Same Idea, Different Medium Essay Example | Topics and Well Written Essays - 750 words

Same Idea, Different Medium - Essay Example Some victims of plagiarism have the reason that, actually their work is not plagiarized, but contain common knowledge while others are purely lazy to the extent that they plagiarize through â€Å"copy and paste† from an internet source. This paper analyzes and relates two articles; the in-class essay and the internet object (IO) that address the issue of plagiarism by focusing on two different examples. The article â€Å"Plagiarism Lines Blur for Students in Digital Age† by Trip Gabriel, which appeared in â€Å"The New York Times† in August 1, 2010 was the in-class essay while the article â€Å"The Plagiarist’s Tale† by Lizzie Widdicombe, which was featured in â€Å"The New Yorker† in February 13, 2012 is the internet object. Gabriel in her article â€Å"Plagiarism Lines Blur for Students in Digital Age† writes about various students in learning institutions who have plagiarized their works from the internet (Gabriel, 2010). Consequent ly, Widdicombe in her article â€Å"The Plagiarist’s Tale† has analyzed a fiction novel tiled â€Å"Assassin of Secrets† by Quentin Roman, which was highly plagiarized from other fiction novels (Widdicombe, 2012). In both instances, the plagiarists, who are the students and the fiction novel author, did not formally acknowledge the source of information. The in-class essay by Widdicombe and the â€Å"internet object† (IO) by Gabriel relate in that they both entail cases of plagiarism on two different levels; professional and academics. On one level, the in-class essay depicts plagiarism in a mass-market publishing while on the other level; the (IO) essay shows plagiarism in college academics. In essence, Widdicombe discusses how the author Quentin Rowan plagiarized his works from many different sources during his earlier writing career. Moreover, the article by Gabriel depicts how various students plagiarized their college assignments from the internet. W iddicombe portrays how a professional author, Rowan, becomes mediocre in the field of fiction writing through copying excerpts from other published novels, without giving any credits (Widdicombe, 2012). Gabriel on her part presents a description on how college students knowingly or unknowingly copy and paste essays from internet sources, also without giving credits (Gabriel, 2010). Gabriel in the (IO) article presents three cases of plagiarism by students from different institutions. The students are ignorant of their ill act since they are not aware of the importance of giving credit or citing borrowed words. Gabriel asserts that educators have discovered that students who use online information do not put into consideration originality, intellectual property and copyright issues. This is because in the digital technology, to â€Å"copy paste† is very easy. Widdicombe in the in-class article presents a case of plagiarism by Rowan, particularly in his novel â€Å"Assassins o f Secrets†. Rowan was accused of including in his book more than thirty cases of plagiarism. Interestingly Rowan admitted that he had taken excerpts from books by different authors while the students admitted copying and pasting from online sources. Academic assignments by students can be scrutinized for plagiarism through using a plagiarism software, however, the same is not possible for novels, and as a result, editors have to read manuscripts word by word if plagiarism is to be detected (Widdicombe, 2012). In many instances editors, discovered copied texts in

How has the European Convention on Human Rights contributed to Dissertation

How has the European Convention on Human Rights contributed to international human rights law - Dissertation Example The researcher states that the twentieth century became a landmark in the evolution of the international human rights law. The atrocities of the Nazi regime and mass exterminations of humans during the two world wars led the world to review its attitudes toward the fundamental human rights. The European Convention on Human Rights was created with the goal of extending the coverage of the international human rights laws on European countries, enforcing compliance with the foundational standards of human rights protection, and ensuring greater integration among the European states. Since its inception, human rights protection has become the main aspect of states’ legislative and judicial performance in Europe. The contribution of the European Convention on Human Rights to the international human rights law is difficult to overestimate. The convention meets the standards of subsidiarity in the international human rights law and creates the foundation for interpreting the most con troversial emerging human rights issues. Simultaneously, the convention by itself and its principles are not without controversy. Despite the significance of the European Convention on Human Rights, its effectiveness and results greatly depend upon the political and social atmosphere in European states; many states choose to enforce the Convention only for the purpose of membership in the European Union. As a result, the effectiveness of the European Convention on Human Rights is more virtual than real and does not extend beyond the actual court cases to tackle with the discrimination