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Rococo 777 fantasies became mirrors in which his well-to-do French patrons could behold the ornamental re!ections of their cherished pastimes. Jean-Honoré Fragonard. Boucher’s greatest student, J"#$- H%$%&' F&#(%$#&) (1732–1806), was a *rst-rate colorist whose decorative skill almost surpassed his master’s. An example of his manner can stand as characteristic not only of his work but also of the later Rococo in general. In !e Swing (+,(. 26-9), a young gentleman has convinced an unsuspecting older man (thought by some art historians to be a bishop) to swing the young man’s pretty sweetheart higher and higher, while her lover (and the work’s patron), in the lower le- corner, stretches out to admire her from a strategic position on the ground. .e young lady !irtatiously kicks o/ her shoe toward the little statue of Cupid. .e infant love god holds his *nger to his lips. .e landscape emulates Watteau’s— a luxuriant perfumed bower in a park that very much resembles a stage scene for comic opera. .e glowing pastel colors and so- light convey, almost by themselves, the theme’s sensuality. Giambattista Tiepolo. !e Swing is less than 3 feet in height, and Watteau’s L’Indi"érent (+,(. 26-7A) is barely 10 inches tall. Even the *gure-packed landscape Pilgrimage to Cythera (+,(. 26-7) is only a little more than 4 feet high. Indeed, Rococo was a style best suited for small-scale works projecting a mood of sensual intimacy, and Rococo salons o-en featured tabletop sculptures, such as Nymph and Satyr Carousing (+,(. 26-9A) by Claude Michel, called C0%),%$ (1738–1814). But the intimate Rococo style could also be adapted for paintings of huge size, as the work of G,#12#33,43# T,"5%0% (1696–1770) demon- strates. A Venetian, Tiepolo worked for patrons in Austria, Germany (+,(. 26-4A), and Spain, as well as in Italy. He was a master of illu- sionistic ceiling decoration in the Baroque 26-9 J!"#-H$#$%& F%"'$#"%(, !e Swing, 1766. Oil on canvas, 29 8 580 ) 29 20. Wallace Collection, London. Fragonard’s Swing exemplifies Rococo style. Pastel colors and soft light complement a scene in which a young lady flirtatiously kicks off her shoe at a statue of Cupid while her lover admires her from below. 26-8 F%"#*$+, B$-./!%, Cupid a Captive, 1754. Oil on canvas, 59 60 ) 29 100. Wallace Collection, London. Boucher was Madame de Pompadour’s favorite artist. In this Rococo tableau, he painted a pyramid of rosy infant and female flesh and fluttering draperies set off against a cool, leafy background. 26-9A CLODION, Nymph and Satyr Carousing, ca. 1780–1790. 1 ft. 1 ft. 30702_ch26_rev03_770-799.indd 777 11/06/18 4:25 pm © 2 01 8 C en ga ge L ea rn in g. A ll R ig ht s R es er ve d. T hi s co nt en t i s no t y et f in al a nd C en ga ge L ea rn in g do es n ot g ua ra nt ee th is p ag e w il l c on ta in c ur re nt m at er ia l o r m at ch th e pu bl is h.
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Rococo 777fantasies became mirrors in which his well-to-d.docx
Rococo 777
fantasies became mirrors in which his well-to-do French patrons
could behold the ornamental re!ections of their cherished pastimes.
Jean-Honoré Fragonard. Boucher’s greatest student, J"#$-
H%$%&' F&#(%$#&) (1732–1806), was a *rst-rate colorist whose
decorative skill almost surpassed his master’s. An example of his
manner can stand as characteristic not only of his work but also
of the later Rococo in general. In !e Swing (+,(. 26-9), a young
gentleman has convinced an unsuspecting older man (thought
by some art historians to be a bishop) to swing the young man’s
pretty sweetheart higher and higher, while her lover (and the work’s
patron), in the lower le- corner, stretches out to admire her from a
strategic position on the ground. .e young lady !irtatiously kicks
o/ her shoe toward the little statue of Cupid. .e infant love god
holds his *nger to his lips. .e landscape emulates Watteau’s—
a luxuriant perfumed bower in a park that very much resembles
a stage scene for comic opera. .e glowing pastel colors and so-
light convey, almost by themselves, the theme’s sensuality.
Giambattista Tiepolo. !e Swing is less than 3 feet in height,
and Watteau’s L’Indi"érent (+,(. 26-7A) is barely 10 inches tall. Even
the *gure-packed landscape Pilgrimage to Cythera (+,(. 26-7) is only
a little more than 4 feet high. Indeed, Rococo was a style best suited
for small-scale works projecting a mood of
sensual intimacy, and Rococo salons o-en
featured tabletop sculptures, such as Nymph
and Satyr Carousing (+,(. 26-9A) by Claude
Michel, called C0%),%$ (1738–1814). But the
intimate Rococo style could also be adapted
for paintings of huge size, as the work of
G,#12#33,43# T,"5%0% (1696–1770) demon-
strates. A Venetian, Tiepolo worked for patrons
in Austria, Germany (+,(. 26-4A), and Spain,
as well as in Italy. He was a master of illu-
sionistic ceiling decoration in the Baroque
26-9 J!"#-H$#$%& F%"'$#"%(, !e Swing, 1766. Oil on canvas,
29 8 580 ) 29 20. Wallace Collection, London.
Fragonard’s Swing exemplifies Rococo style. Pastel colors and soft light
complement a scene in which a young lady flirtatiously kicks off her shoe at
a statue of Cupid while her lover admires her from below.
26-8 F%"#*$+, B$-./!%, Cupid a Captive, 1754. Oil on canvas,
59 60 ) 29 100. Wallace Collection, London.
Boucher was Madame de Pompadour’s favorite artist. In this Rococo
tableau, he painted a pyramid of rosy infant and female flesh and fluttering
draperies set off against a cool, leafy background.
26-9A CLODION,
Nymph and Satyr
Carousing,
ca. 1780–1790.
1 ft.
