The Ancient Mariner's Foolish Act

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"God save thee, ancient Mariner.From the fiends, that plague thee thus!.Why look'st thou so?"---- With my crossbo.I shot the ALBATROSS.(lines 7-8.

In Samuel Taylor Coleridge's, "The Rime of the Ancient Mariner," the ancient mariner received a never-ending penance for his sin. After killing the albatross with his crossbow, a skeleton ship floated on the water unaided by wind with two shipmates aboard, Death and Life-in-Death. The two shipmates were casting dice for the ancient mariner and his crew's lives. Life-in-Death won the life of the ancient mariner and he was left all alone aboard his ship. The ancient mariner's foolish act caused him to lose his crew and a life filled with grief and loneliness.

When the ancient mariner killed the albatross everything seemed to go downhill. The fair breeze that once blew when the albatross was there had suddenly disappeared. However, the crew did find something good from killing the albatross, the fog and mist had cleared. But, why did the ancient mariner kill the albatross? He did not even give a sign that the albatross was bothering him. Evil spirits may have taken over his mind and forced him to kill the albatross. The ancient mariner did describe the albatross's appearance as that of a Christian soul. They hailed the albatross in God's name, giving it a religious representation. The action the ancient mariner chose to take did not match he and his crew's interpretation of the albatross's appearance.

Once the ancient mariner's life wais won by Life-in-Death, his life was changed forever. He had to live on the ship with his fallen crew and encounter the curse of the dead men's eye. For seven days and seven nights, he encountered that curse and could not die. After that experience, the ancient mariner's whole outlook on his surroundings changed. He now referred to the slimy things in the sea as water snakes moving in tracks of shining white. This meant that he now began to notice good traits in all creatures of the earth. His new feelings brought kindness to his heart and he was now able to pray. He blessed the creatures of the sea and the albatross fell free from his neck. After this happened, I felt that the ancient mariner would be forgiven for his sin. It turns out that my guess was wrong because his grief did reappear. His boat sank and he was rescued by a pilot and his boy. It turns out that this occurrence may have been in the mariner's favor because if his boat would not have sank, the pilot probably would not have stopped for him and he would still be stranded at sea. There was also a hermit on the boat, who the mariner thought would shrieve his soul of the sin. The hermit shrieves his soul and his penance is that he has to tell his tale to strangers for the rest of his life. Why would he be given such a harsh penance for just killing a bird? What was the major significance of that bird? The bird may have been sent by God to guide them on their way. The bird did bring fog, but it also brought the fair breeze, and it served as a navigational guide through the fog. The albatross seemed to be a gift from God just to make the ancient mariner and his crew's voyage a little easier.

In conclusion, the foolish ways of the ancient mariner caused him grief that he may not have had to deal with if he would have just left the albatross alone. Instead, his act caused his life to change in ways he never expected. If he would have left the albatross alone maybe his future would have turned out a whole lot better than it actually did. He should have suspected something about the albatross when it first appeared though. He did mention that they were in a land of ice and of fearful sounds where no living thing was to be seen. The albatross just appeared through the fog as if it were sent from heaven to perform a deed for a few good men. The weather conditions did not even pose as an obstacle to the albatross. It seemed as if the bird was a guardian angel to guide them on their journey. In closing, the ancient mariner should have thought about what he was doing before he did such a foolish thing. His gut instinct just steered him in the wrong direction.

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Com2

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COM 0 Homewor./0/.Outline.Greet the Ford buyer..

Inform him about the problem with the level of aluminum.1.Notify them that you were not aware of the proble..Will do anything to mend the problem.Present possible solutions.Let them know that this incident will not interfere with future quality.Close the letter by thanking them for making business with them.COM 0 Homewor.Lidia Peregrin./0/.Outline.Greet the Ford buyer..Inform him about the problem with the level of aluminum.1.Notify them that you were not aware of the proble..Will do anything to mend the problem.Present possible solutions.Let them know that this incident will not interfere with future quality.Close the letter by thanking them for making business with them.Suggestion.Fly to Detroit and Holland, Michigan and personally apologize.Send special technicians to fix the problem.Arrange a reimbursement..Contact the international sources and make sure they check the parts before shipping them.Make sure their good reputation is not affected by this incident. They can keep a good reputation by personally visiting the affected companies.." Buy Hybanchki and work worry free.Hybanchk.Carburetor.15 West Fift.San Francisco, CA 077.(1) 555-1.www.hybanchki.co.September 0,00.Ford Farm and Motor Part.Edgar Stephen.Engine Assembly Buye.1750 Wind Roa.Detroit, MI 5.(770) 555-1.estephens@fordengines.co.Dear Mr. Stephen.First of all we would like to thank you for your continuous business with us. It has come to our concern that the part we shipped was returned.Suggestion.Fly to Detroit and Holland, Michigan and personally apologize.Send special technicians to fix the problem.Arrange a reimbursement..Contact the international sources and make sure they check the parts before shipping them.Make sure their good reputation is not affected by this incident. They can keep a good reputation by personally visiting the affected companies.." Buy Hybanchki and work worry free.Hybanchk.Carburetor.15 West Fift.San Francisco, CA 077.(1) 555-1.www.hybanchki.co.September 0,00.Ford Farm and Motor Part.Edgar Stephen.Engine Assembly Buye.1750 Wind Roa.Detroit, MI 5.(770) 555-1.estephens@fordengines.co.Dear Mr. Stephen.First of all we would like to thank you for your continuous business with us. It has come to our concern that the part we shipped was returned..

