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The Home Improvement Project.

”from Chapter 4 “Defining the Project” given in your textbook – Project Management: The Managerial Process 8th edition by Larson and Gray page no: 132 also refer to specific concepts you have learned from the chapter to support your answers. Answer the following questions with 500 Words limit.

What factors and forces contributed to scope creep in this case? (1.5 Marks)
Is this an example of good or bad scope creep? Explain. (1.5 Marks)
How could scope creep have been better managed by the Nelsons? (2 Marks)

Sample Solution

tices the children to a land of play and adventure. The battle between Peter Pan and Captain Hook suggests a battle between childhood and adulthood, personified by the ever-ticking clock. Peter has ‘no sense of time’. On his parting from Wendy, the children grow up, forgetting Peter. When reminded, Peter does not remember his nemesis, Captain Hook or his companion, Tinkerbell. It seems the battle was only a game, soon forgotten. Much like the adopted trope, ‘it was all a dream’. Neverland never was, only Peter Pan remains. The idea of Peter Pan flying reminds the reader of the prevalence of dreams in which we can fly, that seems part of childhood for many, yet diminish in frequency as we reach adulthood. Peter is innocent and heartless and flies away, because ‘It is only the gay, innocent and heartless that can fly’. Adulthood grounds us. Peter Pan is driven by the notion of self, meeting his own needs and being in the moment, a physical manifestation of freedom, hailing from a none reality of an unobtainable ‘Neverland.’ Ultimately rather than the boy who would not grow up, Peter cannot grow up. When adopted, his lost boys grow into adults, with all the responsibilities of adulthood. Wendy grows up, leaving Peter perpetually locked in childhood. J.M. Barrie created the ultimate child, unable to tame his creation, Barrie sets free the lost boys, bringing them out of Neverland and into the physical world, while locking his wild and free Peter away in eternal childhood. I argue that Peter Pan is the authors’ personification of childhood but not an idealised child. The child who desires the maternal figure, in Wendy, yearns for the stories, the need for a mother. The boy leader rejecting the patriarchy, is wilful and self-directed, only wanting to fill his days with games of pirates and Indians. Ultimately Peter’s destiny is to remain in the Neverland of childhood, a prisoner, looking through the barred window of the Darling’s home but never being part of it. For that moment, we see the sadness of being an eternal child as we accept that children must grow up, except for one. Were it not for The Lost Boys, stepping out of Neverland into reality, everything about Peter Pan could represent the passing of a dream or Barrie asserting his own patriarchal idea that childhood is only a time for adventure and something to be left behind as we face the responsibilities of adulthood. Barrie also appears to prepare the child reader to leave the magic of childhood behind. The authorial voice is that of an adult, telling stories to a child. The story is laden with subtext. The reading could suggest Peter Pan is a tragic figure, locked in childhood for perpetuity. Rather than Pan personifying freedom, he becomes the yearning for a childhood lost, which may have alluded to how Barrie’s childhood was lost through the death of his brother, David, who drowned on the eve of his fourteenth birthday and so became the child who did not grow up. Conclusion. Writers are often at the forefront of debate, known for political commentary beyond the narrative. Those Writing for children during the Edwardian period were often associated with the changing and challenging of ideas. While I have not discussed E. Nesbit, she was a Pantheist, politically motivated m
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