Emotional Intelligence Impact An Employees Communication...

Introduction This paper will address how emotional intelligence impacts an employees’ communication and success in an organization. Recognizing, understanding and managing the verbal and non-verbal emotions of themselves and others can positively impact their performance and the organizations. Emotional intelligence could be the missing link from taking an organization from good to great. Emotional Intelligence: The Missing Link The understanding of how individuals with average intellectual intelligence (IQ) could outperform an individual with a higher IQ was perplexing and unknown until the 1970’s. During this time psychologist began researching how one individual’s personal competencies and social competencies effected their success and performance in the workplace; these competencies are known as emotional intelligence (EQ). Dissecting the two competencies can then be broken down further: A. Personal Competence: The ability to stay aware and manage your own emotions, behaviors and tendencies. a. Self-Awareness: The ability to accurately interpret your emotions and stay mindful of them as they develop. b. Self-Management: The ability to utilize the awareness of your emotions to remain adaptable and positively direct your behavior. B. Social Competence: Your ability to recognize others’ personalities, moods and motives. a. Social-Awareness: Your ability to accurately analyze and interpret the emotions of others’. b. Relationship Management: Your ability toShow MoreRelatedHow Organizational Change Triggers Emotions And How Leaders Use Emotional Intelligence925 Words   |  4 Pages How Organizational Change Triggers Emotions and How Leaders Use Emotional Intelligence In today’s business world organizations are constantly forced to implement changes in an effort to grow and survive. 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Nazi Film Melodrama By Laura Heins - 1421 Words

Often underestimated, the arts have time and time again proven that they are powerful. The arts in all and any of its forms has the power to move masses, it has the power to either end or start movements. Adolf Hitler knew the power the arts had, he knew that controlling art would allow him to control culture and in turn allow him to control people. The control of the arts was key to the success Nazi Germany had. It was Adolf Hitler’s belief that Germany’s destiny was to lead in terms of culture; Germany had to set the example of prime European culture. Some examples of art that Nazi Germany controlled were paintings, sculptures, literature, music, architecture, and film. Film was just one of the forums the Nazi regime used as a means to†¦show more content†¦Whatever achievements the Jewish peoples made were not worthy enough for the Fuhrer. Laura Heins focuses on what makes melodramas so popular as forms of entertainment and organizes her chapters thematically explaining the pros and cons of melodramas pertaining to the themes. Heins explains that the German government used melodramas to push their unfavorable view towards the Jews and their favored views of the Aryan way of life. Laura Heins wrote about a film, Jud Sà ¼ss, â€Å"The most notorious example of a Nazi propaganda film, Jud Sà ¼ss (Jew Sà ¼ss, 1940), cast a Jewish figure as the aristocratic villain, superimposing virulent racism onto the unresolved complexes of class and gender difference derived from both eighteenth-century bourgeois tragedy and nineteenth-century sensational melodrama.† According to Heins, the film was the most evident statement of propaganda from Germany. In the film the Jewish antagonist is someone who is extremely well off and the protagonist Dorothea, a middle class German girl, is forced into the rich Jewish man’s (Sà ¼ss) bed. Films like Jud Sà ¼ss got people extremely upset, this helped feed the negative view that people began t o have of Jewish people. More and more they saw them as opportunistic and sexual individuals; they were seen as greedy in every way. In this example, the message that the Nazi government was trying to portray was clear, but the message can be blurred. Melodramas were written with the intent to stand

