In this forum, please post three selections of the following chapters you would like to cover from the POD4 textbook from Part Four (Chapters 19-29).（Practicing Organization Development: Leading Transformation and Change, 4th Edition (2016) by William J. Rothwell, Jacqueline M. Stavros, and Roland L. Sullivan, Hoboken, NJ: John Wiley and Sons, Inc. ISBN: 978-1-118-94770-8. [POD4]）

First Come First Selected (19，20，27，26，30 have been selected by other students).

Here is an example:

My three choices:

Chapter 27 – The Global Organization Development Professional – I am about to travel to Italy for the 3^rd time in four years for a work assignment. I have also travelled to Canada three times. Globalization adds new opportunities to drive impactful change while being sensitive to cultural differences.

Chapter 24 – Positive Organizational Ethics – The news today is dominated by questional ethics and human conduct and this would be an interesting chapter to present to the class.

Chapter 20 – Organization Change that Transforms – Bringing life to strategic change to maximize competitive advantage would also be interesting to research and present.

There will be 6 small essay of one single-spaced page analysis of the readings.

1, Topic Deindustrialization, Gendered Work, and Working-Class Conservatism

Reading: “‘Vigorously Left, Right, and Center at the Same Time:’ The Crosscurrents of Working‐Class America in the 1970s.” by Jefferson Cowie in America in the Seventies, eds., Beth Bailey and David Farber. (Lawrence: University Press of Kansas, 2004), 75-106.

“‘A Spontaneous Loss of Enthusiasm’: Workplace Feminism and the Transformation of Women’s Service Jobs in the 1970s,” by Dorothy Sue Cobble in International Labor and Working-Class History 56 (Fall 1999): 23-44. [16 pages] [google for pdf.]

https://smlr.rutgers.edu/sites/default/files/documents/faculty_staff_docs/Cobble_Spontaneous_Loss.pdf

2. Topic Race, Gender, and Globalization since the

Reading: “What Has Happened to the Labor Movement,” by Dan Clawson and Mary Ann Clawson in Annual Review of Sociology, 25 (1999): 95-119.

“The Politics of Labor and Race in the USA,” by Bill Fletcher, Jr. and Fernando Gapasin, in Socialist Register, Vol. 30 (2003), p. 245-264

3. Topic Race, Gender, and the Cultural Economy

Reading: Artland Labor Reading

4. Topic Environment, Inequality, and Capitalism

Reading: “United to Win: Labor-Environmental Alliances, by Dan Jakopovitch in Capitalism, Nature, Socialism, 20(2), 74-96. 2009.

“What Every Environmentalist Needs to Know About Capitalism,” by Fred Magdoff & John Bellamy Foster, Monthlyreview.org (7 March 2010), http://www.countercurrents.org/foster070310.htm

5. Topic Food: Gender, Race, and Nationality at Work

Reading: “Return to the Jungle: The Rise and Fall of Meatpacking Work,” by Daniel Calamuci in New Labor Forum, 2008, 17(1): 67-77.

“Inside a Poultry Processing Plant: An Ethnographic Portrait,” by Steve Striffler in Labor History 43(3):305-313. August 2002.

“Food Fight: The Politics of the Food Industry,” by Kristin Wartman in New Labor Forum, Fall 2012, 21(3): 75-79.

Assume you are the project manager for a software company, and your team is in charge of delivering an update to tax preparation software for the next tax season. The project team has ten software developers working together, but located across the country. You have the following information about the project, and need to provide a status to the sponsors. Please write a one page status report to the sponsors, providing a clear indication of status of the project. (suggestion Red, Yellow, or Green for status). The sponsors also like to only know the two most important risks, and what could be done to mitigate the risk if it happens. The conclusion of the status report must describe any requests for additional resources, if they are necessary.

New items you learned this month about the project:

• There is a three day weekend in the coming month
• Nine of the developers are on track to finish their tasks 2 weeks early.
• One software developer took the recently announced “early retirement” package, and is leaving in one week. He is confident he will be able to finish his piece of the work before he leaves.
• It is hurricane season in Florida, where three of the developers are located.
• The developer who is retiring is the only person who knows how to get approval for the final product from the IRS.
• The project costs are under budget and there has been no need for overtime.

Provide a one page monthly status to the sponsors, in APA format.

Homework 1

In Chapters One and Two we covered general ideas and terminology about art. In Chapter Four we will cover the formal elements of art in depth. The first element is LINE.

1. Before you start you will need to read Chapter 4 – especially the part that deals with LINES in art and view the presentation.

2. Choose one painting or drawing from the book (not from Chapter 4) and post it with your response. Please include the name of the artist, the title of the work and the date in which it was created. (I chose the one below)

2.1

Vincent van Gogh. Wheat Field and Cypress Trees. 1889. Oil on canvas, 28¹⁄₂ × 36″.

The National Gallery, London

3. Describe the lines in that work.

• Are they continuous or broken? straight or wavy? Organic or geometric? Round or angular? Thin or thick? Of constant width or of freely varying widths? Are there any contour lines in the work? etc.
• Do you see actual lines/linear forms/lines formed by edges/implied lines? Where exactly do you see them?
• Describe the direction and movement of the lines. Are they horizontal, vertical, diagonal lines?

Optional – explain how the form (lines) affect the content – meaning of the work.

Example

Theodore Gericault, Raft of the Medusa, 1818-1819

Description of the lines –

Most of the lines in the work are organic and not straight – representing human bodies and the sea and sky. Few geometric straight lines represent the wood of the raft and the ropes.

Most of the lines are not actual lines but lines created by either linear shapes such as the arms and legs of the people, or formed by edges – for example between the sea and the sky there is a straight line that is created by the two different colors.

There are very few contour lines – such as between the leg of the person lying on the front right on top of a wood beam. Those contour lines are thin.

Most of the lines are diagonal, with the exception of the line of the horizon to the right of the raft which is horizontal. There are many lines in the center of the composition that seems to be going in different directions. Many lines are implied lines – create by a few objects leading the eye to the same direction. For example the body of the dead person on the bottom left create a diagonal line that is continued by the hand motion of the person in the center of the raft that lifts his arm in the same direction.

Homework 2

1. Read Chapter 4 – especially the part about light, and view the presentation.

2. Choose one work of art – either from the text book or another source. You may take a photo by yourself and upload it if you wish, or use your own artwork if you have one. You have to choose a work that uses light in a significant way (therefore if you see a work of art that has no reference to light – please do not choose it). If you choose a work from the textbook please do not use the examples that are given to the topic of light.

3. Attach the picture of the artwork and include the name of artist, title, date.

4. Describe the use of light in the work.

• Is the light an actual light like in Doug Wheeler’s installations?
• Or is it an implied light like in this details from Leonardo’s “Virgin and St. Anne…”?

• If it’s an actual light ask yourself – what and where is the source of light? Is it bright, dim, colorful? is it constant or blinking? One source or many? What is the relationship with the viewer (above, in front etc.). What is the relationship with the space (indoor or outdoor, small space or large? type of space? etc.) How do you think it affects the viewer?

• If it’s implied light ask yourself – Where is the light in the picture coming from? How many sources? Inside or outside the picture? Artificial or natural light? Can you describe it as a chiaroscuro? What is the purpose/s of the light? (modeling, emotional or symbolic effects, compositional, directing the eye etc.)