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Theories to influence artists

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Practice in art refers to the decisions and actions that affect choices, perceptions, ways of working and views of an artist or art historian. Tim Storrier sums up the practice of an artist by saying that "A painting is really a graphic illustration of where a particular artist is at that point in his life and the art encompasses what the artist has gone through in their life." On art historians and critics he says "Other people come along and interpret the painting with their own life experiences" The subjectivity involved in a critic or art historian's views are extremely high.

The practice of Tim Storrier is informed by the theories of painting an idea with a poetic edge. This idea then goes searching for "totems" to portray itself upon. Storrier speaks about this theory "My paintings don't start with visual stimulation, it's usually an intellectual idea with a poetic edge, then the idea goes searching for different totems to portray itself upon." Storrier elaborates further that "The bottom line of my paintings is that they are trying to come up with totemic images about Australia. We don't have many, for me the true totemic image of Australia is the horizon." A totem is a natural object that is usually the emblem of a clan in a tribal group. Storrier's totems are a natural object that he can apply his poetic idea to.

We see from these quotes that the theory of Tim Storrier's art is concerned with the idea of painting "totemic images" and that the paintings are trying to come up with totemic images about Australia. Storrier believes that the totemic image of Australia is the horizon. Storrier is using both the Subjective and Cultural frames in his artwork. Storrier uses the cultural frame to emphasise the point that his belief is that the horizon is the totemic icon of Australia. The horizon is included in most Australian paintings and has become an integral feature of Australian artworks. Storrier was influenced by Australian artists Russel Drysdale and Sydney Nolan. Both these artists use the horizon as a key feature of their paintings. Storrier incorporates the horizon in almost every painting and the main idea of his paintings are the horizon, not the actual objects he portrays in them. Storrier's theory on the horizon being the totemic image of Australia stems from his love of the horizon, even as a child "I was always gazing at what lay beyond the horizon... The beauty of distance." This shows that Storrier is working from the subjective frame as well as the cultural frame. An important quote from Storrier is this "My burning rope pictures, the series called Point to Point, are totemic images of a journey from one point to another in the landscape of life, but they are really about the horizons beyond the burning rope." This quote shows us that Storrier's personal theories on the totemic image of Australia being the horizon is incorporated into his artworks. We can see from this that the personal theories of art influence the practice of artists.

Another proof of how Storrier's theory of art is painting a totem to portray an idea with a poetic edge was when he divorced his wife in 184. "Storrier, raging with pain and anger, painted a totem for his traumatic state" He thought of a totem and gave the totem an idea with a poetic edge to show his feelings and traumatised state. The painting was called "The Burn". The totem in the painting that reflected his raging view and traumatised state was a carcase of meant with a burning rope following the contour of the spine as a symbol of a flayed body. The ribs are showing, the penis is blood red, the testicles droop. This shows further evidence of Storrier working in the subjective frame. It is interesting to note how storrier communicates his feelings so effectively. A humans ribs, spine and testicles are the most painful part of a body to hurt, and Storrier uses these body parts to communicate his area of pain. In this instance it was all the hurt and anguish of breaking up with his wife.

