Dorian Gray And Death In Venice Analysis English Literature Essay

Dorian Gray And Death In Venice Analysis English Literature Essay In chapter one I have shown that both Aestheticism and Nietzsche promote art for arts sake and believe that art justifies itself and does not need to have a purpose since art is purpose in itself, the purpose of life. Nietzsche urges artists to look inside themselves and give importance to both the Apollonian, that is, the rational and the Dionysian, that is, the passionate side of their personality. According to him, only by achieving equilibrium between these two opposite and, in the meantime, complementary forces will artists be able to create authentic works of art. This chapter centers on the analysis of The Picture of Dorian Gray and Death in Venice from the Aesthetic and Nietzschean perspective. In both novels, the protagonists are artists that cultivate beauty in their works and lives and that oscillate between the Apollonian and Dionysian. Since Nietzsche points out that both the Apollonian and the Dionysian govern the human existence, I will show how these two forces compet e in each character in their search for beauty. Both Oscar Wilde and Thomas Mann struggled against what was prevalent and what was expected of an artist in their eras. They fought against becoming what Lord Henry criticises in The Picture of Dorian Gray: Modern morality consists in accepting the standard of ones age. I consider that for any man of culture to accept the standard of his age is a form of the grossest immorality (Wilde 92). Wildes new version of the old aestheticism deploys subjectivity, individuality, and the autonomy of art against the supposed objectivity and professionalism of nineteenth century science and its offshoot in literature, that is, realism. In Oscar Wilde, Thomas Mann discovered much of the essential Nietzsche, his furious war on morality and his transvaluation of moral into aesthetic values. As affirmed in The Decay of Lying, Oscar Wildes philosophy on art insists on the fact that art should find perfection in itself, that it has as its object not simple truth, as Victorians expected it to express, but complex beauty. As he points out in the preface of the novel The Picture of Dorian Gray, the artist is the creator of beautiful things and those who find beautiful meanings in beautiful things are the cultivated (Wilde 5). A common feature of The Portrait of Dorian Gray and Death in Venice is their celebration of beauty in artistic creation. Thus, Lord Henry Wotton believes that Beauty is of the great facts of the world, like sunlight, or spring-time, or the reflection in dark waters of that silver shell we call the moon. It has its divine right of sovereignty (Wilde 29) and Aschenbach thinks that nature itself shivers with ecstasy when the mind bows down in homage before beauty (Mann 460). The artists pursuit of beauty constitutes both their inspiration, the purpose of th eir creation and their perdition. Through their celebration of art as a main theme, The Picture of Dorian Gray and Death in Venice share some common points in their analysis of the artist. In his work, The Birth of Tragedy, Nietzsche affirms that artistic creation depends on a collaboration between two opposite forces which he terms the Apollonian and the Dionysian. He believed that true artistic creations have to be generated by people that were not only highly civilised and cultured, but also passionate. According to him, only in the balance of these forces could art arise. Nietzsche described the good artists as maintaining a balance between two forces, the Dionysian, or those associated with the god Dionysus and the Apollonian, those associated with the god Apollo. While Dionysus was the god of fecund nature, spring, regeneration, wine, and intoxication, and orgiastic extravagance, Apollo was the god of light, of form which shapes drives and instincts into clarity and order. While Dionysus was often associated wi th music, a passionate, engrossing art form, Apollo was associated with sculpture, a rigid, detached art form. Like Nietzsche, Oscar Wilde and Thomas Mann believe that the conflict between conscious will and uncontrolled passion, between rationality or morality and passionate art represents a very serious struggle in human existence. This is the reason why the artists trajectory towards death in both fictional works is a descent to either extreme and a failure to maintain equilibrium between these two opposite forces. In The Picture of Dorian Gray, the three major characters, Basil Hallward, Lord Hnry Wotton, and Dorian Gray are at the same time different aesthetes and parts of the same self. In Death in Venice, the poet Gustav von Aschenbach is the only protagonist and artist in the novella, but he has common features with all three different characters from Oscar Wildes novel. Each of these artists, unique in their mode of thinking and personality, undergoes serious changes provoked by factors beyond their control. Aschenbachs resemblance to Basil is manifested in his Apollonian concern with exhausting work. They both believe that hard work leads to perfection and that perfection is the key to the artistic talent. They both reject passion because they think it blocks the pursuit of excellence. Hallwards aestheticism is manifested in his complete devotion to exclusive artistic creations. His ambition and struggle is to become one with his art. He searches in the outside world for the perfect manifestations of his soul and when he finds them, he can create masterpieces by painting them. His fatal misake is that in creating the portrait of Dorian Gray, Basil puts too much of himself into it, (Wilde 18), which Lord Henry criticises for at some point in the novel, by arguing that an artist should create beautiful things, but should nothing of his own life into them (Wilde 25). Gustave von Aschenbach is introduced as the extreme case of the civilised Apollonian, neoclassical artist who becomes a hero of the times given his self-controlled manner of labouring on the edge of exhaustion: Gustave Aschenbach was the poet-spokesman of all those who labour at the edge of exhaustion; of the overburdened, of those who are already worn out but still hold themselves upright; of all our modern moralizers of