MGT506 - Strategic Leadership, Mod 4 Case Assignment Essay

MGT506 - Strategic Leadership, Mod 4 Case Assignment - Essay Example Negative and positive reinforcement both are administered by type X managers and those with a transactional leadership style. Transformational leadership, on the other hand, is an extended form of the traditional transactional leadership approach. Transformational leadership is not only based on the conformity of the followers and/or subordinates but it also looks forward to shift the beliefs, the values and the needs of the followers. The attempt of transformational leaders is to become successful in raising colleagues, followers, subordinates and clients towards a much greater awareness of the consequences of the issues. This spreading of awareness requires a leader who is equipped with a vision, internal locus of control, confidence and the courage to put forward what he sees is right (Kuhnert and Lewis, 1987). TRANSACTIONAL LEADER – CHARLES DE GAULLE The main essence of transactional leadership dates back to the World War 1, where leaders gained relative importance and lea d the forces of war. French army in the event of the First World War and was amongst the few army generals who led successful armored counter attacks during the battle of France in 1940. What makes Charles De Gaulle a transactional leader? The famous French statesman Charles de Gaulle was a prominent example of the transactional leadership style. ... He also motivated his subordinates through keeping forward the rewards and punishment process. He was an Army man and so laid out a clear requirement plan in front of his subordinates and the corresponding rewards and it was very evident that in the event of a failure to satisfy those requirements, they will be eligible to receive the corresponding punishment. Was his leadership style appropriate? All these traits qualify Charles De Gaulle as a transactional leader. The approach he had was very suitable for the environment of that era. Politically as well, he had the right vision for that time. He has been very famous for his work in History and many politicians and leaders of today admire him (Qazi, 2010). TRANSFORMATIONAL LEADER – MARTIN LUTHER KING Jr. Dr. Martin Luther King Jr. was born into a Baptist minister’s family in 1929, Atlanta, Georgia. He was himself a Baptist minister and was awarded with national prominence as the leader of Civil rights movement in Unite d States and through the Southern Christian leadership conference. He was also one of the bearers of Nobel Prize for peace award in 19 64, his efforts and leadership abilities were the keys to success for his movement which was the ending of the legal segregation of the African Americans in the southern states of the United States. He was never in favor of violence and always wanted to bring about a social change in the status quo of people (McGuire & Hutchings, 2007). What makes Martin Luther King Jr. a transformational leader? He was a visionary. He had a broader vision to bring about a change and had the skills to convert the abstract ideas into an understandable objective and goal making it easier for his followers to understand. He was an

The Clean Air Act Essay Example | Topics and Well Written Essays - 1500 words

The Clean Air Act - Essay Example The researcher states that since the World War II, the US economy has continued to grow. This growth can be attributed to increased manufacturing. The large number of industries in the US was a source of pollutants that continued to degrade the environment. Thus, the need to regulate the amount off pollutants that industries could discharge into the air arose. Efforts that culminated in the modern Clean Air Act (CAA) can be traced to the 1950s. The Air Pollution Control Act of 1955 was signed into law by President Eisenhower. The initial version of the law authorized the United States Surgeon General to provide assistance to the states on how to implement controls. The â€Å"killer smog† in London and New York in the 1960’s created concern about increased air pollution. The Department of Health, Education and Welfare (HEW) was empowered by the 1963 CAA to act on interstate air pollution. According to Jonathan & Joseph, this act established a national authority that woul d intervene in air pollution which posed a danger to the health of any person. Four years later, President Johnson signed the Air Quality Act of 1967 which was an amendment of the 1963 Act. The 1967 Air Quality Act authorized HEW to set national air quality standards. The Act required states to set ambient air quality standards. These standards were expected to be in line with the criteria set by HEW. Roy notes that the Air Quality Act of 1967 had a shortcoming in that it did not establish enforcement procedures. The Clean Air Act was enacted in 1970. It brought about a shift in the strategy of tackling pollution. The amendments empowered the United States Environmental Protection Agency (EPA) to establish a National Ambient Air Quality Standards (NAAQS). These standards are meant to protect the public by setting the levels of air quality that must be maintained. The 1970 Amendments created New Source Performance Standards (NSPS) program. NSPS authorized EPA to set standards that wo uld determine technology requirements for new or modified sources of air pollution. The amendments also brought about the regulation of air pollutants and air toxics. These amendments were controversial and brought about challenges to EPA in the implementation of the NAAQs (Jonathan & Joseph 12-14). Little success in achieving the goals of the 1970 Amendments prompted the 1977 amendments to the Clean Air Act. At the time, only few areas of the country had made progress in meeting the applicable NAAQS. Consequently, the amendments extended the time required for compliance. New pollution control criteria were set for areas that could not attain the standards set by the 1970 Amendments. These amendments aimed at defining the standards that industrial technologies would meet in order to control pollution (Roy, 1970). In 1990, Congress revised the Clean Air Act (The 1990 Amendments). These amendments knocked off some elements of the previous act and added new programs. The act strengthen ed the ability of EPA to enforce standards. It required that the air pollution control obligations of an individual pollution source be entrenched in a single permit that expired after five years. The states were allocated a three year period to develop permit programs. These permit programs had to be compliant with EPA standards. In summary, The 1990 Amendments set standards that would see a decrease in Ozone depletion, air toxics and motor vehicle pollution among other areas (Jolish 306). Industry Response to the Clean Air Act The 1990 Amendments forced corporations to create necessary budgetary allocations that would cater for equipment, research and product development. Companies started integrating environmental