1 ft.
30702_ch26_rev03_770-799.indd 777 11/06/18 4:25 pm
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The Art of Love: An Exhibition of Jean-Honore Fragonard’s Works
The document discusses Jean-Honore Fragonard's works focusing on themes of love and romance from the late 18th century. It analyzes several of Fragonard's paintings including Blind Man's Bluff, The Swing, The Stolen Kiss, and The Progress of Love series. The paintings depict various aspects of love from playful courtship to erotic intimacy through Fragonard's signature Rococo style with pastel colors and elaborate detail. The document concludes Fragonard was a master of portraying love during the Rococo period through his artistic skill and sensitivity to light, color and symbolism.
Rococo
Rococo originated in the early 1700s in France as a lighter, more ornate style that evolved from Baroque. It emphasized beauty, nature, and curved, asymmetrical designs inspired by shells and rocks. Rococo flourished during the reign of Louis XV and is seen in paintings like Boucher's Odalisque Brune depicting an aristocratic woman and Watteau's Venetian Pleasure showing an operatic scene. Furniture, interiors, fashion, and jewelry featured elaborate floral motifs, pastel colors, asymmetry, and natural themes reflecting the style's emphasis on beauty, lightness, and nature.
Alfaro
This document provides information about Neoclassicism painting from the 18th to early 19th century, which revived the order and harmony of Greek and Roman art. It discusses important works by Jacques Louis David and Antonio Canova that exemplified the Neoclassical style. The document also covers Romanticism as a reaction to Neoclassicism, emphasizing emotion, individualism, and nature. It summarizes paintings by Eugène Delacroix, Caspar David Friedrich, and John Constable that embodied Romantic ideals through their depictions of landscapes, emotions, and solitary figures.
Mannerism & Baroque
The document provides an overview of several major artistic periods and styles between the 16th and 18th centuries in Europe, including Mannerism, Baroque, and Rococo. [1] Mannerism emphasized style over substance and featured twisted figures. [2] Baroque art was characterized by bright colors, dramatic emotions, and grand themes as seen in the works of Bernini and Rubens. [3] Rococo emerged in the 18th century as a lighter and more delicate offshoot of Baroque featuring pastoral scenes and pastel colors.
Baroque n rococo
The document discusses the Rococo art style that flourished in France and Germany in the early 18th century. Rococo art focused on depicting the carefree lifestyle of the aristocracy rather than grand historical themes. It was characterized by free flowing movement, delicate colors, and playful use of line. Jean-Antoine Watteau and Jean Honoré Fragonard were two prominent Rococo artists known for their paintings of fêtes galantes and romantic scenes.
Rococo
The Rococo movement emerged in France in the late 17th century and spread throughout Europe. [1] It was characterized by lightness, grace, and asymmetry in contrast to the heavier Baroque style. [2] Rococo influenced many art forms including painting, sculpture, architecture, furniture, and music. [3] Artists emphasized delicate colors, curving forms, and ornate decorations.
Museo Del Prado - National Gallery Madrid
The Prado is unique among the world’s great museums. Its collection is astonishingly rich, with master paintings from the 13C to the 18C. It is one of the more complete wider representation of European schools of paintings. Assembled by the Spanish kings for their palaces, its treasures are now housed in the grandiose Neo-Classical palace designed in 1787. The Prado contains the most important collection of Spanish masters to be found anywhere in the world. It has the finest works included paintings by El Greco, Zurbaran, Velazquez, Murillo, Goya etc. The great strength of the museum is that it has also amassed extensive collections of other European artists. As the Low Countries were once part of the Spanish Empire, its collection included works by Rogier van der Weyden, the unsurpassed works of Hieronymus Bosch, Pieter Bruegel, etc. Rubens’ works are well-represented.
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Rococo 777fantasies became mirrors in which his well-to-d.docx
Rococo 777
fantasies became mirrors in which his well-to-do French patrons
could behold the ornamental re!ections of their cherished pastimes.
Jean-Honoré Fragonard. Boucher’s greatest student, J"#$-
H%$%&' F&#(%$#&) (1732–1806), was a *rst-rate colorist whose
decorative skill almost surpassed his master’s. An example of his
manner can stand as characteristic not only of his work but also
of the later Rococo in general. In !e Swing (+,(. 26-9), a young
gentleman has convinced an unsuspecting older man (thought
by some art historians to be a bishop) to swing the young man’s
pretty sweetheart higher and higher, while her lover (and the work’s
patron), in the lower le- corner, stretches out to admire her from a
strategic position on the ground. .e young lady !irtatiously kicks
o/ her shoe toward the little statue of Cupid. .e infant love god
holds his *nger to his lips. .e landscape emulates Watteau’s—
a luxuriant perfumed bower in a park that very much resembles
a stage scene for comic opera. .e glowing pastel colors and so-
light convey, almost by themselves, the theme’s sensuality.
Giambattista Tiepolo. !e Swing is less than 3 feet in height,
and Watteau’s L’Indi"érent (+,(. 26-7A) is barely 10 inches tall. Even
the *gure-packed landscape Pilgrimage to Cythera (+,(. 26-7) is only
a little more than 4 feet high. Indeed, Rococo was a style best suited
for small-scale works projecting a mood of
sensual intimacy, and Rococo salons o-en
featured tabletop sculptures, such as Nymph
and Satyr Carousing (+,(. 26-9A) by Claude
Michel, called C0%),%$ (1738–1814). But the
intimate Rococo style could also be adapted
for paintings of huge size, as the work of
G,#12#33,43# T,"5%0% (1696–1770) demon-
strates. A Venetian, Tiepolo worked for patrons
in Austria, Germany (+,(. 26-4A), and Spain,
as well as in Italy. He was a master of illu-
sionistic ceiling decoration in the Baroque
26-9 J!"#-H$#$%& F%"'$#"%(, !e Swing, 1766. Oil on canvas,
29 8 580 ) 29 20. Wallace Collection, London.
