Wednesday, January 29, 2020

Decision Model Theory Essay Example for Free

Decision Model Theory Essay Case Here we use the Thompson Lumber Company case as an example to illustrate these decision theory steps. John Thompson is the founder and president of Thompson Lumber Company, a profitable firm located in Portland, Oregon. Step 1 The problem that John Thompson identifies is whether to expand his product line by manufacturing and marketing a new product, backyard storage sheds. Step 2 * The second step is to list the alternative. * Thompson’s second step is to generate alternatives that are available to him . In decision theory the alternative is a course of action or strategy that the decision maker can choose .According to him his alternatives are to construct: 1†¢ a large new plant to manufacture the storage sheds 2†¢ a small plant, or 3†¢ no plant at all * So, the decision makers should try to make all possible alternatives ,on some occasion even the least important alternative might turn out to be the best choice. Step 3 * Third step is to identify possible outcomes. * The criteria for action are established at this time. According to Thompson there are two possible outcomes: the market for the storage sheds could be favorable means there is a high demand of the product or it could be unfavorable means that there is low demand of the product. * Optimistic decision makers tend to ignore bad outcomes; where as pessimistic managers may discount a favorable outcome. If you don’t consider all possibilities, it will be difficult to make a logical decision, and the result may be undesirable. * There may be some outcomes over which the decision maker has little or no control is known as states of nature. Step 4 * Fourth step is to list payoffs. * This step is to list payoff resulting from each possible combination of alternatives and outcomes. Because in this case he wants to maximize his profits, he use profits to evaluate each consequences .Not every decision, of course, can be based on money alone – any appropriate means of measuring benefit is acceptable. In decision theory we call such payoff or profits conditional values. Step 5 6 * The last two steps are to select and apply the decision theory model. * Apply it to the data to help make the decision. Selecting the model depends on the environment in which you are operating and the amount of risk and uncertainty involved. * Decision Table with condition values for Thompson TYPES OF DECISION MAKING ENVIRONMENTS * The types of decisions people make depends on how much knowledge or information they have about the situation. There are three kind of decision making environments: * Decision making under certainty. * Decision making under risk. * Decision making under uncertainty. Decision Making Under Certainty * Here the decision makers know about the certainty of consequences every alternative or decision choice has. * Naturally they will choose the alternative that will result in the best outcome. * Example: Let’s say that you have $10000 to invest for a period of one year. And you have two alternatives either to open a savings account paying 6% interest and another is investing in Govt. Treasury Bond paying 10% interest. If both the investments are secure and guaranteed, the best alternative is to choose the second investment option to gain maximum profit. Decision Making Under Risk * Here the decision Maker knows about the several possible outcomes for each alternative and the probability of occurrence of each outcome. * Example: The probability of being dealt a club is 0.25. The probability of rolling a 5 on die is 1/6. * In the decision making under risk, the decision maker usually attempts to maximize his or her expected well being. Decision theory models for business problems in this in this environment typically employ two equivalent criteria: maximization of expected monetary value and minimization of expected loss. * Expected monetary value is the weighted value of possible payoffs for each alternative Decision Making under Uncertainty * Here there are several outcomes for each alternative, and the decision maker does not know the probabilities occurrences of various outcomes. * Example The probability that a Democrat/Republican will be the President of a country 25 Years from now is not known. * The criteria that is covered in this section as follows: 1 – Maximax †¢ this criterion find the alternative that maximizes the maximum payoffs or consequence for every alternative. Here we first locate the maximum payoff with every alternative and then pick that alternative with the maximum number. This is also known as optimistic decision criterion. * Maximin †¢ this criterion finds the alternative that maximizes the minimum payoff or consequence for every alternative. Here we first locate the minimum outcome within every alternative and then pick that alternative with maximum number. This is called as pessimistic decision criterion. * Criterion of Realism: Also called as weighted average, is a compromise between an optimistic and a pessimistic decision. Let the coefficient of realism is ‘a’ selected. The coefficient is between 0 and 1. When ‘a’ is close to 1, the decision maker is optimistic about the future. When ‘a’ is close ‘0’ the decision maker is pessimistic. It helps the decision maker to build feelings about relative optimism and pessimism. * Weighted average =a (maximum in row) + (1-a)(minimum in row). * Equally likely (Laplace)-one criterion that uses all the payoffs for each alternative is the equally likely also called Laplace decision criterion. This is to fi nd alternative with highest payoff. * Minimax Regret †¢ the final decision criterion that we discuss is based on opportunity loss or regret. Expected Value of Perfect Information * Formula EVPI = A – B A = expected value with perfect information B = expected value without perfect information Calculation of (A) value: A = the best of each outcome x their prob. The best of outcomes: Best outcome= (100,000) (30,000) A= 0.6 x 100,000 + 0.4 x 30,000 = 72,000 Calculation of (B) value: B = we select the max value of each given below Outcome of each event: 0.6(50000) + 0.4 (30,000)= 42,000 0.6(100,000 -0.4(40,000)= 44,000 0.6(30,000) + 0.4(10,000)= 20,000 The max value for all computed value = 44,000 EVPI = A – B = 72,000 – 44,000 = 28,000 Expected Opportunity Loss The expected opportunity loss is the expected value of the regret for each decision (Minimax) EOL (Apartment) = $50,000(.6) + 0(.4) = 30,000 EOL (Office) = $0(.6) + 70,000(.4) = 28,000 EOL (Warehouse) = $70,000(.6) + 20,000(.4) = 50,000 Marginal Analysis * Most of our decisions are made following our â€Å"marginal analysis† of costs and benefits * To achieve a given outcome we often have to make a choice from among alternative means; we normally try to make the â€Å"least costly† choice among the available means * Sometimes our decisions result in benefits as well as costs; * How much food should you buy? * How many years of schooling should you have? * How many hours should you work? * How many workers should you hire? * How much should save/invest?