against the fundamental human rights.... Another reason was that European states needed greater unity and integration, and a convention similar to the ECHR could glue the European states in their way to achieving the common economic and social objectives. This being said, the ECHR became the first and, probably, the most significant political and legal achievement of the Council of Europe in 1949 (Ware & Miller 1998). At that time, the Council of Europe was made up of only 10 states (Ware & Miller 1998). Nevertheless, â€Å"every member of the Council of Europe had to accept the principles of the rule of law and of the enjoyment by all persons within its jurisdiction of human rights and fundamental freedoms† (Ware & Miller 1998, p.7). In other words, all member states of the EC had to enforce strict compliance with the principles and premises of the Convention. It is no secret that one of the main goals of the ECHR was European integration (Weil 1963). The philosophy of European integration was rooted in the pre-firs t-world-war conditions of politics, which suggested that fragmentation, separation, and opposition weakened European states in the fight for peace and stability. The idea of uniting Europe lost its relevance between the two world wars, and during the Second World War Hitler managed to unite Europe by force (Weil 1963). However, as soon as the hostilities were over, and Winston Churchill became a leader of the European movement toward peace, the idea of building a union similar to that in the United States, was revived (Weil 1963). It should be noted, that Britain made one of the major contributions to the development and implementation of the ECHR: the final version of the convention owed a lot to British ideas of human rights and European statehood (Ware & Miller 1998). Simultaneously, when

Societal Standards Essay Example for Free

Societal Standards Essay Imagine a 62 man with broad shoulders, deep voice, hairy body, masculine personality, and pink glittery nail polish. His friends give him a hard time about it, they say that he is not a real man. He decides to hang out with more woman and when more and more people start to consider him gay, he becomes it. Men do not have the wiggle room to explore the feminine stereotypes. Masculine stereotypes are more confining than feminine stereotypes in the social and professional world. Social masculine stereotypes are more confining than feminine stereotypes. Men are more strictly contained while women are more open to explore a variety of stereotypes. In a recent, USA Today article Gender Stereotypes author Seine Wenig writes on a strict line drawn between masculine and female stereotypes. Yet how this line is slowly fading the woman. Wenig reiterates how for girls There is ample room to maneuver and how Ever-growing range of tomboys sports options which in the past were mostly the domain of boys. Girls can now be free and engage in activities and sports which boys dominate. While male stereotypes and stereotypical fathers cause men to have a more confined space in which they could explore and move due to the fact that stereotypical fathers expect athletic success rather than academic success. Girls are Given more room to explore their counterparts culture while males are stuck in a much tighter box to move about in meaning they are not able to explore the feminine stereotypes. Therefore ,masculine stereotypes are more confined than feminine stereotypes in the social aspect. Masculine stereotypes are more professionally confining than feminine stereotypes. There are fewer choices for careers for men that then for women due to stereotypes. In a 2011 article from USA Today, Gender Stereotypes Easing More for Girls than Boys. Author Seth Wenig describes the ultimate confinement for men in the professional mainstream society. He restates how, women now make up close to half to enrollment in US law and medical schools up from 25% a few decades ago. Now due to the ever-changing world girls now have more choices for careers then their male counterparts. More females are going and graduating from schools which prepare them for a lifelong career not just being nurse as it was thought to be in the past. Men choose not to be nurses because main stream society would not find being a nurse very masculine because it is a mostly female occupied feel due to the fact it has to do with the Female stereotype of caring for another human being. Women are given more opportunities than men to succeed in the professional world, which leave men with fewer choices for careers. Therefore masculine stereotypes are more professionally confining than feminine stereotypes. Addressing the problems of social standards of man and woman requires the ultimate settlement of what it means to be a man and what it what it means to be a woman. Men do not have them of wiggle room to explore the female stereotypes while free to roam all round all stereotypes. When a female try to succeed in a mostly male dominant profession, she is led to shine while when a man tries to do the same he is shun. If men continue to be confined by so societal standards, this will cause a civilization in which it is easier to be a woman than to be a man. Leading men to either join the female standard and gender or collapse under the confinement of their own standards.