Fragonard’s Swing exemplifies Rococo style. Pastel colors and soft light
complement a scene in which a young lady flirtatiously kicks off her shoe at
a statue of Cupid while her lover admires her from below.
26-8 F%"#*$+, B$-./!%, Cupid a Captive, 1754. Oil on canvas,
59 60 ) 29 100. Wallace Collection, London.
Boucher was Madame de Pompadour’s favorite artist. In this Rococo
tableau, he painted a pyramid of rosy infant and female flesh and fluttering
draperies set off against a cool, leafy background.
26-9A CLODION,
Nymph and Satyr
Carousing,
ca. 1780–1790.
1 ft.
1 ft.
30702_ch26_rev03_770-799.indd 777 11/06/18 4:25 pm
©
2
01
8
C
en
ga
ge
L
ea
rn
in
g.
A
ll
R
ig
ht
s
R
es
er
ve
d.
T
hi
s
co
nt
en
t i
s
no
t y
et
f
in
al
a
nd
C
en
ga
ge
L
ea
rn
in
g
do
es
n
ot
g
ua
ra
nt
ee
th
is
p
ag
e
w
il
l c
on
ta
in
c
ur
re
nt
m
at
er
ia
l o
r
m
at
ch
th
e
pu
bl
is
h ...
The Art of Love: An Exhibition of Jean-Honore Fragonard’s Works
The document discusses Jean-Honore Fragonard's works focusing on themes of love and romance from the late 18th century. It analyzes several of Fragonard's paintings including Blind Man's Bluff, The Swing, The Stolen Kiss, and The Progress of Love series. The paintings depict various aspects of love from playful courtship to erotic intimacy through Fragonard's signature Rococo style with pastel colors and elaborate detail. The document concludes Fragonard was a master of portraying love during the Rococo period through his artistic skill and sensitivity to light, color and symbolism.
Rococo
Rococo originated in the early 1700s in France as a lighter, more ornate style that evolved from Baroque. It emphasized beauty, nature, and curved, asymmetrical designs inspired by shells and rocks. Rococo flourished during the reign of Louis XV and is seen in paintings like Boucher's Odalisque Brune depicting an aristocratic woman and Watteau's Venetian Pleasure showing an operatic scene. Furniture, interiors, fashion, and jewelry featured elaborate floral motifs, pastel colors, asymmetry, and natural themes reflecting the style's emphasis on beauty, lightness, and nature.
Alfaro
This document provides information about Neoclassicism painting from the 18th to early 19th century, which revived the order and harmony of Greek and Roman art. It discusses important works by Jacques Louis David and Antonio Canova that exemplified the Neoclassical style. The document also covers Romanticism as a reaction to Neoclassicism, emphasizing emotion, individualism, and nature. It summarizes paintings by Eugène Delacroix, Caspar David Friedrich, and John Constable that embodied Romantic ideals through their depictions of landscapes, emotions, and solitary figures.
Mannerism & Baroque
The document provides an overview of several major artistic periods and styles between the 16th and 18th centuries in Europe, including Mannerism, Baroque, and Rococo. [1] Mannerism emphasized style over substance and featured twisted figures. [2] Baroque art was characterized by bright colors, dramatic emotions, and grand themes as seen in the works of Bernini and Rubens. [3] Rococo emerged in the 18th century as a lighter and more delicate offshoot of Baroque featuring pastoral scenes and pastel colors.
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The document discusses the Rococo art style that flourished in France and Germany in the early 18th century. Rococo art focused on depicting the carefree lifestyle of the aristocracy rather than grand historical themes. It was characterized by free flowing movement, delicate colors, and playful use of line. Jean-Antoine Watteau and Jean Honoré Fragonard were two prominent Rococo artists known for their paintings of fêtes galantes and romantic scenes.
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The Rococo movement emerged in France in the late 17th century and spread throughout Europe. [1] It was characterized by lightness, grace, and asymmetry in contrast to the heavier Baroque style. [2] Rococo influenced many art forms including painting, sculpture, architecture, furniture, and music. [3] Artists emphasized delicate colors, curving forms, and ornate decorations.
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Abstract:
This article discusses the main lessons learned from the management of the design of the 'Water Cube' National Swimming Aquatic Centre (a landmark building for the Beijing 2008 Olympic Games), including forming an international partnership, managing cultural differences and risks, dealing with intellectual property and ownership of design to establish a legacy. The article also discusses design management strategies and innovations. It was found that Beijing's lack of regulatory transparency, regional differences and a relationship-based business culture were some of the factors that made China a challenging project environment. Cultural understanding and relationship (guanxi) building were fundamental strategies in responding to these challenges. It was also found that developing a shared ownership of intellectual property and innovative design ideas may facilitate the collaboration between Western and Chinese partners. In addition, it was necessary for the foreign design and project management teams to be continuously involved in the construction stage to ensure the conversion of design into reality, construction quality and personal fulfilment. [ABSTRACT FROM AUTHOR]
Copyright of Architectural Engineering & Design Management is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
Author Affiliations:
1Faculty of the Built Environment, The University of New South Wales, Sydney, Australia
2Arup Project Management, Sydney, Australia
ISSN:
1745-2007
This article discusses the main lessons learned from the management of the design of the ‘Water Cube’ National Swimming Aquatic Centre (a landmark building for the Beijing 2008 Olympic Games), including forming an international partnership, managing cultural differences and risks, dealing with intellectual property and ownership of design to establish a legacy. The article also discusses design management strategies and innovations. It was found that Beijing's lack of regulatory transparency, regional differences and a relationship-based business culture were some of the factors that made China a challenging project environment. Cultural understanding and relationship (guanxi) building were fundamental strategies in responding to these challenges. It was also found that developing a shared ownership of intellectual property and innovative design ideas may facilitate the collaboration between W.
