Conflict Management and Emotional Intelligence - 63003 Words

Southern Cross University ePublications@SCU Theses 2010 Conflict management and emotional intelligence Yu Fai Leung Southern Cross University, keith.leung.yu.fai@gmail.com Suggested Citation Leung, YF 2010, Conflict management and emotional intelligence , DBA thesis, Southern Cross University, Lismore, NSW. Copyright YF Leung 2010 ePublications@SCU is an electronic repository administered by Southern Cross University Library. Its goal is to capture and preserve the intellectual output of Southern Cross University authors and researchers, and to increase visibility and impact through open access to researchers around the world. For further information please contact epubs@scu.edu.au. Conflict Management†¦show more content†¦V Table of contents Statement of original authorship Acknowledgments Page II III IV Abstract Introduction 1 1.1 Background to the research 1 1.2 Research issues and contributions 4 1.3 Justification for the research 6 1.4 Research Method 1.5 Outline of the dissertation 11 1.6 Definitions of Terms 12 1.7 Delimitations of scope and key assumptions 16 1.8 Conclusion 1 8 17 2 Literature Review 20 2.1 Introduction 20 2.2 Parent theories and classification modelsShow MoreRelatedEmotional Intelligence And Conflict Management758 Words   |  4 PagesTAYLOR: EMOTIONAL INTELLIGENCE AND CONFLICT MANAGEMENT 2 There are countless diverse titles in a business that necessitate different knowledge, talents and competences. Therefore, this is of significance to businesses in ensuring leaders who are capable to motivate, comprehend and get their groups to work collectively. 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The Global War to the Great Depression - 627 Words

A horrific global war led to an equally heinous economic recession, triggering global fear and lack of guidance. World leaders stood to the challenge of mending the shattered 100 year peace and economy in Europe. America, it seemed, desired no part in this scramble for order, turning its back to the international world. Through the Great War to the Great Depression, the transforming world not only caused America to withdraw from the world, but also allowed Franklin Delano Roosevelt an opportunity to refine all aspects of American standards and life. Despite only a brief participation in the Great War, a diplomatically satiated America swiftly closed its doors to the international world. However, this was not without good reason; according to Alan Brinkley, â€Å"the United States government had appropriated $32 billion for expenses directly relating to the conflict† (621). At over 90% of the national gross domestic product at the time, war expenses were an uncomfortable cost t o American leaders who, in addition to the post WWI recession where millions lost their jobs, decided America needed a break internationally (Brinkley 621-632). Not only did America refuse to ratify the Treaty of Versailles and the League of Nations, they disarmed military forces, severely limited immigration, and â€Å"passed one of the highest tariffs in United States history† (Kennedy). As a result, the prosperous â€Å"roaring twenties† involved not only economic growth and consumerism but also massive culturalShow MoreRelatedThe Global Effects of Imperialism, World War I and the Great Depression1424 Words   |  6 PagesThe Global Effects of Imperialism, World War I and the Great Depression Bentley first talked about cross-cultural interactions as a way to categorize the World’s history. 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Frank OHaras Method free essay sample

Does the postmodern poem care about the past? More importantly, was Frank O’Hara, as a torchbearer of the postmodern poetic, a loyal student of the past? Or was he a reckless practitioner of the ‘â€Å"I do this, I do that† aesthetic’[2]? This essay posits that O’Hara did not reject traditional measure, for ‘what differentiates the poet from other writers is the focus on mode’[3] and O’Hara was no exception in that he did not transcend traditional form. True, O’Hara argued that ‘you just go on your nerve’, however, as W. S. Merwin points out, O’Hara’s point of difference as a poet meant ‘ you don’t just go on that [nerve]. There had to be the talent. And it had to be his [O’Hara’s] own’[4]. Accordingly, O’Hara felt compelled to acquiesce; ‘measure and other technical apparatus, thats just common sense’[5]. Thus, the appearance of rhythm, isochrony, assonance, alliteration and the cacophonous echo of O’Hara’s poetic influences should come as no surprise. And through Charles Olson’s assertion that ‘form is never more than an extension of content’[6], I argue that the ‘nerve’ which was O’Hara’s fire – his very being – necessarily generated a poetic measure that accommodated a masterful fusion of both traditional and postmodern traits. Rhythm At first, O’Hara’s Personal Poem from his collection Lunch Poems seems to be a piece that ostensibly rebels against its ‘own rules’. In briefly analysing part of it, we might assess how seriously to take O’Hara’s purported poetic nonchalance, its ‘recreation of everyday experience a source of annoyance for partisans of every stripe’[7]. We might then strike at the heart of O’Hara’s confession: ‘I don’t think my experiences are clarified or made beautiful for myself or anyone else, they are just there in whatever form I can find them. ’[8] Personal Poem begins: Now when I walk around at lunchtime I have only two charms in my pocket an old Roman coin Mike Kanemitsu gave me and