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complete the text with the correct -ing forms of the verbs
Quiz by Faith Nasambu Wekesa
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Read the text and complete the sentences with the correct sequence.
THE FIDE LAWS OF CHESS. Introduction FIDE Laws of Chess cover over-the-board play. The Laws of Chess have two parts: 1. Basic Rules of Play and 2. Competitive Rules of Play. The English text is the authentic version of the Laws of Chess (which were adopted at the 93rd FIDE Congress at Chennai, India) coming into force on 1 January 2023. Preface. The Laws of Chess cannot cover all possible situations that may arise during a game, nor can they regulate all administrative questions. Where cases are not precisely regulated by an Article of the Laws, it should be possible to reach a correct decision by studying analogous situations which are regulated in the Laws. The Laws assume that arbiters have the necessary competence, sound judgement and absolute objectivity. Too detailed a rule might deprive the arbiter of his/her freedom of judgement and thus prevent him/her from finding a solution to a problem dictated by fairness, logic and special factors. FIDE appeals to all chess players and federations to accept this view. A necessary condition for a game to be rated by FIDE is that it shall be played according to the FIDE Laws of Chess. It is recommended that competitive games not rated by FIDE be played according to the FIDE Laws of Chess. Member federations may ask FIDE to give a ruling on matters relating to the Laws of Chess. BASIC RULES OF PLAY. Article 1: The Nature and Objectives of the Game of Chess 1.1 1.2 1.3 1.4 The game of chess is played between two opponents who move their pieces on a square board called a âchessboardâ. The player with the light-coloured pieces (White) makes the first move, then the players move alternately, with the player with the dark-coloured pieces (Black) making the next move. A player is said to âhave the moveâ when his/her opponentâs move has been âmadeâ. The objective of each player is to place the opponentâs king âunder attackâ in such a way that the opponent has no legal move. 1.4.1 The player who achieves this goal is said to have âcheckmatedâ the opponentâs king and to have won the game. Leaving oneâs own king under attack, exposing oneâs own king to attack and also âcapturingâ the opponentâs king is not allowed. 1.4.2 The opponent whose king has been checkmated has lost the game. 1.5 If the position is such that neither player can possibly checkmate the opponentâs king, the game is drawn (see Article 5.2.2). Article 2: The Initial Position of the Pieces on the Chessboard 2.1 2.2 The chessboard is composed of an 8 x 8 grid of 64 equal squares alternately light (the âwhiteâ squares) and dark (the âblackâ squares). The chessboard is placed between the players in such a way that the near corner square to the right of the player is white. At the beginning of the game White has 16 light-coloured pieces (the âwhiteâ pieces); Black has 16 dark-coloured pieces (the âblackâ pieces). These pieces are as follows: A white king usually indicated by the symbol K A white queen Two white rooks Two white bishops Two white knights Eight white pawns A black king A black queen Two black rooks Two black bishops Two black knights Eight black pawns usually indicated by the symbol Q usually indicated by the symbol R usually indicated by the symbol B usually indicated by the symbol N usually indicated by the symbol usually indicated by the symbol K usually indicated by the symbol Q usually indicated by the symbol R usually indicated by the symbol B usually indicated by the symbol N usually indicated by the symbol Staunton Pieces p Q K B N R 9 2.3 The initial position of the pieces on the chessboard is as follows: 2.4 The eight vertical columns of squares are called âfilesâ. The eight horizontal rows of squares are called âranksâ. A straight line of squares of the same colour, running from one edge of the board to an adjacent edge, is called a âdiagonalâ. Article 3: The Moves of the Pieces 3.1 It is not permitted to move a piece to a square occupied by a piece of the same colour. 3.1.1 If a piece moves to a square occupied by an opponentâs piece the latter is captured and removed from the chessboard as part of the same move. 3.1.2 A piece is said to attack an opponentâs piece if the piece could make a capture on that square according to Articles 3.2 to 3.8. 3.1.3 A piece is considered to attack a square even if this piece is constrained from moving to that square because it would then leave or place the king of its own colour under attack. 3.2 The bishop may move to any square along a diagonal on which it stands. 3.3 The rook may move to any square along the file or the rank on which it stands. 3.4 The queen may move to any square along the file, the rank or a diagonal on which it stands. 3.5 3.6 3.7 When making these moves, the bishop, rook or queen may not move over any intervening pieces. The knight may move to one of the squares nearest to that on which it stands but not on the same rank, file or diagonal. 3.7 When making these moves, the bishop, rook or queen may not move over any intervening pieces. The knight may move to one of the squares nearest to that on which it stands but not on the same rank, file or diagonal. The pawn: 3.7.1 The pawn may move forward to the square immediately in front of it on the same file, provided that this square is unoccupied, or 3.7.2 on its first move the pawn may move as in 3.7.1 or alternatively it may advance two squares along the same file, provided that both squares are unoccupied, or 3.7.3 the pawn may move to a square occupied by an opponentâs piece diagonally in front of it on an adjacent file, capturing that piece. 3.7.3.1 A pawn occupying a square on the same rank as and on an adjacent file to an opponentâs pawn which has just advanced two squares in one move from its original square may capture this opponentâs pawn as though the latter had been moved only one square. 3.7.3.2 This capture is only legal on the move following this advance and is called an âen passantâ capture. 