Assessment Information/Brief 2018/19
To be used for all types of assessment and provided to students at the start of the module.
Information provided should be compatible with the detail contained in the approved module specification although may contain more information for clarity.
Module title Strategic International Business Management (RKC)
Assessment title Final Assignment
Weighting within module This assessment is worth 50% of the overall module mark.
Submission deadline date and time
Module Leader/Assessment set by
How to submit
You must submit your report via Turnitin.
Assessment task details and instructions
For this task you should consider yourself a management consultant who has been recruited by a company (see the case detailed below) to advise them on how to implement a planned change.
A) Read the case study below:
SAR Health Services (SARHS) are part of a multi-national enterprise based in Switzerland. They supply sophisticated diagnostic equipment to hospitals across Europe and have recently entered new marks in Asia. SARHS’s relationship with its customers is based on high trust, high quality products and in Europe on 24/7 servicing. The company employs around 3000 staff, consisting of technicians, production, office staff (sales, marketing, distribution) managers and drivers.
SARHS puts particular emphasis on environmental education through staff training and induction. New staff receive a half-day session on sustainability. In addition, monthly departmental meetings in head office include a ‘green slot’ where updates and activities regarding environmental sustainability are discussed. The organisation also runs an internship, which has proved to be a useful source of ideas regarding green initiatives.
The company has gone through two reorganisations in the last 3 years. The most recent involved shifting from a functional to a matrix structure. Managers however, have complained that this last structural change confused authority and responsibility relationships.
Due to pressure on equipment budgets for healthcare organisations, and increasing competition, SARHS senior management team is aware that it has to find ways of reducing operating costs.
A decision has been taken to close one production site (Site A) and consolidate operations at another (Site B), some 100 miles away, in 6 months’ time. During this time site B will be redesigned, including the development of an ‘open plan’ office, which it is expected will reduce energy costs. It is anticipated that the overall number of office and production staff will be reduced by 5 -8%, but technical and sales staff numbers are expected to remain the same. **
The management’s aim is to decrease the company’s carbon foot print by a third by 2022.
A number of green initiatives are also planned to reduce costs, including:
Recycling and waste reduction
Encouragement to recycle by putting lids on waste bins to make recycling easier and providing recycling bins to customers
Company drivers are to be provided with training in fuel efficient driving, with a bonus of 100 Euros twice a year for those who are found to be fuel efficient.
Home based working will also be introduced for the entire sales team, who will only attend the Site B office for monthly meetings.
To be successful, the relocation and proposed green initiatives need to be fully supported by all staff. Unfortunately, began to hear rumours about the planned changes. As a result, the Managing Director brought forward his formal announcement and held a briefing meeting for staff.
Having now heard about the plans formally there is a fair degree of anger and concern amongst the workforce, with remarks from production staff such as “we’ve only just got over the last change and now I might have to move” and “it’s going to cost me money to travel, that’s effectively a wage cut” being typical. Some sales reps are however happy about the idea of being home-based, as this will cut down their overall travel.
Re **: You are not expected to understand and discuss redundancy or consultation.
B. Write a management report of 3,000 words (plus or minus 10%, not including the reference list) which draws on theory and addresses the following:
- Identify the factors that the management team might wish to consider before going ahead with their plan.
- Identify and discuss the people management issues that the management team are likely to face in implementing the plan, explaining the reasons for this.
- Develop and justify recommendations as to how to proceed with this project.
- Identify the factors that the organisation may need to consider in order to build its change capability.
Total =100 marks
Assessed intended learning outcomes
On successful completion of this assessment, you will be able to:
Knowledge and Understanding
- Analyse effective change management in organisations.
- Understand theories relating to motivation and/or leadership, critically evaluating how organisations put them into practice.
- Promote a professional and ethical approach to organisations.
Transferable Skills and other Attributes
- Apply planning, organising, decision-making and time management skills appropriate for use in an organisational context.
- Experiment and develop personal initiative and responsibility in undertaking complex investigations in the solving of organisational problems and issues.
- Critically analyse and apply key ideas and concepts via comprehensive research relevant both to the subject area and to professional practice in the field.
- Use terminology associated with the subject area accurately and in a way, which demonstrates sophisticated knowledge and understanding.
- Develop and enhance individually and/or collaboratively effective written and/or oral communication skills for both specialist and non-specialist audiences.
- The overall aim of the module is to provide you with a thorough grounding in the major issues and perspectives of developing and implementing business strategy at the international level.
- You are encouraged to think about global management issues within the context of your respective programme and in your future career.
- In addition, the module aims to encourage you to think critically about theory and practice in an ethical and professional manner, in particular in light of key issues and decisions related to strategic organisation in both national and international contexts.
- The achievement of these aims will be facilitated by an introduction to major debates about leadership theory and practice, as well as a demonstration of the links between leadership and motivation practices with a view to attaining positive organisational outcomes.