a bolt-head that broke off a packing case when I was in Madrid the others never brought me too much luck though they did help keep me in New York against coercion but now Im happy for a time and interested [9] (1953) Let us examine rhythm. Rhythm is, above all, the ‘patterning of energy, of tensions and release, movement and countermovement that we both perceive and produce in our own brains and muscles’[10]. In poetry, it is a semantic and aesthetic catalyst for a bio-chemical oscillation of the mind. Proponents of isochronism, the ‘rhythmic organisation of speech into equal intervals’[11], likely identifies a characteristic of O’Hara’s postmodern measure as being closely related to the rhythm of speech. The tone groups (i. e. the words comprising a single breath or utterance), seem to deliberately or inadvertently create a spoken rhythm: Now when I walk around at lunchtime (breath) I have only two charms in my pocket (breath) an old Roman coin Mike Kanemitsu gave me (breath) nd a bolt-head that broke off a packing case The apparent isochrony evokes a sense of being spoken to by O’Hara, seemingly ‘address[ing] itself to one person’[12]. Its natural spoken rhythm is established with each line- break, thus becoming and ‘important element of the reader’s experience’[13]. Whilst the syllable count of each line is not consiste nt, nor a rhythm regular enough to generate meter, there is an undeniable rhythm formed in the measure of this stanza; the inevitable breath-phrasing of a ‘practitioner of the impulsive’[14]. From Rhythm to Simultaneity Further, it is O’Hara’s ‘nerve’ which we find splayed out in terms described by Charles Olson’s ‘open’ field of poetry. With the rhythmic momentum of the second stanza, the pace kept moving by regular use of ‘and’, we can almost hear Olson barking down O’Hara’s neck as he writes: ‘keep it moving as fast as you can, citizen always one perception must must must (sic) MOVE, INSTANTER, ON ANOTHER! †[15] Thus the second stanza: I walk through the luminous humidity passing the House of Seagram with its wet and its loungers and the construction to the left that closed the sidewalk if I ever get to be a construction worker Id like to have a silver hat please and get The absence of punctuation and seemingly endless enjambment shows a commitment to the Surrealist tradition which Sellin calls ‘the cubist-surrealist esthetic [of] simultaneity’[16]. O’Hara’s spasmodic ‘nerve’ is palpably influenced by surrealist masters as Breton, Reverdy et al[17]. This is a prosody that openly embraces ‘syntactic ambiguity’[18] creating poetry of ‘great speed, openness, flexibility, and defiance of expectation’[19]. And albeit achieved not through a ‘traditional measure’ it is nevertheless drawn from tradition. More than that, Personal Poem, as with any other first-person poems of O’Hara, undoubtedly follows the thematic and stylistic lead of a modernist predecessor; ‘the first writer that chose to speak personally Vladimir Mayakovsky’[20]. In Lunch Poems we find the ‘rhetoric of pretending to have no rhetoric’[ 21] and can with confidence argue that O’Hara knows his tradition. Strange Semantic: Elegy of Alliteration A glance at a fragment of O’Hara’s Second Avenue poem, a ‘postmodern elegy’[22] as David Dick puts it, will further clarify the degree to which we should temper O’Hara’s supposed war on the ‘propagandists for technique’[23]. This ‘high energy-construct energy discharge’[24] surely displays what Charles Olson meant when he said: ‘form is never more than an extension of content. ’[25] What spanking opossums of sneaks are caressing the routes! and of the pulse-racked tremors attached to my viciousness I can only enumerate the somber instances of wetness. (â€Å"SA† 54-56) Despite possessing a severe poverty of semantic sense or fixed connotation, O’Hara’s use of traditional alliteration and assonance work tirelessly to convey meaning: panking opossums of sneaks are caressing the routes †¦ somber instances of wetness They encourage through persistent and unrelenting hissing almost jittering a feeling of utter despair. And the jarring syllable stresses of pulse-racked tremors is a powerful modal tool for conveying the urge of pulsation and tremor. These traditional prosodic devices are re-framed by O’Hara to champion the postmodern aesthetics of tra nsience, uncertainty, spontaneity and simultaneity; the use of tradition to break free from itself. And as Dick rightly points out, Second Avenue ‘articulates a distaste, and sense of undesirable duty, toward the tradition of â€Å"legendary elegies†[emphasis own]’[26]. In the vein of Rilke’s Duino Elegies, it cannot but bow to the poetic diction that characterized his modernist forbearer: And must I express the science of legendary elegies consummate on the Clarissas of puma and gnu and wildebeest? † (â€Å"SA† 73-74) Obliging to tradition, O’Hara’s dons his ‘tight pants’[27] and crafts in these two lines an exceptionally poised diction. As Dick describes it: Second Avenue† is a poem that is best read in terms of the European modernist tradition Though it may not have a distinct narrative structure, the insistent presence of its influences and voices provide it with a unifying theme: the simultaneous celebration and parody of major poems written by the European modernists†. Couple Second Poem with a surprising line from Music. It leaps from the page then recedes like a playful child playing ‘tag’, almost jolting us like a ghost which we believe a mere dream. Then we begin to understand how ‘seriously’ to take O’Hara’s retort