Originality in Postmodern Art

Originality in Postmodern Art A number of postmodern theorists and artists have questioned whether there is such thing as originality in art. Discuss this issue with reference to examples of the work of one or more recent artists who have questioned the notion of originality in their work. Postmodernism rejects the modern idea of originality as the new, and substitutes it with a combination of elements from the past. One of the main characteristics of Postmodernism was its tearing down of borders between styles and various cultural elements and the advance towards seeking something new and original was discarded and substituted with an amalgamation of elements from past and existing cultures. (Perina 2006) Postmodernism distances the subject, to declare the death of individualism. It leads to the reprocessing of objects and images from the past to create a more real and personal experience. There is too much information for us to process and make sense of and we are trapped in a world of second-hand experiences, dependent upon media representation of the world rather than our first-hand experience.(Crouch 1999) Originality as observed by contemporary artists, borrows heavily from postmodernist discourse. This essay will look at the works of several postmodern artists who participate in a critique and deconstruction of the myth of traditional originality whilst simultaneously seeking new ways to take their art in new and unexpected directions. It further inquires into the views of well known art writers and critics who acknowledge the way in which the placement of an artwork in a different context, or the re-working of an original image or images from the past can bestow it an entire new understanding, therefore granting an element of originality. Sherrie Levine, Andy Warhol and their many followers questioned and re-positioned issues around authorship and the original in artistic practice. This legacy is important to explore as the appropriated image and the pastiched image is so central in todays art and commercial practice especially since the growth of digital imaging. (Hammerstingl 1998 ) Sherrie Levine (b. 1947) is a primary example of a postmodern artist who confronts the issues surrounding postmodernist appropriation. Her critique of authorship and aura are central to Sherrie Levines audacious and influential deconstruction of the modernist myths of originality in many of her re-appropriations of eminent works by male artists. (Delacour 2009) Since the early 1980s, Levine has made a career out of re-using or appropriating renowned works of art, often by making new versions of them and placing them in different contexts. (Walker Art Center 2007) Her works have been understood as a commentary on the death of Modernism and its ideals, notions of artistic originality, the authenticity and autonomy of the art object and its status as a commodity. (Museum of Modern Art 2010) Levines Fountain (After Marcel Duchamp: A.P.) (1991), (Fig. 1) is an unmistakeable reference to Marcel Duchamps famous 1917 piece Fountain (Fig. 2). Cast in bronze to a highly polished finish, it transforms an everyday object into a beautiful and ostentatious piece which is presented on a narrow pedestal that closely resembles the display of Duchamps Fountain. Levine strove for total historical accuracy by locating a urinal from the identical manufacturer and year that Duchamp used, although she was unable to find the exact model. (Buskirk 2003) When compared to Duchamps sculpture, it is evident that Levines Fountain is not an exact replica. Most notably, Duchamps piece was an actual urinal which was turned upside-down and remained unchanged apart from his signature. In contrast, Levines urinal is more contemporary and has been cast in bronze, the traditional metal of sculptors. (Walker Art Center 2007) This use of bronze in such a way makes reference to another artist, Constantine Brancusi, who was notorious for producing sculptures in highly polished bronze (Buskirk 2003). When polished to a brilliant shine Levines urinal no longer remains a common, store-bought item. Instead it has been transformed by the artist into a unique object. (walkerart) Author and critic Martha Buskirk comments that despite the blatantly obvious reference to Duchamps readymade, Levines urinal has been transformed into a distinctive piece as a result of this choice to have it cast from highly polished bronze. (Buskirk 2003) Due to the recasting of the fountain in bronze, she raises the question of is the sculpture any longer a readymade? Due to the material characteristics of it being altered. By recasting the urinal, Levine challenges the function of the readymade as coming straight from the modes of production of society. Her object is no longer inextricably tied to its presence in everyday society. (Buskirk 2003) Buskirk states that in one sense, Levines Fountain is not a copy at all because she did not