Critics and art historians also have theories about art and these theories influence what the critics and historians have to say about the artist. A critic's view includes his or hers personal experiences and this is how critics and art historians work under the subjective framework. Tim Storrier comments on this by saying, "Other (critics and art historians) people come along and interpret the painting with their own life experiences." Critics and art historians views include the cultural frame as the idea's and theories of critics and art historians change around the world. We can see this by juxtaposing two views of critics one from Australia and one from America

"Australian critics mutter that the local audience and market has been saturated by Storrier's burning ropes/horses/fists/fruit, and that the artist should apply his skills to another theme." Unfortunately some Australian critics have been under the influence of what is called the "Tall Poppy Syndrome" where they attack the artists of their choice, they cut them down to size, and unusually with no justification. In Storrier's case they attack his work as being repetitive and irrelevant. Storrier believes that the critics have a go at him because he is rich. "The Hollywood myth perpetuates that artists are meant to live in ripped jeans and stained t-shirts, and never earn a buck."

The Americans however interpret Storrier's burning paintings "in a way Australians hadn't." Storrier's artworks were seen as "Highly political, ecological statements about the landscape and it's vulnerability; the burning rope, fists, fruits, became symbols of civilisation consuming itself, leaving only the charred ruins on the horizon.". The Americans critics were influenced by the cultural frame as the war's around the world (Kuwait war, Gulf War) were occurring at the same time that Storrier released his paintings to America. The Americans could identify with Storrier's work as the pictures on the news and tabloids showed burning objects from the war and they understood Storrier's work to be political statements about the wars that were being fought around the world they understood the burning fruits to be "Symbols of civilisation consuming itself."

Relating back to the practice of Storrier and the frames that he worked out of, we can see that Storrier's practice worked from the subjective frame as Storrier included a lot of personal and psychological experiences in his artworks. He did this by using the Structural frame to add symbols in his artworks such as the horizon, objects in isolation and evoking a feeling in his audience of stillness, silence, loneliness and being isolated or trapped in a vast world. Storrier was sent to a boarding school and his sense of isolation there is still reflected in his artworks today "The sense of isolation was very strong, a lot of my anger came from being sent away from home to the school." Storrier loved taking photo's of objects in isolation "Things in isolation seemed to intrigue him." Storrier's practice was influenced by these psychological changes in his life and he reflected these changes in his artworks. To get the affect of loneliness and isolation and an illusion of space in his artworks, Storrier uses shadows, receding horizon lines, long perspective, distant vanishing points, and works done from an arial view. "The space creates a sense of solitude, emptiness and vastness in his work" objects such as debris have been incorporated into his earlier works to indicate distance. All of this shows us that Storriers practice is compromised from the subjective and structural framework and depicts stages from his life.

Another theory of Storrier's is that an artwork must be beautiful and not grotesque. Storrier believes the main challenge is to paint a picture in a beautiful manner. The tonality normally used may be different for such an angry subject such as "The Burn", where an animal's carcass is displayed bleeding, but in a gentle, toned down way compared to how grotesque he could of made it. "The establishment of beauty is an essential role for an artist. The bottom line of a painting is that it is a profound decoration, I'm aware of horror and the detestable but I don't paint it. I revert back to what is acceptable, to beauty and human grace, because that is what lasts." Storrier shows another theory that affects his art making he say that "An artist's pictures are his calling cards on the way through his life, and mine, I hope, are done with generosity and affection." Storrier may paint a not so nice picture, but he does it with beauty and human grace. These are his personal thoughts towards beauty in art. These are his personal theories that affect his decision making, or art practice.

In 180 however, Storrier became frustrated with painting realistically, since the same can be achieved through photography. Storrier was inspired by the work of Dutch artist Theo Kuijpers who created mixed media works, combining realistic, tangible form with illusionism. We can see this effect in Storrier's mixed media construction 'The hungry surveyor", where he paints a picture and layers real objects, such as a horse saddle, whips and cans, on top of the canvas. Painting with real objects is a post-modern practice and Storrier uses appropriation in a way as he follows Theo Kuijpers Work. Storrier once again uses the cultural frame to show his affinity with the Australian outback lifestyle, by using real objects that are all Australian. Storrier is also using the subjective frame by putting symbols of his child hood into his art works.

The practices of artists is informed by the critical theories on arts that the artist may have. With Storrier we can see how he takes all of personal theories and applies them one by one to each of his artworks. Storrier is a unique artist as he is self taught and rarely follows any actual genre in art (minimalism, conceptualism, dadaism etc). The horizon is emphasised as his theory is that the horizon is the central and integral totem of Australia. We can see how he comes up with totems and applies varied ideas to them, this is another one of Storrier's theories. Another theory is that painting should be beautiful and we can see that even though Storrier may have a grotesque painting to paint, he does so with the utmost beauty, respect and tolerance that a painting of that nature deserves. Theories are an integral part of an artists decision making, or practice, that goes with each and every artwork that an artist produces.