3.7.3.3 When a player, having the move, plays a pawn to the rank furthest from its starting position, he/she must exchange that pawn as part of the same move for a new queen, rook, bishop or knight of the same colour on the intended square of arrival. This is called the square of âpromotionâ. 3.7.3.4 The player's choice is not restricted to pieces that have been captured previously. 3.7.3.5 This exchange of a pawn for another piece is called promotion, and the effect of the new piece is immediate. 3.8 There are two different ways of moving the king: 3.8.1 by moving to an adjoining square. 3.8.2 by âcastlingâ. This is a move of the king and either rook of the same colour along the playerâs first rank, counting as a single move of the king and executed as follows: the king is transferred from its original square two squares towards the rook on its original square, then that rook is transferred to the square the king has just crossed. 3.8.2.1 The right to castle has been lost: 3.8.2.1.1 If the king has already moved, or 3.8.2.1.2 With a rook that has already moved. 3.8.2.2 Castling is prevented temporarily: 3.8.2.2.1 if the square on which the king stands, or the square which it must cross, or the square which it is to occupy, is attacked by one or more of the opponent's pieces, or 3.8.2.2.2 if there is any piece between the king and the rook with which castling is to be effected. 3.9 The king in check: 3.9.1 The king is said to be 'in check' if it is attacked by one or more of the opponent's pieces, even if such pieces are constrained from moving to the square occupied by the king because they would then leave or place their own king in check. 3.9.2 No piece can be moved that will either expose the king of the same colour to check or leave that king in check. 3.10 Legal and illegal moves; illegal positions: 3.10.1 A move is legal when all the relevant requirements of Articles 3.1 â 3.9 have been fulfilled. 3.10.2 A move is illegal when it fails to meet the relevant requirements of Articles 3.1 â3.9. 3.10.3 A position is illegal when it cannot have been reached by any series of legal moves. Article 4: The Act of Moving the Pieces 4.1 4.2 Each move must be played with one hand only. Adjusting the pieces or other physical contact with a piece: 4.2.1 Only the player having the move may adjust one or more pieces on their squares, provided that he/she first expresses his/her intention (for example by saying âjâadoubeâ or âI adjustâ). 4.2.2 Any other physical contact with a piece, except for clearly accidental contact, shall be considered to be intent. 4.3 Except as provided in Article 4.2.1, if the player having the move touches on the chessboard, with the intention of moving or capturing: 4.3.1 one or more of his/her own pieces, he/she must move the first piece touched that can be moved. 4.3.2 one or more of his/her opponentâs pieces, he/she must capture the first piece touched that can be captured. 4.3.3 one or more pieces of each colour, he/she must capture the first touched opponentâs piece with his/her first touched piece or, if this is illegal, move or capture the first piece touched that can be moved or captured. If it is unclear whether the playerâs own piece or his/her opponentâs was touched first, the playerâs own piece shall be considered to have been touched before his/her opponentâs. 4.4 If a player having the move: 4.4.1 touches his/her king and a rook he/she must castle on that side if it is legal to do so 4.4.2 deliberately touches a rook and then his/her king he/she is not allowed to castle on that side on that move and the situation shall be governed by Article 4.3.1. 4.4.3 intending to castle, touches the king and then a rook, but castling with this rook is illegal, the player must make another legal move with his/her king (which may include castling with the other rook). If the king has no legal move, the player is free to make any legal move. 4.4.4 promotes a pawn, the choice of the piece is finalised when the piece has touched the square of promotion. 4.5 4.6 If none of the pieces touched in accordance with Article 4.3 or Article 4.4 can be moved or captured, the player may make any legal move. The act of promotion may be performed in various ways: 4.6.1 the pawn does not have to be placed on the square of arrival. 4.6.2 removing the pawn and putting the new piece on the square of promotion may occur in any order. 4.6.3 If an opponentâs piece stands on the square of promotion, it must be captured. 4.7 When, as a legal move or part of a legal move, a piece has been released on a square, it cannot be moved to another square on this move. The move is considered to have been made in the case of: 4.7.1 A capture, when the captured piece has been removed from the chessboard and the player, having placed his/her own piece on its new square, has released this capturing piece from his/her hand. 4.7.2 Castling, when the player's hand has released the rook on the square previously crossed by the king. When the player has released the king from his/her hand, the move is not yet made, but the player no longer has the right to make any move other than castling on that side, if this is legal. If castling on this side is illegal, the player must make another legal move with his/her king (which may include castling with the other rook). If the king has no legal move, the player is free to make any legal move. 4.7.3 Promotion, when the player's hand has released the new piece on the square of promotion and the pawn has been removed from the board. 4.8 4.9 A player forfeits his/her right to claim against his/her opponentâs violation of Articles 4.1 â 4.7 once the player touches a piece with the intention of moving or capturing it. 4.8. A player forfeits his/her right to claim against his/her opponentâs violation of Articles 4.1 â 4.7 .4.9. If a player is unable to move the pieces, an assistant, who shall be acceptable to the arbiter, may be provided by the player to perform this operation. Article 5: The Completion of the Game 5.1.1 The game is won by the player who has checkmated his/her opponentâs king. This immediately ends the game, provided that the move producing the checkmate position was in accordance with Article 3 and Articles 4.2 â 4.7. 