accomplishment with stunted growth and scanty resources. (Mann 426) He is, thus, the prototypical modern artist. However, the fact that he has spent his entire life without acknowledging his passions and desires foreshadows possible problems in the future because, according to Freud, repressed passions will sooner or later rise to the surface. Thus, he gradually abandons his commitment to Apollo when he first journeys to Venice and, later, when he decides to remain there. He passes beyond balance and reason, substituting beauty for morality, even though the cost of such a choice is death. Far from being fruitful to the artistic purpose of their lives, their vulnerability to the perfect classic beauty of both Dorian Gray and Tadzio overshadows the resulting art itself. Both Basil and Gustaves worlds start revolving around their muses and, unawares, they grow dependent on their presence. Thus, Hallward admits that: I couldnt be happy if I didnt see [Dorian] every day. He is absolutely necessary to me (Wilde 18) and Gustave, once he meets Tadzio, can no longer leave Venice, even though the city does him serious harm: He felt the rapture of his blood, the poignant pleasure, and realized that it was for Tadzios sake the leavetaking had been so hard (Mann 455). The obsessive admiration for the perfect physical beauty is what binds Basil Hallward and Gustave Aschenbach and what leads them towards destruction. Once they discover perfect beauty, the Dionysian force is unleashed and it can hardly be controlled. Both artists worship beauty in their creations. As Aschenbach declares, in almost every artists nature is inborn a wonton and treacherous proneness to side with the beauty that breaks hearts, to single out aristocratic pretensions and pay them homage (Mann 441). The ideal of beauty is represented in The Picture of Dorian Gray and Death in Venice by the youthful Dorian and Tadzio. Basil confesses that Dorian is all my art to me now (Wilde 16) and Gustave decides that [Tadzio] should be in a sense his model, his style should follow the lines of this figure that seemed to him divine (Mann 461). However, the beauty of the two young men is not only a source of artistic inspiration, it very soon starts exerting influence on the artists. Basil argues that [Dorians] personality has suggested me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before (Wilde 17) and in Aschenbachs case, [Tadzios lovely apparition] was that filled him with content, with joy in life, enriched his stay, and lingered out the row of sunny days that fell into place so pleasantly one behind the other (Mann 457). Once conscious of the serious role beauty plays in their lives, Basil Hallward and Gustave Aschenbach become concerned to hide it, fearful that if they reveal it, they will in fact, unveil their souls. Thus, Basil tells his friend, Lord Henry, that he will not exhibit the portrait, his grand masterpiece, because I will not bare my soul to [the worlds] shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, too much of myself (Wilde 18). Aschenbach, too, feels a strange relief because the world sees only the beauty of the completed work and not its origins nor the conditions whence it sprang; since knowledge of the artists inspiration might often but confuse and alarm and so prevent the full effect of its excellence (Mann 461). The tragic ending of Basil and Gustave is a consequence of their inability to find a balance between the Apollonian and the Dionysian sides of their lives. Lord Henry warns the artist that the only way to get rid of a temptation is to yield to it. Resist it and your soul grows sick with longing for the things it has forbidden to itself, with desire for what its monstrous laws have made monstrous and unlawful (Wilde 26). Accustomed to resist any other thoughts than those related to artistic creation, Hallward and Aschenbach find themselves incapable to control their excessive admiration for beauty and they are, therefore, destroyed by it. Lord Henry Wotton is an aesthete of the mind. If Basil is an artist who uses the brush, Lord Henry is an artist who uses words. Lord Henrys philosophy on life and art resembles in a great measure that of Nietzsche, in that they both celebrate the primacy of individual senses and feelings over reason and morality. Lord Henry, like Nietzsche, urges the artist to accept his Dionysian, dark and mysterious world of the instinct, to live his life fully and take advantage of its pleasures, for art is a form of exaggeration, the product of spontaneity: I believe that if one man were to live out his life fully and completely, were to give form to every feeling, expression to every thought, reality to every dream, I believe that the world would gain such a fresh impulse of joy that we would forget all the maladies of medievalism and return to the Hellenic ideal, to something finer, richer than the Hellenic ideal, as it may be. (Wilde 25) Lord Henry, like Nietzsche, believes that the unsatisfactory status of modern art is due to the individuals fear to acknowledge their passions, that is, the Dionysian side of their own selves, and turn them into something beautiful and authentic: The mutilation of the savage has its tragic survival in the self-denial that mars our lives. We are punished for our refusals. Every impulse that we strive to strangle broods in the mind and poison us (Wilde 25). The influence that Lord Henrys philosophy exerts on Dorian Gray can be compared to the influence that the trip to Venice has on Gustave Aschenbach. Both Lord Henry and Venice represent the voice that alerts the repressed side of Dorian and Aschenbach. Both Dorian Gray and Aschenbach change completely when they come in contact with the delightful influence of Lord Henrys magic words and the exoticism of Venice. When he meets Henry Wotton, Dorian feels that the few words that Basils friend had said to him had touched some secret chord that had never been touched before, but that he felt was now vibrating and throbbing to curious pulses (Wilde 26). The perspective of travelling to Venice unleashed in Aschenbach a craving for freedom, release, forgetfulness which the artist admitted to be an impulse towards flight, flight from the spot which was the daily theatre of a rigid, cold and passionate service (Mann 420-421).

