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Organizational Behavior And Management

Write a 700- to 1,050-word paper on decision making. In your paper, include the following:

Explain the rational decision-making model
Discuss dealing with biases and errors in decision making
Analyze how individual differences and organizational constraints affect decision making
Identify ethical considerations in decision making.

Sample Solution

he metaphor of the ‘box tree’ seems a strange diversion until we realise that Chapman is picking up the literal use of ‘being ne’er so much beneath’ his enemy by describing himself as a famously short plant. Similarly, the simile ‘Death/Mounted on earthquakes’ is difficult to decipher until ‘mounted’ is picked up in Bussy’s ‘trot’ motion, and the earthquake, representing the hard, low, intensely-packed mass of the box tree’s roots, is the agent of foiling his enemy: ‘from your whole strength toss you into air’. By manipulating the meaning of certain words, and transferring semantic fields across metaphors Chapman does indeed create a strangely integrated whole out of disparate parts, but it is a meaning which allows for movement and evokes a sense of spontaneity within it. ‘Life’ is created out of this ‘imaginative complexity’: images are evoked but never pinned down. Although we may disagree with the sense of self projected, of Bussy as a righteous powerhouse of strength and courage, within the contorted, paratactic flights of rhetoric an irreducible occluded inner life is conveyed. If, as Ben Jonson declared, ‘Language most shows a man. Speak that I may see you’, then the dense, strenuous, conflicted, semantically overwrought and imaginatively complex language that Bussy speaks shows the struggle of a would-be autonomous consciousness to assert its presence in the play. The struggle itself constitutes an identity, an identity which will not be totally a function of the society in which he must live. In his argument that Jacobean tragedy sought to ‘decentre’ the individual, BLANK Dollimore believes that Chapman’s tragedy reveals to us that ‘the ideal of substantial essence is an illusion’, and that the self can only be reduced to a site of social process and ideological contradiction. This vision of the play sees a tragic presentation of a doomed, heroic early modern assertion of the individual will which cannot achieve the self-defining autonomy it proclaims. But it can be seen that the play’s exteriorisation of the interior is used to indicate a consciousness that is not entirely determined by social construction. And this, the sense of an inner world conjured by embodied, exterior, presentational forms, ultimately forms a microcosm of subjectivity as formed

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