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artsoftheneo-classicalperiod1780-1840-160919050926 (1).pdf
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Abstract:
This article discusses the main lessons learned from the management of the design of the 'Water Cube' National Swimming Aquatic Centre (a landmark building for the Beijing 2008 Olympic Games), including forming an international partnership, managing cultural differences and risks, dealing with intellectual property and ownership of design to establish a legacy. The article also discusses design management strategies and innovations. It was found that Beijing's lack of regulatory transparency, regional differences and a relationship-based business culture were some of the factors that made China a challenging project environment. Cultural understanding and relationship (guanxi) building were fundamental strategies in responding to these challenges. It was also found that developing a shared ownership of intellectual property and innovative design ideas may facilitate the collaboration between Western and Chinese partners. In addition, it was necessary for the foreign design and project management teams to be continuously involved in the construction stage to ensure the conversion of design into reality, construction quality and personal fulfilment. [ABSTRACT FROM AUTHOR]
Copyright of Architectural Engineering & Design Management is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
Author Affiliations:
1Faculty of the Built Environment, The University of New South Wales, Sydney, Australia
2Arup Project Management, Sydney, Australia
ISSN:
1745-2007
This article discusses the main lessons learned from the management of the design of the ‘Water Cube’ National Swimming Aquatic Centre (a landmark building for the Beijing 2008 Olympic Games), including forming an international partnership, managing cultural differences and risks, dealing with intellectual property and ownership of design to establish a legacy. The article also discusses design management strategies and innovations. It was found that Beijing's lack of regulatory transparency, regional differences and a relationship-based business culture were some of the factors that made China a challenging project environment. Cultural understanding and relationship (guanxi) building were fundamental strategies in responding to these challenges. It was also found that developing a shared ownership of intellectual property and innovative design ideas may facilitate the collaboration between W.
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Albert Bierstadt,
Strom Among the Alps.
Long, long ago — perhaps maybe some time in the seventeenth century somewhere in the Alps, two valleys with a village each - Gschaid and Millsdorf - lay next to each other, ringed by high mountains and linked by a sole, lonely path. Due to this separation, the inhabitants considered each other as strangers. Yet it came to pass that the shoemaker from Gschaid married the Millsdorf dyer's daughter, and the couple had two children, Conrad and Sanna.
One unusually warm Christmas Eve, the two children set out on the path from the northward valley, through pine forest and over the pass, to visit their grandmother in the valley to the south. Their mother had sent Conrad and Sanna to their grandparents in Millsdorf to give them Christmas greetings and presents. Conrad and little Sanna set out early, arrived in time for lunch, and were kissed and showered with gifts by their adoring grandmother. Yet she insisted that they start for home early. The temperature was dropping, and ice was forming on the puddles in the road. As Conrad and Sanna climbed the path back toward home, a significant snowfall began. It was a snowfall the villagers later called once in a century: "unprecedented, unwearying, and voracious." The children climbed and climbed, but their path never descended as it should; they never find their familiar landmark.
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Rogers Communications Historical Background
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Robin waits patiently, but after six months, his savings are running low and his new business could use an influx of cash. Robin sells his right to collect the $10,000 to Speedy, a friend from his Titans, Inc. days who has also left the company. Two weeks later, Speedy sends a letter to Titans, Inc., telling them that he has acquired the rights to the debt owed to Robin and demanding payment in ten (10) days.
A week after Robin sells the debt to Speedy, Titan’s Inc,’s accountants do an internal audit. They discover that many debts from former employees to the company, from participating in the company’s Home Down Payment Borrowing Program, had never been collected. Among these debts are $5,000 from Robin and also $5,000 from Speedy. When Titans, Inc. gets Speedy’s letter, they ignore it, believing they are now even with Robin and Speedy.
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Risk Management Program Analysis Part One
1
Unsatisfactory
0.00%
2
Less than Satisfactory
65.00%
3
Satisfactory
75.00%
4
Good
85.00%
5
Excellent
100.00%
70.0 %Content
15.0 %Summary Description of the Type of Risk Management Plan Selected With Rationale
Not included.
A summary description of the type of risk management plan selected with rationale is somewhat incorporated, but the information provided is incomplete, inaccurate, or otherwise deficient.
A summary description of the type of risk management plan selected with rationale is incorporated, but minimal detail or support is provided for one or more components.
A summary description of the type of risk management plan selected with rationale is present and incorporated in full. The submission encompasses essential details and provides appropriate support.
A summary description of the type of risk management plan selected with rationale is present and comprehensive. The submission further incorporates analysis of supporting evidence insightfully and provides specific examples with relevance. Level of detail is appropriate.
15.0 %Description of Recommended Risk Management Program Administrative Steps and Processes Contrasted With the Administrative Steps and Processes in the Exemplar
Not included.
A description of recommended risk management program administrative steps and processes contrasted with the administrative steps and processes in the exemplar is somewhat incorporated, but the information provided is incomplete, inaccurate, or otherwise deficient.
A description of recommended risk management program administrative steps and processes contrasted with the administrative steps and processes in the exemplar is incorporated, but minimal detail or support is provided for one or more components.
A description of recommended risk management program administrative steps and processes contrasted with the administrative steps and processes in the exemplar is present and incorporated in full. The submission encompasses essential details and provides appropriate support.
A description of recommended risk management program administrative steps and processes contrasted with the administrative steps and processes in the exemplar is present and comprehensive. The submission further incorporates analysis of supporting evidence insightfully and provides specific examples with relevance. Level of detail is appropriate.
15.0 %Analysis of Key Regulatory Agencies and Organizations Inclusive of Their Roles in the Risk Management Oversight Process
Not included.
An analysis of key regulatory agencies and organizations inclusive of their roles in the risk management oversight process is somewhat incorporated, but the information provided is incomplete, inaccurate, or otherwise deficient.
An analysis of key regulatory agencies and organizations inclusive of their roles in the risk management oversight process is incorporated, but minimal detail or support is provided for one or more components.
A.