Free Things They Carried Essays: The Girl Next Door :: Things They Carried Essays

The Girl Next Door in The Things They Carried The Feminist Approach Method to critical analysis examines the feminism implied within the text. In Tim O'Brien's, The Things They Carried, the story, "Sweetheart of Song Tra Bong," is a story about the changes in a female when she is exposed to war. But, more importantly it is a story that illustrates how women are more than sex objects. "Sweetheart of Song Tra Bong," proves that female and male stereotypes do not always apply. "Sweetheart of Song Tra Bong," is a story being told by Rat Kiley to Mitchell Sanders, two soldiers of the Vietnam War. Mark Fossie's girlfriend, Mary Anne Bell, comes to stay with the soldiers in their perimeter. She arrives to Vietnam by a helicopter with the daily shipment of supplies for the soldiers. When the soldiers meet her she is identified as an innocent blond with "white culottes and this sexy pink sweater" (90). Even her name is a direct reference to the Virgin Mary, a sign of purity. The men in the perimeter are attracted to her, because they see her as a sex object. They view her as a daily source of survival. In the beginning of the story, Mark Fossie guides Mary Anne around by the arm, but after a while, Mary Anne begins to guide herself. Slowly, she becomes curious about the equipment and the war. She begins to adapt to life in Vietnam by eating with her hands, and using the phrases she hears from the soldiers. She becomes less concerned about her appearance and her cleanliness, and she begins to use weapons. Her voice becomes lower, her body becomes firmer, and her eyes become colder. She is becoming less of a sex object to the soldiers, because she is more masculine. One night Mary Anne does not come back to Fossie. He begins jumping to the conclusion that she is sleeping with other soldiers, when actually she is just hanging out with the guys. Mary Anne explains to Fossie that the war is like an appetite. On page 111, she states: "I can feel my blood moving, my skin and my fingernails, everything, it's like I'm full of electricity and I'm glowing in the dark-I'm on fire almost-I'm burning away into nothing- but it doesn't matter because I know exactly who I am." This statement is referring to the idea that Mary Anne has found a part of her that was always missing.