from the Personism Manifesto: nd gusts of water spray over the basins of leave like the hammers of a glass pianoforte. If I seem to you to have lavender lips under the leaves of the world, I must tighten my belt. [28] (1953) Whilst O’Hara’s idiosyncratic quirkiness, playfulness, ephemeral imagery and juxtaposition is ubiquitous, a simultaneous traditional diction of alliteration and assonance is worked masterfully like interlocking waves from the past. Oscillation: Past and Present Finally, it would be irresponsible to ignore one particular poem, unbridled and catapulting towards a combination of traditional and loose forms. In Memory of My Feelings (written in 1956) is, as Marjorie Perloff suggests, an ‘extremely â€Å"open† lyric sequence that nevertheless never gives way to formlessness, never â€Å"panics†Ã¢â‚¬â„¢[29]. It opens with even line lengths, a lyrical quality and a still, mirage-like balance that cannot resist a ‘familiar romantic topos’[30] of past poetic eras: My quietness has a man in it, he is transparent and he carries me quietly, like a gondola, through the streets. He has several likenesses, like stars and years, like numerals. My quietness has a number of naked selves, o many pistols I have borrowed to protect myselves   from creatures who too readily recognize my weapons   and have murder in their heart! †¦ As in interesting juxtaposition exercise, one might say that these verses are unrecognizable beside the ‘†¦immediacy, excitement, and sense of presence’[31] of this stanza from Five Poems (1960): an invitation to lunch HOW DO YOU LIKE THAT? when I only have 16 cents and 2 packages of yoghurt there’s a lesson in that, isn’t there like in Chinese Poetry when a leaf falls? [32] And then in returning to In Memory, we likewise identify a hodge-podge of versified language; almost a scribbled thought lacking any deliberate measure. And yet, Perloff comes vociferously to O’Hara’s defence in asserting that ‘O’Hara’s reputation as a causal improvisator, unschooled doodler, could hardly miss the mark more completely’[33]. O’Hara quite deliberately hoped to employ ‘a kind of automatic writing to match the epic scale and grandeur built up by accident and subconscious connections in abstract expressionist painting, aleatory music, and French surrealist cata-logue poems’[34]. Observe the contrast. At first, we need go no further than the musicality of In Memory to ascertain O’Hara’s influence from, and challenge to, traditional measure. The contrasting metaphors of like a gondola, †¦ like stars and years, like numerals. †¦ are neatly layered beside one another evoking Symbolist tones and forms of mysticism and otherworldliness. Then the poem oscillates, between a traditional poetic awareness and the following free-verse, possessed by uncertain lineation, surprise and single-word lines: I am underneath its leaves as the hunter crackles and pants   and bursts, as the barrage balloon drifts behind a cloud   and animal death whips out its flashlight, whistling and slipping the glove off the trigger hand. The serpents eyes   redden at sight of those thorny fingernails, he is so smooth! And yet still, O’Hara once wrote to Bill Berkson that ‘there is as much freedom in the composition of music as there is in a prison recreation yard’[35] which Perloff suggests O’Hara must have felt to some degree regarding poetry too. Do we therefore fail to find a consistent approach from O’Hara towards traditional prosody? Ultimately, O’Hara’s Personism Manifesto that publicized O’Hara’s guiding ‘nerve’, was a satirical take on the poetic manifestos that seemed a rite of passage for every poetic movement that preceded his own. The brazen nonchalance we therefore find in this essay title may have swept up some unintended (and misguided) conclusions among critics that O’Hara had rejected traditional prosody. As we can see from a brief examination above, that couldn’t be farther from the truth. O’Hara’s Prosody: A Human Measure Despite my assertions that O’Hara was highly attuned to poetic tradition, in an important way we should nevertheless take heed to O’Hara’s words in rejecting certain confines of the past. As David Herd aptly puts it: He (O’Hara) is composing as he steps; the step†¦is the measure of his composition. And†¦as he steps he becomes acquainted with the environment that form(s) the fabric of his poem What O’Hara establishes is a human measure, a prosody of cognition which finds its metric in (his own) human form. [36] Ultimately, O’Hara’s poetic form straddles the line between traditional aesthetics and the movement of the day – his day. Elain Equie describes it by saying that ‘art is not so easily democratized But if there is a way to be both an aesthete and a populist, Frank O’Hara found it’[37]. O’Hara was a unique poetic composer who, whilst acutely aware of the historical foundations upon which he stood, was still able to write about a ‘liver sausage sandwich’[38] and mean nothing more than that. Bibliography A Tribute to Frank O’Hara, published in Crossroads, Spring 2000

Should we Outsource our CSR an Example of the Topic Economics Essays by