require the original Duchamp fountain to create a replica. Instead she attended the same source as Duchamp, which was the realm of mass production. Her piece triggers a history of references to past readymades and replicas of the everyday object. (Buskirk 2003) Sherrie Levines most blatant assault on originality came with her 1981 series After Walker Evans (Fig. 4), a series of twenty-two images which she directly photographed from an exhibition catalogue of famous photographer Walker Evans (b. 1903) work. (Fig. 3) Each one of these black and white photographs represents Depression-era documentation of either a figure, a group of figures, architecture or a barren landscape in a rural, economically-distressed area. (Mandiberg 2010) In writer and artist Linda Weintraubs essay Unoriginality, in Art on the Edge and Over (1996), Weintraub states that Levine makes no attempt to recompose or reinterpret, dismissing any creative or original act with the intention that the images remain true to their reproductive sources. (Weintraub 1996) These works articulate Levines fascination with the photographic process and its reproduction, while raising post-structuralist discourses on authorship, originality and history, from which they partly originate. (Museum of Modern Art 2010) Her appropriation of these fine art images deals with between photography, which is an unlimitedly reproducible medium, and fine art, which is regard as an inimitable object. Often art photographers limit the size of their editions to give their pieces the aura or a unique object. This aura is then diminished when the works are reproduced in magazines and books. Although the photographs Levine takes originate from the media, she restores them to the arena of fine art in her framing and presenting them as singular works which is where and how the original photographer, Walker Evans, aimed them to be seen. (Weintraub 1996) Linda Weintraub affirms that regardless of the association between the originals and her copies, Sherrie Levines photographs assume originality because they embody a new and possibly more profound artistic concept, which has never been so boldly explored. (Weintraub 1996) In the perceived wake of Modernism, the heroic potential of autonomous artists or autonomous works of art was challenged as artists such as Levine sought to demonstrate the importance of these ideas in the wake of the massive increase in social image consumption due to technological reproduction. (Mandiberg 2010) She writes, The world is filled to suffocating.ÂÂ   Man has placed his token on every stone.ÂÂ   Every word, every image, is leased and mortgaged.ÂÂ   We know that a picture is but a space in which a variety of images, none of them original, bend and clash. (Levine 1981) It is impossible to remove the art historical aspect to Sherrie Levines art. She works within the space of art historical discourse and dialogue, in attempts to add new perspectives on art by actually appropriating and reproducing them in novel ways. So much of the importance of her works derives from the fact that these works are recognizable within the general American public, but more importantly in the art historical canon. (Zimmerman 2008) (reword) It is perhaps Andy Warhols (b. 1928) use of photo silkscreens that offered the most rigorous challenge to traditional definitions of originality. Warhol explored intrinsic multiplicity in the repetitive use of screens in his silkscreen paintings that he began to produce in 1962. He produced a series of works containing ongoing repetition of an image within single works. Often his technique of blotting would result in the ink lines in his drawings appearing as though they were a personal touch. The method he used also lent itself to replicating deviations of the image via a process of repeated tracing that he would often get his assistants to accomplish. Warhol frequently employed his mother to replicate his signature for him. Consequently, Warhols fame as a fine artist rests on the manner in which he expunged any trace of his hand from his work and any evidence of what would be considered individuality. (Buskirk 2003) (need this?) This brief time in which Warhol began to develop his silkscreen paintings, was a phase in which Warhol was producing amazing output. It was during this time that he produced his infamous celebrity and name-brand product images. One of his most renowned examples is his Marilyn Diptych (1962) (Fig. 5) which was based on a publicity photograph from the 1953 film Niagra. The paintings of this time are excellent examples of multiple copies without an original. His method allowed for variations within the prints so that no two works were identical. Although Warhol employed assistants to produce works created by mechanical means to transfer images that he often didnt even select himself, his works are nonetheless recognised as Warhols due to his certain form of authorship. It can be argued that