Media Studies †Podcasting and Radio Free Essays

Ben Hammersley of the Guardian first discussed the advent of podcasting technology only two years ago (Hammersley, 2004). Yet this newly created communications channel has grown from being a small niche market   – with only six thousand hits on Google in 2004 according to Terdimann (2004) as compared to today’s excess of forty-one million (Google, 2006). Podcasting has changed radio with breathtaking speed, removing almost all barriers to access in ways that Internet radio was never able to on its own. We will write a custom essay sample on Media Studies – Podcasting and Radio or any similar topic only for you Order Now This paper will discuss how and why podcasting is the radio of the future because of its convenience, intimacy and ease of access. Podcasting Defined In simple terms, podcasting is a digital music file that is presented to the end user within an RSS feed, where RSS is a grouping of different feed formats used to update and publish web content. Users subscribe to an RSS to listen to audio files, are automatically updated each time a new file is uploaded, and can listen to the podcasts on any MP3 player. What makes podcasting unusual is the automatic updating portion of the system: instead of having to return to a particular website to see if the content has been updated, the users’ subscribed-to feeds automatically deliver the content on-demand. A Brief History of Radio as Related to Podcasting Initially, radio was used in the late 19th century for users separated by geography to communicate. However, other people started ‘overhearing’ these radio transmissions and slowly it became a means with which to talk to a larger populace, evidenced by BBC’s start-up three decades later. It didn’t take long for radio listeners to realize radio’s potential scope as shown by comments made in 1930: â€Å"The radio would be the finest possible communication apparatus in public life, a vast network of pipes. That is to say, it would be if it knew how to receive as well as to transmit, how to let the listener speak as well as hear, how to bring him into a relationship not isolating him (Bretcht, 1993). Interestingly, these comments seem to describe podcasting to a tee, as anyone can transmit information using this technology, with no higher authority monitoring its use. A similar growth pattern is seen when reviewing the advent of Internet radio as well, with the 1995 creation of Real Audio software, allowing radio stations to send transmissions through the Internet instead of through other, more traditional processes (Priestman, 2001). While this was a huge breakthrough in technology and access to mediums previously controlled by geography and cost, it still made Internet radio dependent on positioning: you had to be in front of a computer to listen (Wall, 2004). This lack of portability has somewhat been trumped by new WiFi radio options in the UK (Rose, 2005), but that discussion is beyond the scope of this paper. Podcastings’ Origins Portable music devices first appeared in the late 90’s (Van Buskirk, 2005) but it wasn’t until Apple’s 2001 release of the iPod that podcasting became a household name. At that time, no other commercial venture had successfully sold legally available songs online and then facilitated transferring them onto a digital media device. Podcasting Success Factors We must go back in time to 1996 to determine just why MP3 players such as the iPod and podcasting in general took off at such an alarming rate. It was at this time when The Telecommunications Act of 1996 changed American radio forever by allowing companies to own more than four radio stations in a specific market and more than forty nationwide, both of which were previous limiters (Mann, 2005). This allowed Clear Channel, one of the more infamous radio station consolidators, to merge well over one thousand stations across the U.S. using their tried-and-true content-weak system of providing lots of specifically targeted music to a specifically targeted consumer and the addition of even more commercial time. It seems evident, then, that radio listeners were well primed for an on-demand music service with fewer (or no) commercials without the WalMart of radio forcing listening decisions. How Has, and Will, Podcasting Changed Radio? In a sense, podcasting has changed radio into a new medium entirely. Now anyone, anywhere, with no prior radio, media or telecommunications knowledge can create a podcast for listeners around the world to enjoy, respond to and interact with. Plus, it has provided access to public figures in ways that radio couldn’t previously, as with Vice-Presidential candidate John Edwards’ kitchen table talks or President Bush’s weekly radio addresses (see http://www.whitehouse.gov/radio). Future applications of podcasting technology are only limited by the accessibility of MP3 players and the ingenuity of the users. The next step of all-access, user-driven radio is to have the smaller hand-held devices download podcasts (technology which is just become available now) through wireless technology. This will work in tandem with current movement towards Wi-Max networks (where entire cities have wireless access availability instead of merely chosen ‘hotspots’), enabling users to save the costs of downloading content through their cellular phone providers or current fatport company. In fact, the Nokia N91 was to be released earlier this year with this same technology on board (Rose, 2005). Yet as MacFarland stated in 1997: â€Å"The answer will lie not so much in technical improvements to audio reproduction as in improvements to the product the audience is seeking – programming that is responsive to the listener’s needs. Conventional radio stations have already picked up on this trend such as the Boston-based â€Å"Jack FM† which boasts an iPod-like random playlist complete with an â€Å"I don’t care† attitude as shown by the DJ’s frequent mentions of the company’s tag line: Playing What We Want. Although podcasting may not reconnect traditional radio listeners with their radio roots (such as CBC has done in Canada with Radio One), it may add increased interest on the part of listeners, intent on learning more about new media and music not previously available to them. Some media experts may feel that podcasting is the end of radio as we know it, but rather it should be looked at as new way, method, technology and available to connect intimately with an audience hard to pin down and even harder to communicate with. Works Cited B, Brecht. â€Å"The Radio as an Apparatus of Communication’.† Radiotexte. Ed. Neil Strauss . New York: Semiotext(e), 1993. â€Å"SEARCH: Podcasting.† Google. Google. 30 Nov 2006 http://www.google.ca/search?hl=enq=podcastingmeta=. Hammersley, B. â€Å"Audible revolution.† Guardian Unlimited: Technology. 12 Feb 2004. Media Guardian. 30 Nov 2006 http://technology.guardian.co.uk/online/story/0,3605,1145689,00.html. Mann, Charles. â€Å"The Ressurection of Indie Radio.† Wired Magazine 13.03Mar 2005 30 Nov 2005. Priestman, Chris. Web Radio: Production for Internet Streaming. London: Focal Press, 2001. Rose, Frank. â€Å"Battle for the Soul of the MP3 Phone’.† Wired Magazine 13.11Nov 2005 30 Nov 2006. Terdiman, Daniel. â€Å"You, Too, Can Be a Podcaster.† Wired News 31 Dec 2004 30 Nov 2006. Wall, T. â€Å"The Political Economy of Internet Radio.† The Radio Journal 2(2004): 27-44. Van Buskirk, Eliot. â€Å"Introducing the World’s First MP3 Player.† MP3 Insider. 21 Jan 2005. CNET Reviews. 30 Nov 2006 http://reviews.cnet.com/4520-6450_7-5622055-1.html.          How to cite Media Studies – Podcasting and Radio, Essay examples