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Risk Management Plan Exercise
1
CIS 6208
IT Project Management
Exercise Name
Risk Management Plan
Purpose
Development of the risk management plan template provides students with hands-on experience
in creating this key project management deliverable. Development of the template supports the
ability to evaluate and recommend project risk management processes and best practices. In
addition, effective project managers have experience in creating project documentation for all
aspects of a project effort. Completion of this exercise will provide students with an opportunity
to gain experience in developing a risk management plan based on a specific case scenario.
Description
As the assigned Project Manager at Rolls Royce in support of the Enterprise Resource Planning
(ERP) project, you have been asked to create a Risk Management Plan for the effort. Since the
organization is just beginning development of their project management practices, they have
asked you to create a Risk Management Plan template for use in their new Project Management
Office (PMO). They are also asking you to develop a Risk Management Plan in support of the
ERP system rollout – using your template. The following two items must be submitted for this
assignment.
1. Template – Risk Management Plan
This will be a blank template with a cover page, section headings, and section
descriptions. Students are expected to develop their own template based on online
research. Search using keywords “Project Risk Management Plan”,“Project Risk
Management Plan Template”, “Project Risk Management Plan Sample”, and “Project
Risk Management Plan Best Practices”.
2. Risk Management Plan
You will use your template to create a risk management plan in support of the course case
study using your template. Leverage details from the case scenario to develop your plan.
You are free to fill in any gaps in the case details to develop a comprehensive plan.
Check with your instructor in regard to any questions related to the case scenario.
Note: Assignments with spelling and/or grammar errors will be returned for correction and
resubmission which may result in a late penalty.
Risk Management Plan Exercise
2
Rubric
Criteria Exemplary Accomplished Developing Beginning
Template -
Format
Provides a
comprehensive
and adaptable
template that
may be used for
most project
types.
15 Points
Covers all key
elements
required to plan
an effective risk
management
approach that
may be used for
most project
types.
10 Points
Covers most key
elements
required to plan
an effective risk
management
approach that
may be used for
some project
types.
5 Points
Limited coverage
of key elements
required to plan
an effective risk
management
approach.
0 Points
Template -
Section
Descriptions
Provides concise
and clear
descriptions
within each
.
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Risk, Vulnerability, and Threats
Hello Class! Please respond to
BOTH
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Question B
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.
Rubic_Print_FormatCourse CodeClass CodeNRS-440VNNRS-440VN-OL191Imp.docx
Rubic_Print_FormatCourse CodeClass CodeNRS-440VNNRS-440VN-OL191Implementation of the IOM Future of Nursing Report150.0CriteriaPercentageUnsatisfactory (0.00%)Less than Satisfactory (75.00%)Satisfactory (79.00%)Good (89.00%)Excellent (100.00%)CommentsPoints EarnedContent80.0%Provided an original summary of the key messages of the IOM report, Future of Nursing: Leading Change, Advancing Health. Any specific references should be cited.5.0%Did not attempt to provide a summary of the key messages of the IOM report, Future of Nursing: Leading Change, Advancing Health, or failed to cite specific references to the IOM report.Provided a skeletal summary of the key messages of the IOM report, Future of Nursing: Leading Change, Advancing Health. Some of the specific references to the IOM report were cited or were done incorrectly.Demonstrates a moderate knowledge of the subject. Recognizes the basic ideas. Misinterprets evidence on the committee's initiative.Demonstrates good knowledge of the subject. Correctly describes the committee's initiative. Justifies some of the impacts on the Future of Nursing.Provided an original summary of the key messages of the IOM report, Future of Nursing: Leading Change, Advancing Health. References specific to the IOM report were properly cited.Identify the role of the Robert Wood Johnson Foundation Initiative and the American Association of Retired Persons on the Future of Nursing Campaign for Action and the State Based Action Coalitions15.0%Does not demonstrate knowledge of role. Fails to identify the impact of the Robert Wood Johnson Foundation Initiative on the Future of Nursing.Demonstrates minimal knowledge of subject. Does not adequately visualize or justify the work of the Committee of the Robert Wood Johnson Foundation Initiative on the Future of Nursing.Demonstrates a moderate knowledge of the subject. Recognizes the basic ideas. Misinterprets evidence on the committee's initiative.Demonstrates good knowledge of the subject. Correctly describes the committee's initiative. Justifies some of the impacts on the Future of Nursing.Demonstrates a full and deep knowledge of subject. Develops and explains an informed position on the committee's initiative, integrates and justifies the impact on the Future of NursingIdentify the importance of the IOM FON report related to the nursing workforce15.0%Does not demonstrate knowledge of the concept or its role. Fails to identify the importance of the IOM FON report related to the nursing workforce.Demonstrates minimal knowledge of the subject. Does not adequately visualize or justify the importance of the IOM FON report related to the nursing workforce.Demonstrates a moderate knowledge of the subject. Recognizes the basic ideas. Misinterprets evidence on the importance of the IOM FON report related to the nursing workforce.Demonstrates good knowledge of the subject. Correctly describes importance of the IOM FON report related to the nursing workforce.Demonstrates a full and.
RISK RESPONSE STRATEGIES AND PERFORMANCE OF PROJECTS IN KIRINYAGA .docx
RISK RESPONSE STRATEGIES AND PERFORMANCE OF PROJECTS IN KIRINYAGA COUNTY, KENYA
JAMES KADEGHE WARUI
D53/OL/CTY/26217/15
A RESEARCH PROJECT SUBMITTED TO THE SCHOOL OF BUSINESS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF DEGREE OF MASTER OF BUSINESS ADMINISTRATION (PROJECT MANAGEMENT) OF KENYATTA UNIVERSITY Comment by user: Proposal
MAY, 2019
DECLARATION
I declare that, this proposal is my own original work and has not been presented for award of any degree in any university. No part of this proposal should be reproduced without the authority of the author and/or Kenyatta University.
Signature Date .
James Kadeghe Warui,
D53/OL/CTY/26217/15.
This research proposal has been submitted for the course examination with my approval as the University supervisor.
Signature . Date.
Dr. Lucy Ngugi,
Department of Management Science,
Kenyatta University.
