Helping an organization move forward

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The Creating Change Paper provides you with an opportunity to develop a plan to create some type of change
in your organization or department. You can also select an organization you do not work for but know it needs
some type of organizational change. Select a substantial change effort that you want to change. Then discuss
how you plan on implementing the change in your organization. Structure your paper so you answer the
following questions:
Executive Summary – What needs to change and why? Who is affected and how will they be affected? Clearly
identify the problem and explain what you think will be the result of a successful change (Expected outcome)?
Who will benefit and how will this help the organization moving forward?
What steps will you take and what research will you perform to better understand the current climate/culture?
Existing organizational characteristics?
Functional and Dysfunctional effects of the current culture?
How will you stimulate the employees in the existing culture to accept your change?
How will you overcome any resistance to change?
How will you know your efforts are working? How will you measure your progress?
Conclusion
Criteria for grading the paper will include:
3-5 page paper, not including title page, table of contents, or reference page. Include page numbers.
Direct quotes limited to 10% of the paper. I want to hear your voice, not the authors.
Follow APA guidelines (Title page, table of contents, double-spaced, in-text citations and reference pages).
Cite your sources…where are you getting your information from and what did you read or experience that
helped you form your opinion?
The use of supporting & supplemental material to support the paper and help tell the story more vividly:
include graphs
process flow diagrams
organizations charts
survey results/questions to be used
utilize your readings, videos, discussion boards and perform your own research.
Your analysis of the change process on a step-by-step basis will be critical, as well as, showing you learned
the content presented in this class.

 

 

SAMPLE SOLUTION

For eons, film comedy was bound to the vaudeville tradition which defined the “cinema of attractions” and more resistant than most genres to the pull towards classical narrative. The films of Buster Keaton, who began as a child star in vaudeville, traced the transitions in screen comedy throughout the silent era. Keaton began as a second fiddle with Fatty Arbuckle’s comic troupe, reflecting the ensemble-based comedy style associated with early slapstick films, but gradually gaining greater screen time. Keaton’s solo shorts, such as The Playhouse, required only the most minimal plot frame with most of the pleasure coming from spectacular sequences of virtuoso performance, stunts or gags.

another individual. Ultimately this is done with the intent of rationalising his experience. [xxxxxxx] Although Humbert gains some integration, even in his own psyche, the centrality he establishes at the beginning crumples as he grows more obsessive, thus falling into the trap of madness due to his existence in isolation –

I am ready to yank you out of Beardsley and lock you up you know where, but this must stop. I am ready to take you away the same time it takes to pack a suitcase.

Humbert’s forceful, almost violent language emphasises the power dynamic: there is, by very virtue of its nature, a lack of equality in the relationship. However, linguistically this is reinforced, meaning that it continuously pivots around Humbert’s needs, belying the presence of megalomania in his behaviour. Lolita’s escape therefore results in a scene, as can be gathered from her name being the title, to actively fantasise and abuse her distorts Humbert’s ability, thus effectively distorting his “Humberland” and forcing him into his “new solitude”.

Lolita leaves him on 4th of July Independence Day
Defiled lolita like defiling america
‘And I catch myself thinking today that our long journey had only defiled with a sinuous trail of slime the lovely, trustful, dreamy, enormous country that by then, in retrospect, was no more to us than a collection of dog-eared maps, ruined tour books, old tires, and her sobs in the night – every night, every night – the moment I feigned sleep.’ (175-176)

‘The disappointment I must now register (as I gently grade my story into an expression of the continuous risk and dread that ran through my bliss) should in no wise reflect on the lyrical, epic, tragic but never Arcadian American wilds. they are beautiful, heartrendingly beautiful, those wilds, with a quality of wide-eyed, unsung, innocent surrender that my lacquered, toy-bright Swiss villages and exhaustively lauded Alps no longer possess.’ (168)

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