Gwen Harwood “Father and Child” Essay

The poem â€Å"Father and Child† by Gwen Harwood shows Harwood’s father teaching her the concepts of life and death, from when she is a young child in â€Å"Barn Owl† up to when she is around forty at the time of his death in â€Å"Nightfall†, coming to accept the idea that life is not never-ending. In part one called â€Å"Barn Owl†; she has learnt to accept death as a component of life. The persona of the poem experiences a loss of innocence with the discovery of the tragedy of death. Before shooting the owl, the child believes they are the â€Å"master of life and death,† with the noun, â€Å"master,† reflecting the power that the child feels and the ignorance that the child has about the nature of death. This description of the child is later contrasted in the fourth stanza, â€Å"I watched, afraid by the fallen gun, a lonely child who believed death clean and final, not this obscene bundle of stuff.† The emotive term, †Å"afraid,† represents the change in the persona’s attitude after being exposed to the harsh reality that is mortality. However, the rhyme and last line â€Å"what sorrows in the end, no words, no tears can mend† releases an element of inexpressible sadness that she has towards the death of her father showing that although she accepts death, it still upsets her as it did in â€Å"Barn Owl†. Father and Child† Nightfall† is more metaphorical and symbolic suggesting a more mature persona like an adult. The poem represents a human’s journey over time of learning to mature and accept death. The poem â€Å"Father and Child† explores the reversing roles of fathers and children’s roles as time goes on. Nightfall† is more metaphorical and symbolic suggesting a more mature persona like an adult, and is about a child grown to adult age spending time with her father before he dies. The symbolism of the imagery presented through the poem is of the passing of time, this is shown in words like â€Å"temporal†, â€Å"transience†, â€Å"late†, â€Å"night and day†, â€Å"grown† and â€Å"ancient†, this represents the ageing of the father and child and emphasises how they have grown both physically and mentally. The use of the word â€Å"angel† in â€Å"Barn Owl† suggests the closeness of the father-daughter relationship. Also the line â€Å"I leaned my head upon my father’s arm, and wept,† shows the caring and comforting nature of the father. However, â€Å"Nightfall† shows the childish nature towards her father starts to disappear and that she has developed great respect for her father. This is first implied through the phrase â€Å"Father and child, we stand in time’s long promised land† which shows they have a united front facing death  together. This is further emphasised through the rhetorical question of â€Å"Who can be what you were?† showing the appreciation for her father, as she recalls her father’s â€Å"marvellous journey†. Also, the use of direct speech from the father asking, â€Å"Be your tears wet?† is an allusion to Shakespeare’s play â€Å"King Lear†, where King Lear asks this same question to his upset daughter Cordelia on his death bed, this is where King Lear discovers that Cordelia was the only child that truly cared for him, suggesting that the persona has been faithful in caring for her father up until his death. â€Å"Old king† is a similar allusion again implying that the persona appreciates her father’s life thinking it was great and it needs to be treasured. â€Å"Nightfall† is suggesting that although loved ones pass, it is important to hold the memories shared close; so spiritually, they are never really gone even though physically they have passed.

Mary Joyce s Eveline The Classical Signs Of A Victim

Children do not have the option to come into this world. They come into this world because of either of their parents’ choice or because of their mistake. However, once children are born, their parents have the opportunity to write whatever they wish to write on their clean slate –â€Å"life.† Indeed, some kids grow up in a safe environment and have loving parents, but some children are reared by the parents who themselves grew up in an abusive family and do not know how to raise kids. Abuse does not see race, gender, or stature, yet it happens every day in a close - knit relationship. Abuse can be so subtle that it slowly chips away a person’s identity, and the person does not even realize that they are in an abusive relationship. In James Joyce’s, â€Å"Eveline,† Eveline exhibits the classical signs of a victim to abuse. She lacks self-confidence due to her father’s verbal, emotional, and financial abuse. Eveline lacks confidence due her father s verbal abuse. Eveline is nineteen years old, yet she is afraid of her father. Although Eveline s dad does not abuse her physically, he threatens to beat her. Eveline believed he would do so because, since childhood, she witnessed â€Å"her father used often to hunt them in out of the field with his blackthorn stick† (Joyce 597). When Eveline s dad finds out about her affair with Frank and forbids Eveline to meet him, Eveline lacks the courage to profess her love for Frank openly to her father. She starts meeting Frank secretly. Her father

