BAA’s Communication Breakdown

The biggest challenge facing the British Airports Authority, or BAA, is allowing itself to move forward without sacrifice. Group leaders want to expand their authority while being a good community neighbor. Problems exist considering that the organization proposed to enlarge Heathrow Airport. BAA officials knew they could not start those improvements until area residents complied with their requests. (Olivant, 2000) Most companies put in this situation would follow their agendas because they (a) had their shareholders’ position in mind (b) their own interest in mind or (c) they could.(Olivant, 2000) What BAA executives did instead was speak with affected groups to determine what could be done to please everyone. The solution was a â€Å"Contract with the Community† that openly addressed public concerns ranging from air pollution to runway expansion. The results were increased community support and the backing to continue serving its customers. (Olivant, 2000) This move became telling, as the BAA switched leaders in March 2008 to streamline best practices and to bolster travel in and out of Heathrow Airport.(Pagano, 2008) The hiring of Colin Matthews as the CEO was instituted to get those changes and attitudes about the airport done. Getting security in line with modern technology and addressing the expansion issues in making the airport more suitable for travel. (Pagano, 2008) Whether this move pans out for the BAA remains to be seen. It was perceived that should the move to change the CEO at the BAA be unsuccessful, then it would make for a real communications problem because the BAA Chairman Sir Nigel Rudd would also resign. BAA 2 List of ReferencesOlivant, S. (200). â€Å"A business case for corporate citizenship. † Best Practices: Best Enterprises for Sustainable Travel. New York: The Conference Group. Retrieved May 11, 2009 from: http://www. sustainabletravel. org/docs/pdf_BAA. pdf Pagano, M. (2008). â€Å"Bloodletting at BAA: the new regime that must take on a jumbo sized challenge. † The Independent. Retrieved May 11, 2009 from: http://www. independent. co. uk/news/business/analysis-and-features/bloodletting-at-baa-the-new-regime-that-must-take-on-a-jumbosized-challenge-790176. html