his original contribution included the regular removal of evident participation. (Buskirk 2003) One of Warhols most renowned works was Brillo Soap Pads Boxes (1964) (Fig. 6). To make his replicas he used wooden boxed and silkscreened over them to directly resemble the cartons that they were reproducing. This work is an example of one form of mechanical reproduction being employed to duplicate another form of printed surface, although the change of materials added a slight change to the more dramatic transformation that resulted from their recontextualisation. (Buskirk 2003) It could be argued that Brillo Soap Pads Boxes, and much of Andy Warhols work, is absent of any kind of originality due to its almost undistinguishable resemblance to the original product in which he had no participation in the creation of, however he makes a striking contribution via his insightful critique of the enticing nature of commodity in a culture driven by mass media. He achieves this through his use of repetition. The anonymous author who designed or photographed the products adopted by Warhol for use within his work becomes replaced by the artist who comments on the products cultural familiarity, an act of recontextualizing. (Buskirk 2003) In Warhols Flowers (1965) (Fig. 7), he appropriated an image of flowers that he found in a 1964 issue of Modern Photography magazine. When the photographer of the photo, Patricia Caufield discovered that Warhol had appropriated her image she filed a lawsuit against him for infringing on copyright as she was able to claim legal authorship. The case was settled out of court, with Warhol offering to give Caufield two of his Flower paintings. When analysed, it is evident that there exists several differences between Caufields image and Warhols appropriation. First of all he cropped the photograph so that it focussed on four flowers; the image has been flattened by the removal of detail and the adding of solid blocks of colour within the flowers. His changes in medium, scale and colour helped to transform the image considerably. (Buskirk 2003) Although the original photographs that Warhol sourced to base many of his artworks on were neither taken by or owned by him, his works become original by the manner in which he re-works them and exhibits them. It is very hard to confuse authorship as Warhol upholds a style that is distinctively his own. He takes ordinary images and through his alterations of them makes them extraordinary. (Buskirk 2003) In each of the cases presented, the artists have exercised an act of recontextualisation by taking a recognisable object or image and transforming it by altering how it is made or where it is found. Through this process each of the artists has achieved the act of both recognising and acknowledging the original author whilst claiming authorship for themselves via the process of this recontextualisation?. (Buskirk 2003) The diverse ways that artists have adopted and transformed these familiar images and objects furthermore articulate a complex layering of quotation and reference that exemplifies contemporary art. (Buskirk 2003) In addition, the artistic product desires a measure of creativity on the audiences part. The viewer contributes to the creation of works via their interpretations and evaluations of them. (Leddy 1994) French literary theorist and critic Roland Barthes attributes authorship to the reader who shapes meaning and understanding. Barthes created writings that directly suggested the idea of Death of the Author as a central post-modern concept. (Hammerstingl 1998) He states To give a text an Author and assign a single, corresponding interpretation to it is to impose a limit on that text. Roland Barthes asserts that each piece of writing or artwork contains multiple layers and meanings. In a well-known quotation, Barthes draws an analogy between text and textiles, declaring that a text is a tissue [or fabric] of quotations, drawn from innumerable centers of culture, rather than from one, individual experience. The essential meaning of a work depends on the impressions of the reader, rather th an the passions or tastes of the writer; a texts unity lies not in its origins, or its creator, but in its destination, or its audience. (New World Encyclopedia 2008) To summarise, Barthes attributes authorship to the reader who forms meaning and understanding. To reiterate, it is not the value and function that an object relies on to communicate with its audience, but its veiled references and codes from the past that permit a more individual perception. The originality and authenticity of the primary source ceases to be imperative in postmodernist art. Instead it is the recycled message which is constructed upon the unconscious memories and perceptions from the past that gives command to new perceptions and new perspectives of originality. The amalgamation of non-referring styles united together helps to create a new original, assembled from well identified originals of the past. Equally the postmodernist concept of deconstruction utilises the intercommunication amid the influence and continual process of referring. (Perina 2006)