Impooving Employee Performance - 72019 Words

IMPROVING EMPLOYEE PERFORMANCE THROUGH APPRAISAL AND COACHING Second Edition IMPROVING EMPLOYEE PERFORMANCE THROUGH APPRAISAL AND COACHING Second Edition Donald L. Kirkpatrick Foreword by Dick Grote American Management Association New York †¢ Atlanta †¢ Brussels †¢ Chicago †¢ Mexico City †¢ San Francisco Shanghai †¢ Tokyo †¢ Toronto †¢ Washington, D.C. Special discounts on bulk quantities of AMACOM books are available to corporations, professional associations, and other organizations. For details, contact Special Sales Department, AMACOM, a division of American Management Association, 1601 Broadway, New York, NY 10019. Tel.: 212-903-8316. Fax: 212-903-8083. Web site: www.amacombooks.org This†¦show more content†¦Today, nothing’s changed. Don Kirkpatrick remains one of the most inï ¬â€šuential and thought-provoking thinkers and writers in the ï ¬ eld of performance management and the development of human talent in organizations. Most human resource management professionals are familiar with Don’s contribution to the ï ¬ eld of training and development through his development of what now is commonly referred to as ‘‘Kirkpatrick’s Four Levels of Evaluation.’’ Don observed that the evaluation of a training program’s effectiveness begins with Level One—Reaction . How well did the participants like the program? But too many evaluation efforts don’t go any further than a smile sheet. More important than how people felt about the program, Don told us, was Level Two—Learning. Did the participants learn the skills the program was designed to teach? Did they do better on the posttest than they did on the pretest? Regardvii viii F OR EW OR D less of how much they liked the program, did they actually acquire the skills the program intended to teach them? But that’s still not enough. While users may have liked the program and scored high on the ï ¬ nal exam, the next level—Behavior—is much more important. Are the participants using what they learned back on the job? Have the trainees transferred their new skills and learnings to their everyday environment? Finally—and here comes the bottom-line question—has all this effort made any difference? Yes,

Revenge in Edgar Allan Poes The Cask of Amontillad Essay

Revenge in Edgar Allan Poes The Cask of Amontillado In the story The Cask of Amontillado by Edgar Allan Poe, he writes about a man named Montressor who for some reason (one that we do not know) vows revenge on a well respected and even feared guy named Fortunato, to better understand the story though you will want to know about the author Edgar Allen Poe. Edgar Allen Poe has been a huge influence to many writers in short stories. Most of his tales deal with detective, and gothic horror tales, and in most of his tales readers live the story through first person narrator like in The Cask of Amontillado who tells the tale. The fact†¦show more content†¦Like when he says thousand injuries of Fortunato I have borne as I best could, but when he ventured upon insult I vowed revenge. (Poe 1-2) This first line is a prime example of that abnormal behavior because even though this m ight seem rational its not. Why would someone go as far as to horrifically murder that person just because of an insult. Whats more is he doesnt really say what fortunate did to him. So this is another clear sign that Montressors act of revenge is a sign of being insane. As they progress into the catacombs Fortunato is bombarded by all these hints and clues about his coming doom but this is what truly is evil that montresor is truly insane enough and mad enough to make fortunato a fool. Some hints and clues is when fortunato is encumbered with a cough supposedly from the nitre and Montressor acts as though he is concerned and asks if they should go back in which in return Fortunato replies The cough is a mere nothing, it will not kill me. I shall not die of a cough (Poe paragraph 37). Which in reply Montresor says true true. Also Montressors coat of arms the he el stomping on the snake that is biting the heel. As they get deeper and deper into the catacombs another thing that goes on between Montressor and Fortunato that stands out is when they talk about the freemasons which is a secret guild of

