You are asked to critically evaluate a project and assess its characteristics in relation to project management methodologies, procedures and techniques taught in the module. Consider a project in which you have personally been involved or any project of your choice for which you are able to obtain a sufficient amount of information. Scrutinise the project management approach taken by critically analysing a number of apparent problems and explaining the impact these have had on the overall project delivery and/or its subsequent performance. The outcome of such project evaluation and associated problem solving is expected in terms of a set of solutions for future projects in the same area or of a similar scope/budget. These should be well informed by the established theory, industry best practice, or other projects you may have investigated. Your standpoint should be balanced, and the analysis well-written, generously complemented with suitable references to the relevant, contemporary project management literature as well as referring to personal experiences, observations and insights where appropriate. The presented analysis should be based on appropriate and substantial research, which must be evidenced in the report. A mere composition of case studies taken straightaway from certain sources without your own in-depth elaboration, critical evaluation and synthesis of original recommendations will not be deemed a highly original contribution and, consequently, will attract low marks. The report should be 2,500 words (+/-10%), including any exhibits, tables and figures, but excluding the reference list. All figures and tables should be consecutively numbered, and captions provided. Guidelines for the Resit: The resit should comply with the following formatting guidelines: Font / Size: Calibri/Arial/Times New Roman / 12 Spacing: 1.5 Page numbers required? Yes Margins: at least 2.54 to left and right and text ‘justified’ Referencing: full compliance with Harvard protocols Do not forget to indicate the total word count in your submission.
ich influence character. A character having agency to choose within the narrative structure of a story is not so much a show of his moral purpose, but rather evidence that such morality only exists because the plot presents the opportunity. Without a given plot point, in which a character may be asked to make a decision, that development simply dos not exist and character can therefore not be further developed. Similarly, discovery cannot be made by characters without the plot first presenting that prospect. It is evident therefore, that plot does indeed drive tragic narrative structure. Interestingly, a modern reader or viewer of narrative film may be more familiar with considering drama as a means of character revelation. Various authors of Elizabethan drama such as Jane Austen or Henry Fielding, as well as more contemporary novelists such as Thomas Harris and Ken Kesey (both of whose books were adapted into dramatic screenplays) seem to root their stories primarily in human psychology, which of course cannot be separate from character. It seems in such narratives, characters behave accordingly to only their written parts, and while perhaps there is some importance to be seen in heavily character driven works of film and literature, it remains true that even the most psychologically intricate and convoluted characters are only able to express their emotions as actions when presented with opportunity from plot. The plot is what enables such characters to become the extraordinary beings they are then described as, and their characterization is revealed only through action. Aristotle’s principles regarding tragedy can be effectively applied to cinematic structure, particularly in the context of Casablanca. The narrative of this film is rather complex – which is yet another element of story structure discussed in the Poetics of Aristotle. In his writing, he compares the simple plot to a complex one, explaining that a simple plot contains change without reversal of situation and with no recognition of said change by a character. By contrast, complex plot contains either one or both of those elements, which arise from the interior structure of the plot. As previously mentioned, Casablanca is being herein examined as a tragedy, for it does indeed fit in many ways into Aristotle’s understanding of the tragedy. The protagonist experiences a rather difficult loss (as part of the plot) and though he is able to overcome the struggles of his character journey, the tone and major structural elements lend themselves to that of a tragedy. Rick Blaine’s flaws are evident at the outset of the film and are clearly displayed as part of the building of his character. It seems as though these flaws however are simply outwardly projections by Rick, and he is actually a greatly empathetic and considerate person who prioritizes others over himself. Rick therefore is portrayed overall as a good person, arguably better than most in real life, fitting therefore into Aristotle’s model of tragedy, rather than comedy. Though the audience may not feel immediate admiration for Rick in the first act of the film, due to his apparent coldness and outward projection of arrogance, there is no indication that he will be the cause of his own demise, nor does he have any ill-intentions for those around him. Only with the introduction of specific plot points does Rick’s character experience change and development. When his past lover Isla returns, Rick begins to experience a negative change within himself; not motivated by himself but rather as a result of a casual event that unfolded before him in a seemingly random manner. Thus, that specific plot point was what triggered the change in Rick – his own character is not enough to create a structured narrative or story, as there would be simply no action, only his emotion without outcome. Aristotle’s idea of plot as the forefront of tragedy becomes incredibly evident here – the plot indicates the outcome of the story and the characters, regardless of their depth or likability, are not on their own enough to generate react or create progress in the narrative structure. A viewer is concerned with Rick’s actions and reactions to the situations he is faced with, which can only come as an outcome of plot. The structure of the films serves itself to Aristotle’s definition of a tragedy and the certain magnitude that is found within that – “In the case of animate bodies and organisms a certain magnitude is necessary” (Aristotle VIII) According to Aristotle, all stories are comprised of a beginning, middle and end, which are then associated by a casual connection. It is undeniable that the basic structure of the film fits within this model and its execution allows the plot-driven development to enhance characterization in a way in which audiences are able to consume and appreciate the content in its entirety. Finally, towards the end of the film, Rick creates a plan in which he fakes his true intentions as a means of self-preservation. He plans to leave Casablanca with Isla, though really he is looking to avoid being captured. Here, Rick formulates what Aristotle describes as a complex plot. Rick is able to entirely understand that change within himself and is therefore conscious of his morality, and he is administrating the reversal of a situation. Therefore, a development is created simultaneously in both plot and character resulting in a complexity defined by Aristotle.>GET ANSWER