’s machine model, however, is that it fails to take advantage of the remarkable creative capacity that is in everyone. Indeed, he insisted that employees do only what they are told and nothing more. “Don’t ever change a thing!” was the old message to employees. In the Innovation Age, that command and control system is a recipe for failure. Our theme song? “We Didn’t Start the Fi re,” by Billy Joel. Human Motivation in the Workplace. So, people are not cogs and can’t simply be deployed like machine parts. They have wills of their own, and will perform at a high level only if they want to. So, when it comes to motivating employ ees – to get them to want to – what works? The most popular motivational method traditionally used by business management is a collection of carrots and sticks – more than anything, monetary incentives. These practices endure despite a mountainous pile o f research studies showing that monetary incentives are minimally ineffective in most cases – and , in fact , can be counterproductive ; actually, lowering output. They are especially ineffective in a context where workers need to be engaged in creative, jud gment -based, innovative activity – exactly the kind of work that is central to today’s Innovation Economy. So, if monetary incentives don’t drive high performance in the Innovation Age, what does? This question gets to the heart of the course. The concepts we explore suggest that in today’s innovation -oriented economy, companies foster a high level of performance by: First and foremost, establishing a clear sense of mission and purpose that establishes the venture as something meaningful and wo rthwhile to the people in the organization. 6 Second, assembling a group of dedicated people around that mission and purpose – a community of people who have come together to pursue that purpose successfully. Third, establish operating values, principles and practices for that workplace community that enable people to assume responsibility, deliver valuable contributions, and earn a sense of achievement and self -worth from what they accomplish . People want to be part of something worthwhile, something larger than themselves, and as individuals they want to grow, develop and progress. Workplace communities will be highly productive when they enable people, through their contributions and accomplishments, to fee l that they are achieving valuable things and that they are respected and appreciated for that by their peers. Our theme song? “Can’t Buy Me Love,” by the Beatles. A Stake in Business Success. If an organization’s mission is to find a cure for cancer, end world hunger, or create break -through technologies, clearly that’s something that will provide a compelling sense of purpose and meaning to many people who might want to work there. But what about a company with a more mundane mission: supplying comm onplace components or providing routine services? How can such a company create compelling meaning that provides motivation and determined drive to the people working there? An answer may be found by looking at what motivates the typical entrepreneur who works hard to build a successful venture. The rewards from doing that are apparent: the creation of personal wealth; providing abundantly for one’s family; a sense of achievement; pride of accomplishment; a sense of identity with a successful venture; sa tisfaction in making a contribution to the community; etc. Even in industries that aren’t inherently sexy and compelling, then, companies can build a motivated community of employees by drawing them into the challenge and rewards of building and running a successful business. The foundation of this workplace strategy is the practice of employee ownership. The rewards of entrepreneurship, after all, are mainly ones that flow only to those who own the business. Ownership is a formal claim to both the fina ncial and the emotional benefits that are generated by successful business outcomes. Owners claim the wealth that is generated by business success, and also claim the sense of pride, 7 accomplishment and identity that comes from that success. In short, the cause of building and operating a successful business can provide the sense of purpose that will support the sense of purpose that is needed to support a high -performing venture. A key take -away here is that it’s not enough to simply distribute shares of stock among the workforce as though it were pixie dust. People need to understand the rules of the game – how the business works, what the team needs to do to succeed, and how to track progress against budgets and goals to see how well the team is doing. In short, they need to be “business -literate.” This not blazing a virgin trail. It is a well – established strategy known as “open book management.” Our theme song? “Reasons” by Earth, Wind and Fire. Hire for Attitude; Train for Skills. We have spent most of the course exploring how to build a workplace that encourages and enables employees to deliver their best ideas, their best judgment, and their best performance. Yet logically, even if the people are highly committed and motivated, i sn’t the capacity of a workforce to perform at a high level going to be constrained by the extent of their knowledge, skills and abilities? Of course , it is. So , companies need employees who have both: a) excellent technical skill sets; and b) constructi ve attitudes that foster teamwork, effective collaboration, a willingness to take responsibility and show leadership, and that align with the company’s mission, purpose and values. The challenge for business is that few hiring candidates come to your door with all of the desired skills and attitudes. Given that reality, what hiring and development strategies will support a high -performing workplace? Organizations that continue to adhere to the machine model of the workplace, seeing employees as “units” t o be plugged into slots, continue to focus on the technical “specs” of the unit. High -performing companies in today’s Innovation Economy, however, have found that it is essential to prioritize the constructive attitudes that will fit with the company’s in novation culture. Specific skills can be taught; but attitudes about how we deal with others tend to be a fundamental aspect of individual outlook and personality, and thus much harder to change. Ego -driven individualists, for example, are unlikely ever to really dedicate themselves to achievement of team goals. So, if a new hire has the right attitudes, but not all of the needed skills, the skills gap can be remedied through training. But if a new hire has the full technical skill set but lacks the con structive, mission -oriented, team -player attitudes that are desired, it may be 8 difficult to turn that person into a high -functioning member of the organization. Thus, the motto of these companies is, hire for attitude, train for skills. Our theme song? “Higher Ground” by Stevie Wonder. That’s it! Those are the five themes that comprise the curriculum of Management 269: Creating a High -Performing Workplace as taught at the Rady School of Management at UC San Diego. By Martin Staubus Answer ALL questions a. Make a critical evaluation of the challenges faced by today’s leaders in businesses in relation to the shift in employees’ expectations , mentioned in the article above , in creating a high performing workplace. [25 Marks] b. Analyze how em powerment and motivation of employees may be influenced by attitudes of colleagues and leaders of today’s organization. [25 Marks]
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