5.1.2 The game is lost by the player who declares he/she resigns (this immediately ends the game), unless the position is such that the opponent cannot checkmate the playerâs king by any possible series of legal moves. In this case the result of the game is a draw. 5.2.1 The game is drawn when the player to move has no legal move and his/her king is not in check. The game is said to end in âstalemateâ. This immediately ends the game, provided that the move producing the stalemate position was in accordance with Article 3 and Articles 4.2 â 4.7. 5.2.2 The game is drawn when a position has arisen in which neither player can checkmate the opponentâs king with any series of legal moves. The game is said to end in a âdead positionâ. This immediately ends the game, provided that the move producing the position was in accordance with Article 3 and Articles 4.2 â 4.7. 5.2.3 The game is drawn upon agreement between the two players during the game, provided both players have made at least one move. This immediately ends the game. COMPETITIVE RULES OF PLAY Article 6: The Chessclock 6.1 âChessclockâ means a clock with two time displays, connected to each other in such a way that only one of them can run at a time. âClockâ in the Laws of Chess means one of the two time displays. Each time display has a âflagâ. âFlag-fallâ means the expiration of the allotted time for a player. 6.2 Handling the chessclock: 6.2.1 During the game each player, having made his/her move on the chessboard, shall pause his/her own clock and start his/her opponentâs clock (that is to say, he/she shall press his/her clock). This âcompletesâ the move. A move is also completed if: 6.2.1.1 6.2.1.2 the move ends the game (see Articles 5.1.1, 5.2.1, 5.2.2, 9.2.1, 9.6.1 and 9.6.2), or the player has made his/her next move, when his/her previous move was not completed. 6.2.2 A player must be allowed to pause his/her clock after making his/her move, even after the opponent has made his/her next move. The time between making the move on the chessboard and pressing the clock is regarded as part of the time allotted to the player. 6.2.3 A player must press his/her clock with the same hand with which he/she made his/her move. It is forbidden for a player to keep his/her finger on the clock or to âhoverâ over it. 6.2.4 The players must handle the chessclock properly. It is forbidden to press it forcibly, to pick it up, to press the clock before moving or to knock it over. Improper clock handling shall be penalised in accordance with Article 12.9. 6.2.5 6.2.6 Only the player whose clock is running is allowed to adjust the pieces. If a player is unable to use the clock, an assistant, who must be acceptable to the arbiter, may be provided by the player to perform this operation. His/Her clock shall be adjusted by the arbiter in an equitable way. This adjustment of the clock shall not apply to the clock of a player with a disability. 6.3 Allotted time: 6.3.1 When using a chessclock, each player must complete a minimum number of moves or all moves in an allotted period of time including any additional amount of time added with each move. All these must be specified in advance. 6.3.2 The time saved by a player during one period is added to his/her time available for the next period, where applicable. In the time-delay mode both players receive an allotted âmain thinking timeâ. Each player also receives a âfixed extra timeâ with every move. The countdown of the main thinking time only commences after the fixed extra time has expired. Provided the player presses his/her clock before the expiration of the fixed extra time, the main thinking time does not change, irrespective of the proportion of the fixed extra time used. 6.4 Immediately after a flag falls, the requirements of Article 6.3.1 must be checked. 6.5 Before the start of the game the arbiter shall decide where the chessclock is placed. 6.6 At the time determined for the start of the game Whiteâs clock is started.6.7. Default time: 6.7.1 The regulations of an event shall specify a default time in advance. If the default time is not specified, then it is zero. Any player who arrives at the chessboard after the default time shall lose the game unless the arbiter decides otherwise. 6.7.2 If the regulations of an event specify that the default time is not zero and if neither player is present initially, White shall lose all the time that elapses until he/she arrives, unless the regulations of an event specify, or the arbiter decides otherwise. 6.8 A flag is considered to have fallen when the arbiter observes the fact or when either player has made a valid claim to that effect. 6.9 Except where one of Articles 5.1.1, 5.1.2, 5.2.1, 5.2.2, 5.2.3 applies, if a player does not complete the prescribed number of moves in the allotted time, the game is lost by that player. However, the game is drawn if the position is such that the opponent cannot checkmate the playerâs king by any possible series of legal moves. 6.10 Chessclock setting: 6.10.1 Every indication given by the chessclock is considered to be conclusive in the absence of any evident defect. A chessclock with an evident defect shall be replaced by the arbiter, who shall use his/her best judgement when determining the times to be shown on the replacement chessclock. 6.10.2 If during a game it is found that the setting of either or both clocks is incorrect, either player or the arbiter shall pause the chessclock immediately. The arbiter shall install the correct setting and adjust the times and move-counter, if necessary he/she shall use his/her best judgement when determining the clock settings. 6.11.1 If the game needs to be interrupted, the arbiter shall pause the chessclock. 6.11.2 A player may pause the chessclock only in order to seek the arbiterâs assistance, for example when promotion has taken place and the piece required is not available. 6.11.3 The arbiter shall decide when the game restarts. 6.11.4 If a player pauses the chessclock in order to seek the arbiterâs assistance, the arbiter shall determine whether the player had any valid reason for doing so. If the player has no valid reason for pausing the chessclock, the player shall be penalised in accordance with Article 12.9. 6.12.1 Screens, monitors, or demonstration boards showing the current position on the chessboard, the moves and the number of moves made/completed, and clocks which also show the number of moves, are allowed in the playing hall. 6.12.2 The player may not make a claim relying only on information shown in this manner.
