Discuss what power in the context of leadership is and how it relates to bullying within organizations. Also note how this impacts productivity.
Discuss what organizational culture is and how it impacts work productivity. Also, note how organizational culture impacts the success of innovation implementation.
How does culture impact leadership? Can culture be seen as a constraint on leadership?
Sample Solution
ould determine tourist satisfaction and possibilities of recommending to others and returning back (Britton, 1979; Fakeye & Crompton, 1991; Garrod, 2009; Tuohino & Pitkänen, 2004). Choosing images to represent destinations and projecting how they will be received and perceived prove to be a difficult endeavor for researchers and DMOs alike owing to multiple social realities and even more complex feedback loops among multiple senders and receivers (Blichfeldt, 2018; Crick, 1985; Garrod, 2009; Hunter, 2008; Jenkins, 2003). In the advent of social media, actors and stakeholders are better able to communicate to and with amongst themselves, producing complex interactions than ever before that stimulate experiences, images, and even satisfaction rates (Oliveira & Panyik, 2015). Visual representations help build a destination image that has been referred to as both the actual image represented and possible metaphorical implications of the image and are subject to a wide range of interpretations by different tourism stakeholders (Beerli & Martin, 2004; Edwards, 1996). In this view, photographic representations of tourism destinations has three directions of inquiry: the extrinsic direction which looks into the difference between representation and reality, the intrinsic direction which deals with the message and the style of the image itself, and the dynamic direction which focuses on the ability of the image to influence perception, lens, and experience of a place (McGregor, 2000). As such, photographic representations of tourism destinations have âmultiple signifiers for the endless purposes of various combinations of senders and receiversâ that contribute to the complexity of a destination image in itself (Hunter, 2008, p. 356). These representations and interpretations can evolve through time, through a process called resemiotization. It deals with âhow meaning-making shifts from context to context, from practice to practice, or from one stage of a practice to the nextâ (Iedema, 2003, p. 41). That is to say, representations and meanings are subject to different interpretations as it is communicated in varying contexts and through different media. The translation of meanings within different contexts is affected by the various social realities, and might be eventually detached from its original intentions (Mehan, 1993). Scollon (2008, p. 233) explains that these meaning-making alterations are âalways mediated by the actions of social actors as well as through material objects of the worldâ. He describes nine processes of resemiotization which he labels as discourse itineraries â action, practice>
ould determine tourist satisfaction and possibilities of recommending to others and returning back (Britton, 1979; Fakeye & Crompton, 1991; Garrod, 2009; Tuohino & Pitkänen, 2004). Choosing images to represent destinations and projecting how they will be received and perceived prove to be a difficult endeavor for researchers and DMOs alike owing to multiple social realities and even more complex feedback loops among multiple senders and receivers (Blichfeldt, 2018; Crick, 1985; Garrod, 2009; Hunter, 2008; Jenkins, 2003). In the advent of social media, actors and stakeholders are better able to communicate to and with amongst themselves, producing complex interactions than ever before that stimulate experiences, images, and even satisfaction rates (Oliveira & Panyik, 2015). Visual representations help build a destination image that has been referred to as both the actual image represented and possible metaphorical implications of the image and are subject to a wide range of interpretations by different tourism stakeholders (Beerli & Martin, 2004; Edwards, 1996). In this view, photographic representations of tourism destinations has three directions of inquiry: the extrinsic direction which looks into the difference between representation and reality, the intrinsic direction which deals with the message and the style of the image itself, and the dynamic direction which focuses on the ability of the image to influence perception, lens, and experience of a place (McGregor, 2000). As such, photographic representations of tourism destinations have âmultiple signifiers for the endless purposes of various combinations of senders and receiversâ that contribute to the complexity of a destination image in itself (Hunter, 2008, p. 356). These representations and interpretations can evolve through time, through a process called resemiotization. It deals with âhow meaning-making shifts from context to context, from practice to practice, or from one stage of a practice to the nextâ (Iedema, 2003, p. 41). That is to say, representations and meanings are subject to different interpretations as it is communicated in varying contexts and through different media. The translation of meanings within different contexts is affected by the various social realities, and might be eventually detached from its original intentions (Mehan, 1993). Scollon (2008, p. 233) explains that these meaning-making alterations are âalways mediated by the actions of social actors as well as through material objects of the worldâ. He describes nine processes of resemiotization which he labels as discourse itineraries â action, practice>