DEDICATION
This work is dedicated to my family for giving me a chance to pursue an education. I also wish to dedicate this proposal to my colleagues for the encouragement and support they gave me towards the completion of this work
ACKNOWLEDGEMENT
I am thankful to God for the good health and strength He installed upon me to pursue this project. I wish to most sincerely thank my entire family for their overwhelming support throughout this process, they have always been a source of inspiration from whom I get my strength. I also appreciate my friends and colleagues who shared this journey with me and encouraged me in this journey. Comment by user: Need to acknowledge supervisor
TABLE OF CONTENTS
DECLARATIONii
DEDICATIONiii
ACKNOWLEDGEMENTiv
LIST OF TABLESvii
LIST OF FIGURESviii
OPERATIONAL DEFINITION OF TERMSix
ABBREVIATIONS AND ACRONYMSx
ABSTRACTxi
CHAPTER ONE1 put chapter and its heading on same line
INTRODUCTION1
1.1Background of the Study1
1.1.1 Project Performance2
1.1.2 Risk Response Strategies3
1.1.3 Projects in Kirinyaga County5
1.2 Statement of the Problem5
1.3 Objectives of the Study6
1.3.1 General Objective of the Study6
1.3.1 Specific Objectives of the Study6
1.4 Research Questions7
1.5 Significance of the Study7
1.6 Scope of the Study8
1.7 Limitation of the Study8
1.8 Organization of the Study9
CHAPTER TWO10 put chapter and its heading on same line
LITERATURE REVIEW10
2.1 Introduction10
2.2 Theoretical Review10
2.2.1 Enterprise Risk Management Model10
2.2.2 Expectancy Theory11
2.2.3 Network Theory12
2.3 Empirical Literature Review12
2.3.1 Risk Avoidance and Project Performance13
2.3.2 Risk Acceptance and Project Performance14
2.3.3 Risk Monitoring and Project Performance15
2.3.4 Risk Mitigation and Project Performance16
2.3.5 Risk Transfer and Project Performance17
2.4 Summary of Literature Review and Research Gaps19
2.5 Conceptual Framework23
CHAPTER THREE24 put chapter and its heading on same line
RESEARCH METHODOLOGY24
3.1 Introduction24
3.2 Research Design24
3.3 Target Population24
3.4 Data Collection Instruments25
.
RTE Cereal Industry Table of Barriers to Entry”Sept 18, 2017.docx
RTE Cereal Industry Table of “Barriers to Entry”
Sept 18, 2017 Kyu Ho Lee
BADM 449
Entry Barrier
Level
Evidence
Page
Economies of Scale
High
-“Because of economies resulting from feeding a single packaging line from multiple production lines, an RTE cereal plant was estimated to require a capacity of 75 million pounds per year to achieve minimum efficient scale”
-“major firms continually introduced new products, either through creation of a new brand or by the extension of an existing one…Brand extensions were generally considered more likely to succeed than new brands…economies of scale in advertising, and were technologically simpler to develop…”
-Pg. 3
-Pg. 5-6
Experience
Curve
Advantages
High
-“Since the production process was relatively similar for all cereals and the main source of scale economies was in bagging, a single plant could produce many brands of cereal”
-Pg. 3
Intended
Excess
Capacity
Moderate
-“General Mills announced it planned to cut $175 million out of its trade promotions and couponing budget, and simultaneously to reduce prices on its biggest brands…by an average of 11 percent.”
-Pg. 11
Reputation
High
-“Big Three had restrained competition among themselves by achieving effective unwritten agreements to limit in-pack premiums”
-Pg. 2
Product Differentiation
High
-“most advertising intensive of all industries, with an advertising/sales ratio as high as %18.5…”
-Pg. 5
Capital Requirements
High
-“a plant of this capacity that combined production and packaging together in one plant employed about 12t employees and required a capital investment in excess of $100 million”
-Pg. 3
High Switching Costs of Buyers
Low
-“neither coupons nor other forms of trade promotions were believed to stimulate total cereal demand very dramatically. Rather, these competitive tactics led primarily to stockpiling and brand-switching by the most fickle consumers”
-Pg. 5
Access
To
Distribution Channels
High
-“As the number of RTE cereal brands expanded, prime shelf space became even more important. Securing shelf space for a new brand required payment to grocers…While large cereal firms were not exempt from this policy, they had more flexibility than new entrants in shuffling their allocation of space among brands...”
-Pg. 4
Favorable Access to Raw Materials and to Markets
Moderate
-“FTC argued that the leading RTE cereal manufacturers had jointly monopolized the RTE cereal market…”
-“incumbent firms may have filled all profitable niches in the cereal market…”
-Pg. 2
-Pg. 3
Proprietary Technology
High
-“some processes-particularly the extrusion processes used in many children’s cereals-were quite complex and required substantial engineering expertise and production experience to master”
-“RTE cereal industry as a whole spent about one percent of gross sales on R&D”
-“breakfast cereal R&D did generate proprietary new product developments”
-Pg. 3
-Pg. 3
-Pg. 4
Exit Barriers
High
-“RTE breakfast cereals accounted for o.