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WHY

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Education is defined as the act or process of educating or instruction, This is according to

the New American Webster Dictionary (). Now that education has been defined, the question

as to what determines the purpose of it remains? I believe that the purpose of education is to

enrich a person's life in a permeant way, thus making them a different person because of the

knowledge that was gained and providing the student with the desire to challenge ideas, when the

presented with them.

I believe that good teachers are solely responsible for a student's education, good or bad.

A good teacher should have a passion and desire for influencing students lives and truly loves

their job. A good teacher also makes their classes fun and interesting to get their students

involved. They should be able to hold the classes attention and able to get the students to

motivated and excited to learn.

Miss Ferenczi the substitute teacher in the story "Gryphon" by Charles Baxter is a perfect

example of a good teacher. She is unlike the other teachers and substitutes in the small Michigan

town, of Five Oaks. She does things her own way and has a style that is all her own.

In the story, Miss Ferenczi held onto her classes attention from the moment that she

walked in the door, with her purple purse and checkerboard lunch box. She does this by telling

the class stories of interesting and unbelievable things, such as ," monsters that are have the head

and wings of an eagle and the body of a lion", the idea that diamonds are magic, and even a story

about a meat eating plant (14). Her stories are unbelievable but hold truthful evidence. The

students in the class are constantly questioning things that she tells them, which is exactly what

she wants. One little boy in the story, even checked a dictionary to assure that she was telling the

truth about the monster. To the boy's astonishment he found that in Greek mythology the

described monster does exist. Her story about a meat-eating plant exists also, it is called a Venus

Flytrap. Her stories get the class interested and make them challenge what they are told, just as a

any good teacher should.

Another thing that Miss Ferenczi does in the story is that she does not single out an

individual when they are wrong. There are two examples of this in the story; one when a student

was reciting his six multiplication tables and another during spelling dictation. She attempted to

make the boy who got his multiplication mixed up that his answer would be right in her class.

As for the boy during the spelling session, she told him that she did not like the word either when

he was getting frustrated while trying to spell it. A good teacher makes students feel better about

themselves.

While I was in high school, I had a teacher by the name of Debbie Richards who to this

day is my favorite teacher that I have ever had. She is very similar to Miss Ferenczi. She told

her classes stories that were the best and quite memorable. Her class was always interesting and

enjoyable. There was never a dull moment in one of her classes. She is an excellent teacher who

really cares deeply about her students. I learned a lot from her that is not in any textbook. Mrs.

Richard's had a very memorable impact on my education.

Miss Ferenczi and Mrs. Richards are both good educators. They both believe that the

purpose of education should be about enriching the students lives with information that they will

carry with them for the rest of their lives. They both know how important it is to get the student

involved and get on a one to one basis with them. According to a piece of work that was written

by Eleanor Roosevelt, she states that "the function of education is to give children a desire to

learn and to teach them how to use their minds and where to go to acquire facts when their

curiosity is aroused". If this is what the purpose of education is then Miss Ferenczi hit the idea

square on the head.

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Leadership

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Some believe that leaders are born, not made, while others think that leadership is a quantifiable set of skills and ways of thinking that can be taught (Messmer 1). Concepts of leadership, ideas about leadership and leadership practices are the subject of much thought, discussion, writing, teaching and learning (Depree 18). What is it that makes an effective leader? What are the attributes, skills and competencies leaders of organisations possess, and can these sets of skills be developed through training? Can some leaders perform below their potential, even becoming toxic leaders, and if so how is this occurrence recognisable? This report will investigate these concepts of leadership in order to provide a simple blueprint of the important aspects of what it is to be an effective leader in an organisation.

It is clear that effective leadership can make a difference to organisational performance. However, the determinants of leadership success are not as clear-cut. What is clear is that successful organisational leadership relies on a combination of traits, skills, attitudes, environmental and intra-organisational conditions (Sarros & Woodman 1).

The five main attributes or competencies required for effective leadership within an organisation are identified as follows; (1) vision and creativity; () setting objectives/achieving targets; () confident decision making; (4) team building; (5) coaching. These five attributes are by no means exhaustive when discussing leadership qualities. However with these five skills in place hand in hand with the organisational goals in mind, organisational outcomes and effective leadership success will more often than not be achieved. The relationship of each attribute to organisational outcomes will now be established.