Word count/ duration (if applicable)
As indicated above, your assessment should be 3000 words in total (+ / – 10%).
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Personal Mitigating Circumstances
If personal mitigating circumstances may have affected your ability to complete this assessment, please contact Robert Kennedy College.
The Level 7 Grade Descriptors for the assessment can be found in the Assessments folder on the module’s Blackboard site.
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In Year Retrieval Scheme
Your assessment is not eligible for in year retrieval.
If you fail your assessment, and are eligible for reassessment, you will be advised of the resubmission date by Robert Kennedy College.
For students with accepted personal mitigating circumstances, this will be your replacement assessment attempt.
Students should be aware that there is no late submission period at reassessment (this includes those students who have an accepted PMC request from a previous attempt).
If you need to be reassessed, the reassessment will be the same as the original assessment.
Talk about Samuel Beckett's treatment of character in his plays Waiting for Godot and Happy Days. Crafted by Samuel Beckett can be believed to traverse both the Modernist and Postmodernist ideal models (Bradbury and McFarlane, 1991; Green and LeBihan, 1996), from one perspective being impacted by such sanctioned Modernist scholars as James Joyce and Luigi Pirandello (Knowlson, 1996) and on the other depending vigorously on Postmodern ideas, for example, the offense of the body, the performative personality and the disappointment of fantastic stories, for example, language and truth. This point is made by Richard Begam in his examination Samuel Beckett and the End of Modernity (1996): "Beckett's origination of his endeavor, what we would now call his postmodernism, perceived that an outright break with the previous, a total supersession of what had gone previously, was itself the result of a teleological or present day type of reasoning. Proust and Joyce in this way moved toward becoming not figures to be supplanted or surmounted yet telling perspectives in a progressing discourse among over a wide span of time." (Begam, 1996: 14) Beckett's situation as a liminal author, spreading over two unmistakably unique yet clearly associated scholarly systems, enables us to look at his work as well as the bigger setting of basic and execution hypothesis. In light of this, in this article I might want to take a gander at two primary zones of Beckett's work that are both metonymous with changes in post-War theater (and maybe writing) overall. Right off the bat I might want to focus on the idea of Postmodernism as it identifies with execution, taking a gander at leitmotifs and tropes as they show up in Waiting for Godot (1955) and Happy Days (1961), and furthermore I might want to proceed to take a gander at the entire thought of personality and its disintegration in these equivalent messages before making inferences regarding what this treatment says about the spot of execution in contemporary theater and, maybe, the more extensive setting of society itself. As a matter of first importance, in any case and as an establishment for my later composition, I might want to offer a short rundown of Postmodernism. Postmodernism, as Fredric Jameson calls attention to, can be best comprehended through its relationship and contrast to Modernism, a philosophical and imaginative idea that had it establishes in the Enlightenment of the eighteenth century (Bradbury and McFarlane, 1991). In a creative sense, the Modernist work was portrayed by analysis and a dismissal of the Romantic emotional self. Works, for example, T.S. Eliot's The Waste Land (1989) and James Joyce's Ulysses (1977) epitomize both the Modernist affinity for development and the evacuated authorial voice and we can positively observe this in many, if not the majority of Beckett's showy works. Postmodernism, as Jean Francois Lyotard proclaimed in his article "The Postmodern Condition" (1991) mirrored the breakdown and thwarted expectation felt by the disappointment of the very establishments of Modernism; establishments that included such until now acknowledged givens as truth, oneself, the homogeneity of Literature and the Arts and a significant number of different frameworks of idea that Lyotard named the 'metanarratives' (Lyotard, 1991: 36). While Modernism looked for freshness and development, Postmodernism brought about the appropriation of style over substance (Robertson, 1996: 3), the scrutinizing of acknowledged builds of learning (Foucault, 1989) and the language (Derrida, 2004) and, as we will see with Beckett the presentation of the imaginative apparatus. This last point, I believe, is urgent to a comprehension of Beckett's place as both a Modernist and a Postmodern essayist. As I have officially expressed, we can perceive certain Modernist pictures and leitmotifs in Beckett's work (Eagleton, 1992: 186): the unmistakably uncovered characterisation, the dreary vision of mankind that we likewise find in Eliot and Woolf and the cognizant exertion to analyze and enhance at the same time, underneath this, we additionally distinguish a particularly Postmodern reasonableness; one that savors the experience of the purposeful presentation of the performative idea of both the theater and life. In Waiting for Godot, for example, there is a steady funny enmity made among on-screen character and group of spectators, as thoughts and lines of story are gotten and deserted without the standard emotional feeling of goals (Schechner, 1988). In the primary Act for instance, Estragon starts a joke that is rarely wrapped up: "Estragon: Tell it tome! Vladimir: Ah, stop it! Estragon: An Englishman