Photography Essays History of Photography

Photography Essays History of Photography History of Photography When you look at a photograph from your favorite photographer what do you see? Does it remind you of your past or make you think of the future? What if there was a photographer that made you think of not only the past but also the future as well? Well that is exactly what Abelardo Morell did with his Camera Obscura photographs. Abelardo Morell took Camera Obscura out of the past and brought it into the future. This paper plans to discuss who Abelardo Morell is, the history of Camera Obscura, and also discuss and analyze three or more photographs by Abelardo himself. It will also discuss Abelardo’s career and how Camera Obscura falls into his career as well as any statements from him about the process. Also any writings or responses by art critics and/or philosophers about Abelardo Morell’s work will be included. This paper hopes to bring across to the reader an understanding of Abelardo Morell and Camera Obscura. â€Å"Abelardo Morell was born in Havana. As a child he felt a sense of alienation and isolation in Cuba, feelings that remained when he moved as a teenager with his family to New York City. Although he later studied comparative religion at Bowdoin College, he eventually took up photography as a way to express his feelings as an immigrant to the United States during the turbulent 1960s† (Yorba). Photography took his mind away from all of the busyness the world had. â€Å"After earning an MFA from Yale University in 1981, he began teaching at Massachusetts College of Art in 1983, where he still teaches today† (â€Å"Site Lines,† Abelardo). Many students are extremely luck to have a mentor such as Morell. He went far and beyond what any other teacher would do for their students. â€Å"When I began teaching photography at the Massachusetts College of Art in the mid 1980s, one of the strategies I used to get beginners excited about photography was to convert our cla ssroom into a camera obscura† (Morell). Camera Obscura might sound like a complicated technique but it really is very simple. One would be surprised how easily it can be done. Even though it can be done very easily and may seem like a new technique, the process has been around for many centuries. â€Å"In 1490, Leonardo da Vinci wrote the earliest surviving description of the camera obscura (dark chamber), a device designed to reproduce linear perspective. The camera obscura, the prototype of the photographic camera, was a large dark room that an artist physically entered. Light entered through a small hole in one of the walls and projected a distinct, but inverted, color image onto the opposite wall that could be then traced† (Hirsh). â€Å"The Camera Obscura seems little short of miraculous, even after the optical rationale has been explained. That one pinhole of light can carry all the visual information of a landscape into a darkened room is still, after many centuries, unknown to the great majority of humans and surprising when they learn of it† (Morell). To understand it better the camera obscura was a darkened room or chamber that allowed only a pinhole of light to enter into a light tight area through which is called an aperture. Diffraction is what allows camera obscura to work. Diffraction in this sense is the bending of light waves that enter the chamber or room and to appear on the wall opposite of the aperture. This image can be produced with exceptional quality if accomplished in the right way. When viewing the camera obscura while it is taking place, one will notice that the image presented on the wall is inverted due to diffraction. Leonardo da Vinci is said to have developed this technique for drawing but was not credited for it. Later on people began to use it more to render drawings to be perspectively correct. Artists at the same time had a hard time with perspective, so the camera obscura helped advance their skills in drawing with becoming perspectively correct. This device is important to the history of photography b ecause it was one of the first forms of photography and cameras. It showed that, at the same time, advances could be made in photography, something with the means of time and knowledge. The discovery of the â€Å"new† technique brought about a need and desire of photography to this day, especially for Abelardo Morell. When deciding to create a camera obscura there are a few things one should consider before jumping into the mind-boggling technique. The first thing you need to consider is the room that you will be photographing in. This room needs to have at least one window and one entry way. The second factor to consider is the time of day you will be photographing in. The time of day where the light is the brightest is the best time to pull off this magnificent method. Also, look at what is outside of the anticipating room. Is the landscape dull or is it astounding? Depending on how amazing you want your photograph to come out depends on the photographer and the landscape that will be captured.