Practical Approach to Intelligent Analysis - Myassignmenthelp.Com

Question: Discuss about thePractical Approach to Intelligent Analysis. Answer: Project Stakeholders Food is a basic necessity for each person making it among the most popular business ideas among young entrepreneur. With the recent increase in demand for Asian cuisine the business project theme shall be organizing a Asian Food Festival which shall be held at the University of Sussex. The key stakeholders would be the University of Sussex staff and students, local businesses as well as the neighboring community. To maximize the success and attendance at the Asia food festival a detailed communication plan shall be developed which covers all forms of media communication which will ensure the maximum number of people are informed regarding the food festival. The demand for Asia cuisine is on the rise globally thus this theme and idea has been adopted to influence stakeholders as it is likely to attract investor attention due to the high number of consumers likely to attend the food festival. This will help attract investors as well as increase turn over ad profits. The core project team is made up of the TAJ, University of Sussex ad Chinese supermarket (UKCN). Each stakeholder will make a different contribution towards the food festival with students playing the role of markets to maximize the number of customers and income generated from the project. This will also offer an important practical experience which will contribute towards their future understanding The project champion is Lorde, she has been selected due to her vast experience and knowledge related to business proposal analysis and planning(Lester, 2017). She has also achieved converting over 1 million sales of previous projects making her the best candidate to spearhead the Asia food festival at the University of Sussex. Risk Management The food and beverage industry has been identified as beg among the highest demanded businesses globally but at the same time, the proposed idea also attracts major risks which require being understood so as for mitigation plans to be developed. Some major risks involved with the proposed business idea involve spoilage and lack of adequate consumers leading to low turnover and losses due to the proposed food festival being held at the University of Sussex which is otherwise viewed as an educational situation. This makes it important to develop effective communication plans which will utilize different forms of media which thus helping maximize the number of people receive the updates related to the food festival being held at the university. This will increase the customers attending the festival thus helping the organizers and stake holders surplus the proposed project breakeven point and generate profits from the project(Kenett Raanan, 2011). Its also important for the organizers to develop an effective food preparation and plan which would cater to delivering -/+15% of the desired food quantity during the proposed festival thus helping reduce the losses the project may incur with regard to food wastage. This will require careful analysis ad integral team and stakeholder communication to ensure the raw materials are viable to cater to the customer expectation but are only utilized when required to reduce the amount of food wastage. Plan risk mitigation is also critical ad to achieve the best results the stakeholders will have to identify potential risk and utilize risk management ideas and tools to help reduce the types and severity of the risks. Understanding risks are the first and most important stage of risk management as it allows for the stakeholders to understand and as well as manage to impede risks which reduces the amount of risk the proposed businesses are likely to face. Successful project management required for a detailed report to be prepared on both the risks and benefits linked to a proposed projects thus allowing the stakeholders to put I place the desires countermeasures to eliminate or reduce the risks linked to the project. References: Kenett, R. S., Raanan, Y. (2011). Operational Risk Management: A Practical Approach to Intelligent Data Analysis. John Wiley Sons. Lester, A. (2017). Project Management, Planning and Control: Managing Engineering, Construction and Manufacturing Projects to PMI, APM and BSI Standards. Cambridge: Butterworth-Heinemann.