Should we Outsource our CSR? In studying our service request process, it became apparent that our ten customer service representatives (CSRs) working on a shifting schedule to serve hundreds of our customers everyday are not efficiently answering the necessity for fast service. Despite computerization, the CSRs were filled to the brim with requests, and they are overworked for accepting the requests and processing them for technical support to attend to. Add to this, they also accommodate account information request from clients. While our technical support is comprehensive, they are waiting for requests which are coming from the CSRs. Without reports from the CSRs, they cannot answer to a customer request whether for connection or repair. Need essay sample on "Should we Outsource our CSR?" topic? We will write a custom essay sample specifically for you Proceed The growing number of service requests is tantamount to the growing number of our subscribers. We can view this on a positive note as we can be able to measure the growth of our company by the growth in the number of our subscribers. However, as the old economic adage goes, the more demand there is, the more supply there should be. If we cannot answer the growing demands of our consumers, our competitors will take advantage of this loophole and the customers will start thinking twice about our service. This is dangerous for our aim to retain customer loyalty for, by comparison with competitors, we have the edge in terms of our client relations. While technically speaking we may be left behind by more advanced and financially capable companies, our asset being our relationship with our clients is an enviable advantage we have over other companies. Thus, we should figure out how well we can improve our service in this area to protect our accounts. Based on a survey by The Economist (2007), an effective option used by many companies today is to outsource the customer service. Outsourcing is an economic savior for companies like us. It will allow us to function inter-departmentally with less cost, thus less investment, and less effort in respect with our manpower. It allows us to hire customer representatives without having to ask our human resources department to work doubly hard, and at increased speed, to answer the need for more representatives. It allows us to train new people without having to hire new trainers. It gives us the opportunity to invest once and get all that we need to answer our customer service dilemma. This will be a viable alternative for us as we can outsource general requests and make our existing CSR department exclusive for our business accounts clients. With this option, we will need to choose a business process outsourcing (BPO) company, a call center, which specializes in voice and text service to do the customer service for us. This is nothing new to many businesses. Even other telecommunications companies in other countries have resorted to such choice. With outsourcing, we do not need to rush our human resources team with new applications; outsourcing companies have existing employees to train for our job requirements. All we need to do is set standards and furnish them information on our requirements. Then, we can stay on the background, monitoring the process and making changes as needed. We need not go through the process of hiring new people and waste considerable time and effort for new trainings and acculturation. This is comparably easier and more economical than the long way out of expanding the customer service department. While this may ensure that the new people are trained according to our specifications, it will mean segmented expenses to answer the different aspects involved in expanding the department. It will mean assigning or hiring people to train the new customer service representatives. When we choose to do this, we need to employ more people to do the job of answering calls and accepting inquiries and requests. Training shall also cost the company a considerable amount of money. The company will also need to set up more workstations to accommodate the new CSRs. The workstations will need equally powerful computer systems and client reception systems. Of course, more computers will mean more usage of electricity, necessity for more floor space, and more users for company facilities. In employing more manpower, the company shall invest a larger chunk of its revenue on payroll for the newly hired, whereas in outsourcing we shall be hiring new people also but in undoubtedly lower expenses as wages in other countries, especially where outsourcing are booming industries, are known to be cheaper. This lower-wage advantage has been one of the reasons why outsourcing has been a popular choice for many companies. In the same way, moving on with a BPO company to provide for our call center needs also has its downsides. As The Economist (2007) puts it, IBM beats Indian BPO firmsthe fastest growing in the worldby way of maintaining good client relations. This applies to us. We move forward and reach up by understanding our clients and responding to their needs. If we outsource, there is the threat of a different culture from a different group of workers to be injected into our customer service. While there is a chance for it to be good or bad, the small margin of error between the two may still mean loss of customer on our side. However still, every great step involves great risk. We can choose to not take the risk of outsourcing, or face it and live with it by taking the precautionary measures so that it does not drastically affect us. If we deploy comprehensive monitoring in our outsourcing of our customer relations service, we can ensure that the theory which worked for other companies can also work for us. It is then safe to say that outsourcing is a good deck to bet at, and if we deal the cards at the right moment it can get us the returns we expect. And maybe even more. Source The Economist (2007). A world of work.