Tuesday, January 21, 2020

Eye Witness Identification Essays -- essays research papers

Although the phrase â€Å"they all look alike to me† is widely known and used as a joke (Goldstein & Chance, 1985) the implications that the phrase yields may not be as widely understood as they should be. In the criminal justice system, eyewitness identifications can play a major role in the decisions made by jurors even though it has been shown that jurors have little awareness of factors that affect the reliability of eyewitness accounts (Cutler, Penrod, & Dexter, 1990). One such factor is identifications made by people identifying someone of a different race, (when describing race as Caucasian, of African descent, of Asian descent, or Latino), which can be referred to as other-race identification or other-race recognition (Lavrakas, Buri, & Mayzner, 1976). If the phrase â€Å"they all look alike to me†, which states that people of another group appear homogenous, is true for most people then it is possible that other-race identifications should be considered less reliable than within-race identifications. It has in fact been shown that people are more accurate at identifying others of their own race than at identifying others of a different race (Penrod, Shapiro 1986). Since it has been established that the other-race recognition is not always as accurate as within-race recognition, finding the cause for this effect is important. One possible cause is the quantity of experience a person has with another race. People are less accurate at identifying faces of a different racial group than at identifying faces of their own racial group because they have less experience with the other race. We would expect that as the amount of experience a person has with a different racial group decreases the less accurate they will be at identifying faces of that race. It would also be expected that if you raise someone’s level of experience with a different racial group, possibly through training, the ability to identify faces in that racial group should increase. The amount of experience a person has with another racial group should determine how accurate they will be at identifying people of that race. Those who report having large amounts of contact with another race should show better accuracy in identifying people of that race than those reporting small amounts of contact with the other race. In a study done by John ... ...vents the drawing of a firm conclusion. REFERENCES Brigham, John C., & Malpass Roy S., (1985) The role of Experience and Contact in the Recognition of Faces Of Own- and Other-Race Persons. Journal of Social Issues, 41, 139-155. Lavrackas, Paul J., Buri John R., & Mayzner Mark S., (1976) A Perspective on the Recognition of Other-Race Faces. Perception & Psychophysics, 20, 475-481. Shepherd, John, Deregowski, Jan B., & Ellis, Hadyn D., (1974) A Cross-Cultural Study of Recognition Memory For Faces. International Journal of Psychology, 9, 205-211.  Ã‚  Ã‚  Ã‚  Ã‚   Goldstein, Alvin G., & Chance, June, (1985) Effects of Training on Japanese Face Recognition: Reduction of the Other-Race Effect. Bulletin of the Psychonomic Society, 23, 211-214. Anthony, Tara, Copper, Carolyn, & Mullen, Brian, (1992) Cross-Racial Facial Identification: A Social Cognitive Integration. PSPB, 18, 296-301. Shapiro, Peter N., Penrod, Steven D., (1986) Meta-Analysis of Facial Identification Studies. Psychological Bulletin, 100, 139-156. Cutler, B. L., Penrod, Steven D., (1990) Juror Sensitivity to to Eyewitness Identification Evidence. Law and Human Behavior, 14, 185-192.