Work Life Initiatives Organizational Change â€Myassignmenthelp.Com

Question: Discuss About The Work Life Initiatives Organizational Change? Answer: Introducation Consideration of values is imperative for career management because our values are the subset of our ideas and beliefs. These are a crucial part of who we are. Hence, it is important to identify them before we select a career or decide whether to take an employment offer (Kossek, Lewis and Hammer, 2010). Hard skills required I plan to pursue a career in accounting. For this, I require the following 5 core skills: Proficiency in MS Office suite, particularly Excel 95% of the accounting work is done in Excel, and hence I need to be able to work on it. Familiarity with tax preparation software Accounting is no more manual and software are used for everything to make work easier. Knowing how to use this software is important to reduce my workload and perform effectively (Greenhaus, Callanan and Godshalk, 2009) Familiarity with regulations, standards and practices Every accounting transaction needs to be prepared to keep in mind the accounting standards. Knowledge of preparing and interpreting financial statements This is the most basic accounting function which I must know Knowledge of implementing accounting control Knowledge of accounting control is required to mitigate risk. Demonstrated capacity to communicate effectively My work experience as an intern at XYZ company implied that I cultivated and applied abilities in this area. I was regularly dealing with clients, suppliers and the staff both over the phone and in person. One of my main duties included field customer enquiries that used my communication skills. I had to coordinate with different parties like creditors, banks, clients, debtors and affiliate firms. Apart from performing regular accounting tasks, I also had to draft letters, prepare reports, send emails, and write interpretations for management evaluation and decisions. I clearly and precisely documented all the above information in the companys filing system. By using effective written and oral forms of communication, I ensured a healthy relationship with our clients and other stakeholder groups which provided them with efficient customer service. Resultantly, my supervisor appreciated my communication skills at the completion of my internship. Good organizational and administrative skills As a competent junior accountant intern, I demonstrated a proven ability to organize things effectively and solve problems. I am an extremely organized person with the potential to maintain precision and work to stringent deadlines. I have also successfully discharged several administrative responsibilities. In all such roles, I performed general admin duties like arranging meetings, sorting and sending emails, handling telephonic and client enquiries etc. Through my role as an intern, I have drawn on my administrative and organizational experience to recommend several improvements to augment office efficacy and add professionalism to the client base. These recommendations have been implemented. Proven ability to work as part of a team I have worked as part of a team in both my graduation and during my internship, and hence I understand the significance of good teamwork. As a member of a team, I am aware of my role plus the roles of my peers to ensure expected results. I have been engaged in teams which have a problem-solving method to tasks and have assisted in the formulation of action plans. I really enjoy the opportunity to collaborate and brainstorm opinions and ideas. In one such experience, I recommended an alternative method to solve an accounting problem, and other team members contributed toward other domains of that project. Great teamwork resulted in the project being highly successful. I collaborate effectively with all my teammates to facilitate a flexible communication environment by discussing issues we might have. I also coached others, junior members, when required. Well-developed customer service skills I have worked in the customer service domain in the finance industry during my internship. My job involved direct contact with customers and I was usually the first point of contact for our companys clients. I was proactive in my association with clients and was successful in building a loyal consumer base in my community. This involved frequent calling in talking about any needs the clients may have. I am committed to and passionate about offering exceptional customer service and am keen on taking further training in conflict resolution, customer feedback and customer relations. I have confidence in my ability to handle any situation which may arise. Proven ability to manage projects My project management abilities are demonstrated well enough through the completion of a significant research project that I undertook for my Honors Degree, plus working as a volunteer at Community Care where also I formed a grant submission. The latter experience encompassed creating a project plan outlining the crucial milestones of the project and producing a GANTT chart to set out the timelines for every milestone. I prepared two presentations to the team on my progress. My proposal was approved by the Fundraising Officer, and the institution received $5000 for new equipment for supporting community program. My Honors assignment included the proper management of the entire project phase, from getting ethics permission to conducting a literature review to undertaking interviews and evaluating and reporting the findings. Elevator pitch Hello, my name is XYZ. I stand here today to sell my resume. But I want to tell you personally what my resume does not include. My resume would tell you that I am an accounting major at ABC college. However, my resume will not tell you I am not typical student as I believe in practical learning. My resume shows that I have worked part-time and also as an intern where I proved my mettle as an accountant. I have shown immense passion toward my work as I did every task from a simple administrative job through to advanced financial statement reporting and interpretation. Further, when I aim to accomplish something then I work mornings, nights, holidays and weekends to accomplish it irrespective of hindrance factors. Everything I do has a purpose, and me being here is not an accident. I am deeply interested in the entry level accountant position at your firm. I believe your organization is the ideal place to hone my skills and then use those skills to contribute toward the achievement of business objectives. I know I am right for this position as I am dedicated and motivated to move my career past multiple part-time jobs and internships I have had before. Through these work experiences, I have learnt to be a team player and have demonstrated sound abilities to organize and manage work. If you require any further information, you can email me. Linked in as social media branding References Kossek, E., Lewis, S. and Hammer, L.B., 2010. Work-life initiatives and organizational change: Overcoming mixed messages to move from the margin to the mainstream.human relations,63(1), pp.3-19. Greenhaus, J.H., Callanan, G.A. and Godshalk, V.M., 2009.Career management. Sage.