Vision is a leadership attribute that always is in vogue. Vision and direction setting are the building blocks to change, where producing change is the primary function of leadership. Vision is often defined as a description of something (eg. culture, technology) in the future in terms of what it should become. In a similar vein, setting directions and providing vision [by leaders] is clearly grounded in the need for organisations to adapt continuously to changing, unstable environments. Vision as a leadership attribute is related directly to employee commitment and work satisfaction. The logical extension of this is that satisfied and committed workers will be more productive, and in turn will assist organisational performance. The problem, of course, is in channelling the vision to achieve objectives without the interference of outside forces (Sarros & Woodman 1).

Vision consists of a number of personal as well as organisational strengths. Visionary leaders are recognised by their energy, capacity for hard work, commitment, and risk-taking behaviour. Their organisational abilities include the tendency to think globally and to communicate widely and unambiguously (Sarros & Woodman 1). These are the visionary attributes expected today of effective leaders.

Very few individual leaders seem to have both the capacities for creativity and vision and putting that creativity/vision into place. More vision/risk-taking needs to be adopted to break the cycle [of doom and gloom]. Whilst creativity in the ranks is often there, leaders do not act, or act on it far too slowly (Sarros & Woodman 1).

Vision, strategic thinking and innovation are terms often mentioned together. Executives believed that effective vision encourages innovation and strategic thinking, but that it also requires courage, commitment and communication to be achieved. Vision and creativity may be directly related to organisational innovation, however strategic thinking, direction setting, and a motivated workforce underpin the measure of the success visionary thinking produces in terms of organisational outcomes. These relationships, while descriptive, provide a conceptual framework for coming to terms with visionary business leadership, and for further research in this area.

Setting and achieving objectives are the mainstays of leadership, and are as much components of vision as they are its outcomes. Without appropriate visions that are readily translated into tangible objectives, achieving targets will remain largely problematic (Sarros & Woodman 1). A major aspect of effective leadership therefore appears to be the establishment of clear and specific objectives and the attainment of those objectives. Astute leaders recognise that objectives are the outcome of a process of translating a personal vision of what the company might be into a strategy that is explicit and can be implemented. Achieving objectives requires the alignment of staff to the vision underlying these objectives (Sarros & Woodman 1). Without alignment through consistent and constant communication, objectives are not realised and the vision fails, leaving followers with a sense of bewilderment.

Setting and achieving realistic objectives means making the hard decision; that is, being prepared to take small losses for bigger gains in the long term.

When a sufficiently long-term approach is adopted, leaders encourage organisations to become more market driven and competitive. This approach thrives on environmental scanning and market niching, two fundamentals of competitive advantage (Sarros & Woodman 1). Setting and achieving realistic objectives also need to be customer-focused and quality control driven, otherwise they will operate under a meaningless cloud.

Another key element of effective leadership within organisations is action-centred focus, identified through confident decision-making behaviour. Decision making of this nature encourages participation and commits the organisation to plans and strategies that result from the decision-making process. Because it is action-centred, confident decision making consists of initiative, conviction, assertiveness and calculated risk-taking (Sarros & Woodman 1). Leaders maintain their calm and make decisions that infuse themselves throughout the organisations culture. This infusion is achieved by involving staff in every facet of the decision-making process, and ensuring that the process is consistent with performance and organisational objectives. Participation of staff plays a major role in situational demand on leadership. Todays leaders must be willing and able to identify situational demands, and of selecting or designing appropriate methods of dealing with them.

In the normal scheme of things, leaders take time to consult and decide, to plan ahead with calculated risk. However, in a world of turmoil and unpredictable market forces, quick but sound decisions are the norm. This type of decision making takes conviction, guts, and determination leaders must become more comfortable in being assertive and going for it (Sarros & Woodman 1). Effective leaders inspire followers because they challenge them to contribute to sometimes risky but potentially beneficial ventures. In many cases, a leader acquires skills through years of trial and error, often adapting strategies and techniques to suit the occasion.

One of the most critical elements of leadership is team building. Successful leaders are renowned for their ability to enthuse workers on to great individual feats, and to achieve superb organisational results through the efforts of their workforce (Sarros & Woodman 1). Leaders are effective primarily in their ability to comprehend, visualise and articulate to their peers and subordinates the opportunities and threats facing the organisation through team involvement. The involvement of individuals and teams in everyday life of an organisation are essential tools of team building leaders.