Sunday, January 12, 2020

Application of Music therapy and Psychodrama Essay

With the blooming economic growth and remarkable improvement of people’s living standard, we focus on balancing physical well-being and emotional health in our daily life. Active research and the practice of improving mental health have become one of the most studied areas of science in the 20th century. Complimentary therapies have become more established during this time to supplement the Doctor’s Prescription pad. Combined with the lack of prior education in musical therapy, recipients can access this form of treatment without barrier because of the innate capacity for human’s to appreciate musical form and the profoundness with which we all regard music. This form of therapeutic treatment therefore transcends traditional forms of medical treatment such as paediatrics and adult health as all age groups seem to take part in the musical experience irrespective of gender, ethnicity etc., which has elsewhere in medicine been attributed some special status such as the requirement in paediatrics for twice the capacity in dealing with minority groups not exceeding one-third of the populace. Looking at all therapies around us, Music Therapy comes in different methods and approaches. Music is a language of its own; it is an alternation form of expression that is different to everyday verbal language communication. There are different definitions of Music Therapy due to different research types carried out in each country. In a definition given by the American Music Therapy Association, 2005, Music Therapy is the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program. Professor K. Bruscia defined music therapy as ‘A systematic process of intervention wherein the therapist helps the client to achieve health, using musical experiences and the relationships that develop through them as dynamic forces of change.’ In my understanding of broadening this definition, Music therapy is a systematic therapy treatment program of applying music or music related experience to promote physical and mental health. Any therapy that planned to apply music as a tool, in order to achieve the purpose of promoting human physical and mental wellbeing, should belong to scope of music therapy. Psychodrama, which was developed by J. L. Moreno, is used as a form of psychotherapy. Psychodrama is an action method, participants use dramatization, role playing and dramatic self-presentation, which often includes elements of theater and uses props on a stage, to recreate real-life situation, acting them out in the present. This can also be seen as psychodramatic enactment. Participants have the opportunity to evaluate their behavior and understand better a particular situation in their lives or common experiences in life in general. Moreno encourages participants expressing their underlying needs in role playing, and thereby neutralizing their compelling influence and tendencies. Clients can use non verbal expression e.g. musical instruments, for their emotion and feeling, which helps naturally healing by this process. Music and Drama are connected historically and have strong affection on each other in many aspects. The same theatrical forms of plays and opera will have the same healing effect. They all support the development of spontaneity and uninhibited expression of emotions and feelings. It’s unusual to see the combination of music therapy and psychodrama together until the advent of this book: ‘Acting Your Inner Music: Music Therapy and Psychodrama ’by Joseph J. Moreno. The method that is used in this book is defined as music psychodrama, is a particular complementary therapy. The complementary therapy integrates music and psychodrama for participants adequately exchange between music and verbal language, to complement expression of emotion and feeling. The ensemble of music improvisation, creation, using treatments from music therapy, together with traditional psychodramatic therapy, psychodramatic enactment, is a comprehensive treatment which shows better therapeutic effect than any single treatment of the two. The Complementary therapies, which is a term used to describe therapy that combines both music therapy and psychodrama together concomitantly. The complementary therapy requires participants in groups to express their emotion by communicating effectively with both music and language. Participants don’t need to have any musical background; neither needs to know how to play any musical instruments. In another words, anyone who wants to take part in this therapy are welcome to take part in, despite age, gender, occupation and education of participants. The Musical presentation of human emotion can be expressed quite well. This brings out a new and unique treatment effect in complementary therapy. The core of music psychodrama is a psycho-dramatic musical improvisation ensemble. It’s a way of experiencing what happened and how individuals reacted to the given situation and ambient experience of music in combination with an acting format. In order for participants to ‘let go of themselves’ and enable each individual to freely express their emotion and feeling, the following stages are operated by a psychodrama director or a psychotherapist with musical background: Musical improvisation serve as warm ups; Action, Individual and group improvisation and psychodrama; collectively combined constitute a common access point to Sharing. It’s important to note that interpersonal relationships between client and therapist, or psychodrama director remain strong during the whole process; music selected for the therapy is not for leisure proposes. Therefore the director needs to have a musical background and have professional understanding of music. Director also needs to have intensive training and be familiar with the therapeutic processes, as well as build up close relationship with participants. The room that psychodrama and music therapy is taking place should be quiet and comfortable for all participants to be in and enjoy. Children should not be put into a group of adult participants, babies should not be allowed in the room. If a child cries during the therapy, the sound of crying may tune with high pitch together with the therapeutic music. This could results unnecessary tension and upset and bought to participants, having negative emotions. * Warm ups A group of five or five participants are formed either by volunteering or selected