Braham Stokers Dracula :: Dracula Essays

Free Essay on Dracula In the novel Dracula there are many qualities that are necessary for success. Firstly determination is a key factor to succeeding; secondly revenge is a factor in succeeding; furthermore fearlessness plays a big role when they go to kill Lucy; lastly intelligence is needed to make all the plans. When Jonathan Harker get captured by Dracula he is afraid, but he is also determined to get free. "I can not say in this room much longer for I shall die," he said. A small crack of light appeared through the stones. "I pushed the stone with all my might but it only move, I found a carving utensil which I used to make the hole bigger" said Jonathon. "The hole got bigger and bigger then the stone just fell out." When Jonathan Harker and the rest of the people go to hunt Dracula they are determined to kill him because they do not want Dracula to kill anyone else. In order to kill Dracula they must plunge a stake through it's heart, cut off it's head, and stuff it's mouth with garlic. They use silver knives to kill him just as the sun sets. "Get him before he flees" said Jonathan, "he must not get away." Arthur proceeds with the stake cautiously. "I got him" yelled Arthur. Abraham shoves a clove of garlic in the Count's mouth. "get him before he tries to get away." Jonathan and Quincey, use silver knives to cut off his head. "We have finally done it we killed Dracula" said Quincey. Jonathon was determined to escape. Arthur, Abraham, Jonathan, and Quincey are determined to kill Dracula. In order to get out of the Count's castle Jonathan thinks of three things survival, escaping and kill the Count for trapping him in the castle. "I can't die I have to get out, I have to end his rain of terror, he can`t get away with what he did to me" said Jonathan. This shows that Jonathan Harker wanted to kill Dracula through revenge, but he also killed him so Dracula would not kill anyone else. When Van Helsing, Holmwood, Seward, and Quincey Morris go to kill Lucy they must be fearless of the un-dead.

Foreign Language Learning Essay -- Education, English, Anxiety

Second/foreign language learning can be a demanding task for many language learners. One of the factors that make such process difficult is the existence of anxiety. Most language learners experience a feeling of anxiety in the process of language learning. Although the degree and severity of this feeling may vary from one individual to another, it cannot be claimed that it does not exist at all. The number of students who report that they feel anxious while learning a second/foreign language is surprising. According to [1], more than half of foreign language learners experience some degree of anxiety. It is also argued that language learning anxiety may pose potential problems for language learners [2]. Learners who feel anxious in their foreign language learning may find their study less enjoyable [3], which will in turn have a negative impact on their performance. Such being the case, it is crucial to investigate language learners’ perspectives on language learning anxiety in order to figure out what factors make them feel anxious. It is hoped that by omitting or at least reducing those factors, teachers and educators can create a more relaxing environment, so that more effective language learning would take place. Problem Statement With the increasing number of people who are willing to learn English as a second/foreign language, it is really necessary to find out the factors which may hinder or negatively affect language learning. One of these factors which has not been paid due attention to in academic settings is language learners’ anxiety. Most teachers are not aware of the fact that their students are not able to fully exhibit their potential because of the stressful situation they are in, or even if they know the stu... ...ed the cause of anxiety to the teacher or other people. Most students felt frustrated and helpless, although students who perceived themselves as having higher ability indicated a greater sense of resilience. Other findings were that the effect of and response to anxiety were associated with gender and perceived ability level. Andrade and William [17] reported Japanese university students’ reactions to anxiety-provoking situations in English-as-a-foreign language (EFL) classes. Overall, the findings indicate that some degree of anxiety affected 75% of the learners and that the debilitating aspects of anxiety strongly hindered about 11% of them. Another important finding is that many students enter their university EFL classes expecting to experience an anxiety-provoking situation and that anxiety is likely to significantly hinder the performance of some students.