Rememory in Toni Morrisons Beloved Essay -- Toni Morrison Beloved Ess

Rememory in Toni Morrison's Beloved To survive, one must depend on the acceptance and integration of what is past and what is present. In her novel Beloved, Toni Morrison carefully constructs events that parallel the way the human mind functions; this serves as a means by which the reader can understand the activity of memory. "Rememory" enables Sethe, the novel's protagonist, to reconstruct her past realities. The vividness that Sethe brings to every moment through recurring images characterizes her understanding of herself. Through rememory, Morrison is able to carry Sethe on a journey from being a woman who identifies herself only with motherhood, to a woman who begins to identify herself as a human being. Morrison glorifies the potential of language, and her faith in the power and construction of words instills trust in her readers that Sethe has claimed ownership of her freed self. The structure of Morrison's novel, which is arranged in trimesters, carries the reader on a mother's journey beginning with th e recognition of a haunting "new" presence, then gradually coming to terms with one's fears and reservations, and finally giving birth to a new identity while reclaiming one's own. Morrison characterizes the first trimester of Beloved as a time of unrest in order to create an unpleasant tone associated with any memories being stirred. Sethe struggles daily to block out her past. The first thing that she does when she gets to work is to knead bread: "Working dough. Working, working dough. Nothing better than that to the day's serious work of beating back the past" (Morrison 73). The internal and external scars which slavery has left on Sethe's soul are irreparable. Each time she relives a memory, she ... ...ge with Sethe. She not only searches for her face, but wants to be that face. In taking ownership of herself, Sethe unshackles herself from the ghosts of her past. Beloved has helped Sethe to free herself, and now can finally depart. Beloved takes Sethe's complex past and from it lifts one of life's simple truths: only you can define yourself. Sethe is finally free and at peace. From spiteful to loud to quiet, 124 Bluestone Road has evolved just as the characters have. All have remembered. Redemption comes because the past has been reconciled. Forgetting comes only with the pain of remembering, and in a world of rememories, we are bound to bump in to one of our own. Morrison gives birth to a story and in doing so claims ownership for herself, which is something only she could do. Works Cited Morrison, Toni. Beloved. New York: Plume, 1987.

Analysis of Badinerie by J. S. Bach Essay

The piece Badinerie is best known for its destinations as the final movement of Johann Sebastian Bach’s Orchestral Suit No.2 in B minor. Johann Sebastian Bach was born on the 21st March 1685 and died on the 31st of July 1750. He was a German composer, organist, harpsichordist, and violinist. He wrote sacred and secular works for choir, orchestra, and solo instruments. Bach drew together the strands of the Baroque period and brought it to its ultimate maturity. The piece Badinerie is in a light mood and structured in the Binary Form. It is cast in swift 2/4 metre beginning on the upbeat or anacrusis. This piece was originally written for a Chamber Orchestra and a solo flute. The piece starts in B minor and played in allegro tempo throughout. Badinerie start with a messo forte dynamic marking meaning moderately loud with motive A in the pickup bar at the beginning and motive B starts on the second beat in bar two to bar 3. The Antecedent ranges from the beginning of the music to the first beat of bar four, which ends on a Perfect Authentic Cadence. The Consequent started on the second beat of bar for four to the first beat of bar ten, which ended on an Imperfect Cadence a one to a five suspended two chord in second inversion. They are long phrases throughout the duration of the piece. In the first five bars the bass line plays a Bassa Continuo style in Baroque music, however in modern day it is called a Walking Bass style. In bars six to ten the melody line plays a similar rhythm that the bass was playing in the first five bars and the bass line plays a similar rhythm to what the melody line was playing. The second beat of bar 10 the dynamic marking changes to forte meaning loud which is the beginning of the phrase extension and sequential progression to bar 16. There is a great build up in this phrase with a messo forte crescendo leading up to forte and the use of sixteen notes in the bass notes the section intense and bright. Bar sixteen the end of the first section is repeated and ends on an Imperfect five of five going to five cadence called tonicization. The second section of the piece is a development of A, which is the same melody played a fifth up. The Antecedent started from the pickup beat to the first beat of bar twenty and the consequent picked up on the next beat and ended on bar twenty three on a five of three going to a three cadence. The piece then modulated to D major in the next bar then f# minor in bar 30 then back to b minor in bar thirty two. There is a phrase extension starting on the second beat of bar twenty to the first beat of bar twenty eight. The same idea comes back again of the melody line taking the rhythm of the bass line and the bass line taken the rhythm of the melody line in bars twenty eight to thirty two. There are pedal points in bars 33 to 35, interesting to note that there is use of octaves. In bars thirty six the first beat has a loud dynamic marking and the second beat has a soft dynamic marking which is quite interesting. There is a crescendo in the next bar leading up to forte towards the second to last bar. This section is then repeated and the section time around there is a rit. 2 Volta which means turn around then retard the second time. The piece ends on a Perfect Authentic Cadence.