Burgess’s Comment on Society in A Clockwork Orange

The decade in which post-war social change is felt to have been concentrated is the 1960s. This is certainly a simplification, but it does help pinpoint some of the more dramatic changes that may have been longer in the making. For example, one of the key social changes of the 1960s is the emergence of ‘youth culture'. The sense of a newly empowered sector of society is conveyed principally by the new spending power of young people, and the emergence of mainstream youth-related cultural forms, especially pop music, that quickly become significant components of the economy.The most memorable fictional treatment of youth culture in the 1960s, however, puts a very different construction on the changing balance of power. In A Clockwork Orange (1962) Anthony Burgess isolates the tribal, antisocial elements of youth culture in a dystopian fable of violence as leisure. On the surface A Clockwork Orange is a novel about juvenile delinquents in a near-future Britain, but on a deeper lev el it is a novel about conditioning and free will.Even the parboiled paternalism of the Empire and the synthetic socialism of the welfare state had still apparently left room – though not much – for a dialogue between the individual and society and had kept alive discussions as to what was right and what was wrong with England. Now what had been the issue was exacted from the sensibilities of those who, glutted physically and socially, lived under what amounted to a deadening hedonism.It must have seemed only logical to Burgess, after exploring the dialectics of the single and collective mind, that the problem of the novelist was to probe its metaphysics- to see how the naked needs of his rebel anti-heroes could be met in a mad, lost, loveless, brutal, sterile world. Alex, the gross product of welfare state overkill, is not depraved because he is deprived but because he is indulged. â€Å"Myself,† he notes rather pathetically at the beginning of A Clockwork Oran ge, â€Å"I couldn't help a bit of disappointment at things as they were those days. Nothing to fight against really.Everything as easy as kiss-my-sharries† (Burgess 11). Alex's utopia is more than the result of self-gratification; it is the consequence of the â€Å"original sin† inborn with every offspring of modern organizational leviathans. Having discovered that existence has always meant freedom, but never having been taught â€Å"goodness,† Alex responds predictably and inevitably to the killing burden of choice. Alex took on the status of a heavy metal hero, psychologically lobotomized by an insensitive society. Alex's tone is consistently bright, breezy, humorous, cynical, confident, and amoral, as is Alex himself.This is the opening of his story: â€Å"What's it going to be then, eh? There was me, that is Alex, and my three droogs† (Burgess 5). It is a book focusing on â€Å"the chance to be good† and proceeding from a single, significant existential dilemma: Is an evil human being with free choice preferable to a good zombie without it? Indeed, at two points in the novel Burgess spells out the dilemma for us. On one occasion, Alex, about to submit to conditioning, is admonished by the prison chaplain: â€Å"It may not be nice to be good, little 6655321. It may be horrible to be good. . . . Does God want goodness or the choice of goodness?Is a man who chooses the bad perhaps in some ways better than a man who has the good imposed upon him? . . . A terrible terrible thing to consider. And yet, in a sense, in choosing to be deprived of the ability to make an ethical choice, you have in a sense really chosen the good† (Burgess 96). And on the other, the unwitting F. Alexander, with whom Alex finds sanctuary temporarily, similarly remarks: â€Å"You've sinned, I suppose, but your punishment has been out of all proportion. They have turned you into something other than a human being. You have no power of choice an y longer.You are committed to socially acceptable acts, a little machine capable only of good. . . . But the essential intention is the real sin. A man who cannot choose ceases to be a man† (Burgess 153-54). Yet, were this all Burgess had to say on the matter, the impetus of the dilemma would lose substantially in force. Society at large has never troubled itself with the existential agony (unless to repress some manifestation of it), and judging from the preponderance of sentiment abroad today, it would undoubtedly applaud the conditioning process that champions stability over freedom.But Burgess has found inhering in the central dilemma considerations even more immediate. What distinctions between good and evil are possible in the contemporary world? As absolutes, have such distinctions not been totally perverted or obliterated? And as relative terms, depending for definition on what each negates or excludes, have they not become purely subjective? In a technically perfect s ociety that has sapped our vitality for constructive choice, we are, whether choosing good or evil, zombies of one sort or another: Each of us is a little clockwork orange making up the whole of one great clockwork orange.Burgess blames the excesses of human nature on a repressive society that corrupts its citizens – and primarily its youth – by restricting their liberty and force – feeding them outmoded values. Thus, their natural rebellion gets out of hand and only leads to more repression. The result is the satirical picture of a society moving towards an ever more repressive future. Burgess foresees a social trend toward increasing state/government control of individual lives, culminating in a political system which hires thugs as police and condones brain-washing techniques to ‘reform’ criminals.Youth violence has reached an extreme which is clearly fantastic; the failure of the adult world to prevent/control/ reform youth-as-psychopathic-condi tion reaches an equally blackly humorous extreme. For example, on April 19, 1989, a young banker, walking in Central Park, was raped and left to die. The police soon caught a group of Harlem teens and charged them with gang rape. â€Å"Wilding – the newest term for terror in a city that lives in fear,† wrote the New York Post on April 22 (Hancock 38). I think term â€Å"Wilding† defined by the Post writers can be referred to the violent raves in A Clockwork Orange.In Burgess’s A Clockwork Orange political pragmatism reigns: venal politicians grasp at sure and easy ways to erase crime; the police are as violent as the criminals they battle; political reformers are prepared to destroy ‘victims’ like Alex in their attempts to bring down the government. These mainstream social/ political structures try, but fail, to reduce Alex to ‘a clockwork orange’. Works Cited Burgess, Anthony. A Clockwork Orange. New York: Norton, 1963. Hancock, Lynnell. â€Å"Wolf Pack: The Press and the Central Park Jogger. † Columbia Journalism Review. Vol. : 41, 5 January-February 2003, 