Developing the Leader in You Essay

Abstract Aristotle’s philosophy on leadership states, â€Å"Men make themselves leaders by performing acts of leadership†. This paper is written to bring forth a better understanding of leadership development. Following the understanding, will be an explanation of key factors that are salient to leadership, and why it must be covered. Great insight will be brought forth in elaborating on ‘collaboration’ as the key to developing great leaders. Life experiences will certainly have an impact on how effectively a leader develops good character, and how experiences can hinder and strengthen a leader’s ability to motivate others and create company growth. Flexibility and adaptability in spite of any circumstance can be the factor to make or break a situation, in coming toward the end of this paper it can be said that learning about continuous change can be deemed as extremely valuable in their leadership career in knowing how to bend when the wind blows. Finally, a lesson in life†¦ it’s not a fairytale, learning to accept failures and successes alike. The Leader in You The most important factors†¦ Leadership principles can be taught to the masses, although behaviors in a great leader is a learned trait; acquired over time. The crucial word in leadership is â€Å"trustworthiness†, a behavior that Cam, Caldwell, et al. (2010) state is associated with an individual’s perception regarding image, knowledge, and development style is of utmost importance (p. 500). Developing the leader within entails evolving through experimentation as a person learns new innovative approaches to solutions and problems. In time, new challenges arise that once seemed insurmountable, are now a part of the pragmatic approach that defines a leaders leadership style and strategic ability to overcome. To reach this stage in leadership empowers an individual, and reaffirms the persons ability to exert the skills to make informed decisions. This also means that the leader is in no way influenced by anyone in what to say or do; guiding and directing is the mark of an effective leader. The leader’s most effective tool is to constantly develop themselves; never stop learning. The most important characteristics of an effective leader are: to have their own identity, having openness to change, have self-respect, make good choices, be sincere and authentic, maintain a sense of humor, be willing to make mistakes-admit and learn from them, have an appreciation for cultural differences, genuinely care about others, maintain effective interpersonal communication skills, receive meaning and purpose from their work, be passionate about their work, and maintain healthy boundaries. Realize that no leader is perfect, and may not have all of these qualities†¦ Although, should strive to be well-rounded for the sake of the people they are mentoring, and themselves. Truth be told, the key or ticket to accomplishing the most vexing challenges—collaboration. Collaboration is the key to developing great leaders A collaborative relationship is based on mutual reciprocation of which is intended to assist each other in personal growth and development toward new levels of understanding to improve each others lives. In this section of the paper, the question that should be asked is, â€Å"What type of leader does a person want to be known for†¦and how do they wish to be perceived by the people they are developing?† This question has many answers, although to streamline it, the leader should be known for being innovative, results-oriented, and having a collaborative leadership style. This means that the leader will creatively expand the proverbial ‘pie’ into equal sections, and bringing in different talents and abilities to work together to solve a problem. One of the advantages of working together is that everyone is enthusiastic, motivating each other, and willing to implement the group plan because they developed it. There is organizational empowerment that comes with collaborative work like this, it is a win/win for a company and the leader due to the fact that within these groups there is always an opportunity to: train new leaders, get broader substantive results, and assist subordinates to bond; learning that two or more heads are better than one in accomplishing projects. Bali (2011) states that,† leadership is less about what we do and more about what we become—and in the process—how we influence and learn from those around us.† (p.11) People who aspire to become leaders, must know their strengths and weaknesses in order to develop either a stronger competence in the area they are weak in, or challenge themselves in areas where their strengths excel; this shows subordinates that you are not above personal self development and will encourage others to do the same. Competence is never enough for a great leader; it demands integrity and good moral character which influences the next generation of leaders. Leadership and good character Competence without integrity and character is worthless. A leader may know how to perform the job and lead the people to accomplish tasks, although without character they may cut corners if you will, and not always ‘do the right thing’. This behavior is detrimental to a company’s future, and those of the people under them. A leader with good character, integrity, and