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The nature of operations management

  1. Describe the nature of operations management in the following organizations. In doing this, first describe the operation process of the production system. Second, identify operations decisions. (Marks 3) (word count maximum:500)

A paper manufacturing
An internal design office

  1. Suppose that a firm is considering moving from a batch process to an assembly-line process to better meet evolving market needs. What concerns might the following functions have about this proposed process change: marketing, finance, human resources, accounting, and information systems? (Marks 1) (word count maximum: 150)
  2. Describe the flow chart of Textile Manufacturing Process. (Marks 1) (word count maximum: 100)

Sample Solution

e having them are often novelists or literary critics themselves, for whom novels remain personally important. Our culture’s mentality towards the novel is individually nuanced rather than collective because the idea of literature doesn’t have overt political connotations- unlike in, say, Stalin’s USSR, where government propaganda held that novels were an expression of dangerous individualism unless they explicitly reinforced state ideals (although the political connotations of the novel do warrant exploration). What this essay aims to do, then, is not prove categorically that every canonical novel (and even herein lies an issue, because there has never been a unanimous, official canon of English literature) is losing its status, but rather to explore whether a cultural shift with regards to the novel as a form is taking place and, if so, why this is happening on a political, social, economic and cultural level. Point 1: Changes in demand, genres and purposes of novels (i.e. why do people read novels, what do they look for in novels in modern times) + why these happen (education, availability) Although in England politicians tend not to take a Stalinesque stance on fiction, there is nonetheless evidence that politics has an influence on attitudes to novels in general. One of the reasons offered for the decline of the influence of the novel is that ‘difficult’, ‘academic’ novels with intentional social or artistic messages have come to symbolise something unpleasant for many potential readers. As Will Self argues in his May 2014 article for The Guardian, ‘The Novel is Dead (This Time It’s for Real)’, ‘throughout the second half of the last century, the literary novel was perceived to be the prince of art forms, the cultural capstone and the apogee of creative endeavour’, whereas now ‘the hallmark of our contemporary culture is an active resistance to difficulty in all its aesthetic manifestations, accompanied by a sense of grievance that conflates it with political elitism’. Here the writer addresses a political and sociological issue potentially at the crux of the novel’s social decline: what Self calls the ‘high art’ of the novel has ceased to be regarded as an aspirational indicator of education and sophistication, but has become associated for many with intentional esotericism and snobbery. This is despite the fact that literacy rates in the UK have continued to rise since the 1800s (from 60% in men and 40% in women in 1800 (Mitch, 2004), to 99% overall in 2003 (Historical Data Graphs Per Year: Indexmundi, 2015)), which could have otherwise been presumed to be facilitating a greater readership of literary novels. For Self, what takes place is a misinterpretation of the role of the novel which ‘actively prevents a great many people from confronting the very real economic inequality and political disenfranchisement they\’re subject to’. The rise of populism in the UK, and the anti-elitist sentiment it can direct towards various aspects of culture that seem inaccessible, has been observable since _____ (talk about populism and other examples across time/geography of its anti-art/ anti-literature concomitants). A recent complaint about an essay in
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