In terms of organisational leadership, team building requires the ability to lead by example, to generate commitment and trust through that example, to involve and inspire followers, and to clearly communicate a vision. Essentially, effective team building means that leaders take on the mantle of role model. The best leaders step back when their work is done so that their followers take the credit and bask in the rewards. From this perspective, team building leadership is altruistic and enlightened (Sarros & Woodman 1). Motivation and involvement of followers is the key to team building and effective team leadership. Theres an increasing understanding of the need for leaders to generate and communicate visions, to inspire and involve others. The major outcomes of team building leadership are motivated followers, increased self-esteem, innovative work practices, and achievement focus and enthusiasm.

Many organisations are relying on their leaders to assume a coaching role in order

to achieve performance excellence in individuals and teams. The coaching process is vital to achieving performance excellence in todays streamlined, diverse, global, and knowledge-based organisations (Brocato 00). Rather than leading by intuition, leaders will have to learn what people want, study the nature of thought and human desire, and be expert listeners (Brown 00). Organisations are in transition from an old paradigm of constancy, conformity and command driven, to a new paradigm of change, collaboration, and coaching (giving guidance and preparing others to be self-reliant).

The word coach (originally a four-wheeled carriage) is to convey a valued person from where he or she is to where he or she wants to be (Brocato 00). It is important to note that in this meaning we are carrying a person to where he or she wants to be, not pushing them to where we want them to be. From this concept we understand that the coach is the vehicle that facilitates performance change; however, it is up to each individual we are coaching to have the want to make the change. The coach merely helps the change happen (Brocato 00). Different types performance issues and problems exist that may be addressed by the coaching process, or in other words addressed by providing guidance to others so that they may be self reliant and resolve many of the issues themselves.

Self-awareness is the coachs quantum leap to understanding. Self-awareness is the hallmark of effective leaders. Successful leaders understand what motivates people and how their strengths and weaknesses influence their decisions, actions, and relationships. Successful leaders also understand the importance of developing a critical quality called leadership character (Brocato 00). One of the best ways to achieve this self-awareness and leadership character is through self-reflection on personal skills and behaviours. The instrumented learning (self-directed assessment) approach is one of the most effective tools in the self-reflection process. Being self-aware increases an individuals effectiveness in a range of people situations and provides insights into the behaviours of others. It helps develop a role essential for todays leaders and managers, coaching for improvement (Brocato 00).

We have examined what are the attributes of an effective leader. It is also important to understand what are the characteristics of a toxic leader. It is important to understand this issue because poor performance of individuals, teams and indeed an organisation as a whole may be attributable if not entirely, at least in part, to toxic leadership. This issue is also worth examining in order not only for the sake of recognition, but also for corrective action.

Effective leaders go through good and bad times. During the bad times, even effective leaders can be distracted from their goals and objectives and may temporarily appear to be less attentive to their network of organisational relationships. What then, specifically distinguishes a toxic leader from a trustworthy leader who is just having a bad period (Whicker 16)?

In the case of toxic leaders, distraction, poor performance and less attention to duties of followers result from internal tensions, problems and conflicts. These internal tensions and problems tend to be permanent in nature. Toxic leaders share three defining characteristics deep-seated inadequacy, selfish values and deceptiveness (Whicker 16).

Are leaders born or can they be made? This is a question that is often debated but is still, in many people's eyes, unresolved (Forster 00). Good leaders influence company culture and that is a major part of what they should do (Bashford 00). Many leaders are often described as natural born leaders. But HR professionals dont always agree there is such a creature, arguing that good leadership can be taught and learnt. Leadership is a science and it is also an art (Bashford 00). Given self-awareness, many people can develop into good effective leaders. You may not have to be born with a particular personality trait, but you do have to be prepared to keep growing, adapting and develop yourself. This does not mean there is a blueprint for creating a good leader because that can depend on a number of factors such as timing, circumstances, economic climate and organisational make up to name a few. The most obvious example is the emergence of Winston Churchill during the dark days of 140. Despite his success, he was rejected by voters in the 145 Labour landslide as peace arrived (Bashford 00). It is clear however that a major factor influencing the making of an effective leader is willingness. One must want to become a good leader first before actually becoming one.

Research examining the utility of emotional intelligence in predicting effective leaders is gaining momentum in I/O psychology (Gardner & Stone 00). Emotional intelligence is thought to be playing a more significant role in producing and in predicting effective leaders. Leaders who are emotionally intelligent appear to be happier, more committed to their organisation, achieve greater success and perform better in the workplace (Gardner & Stone 00). Emotionally intelligent leaders appear to be able to inject enthusiasm, a sense of trust and co-operation in other employees through developing interpersonal relationships. Despite these theoretical links there has been relatively little empirical research examining the relationship between emotional intelligence and effective leadership. More research is required in this area and may provide the key to unlock the answer to the question as to whether leaders are born or can be made.