competence is steadfast and can be counted on to do the right thing, build a company’s reputation to be strong and unyielding, and establishes a foundation of trust with everyone involved. The purpose that character and integrity serves has to do with the specific times when their leadership road gets ‘rocky’, and at the edge of failure†¦ Time and time again it is seen in the media that people ‘fall’ from great heights within an organization, and instead of strategizing accordingly, their lack of integrity and character lead them to corruption, and sacrificing the ir reputations and principles for ‘immediate’ satisfaction due to their selfish need for self gratification. What is interestingly true, is that the leader who does have a strong-steadfast foundation within them, leads the organization in a smooth, effective, and successful manner so much so that because they have avoided potential threats a company may face†¦ most of the time they will not receive the credit due them because there wasn’t any catastrophe to see. This leader is defined as having intrinsic motivation in their leadership style that states they are internally motivated with their passion and vision to reach their goals instead of using external motivation like money and rewards. Eubanks et al. (2012), state that organizations should proactively develop leaders’ sensemaking skills so that they can better understand and enact ethical decisions (p. 2). A great leader is able adapt to change for the betterment of a company’s future endeavors and growth, and is perhaps the single most important leadership competency. Having to bend when the wind blows†¦ Flexibility and adaptability to change†¦ It helps a leader understand that they have control over their destinies in spite of the current circumstances and they can change it all by the choices they make in the present that affect the future; learning from the past in order to press forward. Leaders know that major change is hard enough, but continuous change is much harder. What is meant by this is that most companies have a strategy that works and they stick to it, and then establish a system that ensures it will always work for them. Most companies will find that when the bottom line is not being met, they place as much as much effort as they can to try and reboot or resuscitate a system doomed to fail because they have not established long term back up plans. So what is left, is a company in a position where stagnation is festering. In order to improve, great leaders will recognize they have to change and adapt to new innovative ways so that the company can work its way out of stagnation and into a position of growth; reinventing the structure of the company forcing stabilization. Mastery in this level of leadership involves someone who is seasoned enough to know that through many experiences throughout their carrier, it is flexibility and adaptability that is the core driving a company to new heights. A company knows that the value within doesn’t come from the people filling in positions, but the skills they bring to the table that make a company thrive! It is because of these skilled individuals that an effective leader can motivate and guide people to reach their potential and achieve tougher and challenging goals; especially in uncertain times (Nixon et al., 2012, p. 208). Leadership is a fine art, where hope, aspirations, and innovation are the catalysts that bring forth new approaches from different perspectives which lift the constraints of old practices that hinder the progress of a company. The flip-side to great leadership is that things don’t always turn out the way they are suppose to, and the results can be anything but a fairytale! Leadership, anything but a fairytale! Reality is the last thing that would ever be discussed in a fairytale, much less the detrimental repercussions of the characters actions. Nearly everyone’s world begins with parents reading their child fairytales, and their impressionable minds continue to believe that life will go on this smoothly. Although the underlying reason is to give everyone hope, imagination, and to strive for that happiness—in the business world, and leadership positions†¦ people are being set up for failure; high expectations are great, as long as they aren’t unrealistic. Penner (2009) states, â€Å"The problem arises when we benchmark our lives with these greats. We find that in the real world life is generally not perfect, that we do have to work hard at what we do and sometimes we are not successful.†(p.2). Innovative minds come from creative thinking outside the box, which does come from fairytales, but have to be used constructively. Steve Jobs, leader in technology, will be the first to tell you, ‘People who are crazy enough to think they can change the world, are usually the ones that do.† Conclusion Throughout this paper, I have expressed my thoughts on the development of leadership and effects on a company, collaborative relationships, adaptability and change, why good character in leadership is important, and the most important factors in leadership†¦ This paper is full of valuable insight for those who plan on enhancing their careers in their current field of leadership, or those whose future career may depend on the knowledge. 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