Billy gets lost. Billy is a puppy. He lives in a big house with a blue roof. He loves to play fetch with Emmy. Emmy throws the ball. Billy chases it. Then, Billy sees Cat. He drops the ball and chases Cat. Cat runs down the street, and Billy chases him. Emmy cries, âCome back, Billy.â Cat runs through a farm, and Billy chases him. Cat runs into the forest, and Billy chases him. Cat climbs up a tree. Billy turns to go home. He cannot see the big house with a blue roof.â Oh, no, I am lost,â Billy says. Billy runs down a path. He sees Fox. âHow can I get home?â he asks Fox. âI have never been out of the forest,â says Fox. âAsk Cow in the farmerâs field,â Fox says. Billy runs to the farmerâs field. Billy says to Cow, âI am lost. âDo you know the way to my house?â Billy asks. âI have never been off the farm,â says Cow. âAsk Owl,â Cow says. Billy goes to Owl in the barn. âPlease wake up, Owl,â says Billy. âI need your help,â he says. âI am lost!â he cries. âDo you know a big house with a blue roof?â Billy asks. âYes, I do,â Owl says. Owl flies, and Billy chases her. Then, Billy sees Emmy at the big house with a blue roof. âThank you, Owl,â says Billy. Create an interactive "fill the gaps" quiz in seconds - complete with a 'Hall of Fame'! Instructions: 1. Edit the title of this quiz (above) to something appropriate. 2. COPY and PASTE your text into this box (TIP - plain text for best results, to avoid formatting glitches), and edit it as you wish. 3. DOUBLE-CLICK any word to turn it into a 'gap'. 4. To put the word back, simply double-click the gap again or drag the word from the top of the screen to the correct gap. 5. When you are finished, click 'save' to turn your work into an interactive quiz for your students - complete with a Leaderboard so you can see how quickly they finished! Note: When you save your work, you will provide a password which will allow you to edit the quiz again later.
Complete the text with one word in each gap.
Align Panel: This panel allows you to align one or more objects the the artboard or other objects. Alignment: Formatting the appearance of text with the margins of the text box. Anchor Point Tool: Allows you to add or remove handles to create a curve on an anchor point. Anchor Points: A point on a path indicates a change of direction. Appearance Panel: This panel shows you the fill, strokes, graphic styles, and effects that have been applied to an object, group or layer and are able to modify theses from this panel directly. Area Type Tool: This occurs when using the type tool and you click and drag a text box, the text will automatically wrap inside the box. Blend Tool: This tool allows you to combine shapes/colors between two or more objects to create a new object between the original, blending the colors and shapes by inserting the middle steps to get from one object to the next. Blob Brush Tool: This tool is used to create free-form objects that can have a more hand-drawn feel. Brushes: Allows you to set the appearance/style of a path, can be applied to existing paths or used to create new paths. Clipping Masks: This command allows you to mask objects to a shape so that only areas that lie within the shape are visible, the mask and objects that are masked are called a clipping set. Closed Path: A path that has the same beginning and ending point. It forms a complete shape that can be filled with color or text. Create Outlines: This command converts text to closed paths and can be found in the Type Menu. Curvature Pen Tool: Allows you to simply create paths with curved anchor points. Curves: Can be applied to an anchor point using handles to create an arched line. Direct Select Tool: Allows you to select individual points of any path. Effects: These can be added to objects to create quick dynamic characteristics. Eraser Tool: This tool allows you to remove anchor points and cut through paths. Expand Objects: This allows you to divide a single object into multiple objects that make up its appearance. Eyedropper Tool: This tool allows you to sample the color or text from an existing part of the artwork. Global Swatches: This is a color swatches that will be automatically updated throughout your artwork when you change them, indicated with a white triangle in the corner of the swatch. Graphic Styles: A set of reusable appearance attributes that allow you to quickly change the look of an object. Grouping: This command allows you to link objects together so that they can be moved, scaled, rotator, or copy. Groups can be nested inside other groups. Hierarchy: To create visual order in design, controlling what the viewer looks at in order using size, color, contrast, etc⌠Image Trace: This command allows you to convert a raster image into a vector artwork. Isolation Mode: This mode allows you to adjust single objects/groups inside a group without ungrouping the group. Join Tool: This tool joins paths and anchor points together quickly. Kerning: This is the adjustment of the space between two individual letters. Knife Tool: This tool allows you to split an object into 2 pieces along a freehand path you draw. Leading: This is the adjustment of the space between lines of text. Live Corners: This widget appears when using the Direct Select tool and a corner is selected, when used this will create a rounded corner. Live Paint: This command allows you to quickly apply colors to objects in a complex design. Open Path: A path that does not end, not connected back to the original anchor point. Overflow Text: This occurs when the text box is too small to house all the text and is indicated by a small red plus sign in the bottom right corner of the text box. Paintbrush Tool: This tool is used to create free-form paths that can have a more hand-drawn feel. Paragraph Spacing: The space that occurs between lines of text. Pathfinder Panel: This panel allows you to create complex shapes by selecting 2 or more objects and using the buttons in the panel to cut, combine, or divide the objects. Paths: These are created when 2 or more points are connected, these are created using the pen tool. Pen Tool: It allows you to create and edit anchor points and paths. Pencil Tool: This tool is used to create free-form shapes or lines, the accuracy of the lines can be adjusted. Perspective Tool: This tool allows you to place elements on a perspective grid to adjust objects on a different perspective, automatically snapping to the perspective grid. Placeholder Text: Text that is