by a Director. Each individual is asked to select a musical instrument and then to play a solo improvisation on their instrument, expressing their feeling at the moment or overall life situation. All solo improvisation is recorded and played back for participants to discuss and analyse. This is an effective projective technique. Emotions and personalities of individuals can be simply revealed by sounds projected through the instrumentation. Group music improvisation is another technique that helps the warm up of musical psychodrama. The principle is similar to individual improvisation. But this technique would emphasize emotions of members towards others in the group. During the orchestrated performance by phychodrama director or a musical therapiest, group members would emphasize their intragroup communication, responsiveness and rapport building of each member. For example, some would be the person who takes the leads in the group; some would be supporting and coordinating the group; some would immerse in their own performance; therapist can observe individual reactions to the other’s real behaviour rather than merely listen to verbal description by them. Involvement in and exposure to these experiences would help participants emerging musical imagery and emotional expression to the next stage of therapy, the musical psychodrama. * Action Protagonist selection of psychodrama is complete by discussion and identification of distinctive sounds of their instruments. During the action of psychodrama on the stage, protagonists need to move from one character to another character by swapping their situations, which means move himself into another person’s situation, and learn and action to the other person’s mind. The protagonist is living in another person’s life. When verbal expression is not clear enough to express by the protagonist, music or instrument can be selected by participants to better express their feelings. For example, participant may select a drum, which is a very powerful and dynamic instrument. The participant can play the drum in a very dominant and aggressive manner; it would easily affect the group feeling and continuously move the whole group to a stronger sharp and dynamic level. This might also create conflict between group members. The other group members may also use their instruments to change the aggressive behaviour of this participant with drum. In normal verbal communication, people who are involved in the communication also move with rhythmic synchronicity with speaker. If someone wants to pass their opposite opinion or thoughts to a listener in a soft, slow and gentle tone, listener will tend to be easier to accept their opposite idea than someone speak in a fast and commanding voice. Music has the same effect on people in affecting people’s emotion and feelings. By playing soft and sad music, this music is responsiveness to the drum player. Every nuance gives a continue reaction to drum player’s feeling. The drum player would be able to verbalise the different feelings, the subliminally hearing helps him to fell and benefit from the group support that the music which is played by other members of the group. Music psychodrama can be seen as a real life. The protagonist will be in different relationships and situations, for example, accepting a death from a beloved one, or giving up part of his life. It takes great courage to release part of ego. Communication through music in the improvisation may sometimes work better and more effectively than verbal communication. Musical mirroring is an auxiliary technique to mirror the progatonist’s behaviour or style of interaction by a selection of an appropriate musical instrument and improvise musical statement. The advantage of musical mirroring over verbal mirroring is helping it portray the protagonist’s essential behaviour without being mired in words. Musical modelling is a technique that suggests and influences the protagonist’s action, behave and interact through improvisational statements. The advantages are similar Musical Mirroring. Break-in and Break-out techniques are very special techniques in psychodrama. They can be very strong and effective approaches in the session for break through barriers that a protagonist holds him back in a real life situation. Break-in, protagonist may feel him being excluded from a group, feeling from outside of a group and looking in; Break-out is the reversed situation. In both these two situations, the protagonist needs to find the initiative to break the inner barriers and reconnect to the outside. Group members will surround the protagonist in a circle with locked arms; sometimes, depending on individual circumstance of protagonist, the group members will verbally taunt the protagonist and playing intensive nervous music; protagonist needs to fight his way out of this circle and break this barrier. * Sharing Sharing is an essential component in psychodrama. After the psychodrama enactment, all group members will be encouraged by director to share the feelings, thoughts in the experience both verbally and non-verbally. All members will be reassembling face to face in a circle. The purpose of this sharing is not only to help the protagonist feel less isolated; but also help the group member to find out their identification and share these identifications. Sharing in psychodrama enable the unconsciousness deep under in one’s mind to become conscious, enable all participants to find the fundamental problems in themselves. Protagonists in music psychodrama, just like performance in other types of drama, need to be engrossed and throw themselves into the performance. There are many issues that would affect the performance. For example, participants need to be in a quiet and comfortable room for all activities. They will not be disturbed by others outside the room. It’s also very important to build up confidence and trust between participants and director. The soul in musical psychodrama is the music that is selected for improvisation for participants. The director must be someone who has musical background and have well understanding of psychology. During the musical expression on stage, people who have no musical education normally do better than those who have been studied music for a long time. People who study music are more emotional and have more susceptibilities. They know how to technically control musical instruments and vocal, as well as rhythm sensation and