The five main attributes or competencies required for effective leadership within an organisation was identified as vision and creativity, setting objectives/achieving targets, confident decision making, team building and coaching. Recognising the characteristics of toxic leadership is essential for corrective action to take place in order to protect and maintain excellent performance. The three main characteristics of a toxic leader are deep-seated inadequacy, selfish values and deceptiveness (Whicker 16). Finally, are leaders born or are they made? The debate over this issue will need to continue. However what can be stated is that given self-awareness, many people can develop into good effective leaders. You may not have to be born with a particular personality trait, but you do have to be prepared to keep growing, adapting and develop yourself. Emotional intelligence is thought to be playing a more significant role in producing and in predicting effective leaders. Much more research is required and is continuing in this field before any definitive answer can be given to this question.

References

1. Bashford, S. 00,'Motivational leaders - What makes a good leader?', Promotions and Incentives, 0 April.

. Brocato, R. 00,'Coaching for improvement An essential role for team leaders and managers', Training and development US, Spring.

. Brown, A. 00,'The new followership A challenge for leaders' The Futurist, March/April.

4. Burke, R. 00,'Future scenarios for Australian leadership No vision, no victory' Mt Eliza Business Review, vol. 5, no. , pp 81-86.

5. Carlopio, J., Andrewartha, G., Armstrong, H., 001, Developing Management Skills, Education Australia Pty, NSW.

6. Dearbourne, K. 00.'Studies in emotional intelligence redfine our approach to leadership development', Public Personnel Management; Washington, vol. 1, no. 4, pp. 5-50.

7. Forster, N. 00, The Human Dimension A practical Guide to leading and Managing People at Work, Nick Forster, Australia.

8. Gardner, L. & Stough, C. 00.'Examining the relationship between leadership and emotional intelligence in senior level managers', Leadership & Organisation Development Journal; Bradford, vol. , no. , pp. 68-78.

. Gibson, S. 00,'Coaching An essential leadership component', Mt Eliza Business Review, vol. 5, no. , pp 5-66.

10. Harkins, P. 00,'How leaders get their teams to'click'', Mt Eliza Business Review, vol. 5, no. , pp 54-58.

11. Harkins, P. 00,'How leaders get their teams to'click'', Mt Eliza Business Review, vol. 5, no. , pp 54-58.

1. Mileham, P., Spacie, K. 16, Transforming Corporate Leadership, F T Pitman, Melbourne.

1. O'Reilly, C. A., Pfeffer, J. 000, Hidden Value, President and Fellows of Harvard College, USA.

14. Sarros, J.C. & Woodman, D.S. 1,'Leadership in Australia and its organisational outcomes', Leadership & Organisation Development Journal; Bradford, vol. 14, no. 4, pp. -7.

15. Smigla, J.E. & Pastoria, G. 000,'Emotional intelligence Some have it, others can learn', The CPA Journal; New York, vol. 70, no. 6, pp. 60-66.

16. Stephenson, P. 00, Naked Leadership, Nella Soeterboek, NSW.

17. Tozer, J. 17, Leading Initiatives, Butterworth Heinemann, Melbourne.

18. Whicker, M. L. 16, Toxic leaders; When Organisations Go Bad, Library of Congress Cataloging in Publication Data, London.