placed in a text box that "holds a place" in a design to allow for creating a layout or adjust the text design. Point Type Tool: This occurs when when using the type tool and you click once, the text will continue without wrapping. Readability: The characteristics of fonts and styles that make test easy to identify and read. Scale, Shear, Distort Objects: This set of commands allows you to adjust the size and perspective of objects. Scissors Tool: This tool allows you to split a path into 2 pieces. Selection Tool: Allows you to select paths, objects or groups by click or dragging over them. Shape Builder Tool: This interactive tool allows you to create complex shapes by merging and erasing simpler objects. Shapes Tools: A group of tools to create basic shapes without using the pen tool (rectangle, ellipse, polygon, star, etcâŚ). Smooth Tool: This tool will smooth a complex path and reduce the number of anchor points. Swatches: This is a saved color that can be applied in a design via the swatches panel and can be grouped, these can include gradients and patterns. Text Wrapping: This is when the text in a text box automatically wraps to the next line when it reaches the edge of the box. Threading Text: This is the ability to create 2 or more text boxes that are linked, when text is added/adjusted in one box, it will affect the other(s). Touch Type Tool: This tool allows you to adjust individual letter in a previously created text box. Tracking: This is the adjustment of the overall spacing between letters. Transform Objects: This allows you to change the size of objects. Type on a Path Tool: This tool allows you to add text along any previously created path. Type Tool: This tool allows you to create text in a design. View Modes: Ability to view projects and adjust the display on the screen. Modes include Outlines, Presentation, & Full Screen.
Conjunctions or connectors have its functions in the sentences. This is especially if the conjunctions or connectors will be used in a format text like argumentative text. Transitions also serve the same purpose as conjunctions, but on a larger scale. They signal to the reader the relationship between ideas in a paragraph or even between paragraphs. By connecting larger ideas, they let readers know what to do with the information presented to them. Indicating these connections help reinforce the argument within a paper. Phrases like "for example" let the reader know the information that follows is meant to support an idea. Thus, the use of transitions cues readers into the writer's thinking process. Conjunctions improve the paper as a whole by giving the writing coherence, or flow. A conjunctive adverb such as "however" or "overall" joins two complete sentences, using either a semicolon or a period. These words and phrases serve different purposes: showing agreement, opposition, causality, support or emphasis, consequence and conclusion. They work like a bridge from one of the writer's points to another.
Why and How Managers Plan Importance of planning The planing process Benefits of planning Planning and time management Types of PLans used by managers Long term and short term plans Strageic and tactical plans Operational plans Planning Tools and Techiqunes Forecasting Contrigency planning Scenario planning Benchmaking Use of staff planners Implementing Plans to Achive Results Goal setting Goal management Goal alignment Participation and involvement Planning Def: The process of setting objectives and determining how best to accomplish them Planning at Eaton Corporation âMaking the hard decision before events force them upon you, an anticipating the future needs of the market before the demand asset itself Objectives and goals Identifity the specific results or desired outcomes that one intends to achieve Plan Def: A statement of action steps to be taken in order to accomplish the objectives (goals) Steps in the planning process: Define your objectives Determine where you stand vis-a-vis objectives Develpo premises reagrdsing future conditions Analyze alternatives and make a plan Implement the plan and evaluate results What are the benefits of planning Improves focus and flexibility Imporves action orteitation Imporves coordination and control Imporves time management Time Managment Personal time management tips Do say ânoâ to request that distract you form what you should be doing Dont get bogged down inn details that can be addressed later Do screen telephone calls, emails and meeting request Dont let drop in visitors, text messaging use up your time Do prioritize your important and urgent work Dont become calendar bound by letting other control your schedule Do follow priorities; do most important and urgent work first Some 77% of mangers in one survey said that digital age has increased th number of decisions they have to make 43% said there was less time available to make these decisions Types of plans used by Managers What is teh time horizon Long term vs Short term Long term Look three or more years into teh future Short term plans Typically cover one year or less However: the increasing environmental complexity and dynamism of recent years has severely tested the concept of âlong-termâ planning Plans are subject to frequent revisions Most executives would likely agree that these complexities adn uncertainties challenge how er actually go about planning and how far ahead we can really plan At the very least we can conclude that there is a lot less permanency to long term plans today and that tey are subject to frequent revision Managment reaeracher Eillot Jaques believes tha people vary in their capability to think with different time horizons Types of Plans used by Managers (3 of 5) Strategic plans Set broad, comprehensive and linger term action directions for teh entire organization or major division Vision Clarifies purpose of the organization and what it hopes to be on the future Typical plans Specify how the organizations resources are used to implement strategy Tactical plans in business often take the form of functional plans Functional plans Incidate how different component within the organiztion will help accompnlish the overall strategy Production plans Finacial plans Facilites Plans Logisitc plans Marketing plans Human Resource Plans Operation plans Describe short-term activities to implement strategic plans Policies: Are standing plans that communicate guidelines for decisions Ex: Policies on office romances: The