volume. This is a limitation of applying musical psychodrama for musicians and musical students. How to use these musical techniques on these people is a subject that we can study. Certain music expression can be conveyed by the elements of music, for example, dynamic indications, differing qualities of touch and articulation, colour, intensity, energy and excitement, etc, through performance. Director needs to have certain level of appreciation of music in order to distinguish the content conveyed by participants. During the sharing, director and all participants will obtain different level of understanding. These are due to individual differences by culture, education, age, religion and life experiences. These differences would still contribute and help participants to express their emotions freely. Both music therapy and psychodrama are therapeutic approaches for participants to active their own treatment. The participants, who can be with or without prior music background and knowledge, use music, music instruments or any alternative to verbal expression, improvising their emotions and feelings in interaction with auxiliaries. Some members of the group in these involvements might be less activated with little response to surroundings. These silent participants are also absorbing and learning from the therapy in different levels, reflecting in a inner-action that also help with improving the pshchological status of participants. Music psychodrama in Mainland China Psychodrama and Music Therapy were introduced in Mainland China in the 80’s. The standard of the knowledge, skills, professionalism and application of music therapy and musical psychodrama are far from the standards of similar researches and studies in these subjects. Both forms of practices are still in the initial stage. For example, in the mid 80s, someone used the term Music Therapy in a clinic in Hunan Province and claimed that Music Therapy can treat many diseases. The so called Therapist only played some soft music for patients and used music as a medicine for treatment. This was totally misunderstood at the time due to lack of knowledge in this new psychotherapy. During 1985-1986, Beijing Anding Hospital and Beijing Hui Longguan hospital started researchs on Music therapy treatments for chronic mental disorders, Music therapy for senile melancholia; combined therapies for chronic psychosis disorders. China Association for Music Therapy was formed in 1989. In 1991, Music performance personnel stage nervous correctional and training research was produced by Zhang Hongyi. In 1999, China Conservatory of Music formed Music therapy centre for research and development in this subject. More people started to study and research for music therapy in China recent years. Music Therapy In Treatment Of The Cancer Patients is published in Chinese Mental Health Journal in 2001; Mood and Cognition in Music Therapy is a book that was published by Wu Ji-Hong and Wan Ying in 2006. Music Therapy is growing and being more and more recognised in China in recent years. Main obstacles for developments of Music Therapy in China are listed as followings: poor quality on academic researches and studies, knowledge and skills of this psychotherapy fall behind western countries; the value of academic in researches and publishes don’t have the standard compare to countries like American and the UK; there are not official publisher that focus in this subject; there are no professional bodies to evaluate and assess music therapists, neither any regulation nor laws to protect patients; lack of public awareness. Psychodrama or combination of Music and Psychodrama are less common in Chi na. People are not aware of this term and what it is involves. A small number of researches were carried out in schools and education. On School Psychodrama was published by Chen Xiaomei in Journal of Fujian Commercial College in 2006. Schools can be selected as operational bases for more researches and studied to carry out for psychodrama. Students will also benefit from different activities carried out by psychotherapist and receive good mental health education. In a research programme that was carry out in a university, 300 students were randomly selected for a mental health test. The result shows that 61 students have various degrees of psychological problems, which equals to 20.61% of candidates. The majority problems are caused by stresses come from studies, worries of employment, interpersonal relationships. This research provides a good breakthrough of applying music therapy for people of who can benefit. Localisation of Music therapy in China is the first step of development of music therapy and musical psychodrama. To develop this, musicians and therapists need to adapt to the Chinese culture and the Chinese social. A serial of arrangement need to be carried out for this localisation procedure: in an academic point of view, meetings and conferences for music therapists, psychologists, musicians, and other relevant specialists to meet up, set up a proper research area for music therapy, either as an academic discipline or therapeutic treatment. Researches then carried out to categorize music therapy to more detailed branches and select those can be better adapt in China; at the same time, establish and set up institution for this practise. Set up exams and assessment to select people who have musical and psychological expertise to become music therapists. Set up music therapy centres and clinics in hospitals and schools for people who want to participate in the theory. Establish database and update the information for people who are interested in this field. There are currently very few workshop and activity group in Mainland China. But there are some music therapy associations and workshops in Taiwan and Hong Kong. Music Therapy Association of Taiwan is formed in 1996. In 2012, GaoXiong hospitals approved to use music therapy as a form of clinical alternation treatment for patients. Hong Kong Music Therapy Centre was formed in 2008. The centre was operated by Ms Mak, an Association of Professional Music Therapists as well as qualification from Academy for Neurologic Music Therapy Academy. She’s the first music therapist in Hong Kong. Many lecturers and workshops are being held in the centre for a range of different attendants, especially youth in Hong Kong. Mainland China should learn and try to implement the development of music therapy in Taiwan and Hong Kong.