My Childhood Memory: An Accident That I Can Never Forget Essay

When I was aged 3 in 2002 I had an accident at home that I would never forgot. I use to live in Helmsley, North Yorkshire and attended a nursery school called Montessori Nursery in a town/village called Wombleton. It was a Thursday I had been at nursery, I was very hyper and pumped up bristling with energy, my mum had come to collect me to take me home which I didn’t want to do although I had no choice, while my mum was making lunch I was watching my favourite programme on the TV which at the time was â€Å"Thomas the Tank Engine†. Once I had lunch mum started to clear up and afterwards started to disassemble me and Neil’s (my brother) bunk beds, I decided to be a bit more adventurous, I had seen a small old wooden step ladder (It was designed for the bunk beds), I decided to use it, I took the ladder down the stairs without my mum knowing, took it into the front room and proceeded to rest it against the TV unit and climb up it. I thought that this would be fun and exciting at the time, I climbed the ladder holding onto to the top of the television as I got to the top where I grabbed hold of the handles at the back, I lost my balance and I kind of knew what would happen but I didn’t have enough time to react as I was very small back then, I fell backwards still holding onto the television, I landed on the floor with a thud and a cracking noise came from the tv , the television landed on my right leg and the screen was smashed to pieces, I felt a throbbing pain in it. I screamed in pain and the whole neighbourhood could hear it, tears rushed down my face while I could hear my mum come rushing down the stairs, my mum came running into the room and was shaken to the core to find me on the floor crying with a tv on my leg, I was in agonising pain, she lifted the TV off me and then comforted me until I let her see my leg, I could not walk without being in a whole load of pain and falling over, so my mum had to carry me to the setae where should could examine my leg further before making a decision. Mum contacted the local doctor to make an emergency appointment as the hospital was over 30 miles away in Northallerton, the place that I was born in, same hospital, the doctor said they could not x-ray because they didn’t have the right equipment for the job at hand and therefore he suggested that mum take me to the hospital. My mum looks a little bit cross when the doctor said that as she didn’t want to drive that far, but she did anyway. We had to collect my brother from school as my Dad was away on business, (which was unfortunate at the time), and then drove to the hospital, we arrived at accident and emergency and were the only people there but had to wait for nearly two hours to be seen which is really stupid now that I think about it, there was no one there but we had to wait 2 hours, during those hours I fell asleep and that kind of helped ease the pain cause it made me forget about the fact a tv landed on my foot, I couldn’t walk on the leg as it would probably have made it worse and also because it would mean I would be in excruciating pain. Eventually I was taken to have an x-ray(at long last) and had to wait for the results, when they came back my mum was told that it was not broken but badly bruised my mum was relieved to hear it , they tried to put an elastic sock on my leg but I would not wear it. I didn’t feel comfortable with one being put me. It just wouldn’t feel right because I was very stubborn at the time and I had never worn one so I didn’t want to wear one, I would now if the same thing happened again to me but that’s not that likely. My poor mum had to carry me about for about a week or so until my leg recovered from the accident, the only down side of this was that the TV screen was smashed when it fell on my leg and had to be repaired so me and my brother Neil couldn’t watch our favourite shows for a few weeks which was a huge pain. No â€Å"Thomas the Tank Engine† for me.