media is quick to report when a top executive or public figures runs into trouble over an office affair. Are there ant policies on office romances? Employer polices on office raltioshiis vary. One survey find teh following: 24% prohibit relationships among employees in the same department 13% prohibit relationships among employees who have the smae supervisor 80% prohibit relationships between supervisors and subordinates 5% have no restrictions on office romances Procedures: Are rules that describe actions to be taken in specific situations Budgets: are single use plans that commit resources to projects or activities Zero based budgets: allocate resources as if each budget were brand new There is no guarantee that any past funding will be renwer. All propsales, old and new, must compete for available funds at teh start of each new budget cycle Forcasting Attempts to predict the future Qualitaive forecasting uses expert opinions Quantitative forecasting uses mathematical models and statiscal aanylsis of historical data dna surveys Contingency planning Identify alternative course of action to take when things go wrong Anticipate changing conditions Contain trigger points to indicate when to activate plan (or a specific course of action) Scenario planning A long term version of contingency planning Identifying alternative future scenarios Plans made for each future scenario Increases organizations flexibility and preparation for future shocks Benchmarking Use of external and internal comparisons to better evaluate current performance Adopting best practices: things people adn organization do that lead to superior performance Staff Planners Experts who assist in all steps of the planning process They help bring focus and expertise to a wide variety of planning tasks Important: Communication between staff planers landline managers is essential for teh success of teh planning process Goal Setting - Always set SMART goal The solution: Goal Aligment Between Team Leader and Team Member Jonintly plan: Set objectives, set standards, choose actions Individually acy: Perform tasks (member), provide support (leader) Jointly control: Review results, discuss implications, renew cycle x4 Collective effort and commitment Participatroy planning Includes in all planning steps that people who will be affected by the plans adn askedd to help implement them Unloacks motivational potential of goal setting Management by objective (MBO) promotes participation Participation increases understanding and acceptance of plan and commitment to success Participatory planning - Number of people involved in teh decision making process Amazon is intensely focused on what it does. It believes in creating tight single-threaded teams, also known as â2 pizza team.â Data and Decision Making What are some of the important competencies managers must have today? Delegate Marketing and technology Manager must have Technological competency Ability to understand new technologies and to use them to their best advantage Information competency Ability to locate, gather, organize and display information for decision-making and problem solving Analytical competency Ability to evaluate and analyze information to make actual decisions and solve real problems What is the difference between Data and Information Data Raw facts and observation Information Data made useful and meaningful for decision-making Important concepts Big data Exists in huge quantities and is difficult to process without sophisticated mathematical and analytical techniques Data production today Bernard Marr is an internationally best-selling author. He helps organizations improve their business performance, use data more intelligently Data mining The process of analyzing data to produce useful information for decision-makers Management Analytics The systematic evaluation and analysis of data to make informed decision Information drives management Bad Data Refers to information that can be erroneous, misleading, and without general formatting The challenge: Can er use the data that is available in the âBig Dataâ Needs to be valid Can not trust everything out there Being ethical Look at the trends Data is structured and unstructured Data BIg Data = Structured + Unstructured Information Drive Management decision making What are the characteristics of useful information Easy to access If its credible Accurate Characteristics of useful information: Timely High quality Complete Relevant Understandable What about bad data It's not credible Miss information If it is not structured/ organized Bias based on opinions Confusing If its updated Bad data Refers to information that can be erroneous miss What are some examples of Management information system Business intelligence -BI Information systems to extract and report data in organized ways that are useful to decision-makers Executive dashboards Visually update and display key performance metrics (or Key Performance Indicators -KPIs) and information on a real-time basis Information needs in organization External Environment Information exchanges with the external environment Gather intelligence information Provide public information Information needs within the organizations (internal Enviroement) Information exchange within the organization Facilitate decision making Facilitate problem-solving Managers as information processors Continually gather, share and receive information Now as much electronic as it is face-to-face Always on, always connected How many people telecommute at least once a week 70% of people globally work remotely at least once a week, Work at home after covid 19 our forecast Our best estimate it that 25-30% of the workforce will be working form home multiple days a week by the end of 2021 As of 2023, 12.7% of full time employees work from home, while 28.2% work a hybrid model Managers as problem solvers Problem-solving The process of identifying a discrepancy between actual and desired performance and taking action to resolve it Ishikawa Fishbone diagram To identify the cause of problems Decision A choice among possible alternative courses of action Performance threat Something is wrong or has the potential to go wrong Performance opportunity The situation offers the chance for a better future if the right steps are taken Problem-solving approaches or style - from textbook Problem avoiders Inactive in information gathering and solving problems Problem seekers Proactive in anticipation of problems