Personal Leadership Philosophies Many of us can think of leaders we have come to admire, be they historical figures, pillars of the industry we work in, or leaders we know personally. The leadership of individuals such as Abraham Lincoln and Margaret Thatcher has been studied and discussed repeatedly. However, you may have interacted with leaders you feel demonstrated equally competent leadership without ever having a book written about their approaches. What makes great leaders great? Every leader is different, of course, but one area of commonality is the leadership philosophy that great leaders develop and practice. A leadership philosophy is basically an attitude held by leaders that acts as a guiding principle for their behavior. While formal theories on leadership continue to evolve over time, great leaders seem to adhere to an overarching philosophy that steers their actions. What is your leadership philosophy? In this Assignment, you will explore what guides your own leadership. To Prepare: Identify two to three scholarly resources, in addition to this Module’s readings, that evaluate the impact of leadership behaviors in creating healthy work environments. Reflect on the leadership behaviors presented in the three resources that you selected for review. Reflect on your results of the CliftonStrengths Assessment, and consider how the results relate to your leadership traits. Download your Signature Theme Report to submit for this Assignment. The Assignment (2-3 pages): Personal Leadership Philosophies Develop and submit a personal leadership philosophy that reflects what you think are characteristics of a good leader. Use the scholarly resources on leadership you selected to support your philosophy statement.
Shakespearian play. An important comparison to make at this point is with Wagner’s perhaps most Wagnerian opera Tristan und Isolde. The final aria, located, symbolically, on the border of land and water, sees Isolde dramatically and emotively sing next to her dead husband in an act known as the ‘Liebestod’. Wagner’s music is climactic and grand and all that you would expect from such an emotionally-charged suicide. Mann is clearly influenced by this scene: Herr Friedemann feels this ‘Liebestod’ in a similar way to Isolde, although perhaps more within himself than for Frau von Rinnlingen, as he lies on the border of land and water, in an act staged almost as a direct parallel to Wagner’s opera. What is different however, is the narrative tone and style; Isolde dies with the audience reduced to tears, whilst Herr Friedemann’s death leaves the reader, if anything, more sympathetic towards Frau von Rinnlingen, as he dies so woefully. Even the internal audience within the novel make the “klang gedämpftes Lachen”, mocking the dead protagonist. One could argue that Herr Friedemann, leading back to the idea of naturalism, leans himself to a melodramatic suicide, as his cynicism warrants no sympathy from the reader; we are not emotionally attached in the way that we are to Isolde, perhaps owing to Herr Friedemann’s masochistic tendencies. Freud theorised that ‘analysis of melancholia shows that ego can kill itself, if it is able to direct itself against the hostility of an object’ as a form of cathexis. We can apply this to Herr Friedemann through his fixation of Frau von Rinnlingen; he is often left melancholic, with Mann’s narration leading him towards the Freudian concept of the “Todestrieb”. We can allude this Nietzsche’s Apollonian and Dionysiac theory presented earlier: Herr Friedemann’s ‘trieb’, his nature, or rather what fate has set out for him, leads him on a loveless life, that ultimately self-distructs in his suicide, despite his Apollonian attempts to realise the aesthetic beauty in the arts. Herr Friedemann is a masochist. Despite his incessant ‘lebenslüge’, he finds no real pleasure in the arts, as his ‘precarious epicureanism’ suggests, and in love he only sees “Gram und Leid”. It could be argued that he treats Frau von Rinnlingen as kind of deity on whom he ‘projects guilt and anger’ in the finale. Mann appears to explicitly affirm this through his seemingly only form of address being “Mein Gott!”, and through Frau von Rinnlingen apparent omniscience of his ‘lebenslüge’ of a false pretence at happiness. Herr Friedemann becomes so torn by guilty that he almost has no choice but to submit to the Dionysiac self-annihilation. Herr Friedemann’s suicide, in conclusion, provides a fitting melodramatic end to an operatic novel. Mann’s narration fulfils the melodrama and allows for the characterisation of Herr Friedemann, as one who is torn by Nietzsche’s paradoxical Apollonian and Dionysiac ideals. He is led by his own ‘Trieb’, in search of either ‘Todes-’ or ‘Kunst-’, and this naturalistic basis is what prevails is Mann’s narrative. There is a sense that the suicide is inevitable from the second Herr Friedemann is dropped on the floor, which stunts his physical and emotional growth leaving him>GET ANSWER