having tanked somewhat more than expected goes to a house of ill-repute. The bawd inquires as to whether he needs a reasonable one, a dim one, or a red-haired one. Go on. Vladimir: Stop it!" (Beckett, 1955: 16) The threat and dissatisfaction caused by this un-finished joke is in excess of a minor scholarly gadget it is likewise an exhibition gadget that sets up an especially extraordinary entertainer/crowd relationship. In contrast to, state, traditional Aristotelian emotional hypothesis that attests the basic of the "motivating force minute" (Hartley and Ladu, 1948: 14) the "rising activity" (Hartley and Ladu, 1948: 14) and the goals, here Beckett (as in fact he does all through the play) makes a conscious let-down that quickly brings in to scrutinize the double among the real world and execution. The equivalent additionally could be said about a significant part of the emotional structure of Happy Days, as the operations of the presentation are always presented to the look of the group of spectators. Here, for example, Winnie second surmises the considerations of the group of spectators individuals as she converses with a bystander: "Winnie:… What's she doing? He says – What's the real trick? He says – adhered up to her diddies in the draining ground – coarse individual – What does it mean? He says – what's it intended to mean –, etc." (Beckett, 1961: 32) Here Beckett deconstructs the very quintessence of the presentation itself, uncovering the stupefied response of the crowd to his very own show. In a Postmodern disintegration of personality limits, the entertainer here progresses toward becoming writer, group of spectators, character and on-screen character as not exclusively are the musings of the character uncovered yet so too the contemplations of the crowd. This isn't the main deconstruction of execution Beckett utilizes in the play. We see, for example, the scrutinizing of emotional show; Happy Days is, for all aims, a monolog however it highlights two characters, it is about the development of time in any case, incidentally, the primary entertainer is static all through and despite the fact that it is fundamentally a play about words and not activities it is peppered with delays and space. All factors that point to the two plays as being as much established in Postmodernism as Modernism. We have addressed it as of now however the abrogating sense in both Waiting for Godot and Happy Days is the quest and battle for character and this likewise, as we will see, markedly affects the presentation of the play and what it means with respect to the group of spectators/on-screen character logic. The social foundation to Happy Days was depicted, in a full of feeling route by Harold Clurman in an early survey: "Beckett is the writer of an ethically dormant society. In this general public dread, terrify and a kind of a dazed distractedness win in the corner of our awareness, while a showy, uproarious, arrogant, half-witted lack of concern prospers in the open." (Clurman, 1998: 235) It is against this background the characters in the play battle to keep up their sparse personalities. Indeed, even before the activity starts we are made observer to the challenges in setting up an individual presence as the characters', names, Winnie and Willie, straightway obscure their particular individual limits. We see this likewise to a more noteworthy degree in Waiting for Godot, as Gogo, Pozzo and Godot, consolidate to frame a phonetic homogeneity that recommends a gathering as opposed to an individual character. The mise en scene of Happy Days is part Eliotesque no man's land: "Breadth of burned grass rising focus to low hill. Delicate slants downto front and both of stage. Back an abrupter tumble to stage level" (Beckett, 1961: 9) part Postmodern incongruity, as the scenery uncovers itself to be an unsure trompe-l'oeil that speaks to "whole plain and sky retreating to meet in far separation." (Beckett, 1961: 9). Inside this, Winnie actually remains as a major aspect of the view, just half noticeable that is, in itself, an emblematic portrayal of both time passing and the degree that she has officially lost a lot of her own character. As I have just indicated, Winnie deconstructs the idea of development and balance; on a mental level she moves immediately between times as in this section where she and us are reclaimed into her own history incited by the updates on a passing of a companion: "Winnie: Charlie Hunter! (Interruption) I close my eyes – (she takes off scenes and does s, hot in one hand, displays in other, Willie turns page) – and am perched on his knees once more, in the back nursery at Borough Green, under the pony beech." (Beckett, 1961: 14) Physically anyway she is truly caught, incapable to move or stop the streaming of time gulping her totally. Her personality winds up molded by her recollections as from the outset, in the underlying Act, they structure a sensible homogeneity and after that, in Act Two become increasingly diffuse, increasingly more cracked until before the part of the bargain she exists as just depictions of an actual existence that has been: "Winnie: Win! (pause)Oh this is a glad days, this will have been another upbeat day! (Respite) After all (Pause) So far. Interruption. She murmurs likely start of melody, at that point sings delicately, melodic box tune." (Beckett, 1961: 47) As John Pilling proposes in his investigation of Samuel Beckett (1976: 85), the dramatist twins the hugeness of the quest for personality in an estranging world with the particulars of ordinary living, as Winnie spends a lot of the play's time directing useless looks for toothbrushes, or lipsticks or a considerable lot of the other coincidental objects of presence. At last, her quest for an individual iden>GET ANSWER