and opportunities and taking appropriate action to gain an advantage Problem solvers Reactive in gathering information and solving problem Managers - can approach problems in a systematic or intuitive manner Systematic thinking approaches problem in rational, step-by-step and analytical fashion Intuitive thinking approaches problems in a flexible and spontaneous fashion Multidimensional thinking- applies both intuitive and systematic thinking Managers face structured and unstructured problems Structure problems Are ones that are familiar, straight forward, and clear with respect to information needs Program decisions apply solutions that are readily available from past experiences to solve structured problems Know how to solve them Familiar Know what we are dealing with Unstructured problems Are ones that are full of ambiguities and information deficiencies Nonprogrammed decisions apply a specific solution to meet the demands of a unique problem Commonly faced by higher-level management Crisis decision making A crisis involves an unexpected problem that can lead to disaster if not resolved quickly and appropriately Ruled for crisis management Figure out what is going on Remember that speed matters Remember that slow counts, too Respect the danger of the unfamiliar Value the skeptic Be ready to âfight fire with fireâ Managers make decisions with various amounts of information Certain environment Offers complete information on possible action alternatives and their consequences Risk environment Lacks complete information but offers probabilities of the likely outcomes for possible action alternatives Uncertain environment Lacks so much information that it is difficult to assign probabilities to the likely outcomes of alternative Ex: Certain and uncertain environments: The worldwide Governance Indicators for over 200 countries, comparing distinct environments (Canada-Brazil) Step 1-Identify and define the problem Focuses on information gathering information processing and deliberation Decision objectives should be established What are some common mistakes in definding problems? Common mistakes in defining problems Defining the problem too broadly or too narrowly Focusing on symptoms instead of causes Choosing the wrong problem to deal with Step 2- Generate and Evaluate Alternative Courses of Action Potential solutions are formulated and more information is gathered, data are analyzed, the advantages and disadvantages of alternative solutions are identified Common mistakes: Abandoning the search for alternatives too quickly Step 3- Decide on a preferred course of Action Two different approaches Behavioural model leads to satisficing decisions Classical model les to optimising decisions Behavioural Model Rationality is bounded because: There are limits our thinks capacity Available information (incomplete) Time constraints Step 4-Implement the decision Involves taking action to make sure the solution decided upon becomes a reality Managers need to have the willingness and ability to implement action plans Problems: Lack of participation error should be avoided Step 5 - Evaluate Results Involves comparing actual and desired results The positive and negative consequences of the chosen course of action should be examined If actual results fall short desire results, the manager returns to earlier steps in the decision-making process At all steps, check ethical reasoning Ask these spotlight questions Utility Does teh decision satisfy all constituents or stakeholders Rights Does the description respect the rights and duties of everyone? Justice Is the decision consistent with the canons of justice Caring Is the decision consistent with my responsibilities to care? Issues in decision-making How do errors happen? Heuristics: are strategies for simplifying decision-making Availability Bias: Bases a decision on recent information or events Representativeness bias: Bases a decision on similarity to other situations Anchoring and Adjustment Bias: Bases a decision on incremental adjustment from a prior decision point Framing error: Tring to solve a problem in the context perceived, positive or negative Confirmation Error: Focusing on information that confirms a decision already made Escalating commitment: Continuing a course of action even though it is not working Creative Decision making Creativity is the generation of a novel idea or unique approach that solves a problem or crafts an opportunity Big C: Creativity occurs when extraordinary things are done by exceptional people Little C: Creativity occurs when average people come up with unique ways to deal with daily events and situations The three types of situational creativity drivers Chapter review What are objectives and goals? The specific results or desired outcomes What are the 5 characteristics of great (SMART) goals? Forecasting - Attempts Qualitative forecasting uses options Quantitative forecasting uses mathematical models and statistical analysis of historical data and surveys Scenarios-Oracleâs crystal ball combines qualitative and quantitative methods
A. Arundhati Roy B. Jhumpa Lahiri C. Salman Rushdie D. Anita Desai ________________________________________ 2. The Lowland was published in: A. 2001 B. 2013 C. 2010 D. 2005 ________________________________________ 3. Which earlier work earned Lahiri the Pulitzer Prize? A. The Namesake B. Unaccustomed Earth C. Interpreter of Maladies D. The Lowland ________________________________________ 4. The novel is primarily about: A. Technology and modernity B. Immigration, family, and political violence C. Business rivalry D. Mythology and folklore ________________________________________ 5. The two central brothers in the novel are: A. Rahul and Anil B. Subhash and Udayan C. Gogol and Ashoke D. Amit and Nikhil ________________________________________ 6. Where did the brothers grow up? A. Mumbai B. Dhaka C. Calcutta D. Delhi ________________________________________ 7. Udayan becomes involved in: A. Peace activism B. Cinema C. Naxalite movement D. Business ________________________________________ 8. Subhash moves to: A. London B. Rhode Island C. Toronto D. Chicago ________________________________________ 9. Udayan is killed in: A. Jail B. A riot C. The lowland near his house D. A car accident ________________________________________ 10. Why does Subhash marry Gauri? A. Love B. To protect her and her unborn child C. Financial benefit D. Family pressure ________________________________________ 