Saturday, January 4, 2020

Emotional Intelligence Being A Leader - 1837 Words

Emotional Intelligence Being a leader is a gift; something that is hard to learn, and something that many people are more predisposed to be than others. A good example of a wonderful religious leader, in my opinion, would be John Paul II. Ever since John Paul was a child he had a natural ability to affect people around him in a positive way. Moreover, the Pope’s emotional intelligence made him and even better religious leader because it allowed him not only to reason more effectively, but to be empathetic to others. As I approach the end of nursing school I want to become a good leader with a high level of emotional intelligence because it will not only prepare me to be a better leader one day, but it will also give me a greater self-awareness and will allow me to be a better nurse. The purpose of this paper is to discover how important emotional intelligence is to being a better nurse to my patient, a better co-worker, and a better supervisor to all those that I will be worki ng with. Definitions, History, and Concepts According to Hein (2005), emotional intelligence can be defined as an innate potential to feel, use, communicate, recognize, remember, describe, identify, learn from, manage, understand and explain emotions†. In my opinion, emotional intelligence means that one is aware of emotions, not only his or her emotions but also the emotions of others. One who is emotionally intelligent has great self discipline, and is able to get through to people. BeingShow MoreRelatedEmotional Intelligence : Being A Leader2034 Words   |  9 PagesEmotional Intelligence Being a leader is a gift, something that is hard to learn and many people are more predisposed to be a leader than others. 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