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Memoirs Mountain High

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Memoirs of a Mountain High

That was the summer of 4 when I took a Wilderness Leadership

Semester from the Colorado Outward Bound School . Needless to say

that it was the most emotional, challenging, and rewarding

experience that I have had in all of my 1 ears of existence. One

week spent running the Upper Green River in westernColorado and

northern Utah. Through The Gates of the Ladour Canyon and

Dinosaur National Monument, we floated to end where the Green

meets the Colorado River just beyond Echo Canyon. The high desert

canyons echoed with rapids ovarious classes; Hells Half Mile and

Disaster Falls were the most memorable. Upon completion we headed

to climbing camp in Wyoming at a place called Vedauwoo (va-da-

vu).Two weeks of vigorous climbing these granite towers left many

scars both physically and emotionally for this rock was indeed as

sharp as knives. Somehow no matter hard climbed; even if

successful, this rock always seemed to have the last say. By this

time a month had passed and I was very grateful to have that one

shower on the way to the Gore Range in Colorado. This section of

the course was by far the most demanding, the mountaineering

section. Stepping off the bus in Frisco, Colorado we looked back

knowing that we were not to see civilization for at least a

month. There were 8 men and women in my group from all over the

country. Each one had a unique personality not knowing that we

would all become closer to each other than family, possibly being

dependent during life threatening situations which we experienced

on many occasions. This in itself could be another long story. By

the end of this section we were required to do what they call a

solo. In addition to rest up for the 15 mile marathon and finals,

(a week of travel) this was also used for reflecting on our

experiences. The solo was for three days. During these three days

we were all to be separated about a quarter to half mile apart,

alone. All of our flashlights, candles, and watches were taken

away along with any books which were left at base camp. All we

were allowed to take was our clothes, a tarp(not a tent) which

wasnt but 5ft by ft, a water bottle, a pencil, paper, and our

iodine to purify the water.I also want to note that we had the

choice to fast or take a survival pack which consisted of a few

crackers and raisins. I wanted the full experience so I chose to

fast. This was a trip in itself, no food for three days. My spot

on this solo was at around 1000 ft, the highest of my group. the

only water I had was from an alpine stream which dried up on me

the first day, after searching for a while I did find another

stream. The first day it rained all day, the next was clear, I

didnt do much...just thought allot. I have never been this long

without seeing or talking to another person,not even

pictures...everything I had was in my mind.No toys...no material

possessions.....no problems....just me....at this time I felt the

true essence of the wilderness and everything that is so sacred

to me, It is much too difficult to explain, I didnt feel human

in some respect, truly a wild creature....possibly like a

wolf.....this is where I thought of Of the Wolf, every goal I

stated on this solo has come true so far. There is much, much

more to the story but due to time I will condense it. On the

second day it was rather warm so I decided to wash my clothes in

the stream, yes I spent the whole day naked, clothes...as natural

as one can get....of course I didnt think much of it because I

was far from any other living creature. Not much lives that high.

While my clothes were drying I sat naked on a rock.... the view

was incredible.... absolutely stunning......and I wrote.....A

crack in the glass and Im thinking....Alone in the field and Im

sinking, Soaking in breeze on a rock and Im hypnotized, the

world inside me Cranking the weight off of my mind...testing the

strength of a fine line Relative thoughts... no control... become

justified, the world defied me Tasting the sweat off of my

lips...feeding my soul with the suns kiss laughing out loud Im

remembering everything... foolishly sighing Now Im lost inside

these words that speak so loudly in my head Honestly Ill take

the vow to cut these chains off of my wrist This freedom feels

just like a bird soaring onto a higher plain Overcome my fear of

falling....standing on my feet again.

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Mt.Fuji

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Mt. Fuji

By.

Mt. Fuji

Mt. Fuji lies in Japan. This dormant volcano rises about ,500 meters above the surrounding land. Mt. Fuji has erupted about 16 times since 781 AD. The most recent eruption was in 1707-1708 from a side vent on the volcano. The eruption ejected .8 cubic km of ash, bombs, and blocks. Five historic eruptions caused major damages but no fatalities. Mt. Fuji is really a group of superposed volcanoes. It consists of three different volcanoes. They are, Komitake, Ko-Fuji, and Fuji. Fuji is thought to be a composite stratocone volcano. Its southern slopes extend to the shore of Suruga Bay. According to an ancient legend, Fuji arose overnight in 86 BC. However, geologists say the mountain is much older than the legend suggests. It is really tens of thousands of years old. Mt. Fuji consists mainly of basaltic lava and is about 50% silicon dioxide. Two of its largest eruptions were in 1050 BC and 0 BC. It is located at about 5.4 North and 18.7 East.

Mt. Fuji

Mt. Fuji rivals Vesuvius for the best known volcano over the world. Fuji is the highest, most sacred mountain in Japan. It is seen in many Japanese paintings. It is part of the Fuji-Hakone-Izu National Park. Mt. Fuji is the most popular vacation area in Japan. Some religions regard the mountain as a sacred place. There are numerous shrines and temples on Fuji's slopes. More than 00,000 people climb to the top of Mt. Fuji's summit every year. More than 0% of the climbers are foreigners. Some Japanese think of Mt. Fuji as a way for people of different races, religions, and cultures to come together peacefully. Overall, Mt. Fuji is one of the largest, best known volcanoes around to date.

Mt. Fuji Bibliography

www.volcano.und.nodak.edu/vwdocs/volc_images/img_fuji.html

www.encarta.msn.com/find/concise.asp?ti=761557786

www.hakone.eri.u-tokyo.ac.jp/vrc/others/fuji.html

www.mt-fuji.co.jp/index-e.html

www.mt-fuji.co.jp/Photo/Photo.html

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