38. Burgess’s Comment on Society in A Clockwork Orange The decade in which post-war social change is felt to have been concentrated is the 1960s. This is certainly a simplification, but it does help pinpoint some of the more dramatic changes that may have been longer in the making. For example, one of the key social changes of the 1960s is the emergence of ‘youth culture'. The sense of a newly empowered sector of society is conveyed principally by the new spending power of young people, and the emergence of mainstream youth-related cultural forms, especially pop music, that quickly become significant components of the economy.The most memorable fictional treatment of youth culture in the 1960s, however, puts a very different construction on the changing balance of power. In A Clockwork Orange (1962) Anthony Burgess isolates the tribal, antisocial elements of youth culture in a dystopian fable of violence as leisure. On the surface A Clockwork Orange is a novel about juvenile delinquents in a near-future Britain, but on a deeper lev el it is a novel about conditioning and free will.Even the parboiled paternalism of the Empire and the synthetic socialism of the welfare state had still apparently left room – though not much – for a dialogue between the individual and society and had kept alive discussions as to what was right and what was wrong with England. Now what had been the issue was exacted from the sensibilities of those who, glutted physically and socially, lived under what amounted to a deadening hedonism.It must have seemed only logical to Burgess, after exploring the dialectics of the single and collective mind, that the problem of the novelist was to probe its metaphysics- to see how the naked needs of his rebel anti-heroes could be met in a mad, lost, loveless, brutal, sterile world. Alex, the gross product of welfare state overkill, is not depraved because he is deprived but because he is indulged. â€Å"Myself,† he notes rather pathetically at the beginning of A Clockwork Oran ge, â€Å"I couldn't help a bit of disappointment at things as they were those days. Nothing to fight against really.Everything as easy as kiss-my-sharries† (Burgess 11). Alex's utopia is more than the result of self-gratification; it is the consequence of the â€Å"original sin† inborn with every offspring of modern organizational leviathans. Having discovered that existence has always meant freedom, but never having been taught â€Å"goodness,† Alex responds predictably and inevitably to the killing burden of choice. Alex took on the status of a heavy metal hero, psychologically lobotomized by an insensitive society. Alex's tone is consistently bright, breezy, humorous, cynical, confident, and amoral, as is Alex himself.This is the opening of his story: â€Å"What's it going to be then, eh? There was me, that is Alex, and my three droogs† (Burgess 5). It is a book focusing on â€Å"the chance to be good† and proceeding from a single, significant existential dilemma: Is an evil human being with free choice preferable to a good zombie without it? Indeed, at two points in the novel Burgess spells out the dilemma for us. On one occasion, Alex, about to submit to conditioning, is admonished by the prison chaplain: â€Å"It may not be nice to be good, little 6655321. It may be horrible to be good. . . . Does God want goodness or the choice of goodness?Is a man who chooses the bad perhaps in some ways better than a man who has the good imposed upon him? . . . A terrible terrible thing to consider. And yet, in a sense, in choosing to be deprived of the ability to make an ethical choice, you have in a sense really chosen the good† (Burgess 96). And on the other, the unwitting F. Alexander, with whom Alex finds sanctuary temporarily, similarly remarks: â€Å"You've sinned, I suppose, but your punishment has been out of all proportion. They have turned you into something other than a human being. You have no power of choice an y longer.You are committed to socially acceptable acts, a little machine capable only of good. . . . But the essential intention is the real sin. A man who cannot choose ceases to be a man† (Burgess 153-54). Yet, were this all Burgess had to say on the matter, the impetus of the dilemma would lose substantially in force. Society at large has never troubled itself with the existential agony (unless to repress some manifestation of it), and judging from the preponderance of sentiment abroad today, it would undoubtedly applaud the conditioning process that champions stability over freedom.But Burgess has found inhering in the central dilemma considerations even more immediate. What distinctions between good and evil are possible in the contemporary world? As absolutes, have such distinctions not been totally perverted or obliterated? And as relative terms, depending for definition on what each negates or excludes, have they not become purely subjective? In a technically perfect s ociety that has sapped our vitality for constructive choice, we are, whether choosing good or evil, zombies of one sort or another: Each of us is a little clockwork orange making up the whole of one great clockwork orange.Burgess blames the excesses of human nature on a repressive society that corrupts its citizens – and primarily its youth – by restricting their liberty and force – feeding them outmoded values. Thus, their natural rebellion gets out of hand and only leads to more repression. The result is the satirical picture of a society moving towards an ever more repressive future. Burgess foresees a social trend toward increasing state/government control of individual lives, culminating in a political system which hires thugs as police and condones brain-washing techniques to ‘reform’ criminals.Youth violence has reached an extreme which is clearly fantastic; the failure of the adult world to prevent/control/ reform youth-as-psychopathic-condi tion reaches an equally blackly humorous extreme. For example, on April 19, 1989, a young banker, walking in Central Park, was raped and left to die. The police soon caught a group of Harlem teens and charged them with gang rape. â€Å"Wilding – the newest term for terror in a city that lives in fear,† wrote the New York Post on April 22 (Hancock 38). I think term â€Å"Wilding† defined by the Post writers can be referred to the violent raves in A Clockwork Orange.In Burgess’s A Clockwork Orange political pragmatism reigns: venal politicians grasp at sure and easy ways to erase crime; the police are as violent as the criminals they battle; political reformers are prepared to destroy ‘victims’ like Alex in their attempts to bring down the government. These mainstream social/ political structures try, but fail, to reduce Alex to ‘a clockwork orange’. Works Cited Burgess, Anthony. A Clockwork Orange. New York: Norton, 1963. Hancock, Lynnell. â€Å"Wolf Pack: The Press and the Central Park Jogger. † Columbia Journalism Review. Vol. : 41, 5 January-February 2003, 38.