Rubic_Print_FormatCourse CodeClass CodePCN-518PCN-518-O500Older Ad.docx
Rubic_Print_FormatCourse CodeClass CodePCN-518PCN-518-O500Older Adult Development Interview and Reflection (Obj. 7.1, 7.2, and 7.3)70.0CriteriaPercentageUnsatisfactory (0.00%)Less than Satisfactory (74.00%)Satisfactory (79.00%)Good (87.00%)Excellent (100.00%)CommentsPoints EarnedContent 70.0%Describe the Selected Theory15.0%Paper does not include a description of the selected theory. Paper includes an inaccurate or vague description of the selected theory.Paper demonstrates an understanding of the selected theory by including an accurate description of the theory that includes major points of importance on the topic. Paper demonstrates a thorough understanding of the selected theory by providing an accurate description of the theory that includes major points of importance on the topic. Paper demonstrates an understanding of the selected theory by including a detailed and accurate description of the theory, in addition to major points of importance to the topic. Clearly ties the information provided to the practice of professional counseling. Describe the Interviewee (gender, age, ethnicity, etc.)10.0%Paper does not include a description of the interviewee and/or the person interviewed is not appropriate for the assignment. Paper includes a minimal description of the interviewee and/or the person interviewed is minimally appropriate for the assignment. Paper includes a detailed description of the interviewee and the interviewee selected is appropriate. Paper includes a thorough description of the interviewee and the interviewee selected is appropriate.Paper includes a comprehensive description of the interviewee and the interviewee selected is appropriate.Illustrate the Selected Theory in Relation to the Interviewee's Responses35.0%Paper does not illustrate how the selected theory relates to the interviewee's responses. Paper minimally illustrates how the selected theory relates to the interviewee's responses.Paper adequately illustrates how the selected theory relates to the interviewee's responses.Paper thoroughly illustrates how the selected theory relates to the interviewee's responses. In addition, the paper makes minimal connections to scholarly based research to support the relationship. Paper does a comprehensive job of illustrating how the selected theory relates to the interviewee's responses. In addition, the relationship is supported with direct ties to scholarly research. Ethical and Cultural Strategies in Older Adults10.0%Paper omits or incompletely describes the ethical and cultural strategies that can be used to promote resilience, optimum development, and wellness in older adults. Paper does not demonstrate understanding of the topic. Paper inadequately describes the ethical and cultural strategies that can be used to promote resilience, optimum development, and wellness in older adults. Paper demonstrates poor understanding of the topic. Paper adequately describes the ethical and cultural strategies that can be used to pro.
Rubic_Print_FormatCourse CodeClass CodeNRS-430VNRS-430V-O102Contem.docx
Rubic_Print_FormatCourse CodeClass CodeNRS-430VNRS-430V-O102Contemporary Nursing Practice150.0CriteriaPercentageUnsatisfactory (0.00%)Less than Satisfactory (75.00%)Satisfactory (79.00%)Good (89.00%)Excellent (100.00%)CommentsPoints EarnedContent80.0%Evolution of Nursing Practice Over Time and Resulting Changes to Scope of Practice and Approach to Patient Care10.0%Explanation of how nursing practice has changed over time and how this evolution has changed the scope of practice and the approach to treating the individual is not presented.Explanation of how nursing practice has changed over time is incomplete. A partial summary of how scope of practice and approach to treating the individual have changed over time is presented. There are major inaccuracies. More information is needed.A general explanation of how nursing practice has changed over time is presented. How scope of practice and approach to treating the individual have changed over time is summarized. There are some minor inaccuracies. Some information is needed for clarity.An explanation of how nursing practice has changed over time is presented. How scope of practice and approach to treating the individual have changed over time is discussed. Minor detail is needed for clarity. The explanation is accurate and captures all significant aspects. A thorough explanation of how nursing practice has changed over time is presented. How scope of practice and approach to treating the individual have changed over time is discussed in detail. An insightful account of the evolution of nursing practice and its influence on scope of practice and patient care is presented.Comparison of Differentiated Practice Competencies of ADN and BSN15.0%The differentiated practice competencies of the ADN and BSN are not compared. An incomplete comparison of the differentiated practice competencies of the ADN and BSN is presented. Differences between ADN and BSN scope of practice is unclear. There are significant inaccuracies. More information is needed.A general comparison of the differentiated practice competencies of the ADN and BSN is presented. Differences between ADN and BSN scope of practice are summarized. Some information is needed for clarity or support.A comparison of the differentiated practice competencies of the ADN and BSN is nursing is presented. Differences between ADN and BSN scope of practice are described. Minor detail or rationale is needed for clarity or support.A comparison of the differentiated practice competencies of the ADN and BSN is clearly presented. Differences between ADN and BSN scope of practice are described in detail. The narrative demonstrates a strong understanding of differentiated competencies and scope of practice for the ADN and BSN.Use of Patient Care Situation to Describe Differences in Approach to Nursing Care Based Upon ADN and BSN Education20.0%A patient care situation illustrating the difference between ADN and BSN in decision making and approaches to patient care.
Rubic_Print_FormatCourse CodeClass CodeMGT-660MGT-660-O500Strategi.docx
Rubic_Print_FormatCourse CodeClass CodeMGT-660MGT-660-O500Strategic Plan Part 1: Overview80.0CriteriaPercentageUnsatisfactory (0.00%)Less than Satisfactory (74.00%)Satisfactory (79.00%)Good (87.00%)Excellent (100.00%)CommentsPoints EarnedContent100.0%Description of Plan20.0%A description of the type of plan including the vision, mission, and values of the organization is not included.A description of the type of plan is included however a description of the vision, mission, or values of the organization is not included. Subject knowledge is unclear or inconsistent.A description of the type of plan including the vision, mission, and values of the organization is included. Some subject knowledge is evident.A description of the type of plan including the vision, mission, and values of the organization is included. Subject knowledge is competent.A description of the type of plan including the vision, mission, and values of the organization is included. Description demonstrates comprehensive subject knowledge and understanding.Values and Culture20.0%An explanation of how organizational values drive culture is not included. An explanation of the culture you intend to build or that currently exist is not included.An explanation of how organizational values drive culture is included. An explanation of the culture you intend to build or that currently exist is included. Subject knowledge is unclear or inconsistent.An explanation of how organizational values drive culture is included. An explanation of the culture you intend to build or that currently exist is included. Some subject knowledge is evident.An explanation of how organizational values drive culture is included. An explanation of the culture you intend to build or that currently exist is included. Detailed examples and evidence are included. Subject knowledge is competent.An explanation of how organizational values drive culture is included. An explanation of the culture you intend to build or that currently exist is included. Plan includes relevant examples and applicable insight. Plan demonstrates comprehensive subject knowledge and understanding.Competitive Advantage20.0%An explanation of your competitive advantage is not included.An explanation of your competitive advantage is included. Subject knowledge is unclear or inconsistent.An explanation of your competitive advantage is included. Some subject knowledge is evident.An explanation of your competitive advantage is included. Detailed examples and evidence are included. Subject knowledge is competent.An explanation of your competitive advantage is included. Plan includes relevant examples and applicable insight. Plan demonstrates comprehensive subject knowledge and understanding.Presentation of Content10.0%The content lacks a clear point of view and logical sequence of information. Includes little persuasive information. Sequencing of ideas is unclear.The content is vague in conveying a point of view and does not create a strong sense .
