Hans Vermaak and Léon de Caluwé
The colors of change is an overview of change paradigms, created about two decades ago, that has been intensively used, tested, refined, shared, and elaborated by practitioners…
Abstract
The colors of change is an overview of change paradigms, created about two decades ago, that has been intensively used, tested, refined, shared, and elaborated by practitioners and academics alike. Here, the “color theory” is presented as it is now, and is situated within the literature. Its four main applications are described as well as rules of thumb that have been derived from reflective practice. This chapter illustrates that the color theory is clearly not one thing to all people, as it is understood in very different ways, both in terms of its theoretical foundations as well as the complexity of its applications. This probably adds to the versatility of the theory. Bringing together key insights about the color theory for academics and practitioners, this chapter strives both to give a concise overview and to explore its richness.
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This chapter describes the change efforts and action research projects at a Dutch multinational which, over a period of 25 years, produced in one of its businesses a zigzag path…
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This chapter describes the change efforts and action research projects at a Dutch multinational which, over a period of 25 years, produced in one of its businesses a zigzag path toward collaborative leadership dynamics at the horizontal and vertical interfaces. The chapter also identifies the learning mechanisms that helped achieve this transformation. Changing the patterns at the vertical interfaces proved to be a most tricky, complex, and confusing operation. The data show that organizations need hierarchical interfaces between levels, but are hindered by the hierarchical leadership dynamics at these interfaces. The data furthermore show that competitive performance requires more than redesigning horizontal interfaces. A business can only respond with speed and flexibility to threats and opportunities in the external environment when the leadership dynamics at agility-critical vertical interfaces are also changed.
Hans Vermaak and Mathieu Weggeman
Professionalism still is on the way up. However, the working methods of managers and professionals do not develop at the same pace. Professionals often seek out their workplace…
Abstract
Professionalism still is on the way up. However, the working methods of managers and professionals do not develop at the same pace. Professionals often seek out their workplace within an organisation but then proceed to act as soloists, which makes fragmentation, mediocrity and non‐commitment the rule rather than the exception. The manager’s reflex dictates that he/she tackles problems with control and command, resulting in all sorts of conflicts. It is argued that this dysfunctional habit can be corrected by introducing a clear division of roles: professionals manage the primary process, managers the secondary processes. Peace then will be restored but fragmentation, mediocrity and non‐commitment are still evident. We have found heuristically that these core problems only can disappear when professionals and managers tackle them in a concerted action by developing a collective ambition, investing in mutual learning and setting performance standards. Although professionals’ loner genes hold them back in concerted action on these matters, they can overcome this resistance when managers are willing and able to orchestrate a dialogue on these matters. This is a tall order, but the core problems can thus be transformed into inspiration, growth and dedication.
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The mere sight of Disney villains have struck fear into the hearts of many a child. From the Evil Queen, to Maleficent, to Ursula. From the black flowing capes to the ashen skin…
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The mere sight of Disney villains have struck fear into the hearts of many a child. From the Evil Queen, to Maleficent, to Ursula. From the black flowing capes to the ashen skin and pointy horns, the aesthetic of these villains alone is often enough to evoke a sense of dread in the audience. Ursula from The Little Mermaid (1989) may not be officially a queen in the Disney universe, but she is a notorious villain amongst fans. Although The Little Mermaid was released in 1989, the film, and thus Ursula, have a fanbase that has evolved and grown up to now, despite the film not being remade into a live-action version as yet. This chapter will analyse the comments of three fan-made YouTube videos regarding Ursula, and will examine the fan comments, with specific focus on the comments regarding Ursula's physicality or any positive comments about her. This will show fan positivity towards a villainous character, despite what may be depicted as a negative body image. Ursula, an octopus, looks quite different from other villains. The primary research methodology will include participatory culture and discourse analysis in order to understand why fans adore her, and how they do not necessarily accept her as a villain, but that there is an outpouring of positivity towards her body image.
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Natalie Le Clue and Janelle Vermaak-Griessel
A motif, as defined by Jean-Charles Seigneuret (1988, p. 17), is an ‘essential part of a contemporary academic discipline known as thematology or thematics’ and that ‘two factors…
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A motif, as defined by Jean-Charles Seigneuret (1988, p. 17), is an ‘essential part of a contemporary academic discipline known as thematology or thematics’ and that ‘two factors may explain the rise of the thematological method: its interpretive potentialities and its intrinsic congruency with the history of ideas’.
Jacob and Wilhelm Grimm first introduced the story of Snow White and her evil stepmother the Queen in 1812. Decades later, the character of the Queen, who later becomes the Evil Queen, is depicted in copious narratives and several different mediums. A central parallel in most of the representations of this character is that she is presented as evil. As such, how the Evil Queen character is represented in media sees a congruence of specific aesthetical characteristics, which combines to symbolize a rhetorical motif for evil.
The Wicked Queen in both the Grimm and Disney versions of Snow White exists as a cautionary tale of female vanity. Despite these nefarious beginnings, contemporary versions of the…
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The Wicked Queen in both the Grimm and Disney versions of Snow White exists as a cautionary tale of female vanity. Despite these nefarious beginnings, contemporary versions of the character in children's and young adult fiction reimagine the Wicked Queen as pitiable. She is still a villain, but her actions are explained as the result of loneliness, parental abuse, and a persistent belief that she is not beautiful enough to be worthy of love. This change in the Wicked Queen's motivations from innate to circumstantial is reflected in the tagline for Valentino's Disney Villains series, ‘Evil Is Made, Not Born’. My reading of these new sympathetic depictions of the Wicked Queen builds on Cristina Santos's discussion of patriarchy and reproduction, as well as other critical discussions of fairy tales and gendered bodies. Focusing specifically on the magic mirror as metaphor, I discuss these new depictions of the Wicked Queen in the context of body dysmorphia. While these novels undo the good/bad and maiden/crone dichotomies of the fairy tale, these readings also shift much of the blame for the Wicked Queen's actions from innate failings of her gender (vanity) to the cultural structures surrounding female body image (dysmorphia). As contemporary reworkings of fairy tales seek to disrupt these narrative patterns and move away from harmful portrayals of gender, sexuality, aging, and physical disability, they risk falling into existing patterns linking mental illness to violence or evil.