Defining “Culture” and “Organizational Culture”: From Anthropology to the Office Bruce M. Tharp ORGANIZATIONAL CULTURE WHITE PAPER 04.09 ORGANIZATIONAL CULTURE WHITE PAPER Defining “Culture” and “Organizational Culture”: From Anthropology to the Office The topic of organizational culture is increasingly understood as a company asset that can be used to increase business performance. While important‚ organizational culture is a slippery concept to concretely define. This paper deals
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Anthro. 3: Introduction to Social/Cultural Anthropology x. liu Fall 2013: MWF: 1-2pm‚ 155 Dwinelle Office Hours: Weds.‚ 2-5pm; 301 Kroeber Hall (Tel.: 2-0705) E-mail: xinliu@berkeley.edu This course introduces anthropological topics in the subfield of social/cultural anthropology‚ with a particular aim for students to learn a lesson about the idea of culture and its relevance for our global struggles today. For such a goal to be achieved‚ there is no way for us to avoid a historical perspective
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Naomi Weir 2012 A central theme of this module is that conflict seemingly inspired by ethnic hates is in fact driven by the aims of political leaders. Discuss with reference to one of the ethnic wars or genocides that took place in the 20th century. Introduction This question asks what causes ethnic conflict‚ while particularly focussing on the degree to which ethnic conflict is driven by political leaders. The argument that ethnic conflict is driven by the aims of political leaders is
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choice of methodology‚ which was applied by Russell. In this case‚ ethnography matches all the criteria for the research‚ because this method is meant to let researcher obtain more deep information from the researched and achieve “thick description” (Geertz‚ 1973; Cassel and Symon‚ 2004). However‚ this fact was doubted in the paper of Bate (1997)‚ where he described modern ethnography methodology as “quick description” and argues that it lacks of time observation. Moreover‚ Russell argues that her
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tension between the self and the other within the European protagonist (Sir Philip Hanbury Erskine). He is drawn in to the Asiatic other and yet‚ sees that he cannot escape his European self (and more so‚ his duties). Thus‚ it is this “amphibious” (Clifford 65) push-pull dynamic in Philips cultural identity that makes Clifford’s text relevant to us (contemporary readers) as we face the same problematization of a fixed identity in the age of globalization. In order to demonstrate the argument‚ the
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In fact‚ she imagines her inner prodigy telling herself that‚ “‘If you don’t hurry up and get me out of here‚ I’m disappearing for good”’ (Schilb & Clifford 241). Another instance where Jing-mei’s skepticism becomes apparent is when she looks into the mirror and realizes “that it would always be this ordinary face” staring back at her (Schilb & Clifford 241). Previous to that‚ she had held out hope that she
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Pyncheon. By the time the novel focuses on her however‚ she is nearly seventy and she realizes that she must open up a penny shop to survive. Hephzibah’s brother‚ Clifford‚ lives with her in the house of the seven gables. Clifford is an emotional man who has spent most of his life in prison for the murder of one of his uncles. Clifford‚ however is the only male
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Toronto: U of Toronto P‚ 1985. Barnet‚ Sylvan. A Short Guide to Writing about Art. Boston: Little‚ Brown‚ 1981. Boone‚ Elizabeth‚ and Walter Mignolo‚ eds. Writing without Words: Alternative Literacies in Mesoamerica and the Andes. Durham: Duke UP‚ 1994. Clifford‚ James‚ and George E. Marcus‚ eds. Writing Culture: The Poetics and Politics of Ethnography. Berkeley: U of California P‚ 1986. Dundes‚ Alan‚ ed. Sacred Narrative: Readings in the Theory of Myth. Berkeley: U of California P‚ 1984. Freud‚ Sigmund
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Analysis of Deathtrap Plot- Dramatic Structure Characters Sidney- a struggling playwright whom is married to Myra Myra- Sidney’s wife Clifford- a playwright that attends a conference Sidney holds Helga- neighbor to Myra and Sidney‚ psychic Plot The characters are trying to figure out a way to obtain the rights to a play and resort to conspiring and ultimately killing one another. - Exposition: the meaning or purpose in the play would have to be understanding the plot - Foreshadowing:
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Ralphie (Hartley Sawyer)’s new superpower would be shapeshifting? What I loved the most about this episode was the priceless look on Marlize DeVoe (Kim Engelbrecht)’s face when Ralph rolls through the courtroom doors as her meant-to-be dead husband‚ Clifford (Neil Sandilands). I honestly thought she was going to break down and say that it wasn’t him. Anyway‚ on to the purpose of this article. Throughout the episode‚ which is named rightly after the Cyndi Lauper song ‘True Colors’‚ we see a side of Marlize
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