11. Gauri eventually: A. Becomes a politician B. Starts a business C. Leaves her family D. Returns to India ________________________________________ 12. Subhash raises Bela: A. With Gauri B. Alone C. With help from his parents D. In India ________________________________________ 13. Bela grows up believing: A. Udayan is her father B. Subhash is her father C. She has no father D. Her father died in war ________________________________________ 14. The setting of political unrest is linked to: A. Partition B. Naxalbari uprising C. Independence movement D. Civil War ________________________________________ 15. The narrative style uses: A. Magical realism B. Non-linear structure C. Poetry D. Second-person narration ________________________________________ 16. Gauriâs character represents: A. Traditional motherhood B. Obedient wife C. Intellectual autonomy and emotional detachment D. Political activism ________________________________________ 17. Belaâs character signifies: A. Rebellion against education B. Second-generation identity struggle C. Complete assimilation D. Materialistic living ________________________________________ 18. Memory in the novel functions as: A. A simple recollection B. A haunting presence affecting identity C. A forgotten history D. A symbolic decoration ________________________________________ 19. The lowland itself symbolizes: A. Wealth B. Stability C. Transitional, unstable space D. Escape ________________________________________ 20. Lahiriâs prose style can be described as: A. Flowery and ornate B. Minimalistic and restrained C. Dramatic and verbose D. Highly poetic ________________________________________ 21. Water imagery reflects: A. Joy and happiness B. Power and victory C. Memory and emotional fluidity D. Evil ________________________________________ 22. Which theory applies strongly to this novel? A. Structuralism B. Postcolonial hybridity C. Absurdism D. Modernism ________________________________________ 23. Postcolonial hybridity is linked to: A. Complete assimilation B. Identity in-between cultures C. Traditional values D. Language fluency alone ________________________________________ 24. Which character best reflects second-generation identity conflict? A. Gauri B. Bela C. Subhash D. Udayan ________________________________________ 25. What does Subhash struggle with most? A. Career failure B. Language C. Guilt and secrecy D. Wealth ________________________________________ 26. Udayanâs ideology centers on: A. Business growth B. Armed communist revolution C. Religious reform D. Education ________________________________________ 27. The novel shows how political violence leads to: A. Personal healing B. Economic prosperity C. Emotional trauma across generations D. Cultural unity ________________________________________ 28. Betrayal appears as: A. Only political B. Only emotional C. Both political and familial D. A background idea ________________________________________ 29. The genre of the text best fits: A. Fantasy B. Realistic political family saga C. Science fiction D. Thriller ________________________________________ 30. The narrative constantly shifts between: A. Dream and reality B. India and America C. Past and future India D. Fiction and nonfiction ________________________________________ 31. Homi Bhabhaâs "third space" represents: A. Physical land B. A zone of cultural in-betweenness C. A literal building D. A heavenlike vision ________________________________________ 32. Gauri symbolizes: A. Traditional widowhood B. Female agency vs social expectation C. Blind loyalty D. Economic dependence ________________________________________ 33. Bela unknowingly inherits: A. Udayanâs ideology B. Gauriâs academic passion only C. Subhashâs calmness D. Grandparentsâ wealth ________________________________________ 34. Lahiri uses silence to: A. Avoid details B. Deepen psychological complexity C. Reduce story relevance D. Simplify events ________________________________________ 35. A major structural device is: A. Letters B. Non-linear flashbacks C. Mythic storytelling D. Metafiction ________________________________________ 36. Which text offers a migrant theme comparison? A. The God of Small Things B. The White Tiger C. The Namesake D. Train to Pakistan ________________________________________ 38. The Naxalite movement first emerged in: A. Mumbai B. Naxalbari village C. Delhi D. Kerala ________________________________________ 39. Which theme repeats strongly? A. Celebration of success B. Silence and secrets C. Fantasy D. Heroism ________________________________________ 40. What does Bela do as an adult? A. Becomes a doctor B. Engages in environmental activism C. Joins corporate life D. Moves into politics ________________________________________ 41. The immigrant experience in the novel is portrayed as: A. Full belonging B. Alienation and partial belonging C. Achievement D. Liberation ________________________________________ 42. Which idea does Lahiri question through Gauri? A. Heroism B. Maternal expectation C. Religious devotion D. Wealth ________________________________________ 43. Subhash represents: A. Pure rebellion B. Survival and adaptation C. Anti-immigrant sentiment D. Total withdrawal ________________________________________ 44. Lahiriâs writing expects readers to: A. Passively accept the plot B. Read emotional subtext in silences C. Ignore symbols D. Only enjoy the story ________________________________________ 45. The lowland as a metaphor mainly signifies: A. Joy B. Unstable cultural ground C. Triumph D. Isolation from family ________________________________________ 46. Why is The Lowland considered significant? A. Its fantasy themes B. Its deep engagement with politics & identity C. Its humor D. Its romantic style ________________________________________ 47. Which comparative author also writes about diaspora identity? A. Chetan Bhagat B. Amitav Ghosh C. Premchand D. Ruskin Bond ________________________________________ 48. Udayanâs death drives the plot because: A. Family hides it B. It forces new relationships & trauma C. People forget him D. It has no consequence ________________________________________ 49. The narrative ends emphasizing: A. Closure and peace B. Lasting consequences of secrets C. National identity D. Religious conflict ________________________________________ 50. Scholars study this work because it explores: A. Only Indian history B. Trauma, diaspora, gender & politics C. Folk storytelling D. Comedy