RTI Overview 20.0 Includes an RTI overview that is comprehensi.docx
RTI Overview
20.0
Includes an RTI overview that is comprehensive and includes a thorough explanation of the RTI tiers.
Tier Placement
20.0
Includes a thorough and insightful explanation of what factors determine appropriate student placement within the RTI tiers.
RTI and Individuals with Disabilities
15.0
Includes a comprehensive, thoughtful explanation of how the RTI model can help meet the needs of students with and without disabilities.
Intervention Strategies
15.0
Includes realistic research-based intervention strategies for students with and without disabilities who are struggling in ELA or math. Strategies are well-crafted for meeting a variety of RTI tiers.
Presentation
10.0
The work is well presented. The overall appearance is neat and professional. Work would be highly desirable for public dissemination.
Research
5.0
Research strongly supports the information presented. Sources are timely, distinctive and clearly address all of the criteria stated in the assignment.
Language Use and Audience Awareness
5.0
Word choice in slides and speaker's notes is distinctive, creative and well-suited to purpose, discipline, scope, and audience of the presentation.
Mechanics of Writing (includes spelling, punctuation, grammar, and language use)
5.0
Submission is virtually free of mechanical errors. Word choice reflects well-developed use of practice and content-related language.
Documentation of Sources (citations, footnotes, references, bibliography, etc., as appropriate to assignment and style)
5.0
Sources are completely and correctly documented, as appropriate to assignment and style, and format is free of error.
Total Percentage
100
New York Times
“The American Dream, Quantified at Last”
By David Leonhardt
Dec. 8, 2016
The phrase “American dream” was invented during the Great Depression. It comes from a popular 1931 book by the historian James Truslow Adams, who defined it as “that dream of a land in which life should be better and richer and fuller for everyone.”
In the decades that followed, the dream became a reality. Thanks to rapid, widely shared economic growth, nearly all children grew up to achieve the most basic definition of a better life — earning more money and enjoying higher living standards than their parents had.
These days, people are arguably more worried about the American dream than at any point since the Depression. But there has been no real measure of it, despite all of the data available. No one has known how many Americans are more affluent than their parents were — and how the number has changed.
It’s a thorny research question, because it requires tracking individual families over time rather than (as most economic statistics do) taking one-time snapshots of the country.
The beginnings of a breakthrough came several years ago, when a team of economists led by Raj Chetty received access to millions of tax records that stretched over decades. The records were anonymous and came with stric.
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Rococo 777fantasies became mirrors in which his well-to-d.docx
- 1. Rococo 777 fantasies became mirrors in which his well-to-do French patrons could behold the ornamental re!ections of their cherished pastimes. Jean-Honoré Fragonard. Boucher’s greatest student, J"#$- H%$%&' F&#(%$#&) (1732–1806), was a *rst-rate colorist whose decorative skill almost surpassed his master’s. An example of his manner can stand as characteristic not only of his work but also of the later Rococo in general. In !e Swing (+,(. 26-9), a young gentleman has convinced an unsuspecting older man (thought by some art historians to be a bishop) to swing the young man’s pretty sweetheart higher and higher, while her lover (and the work’s patron), in the lower le- corner, stretches out to admire her from a strategic position on the ground. .e young lady !irtatiously kicks o/ her shoe toward the little statue of Cupid. .e infant love god holds his *nger to his lips. .e landscape emulates Watteau’s— a luxuriant perfumed bower in a park that very much resembles a stage scene for comic opera. .e glowing pastel colors and so- light convey, almost by themselves, the theme’s sensuality. Giambattista Tiepolo. !e Swing is less than 3 feet in height, and Watteau’s L’Indi"érent (+,(. 26-7A) is barely 10 inches tall. Even the *gure-packed landscape Pilgrimage to Cythera (+,(. 26-7) is only
- 2. a little more than 4 feet high. Indeed, Rococo was a style best suited for small-scale works projecting a mood of sensual intimacy, and Rococo salons o-en featured tabletop sculptures, such as Nymph and Satyr Carousing (+,(. 26-9A) by Claude Michel, called C0%),%$ (1738–1814). But the intimate Rococo style could also be adapted for paintings of huge size, as the work of G,#12#33,43# T,"5%0% (1696–1770) demon- strates. A Venetian, Tiepolo worked for patrons in Austria, Germany (+,(. 26-4A), and Spain, as well as in Italy. He was a master of illu- sionistic ceiling decoration in the Baroque 26-9 J!"#-H$#$%& F%"'$#"%(, !e Swing, 1766. Oil on canvas, 29 8 580 ) 29 20. Wallace Collection, London. Fragonard’s Swing exemplifies Rococo style. Pastel colors and soft light complement a scene in which a young lady flirtatiously kicks off her shoe at a statue of Cupid while her lover admires her from below. 26-8 F%"#*$+, B$-./!%, Cupid a Captive, 1754. Oil on canvas, 59 60 ) 29 100. Wallace Collection, London. Boucher was Madame de Pompadour’s favorite artist. In this Rococo tableau, he painted a pyramid of rosy infant and female flesh and fluttering draperies set off against a cool, leafy background. 26-9A CLODION, Nymph and Satyr Carousing,
- 3. ca. 1780–1790. 1 ft. 1 ft. 30702_ch26_rev03_770-799.indd 777 11/06/18 4:25 pm © 2 01 8 C en ga ge L ea rn in g. A ll R ig ht s
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