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Gradcom Ltd Organization Behavior - Research Paper Example This paper highlights that  some of the external influences resulting from the management can be manipulated to be benefit the company. It is however the duty of the management to find out how. The better the managers understand their employees, the better the relationship and the better the performance per employee. This analysis is going to be based on the factor stated above in relation to my current company-Gradcom. It is renowned for its mobile phones and computer consultancy services in Kenya and the whole of East Africa. It has been in this business for more than ten years now.  This study outlines that communication is the key to success of every organization. It is through communication that information is passed from the floor managers to the apex C.E.Os for decision making in bureaucratic organizations. A failure at any level guarantees total failure since decisions will be made based on a distorted information or insufficient data. Communication at Gradcom can be desc ribed as a mix of formal and informal with the former being strictly for communications that requires keeping records. Grapevine define the communication among the employees with majority of the information passed on informally from person to person. This culture by the prevailing environment that discourages authoritarian ruling of the juniors and less hierarchical ranks within the organization.  Most of the formal communications involve written memos, outgoing and incoming letters as well as any other official documentations where records are a necessity.

Toyota Company in China Case Study Example | Topics and Well Written Essays - 4750 words

Toyota Company in China - Case Study Example This paper will use the Porters five forces model as well as SWOT analysis in assessing the market entry strategy employed by Toyota Company to enter the Chinese market. Hill and Jones (2007) affirm that once the boundary of an organisation has been established, strategic planning managers are faced with the task of analysing competitive forces with the organisational climate to establish threats and opportunities. The Porter’s five forces model sheds more light on the five integral forces that shapes competition within an organisation. It also examines the degree of rivalry among firms, the bargaining strength of suppliers, as well as the proximity of the alternatives to the firm’s product as well as the bargaining strength of customers or buyers (Kotler, Berger & Bickhoff 2010). This model stipulates that the higher the degree of strength of each of the five forces, the less the capacity of the identified firms to hike prices and rip maximum returns. In this model, a strong competitive force can be perceived as threat. This is attributed to the fact that stronger competitive forces suppress returns. On the other hand, weak competitive forces can be perceived as opportunity.This is because weak forces enable a firm to make bigger profits (Patnaik 2012). According to Dyck and Neubert (2008), the strength of the five forces can undergo histrionic transformation via time as the firm situations are altered.

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The Role of the Government on Tobacco Use Essay Example for Free

The Role of the Government on Tobacco Use Essay The article, â€Å"If It’s Good For Philip Morris, Can It Also Be Good for Public Health?,† which was written by business columnist Joe Nocera and published in the New York Times, basically explores the realities concerning the government, particularly the Food and Drug Administration, and the regulation of tobacco use. According to the article, although tobacco company executives themselves, notably Steve Parrish, senior vice-president of Philip Morris have openly supported the regulation of tobacco use, it appears that the move lacks a concerted effort from the government. Moreover, it is also apparent that tobacco executives like Parrish have their personal business agendas in advocating tobacco regulation. In general, it is safe to assume that the public is more than aware about the dangers and health risks associated with tobacco smoking such as lung cancer, emphysema, and various heart diseases, among others. However, it is interesting to note that despite the various campaigns against tobacco smoking and other educational advertisements about it, there are still millions of people around the world who smoke. In fact, based on the article, in 2005, Philip Morris USA alone hauled in $4.6 billion in profits. In this regard, it is quite obvious that the government’s main role is to somehow regulate tobacco use so that smokers will not suffer its deadly effects. However, this is easier said that done. According to the article, while there have been several initiatives to regulate tobacco use in the past, such as the ban on all cigarette advertisements, it seems to fall short when it comes to the actual implementation. The first plausible reason behind this is that the regulation would mean decrease in profits for tobacco companies, which in turn, would affect tobacco factory workers. And considering the global financial crisis, loss of jobs is not a logical option even though it’s for the benefit of the public’s health. In short, while the government’s duty in tobacco use is clear, it is virtually powerless to make any strong moves that would fulfill their role. The tobacco executives, on the other hand, may show that they support tobacco regulation, but their true motives are unclear. After all, they are still businessmen and it would not be surprising if their actions are simply meant to earn additional profits. References Nocera, J. (2006). If It’s Good For Philip Morris, Can It Also Be Good for Public Health? The New York Times. Retrieved April 17, 2009 from http://www.nytimes.com/2006/06/18/magazine/18tobacco.html?pagewanted=3_r=1.