Resource Management in Schools Essay Example | Topics and Well Written Essays - 6500 words

Resource Management in Schools - Essay Example 3) The quality of education provided should conform to the policies and priorities of the government and the curriculum requirements of the Board of Studies of that government. 4) The teaching and learning practices of the schools should be effective and be continuously improved up to the welfare of students. 7) The management should emphasize on developing a culture where learning is valued. 8) A culture of collaboration should be developed, in the school community contribute to the achievement of shared goals that are clearly defined. The above factors are easy to define in theory, but what is necessary is that the school management should ensure that they have the necessary resources to put it into practice. For example, to see that the first point mentioned above is practiced, the school management should provide the necessary text books, a good library, an adequately stocked science lab, well trained teachers, a good atmosphere for learning etc. For welfare of the students a good canteen and recreational facilities could be provided. To maintain quality of education qualified teaching staff with emphasis on regular teacher training sessions should be ensured.. Culture of a country is important and this can be imparted by local teachers rather than expatriate teachers. These are the main areas that this study will focus on. Aims & Objectives of this study: The aims f the papers are to: 1. Identify current practices of Omani head teachers with regard to resource management in schools and their perceptions of ideal practices of resource management in Omani schools. The current practices will be explained later in the study. 2. Identify weakness and strengths of the current practices of head teachers with regard to human, material and financial resources. 3. Identify the link between resource management and student achievement. Education in Oman: Education in Oman schools consists of three levels such as Board of Directors for Indian Schools in Oman, School Management committee and School Administration. (Management committee). The new system gives emphasis on Science, Maths and the use of computers. English was also introduced gradually to 17 schools from different regions. Schools have introduced new learning resource centre with laboratory equipment, audio-visual systems and computers. (Education, 2008). The basic education system contains two phases from 5 to 10 years and 11 to 15 years and two years secondary education. For the year 2002-03, 288 schools follow the basic education system in academic year. Second phases of basic education during 2001-02 in 59 schools were 30 boys and 29 girls and 5 schools for grade- four completed students.

Narrative Technique of Sula Essay Example for Free

Narrative Technique of Sula Essay Although Sula is arranged in chronological order, it does not construct a linear story with the causes of each new plot event clearly visible in the preceding chapter. Instead, Sula uses juxtaposition, the technique through which collages are put together. The effects of a collage on the viewer depend on unusual combinations of pictures, or on unusual arrangements such as overlapping. The pictures of a collage dont fit smoothly together, yet they create a unified effect. The pictures of Sulas collage are separate events or character sketches. Together, they show the friendship of Nel and Sula as part of the many complicated, overlapping relationships that make up the Bottom. Morrison presents the novel from the perspective of an omniscient narrator one who knows all the characters thoughts and feelings. An omniscient narrator usually puts the reader in the position of someone viewing a conventional portrait or landscape rather than a collage. (In such situations, the viewer can perceive the unity of the whole work with only a glance.) To create the collage-like effect of Sula, the omniscient narrator never reveals the thoughts of all the characters at one time. Instead, from chapter to chapter, she chooses a different point-of-view character, so that a different persons consciousness and experience dominate a particular incident or section. In addition, the narrator sometimes moves beyond the consciousness of single, individual characters, to reveal what groups in the community think and feel. On the rare occasions when it agrees unanimously, she presents the united communitys view. As in The Bluest Eye and Jazz, the community has such a direct impact o n individuals that it amounts to a character. In narrative technique for Sula, Morrison draws on a specifically modernist usage of juxtaposition. Modernism, discussed in Chapter 3, was the dominant literary movement during the first half of the twentieth century. Writers of this period abandoned the unifying, omniscient narrator of earlier literature to make literature more like life, in which each of us has to make our own sense of the world. Rather than passively receiving a smooth, connected story from an authoritative narrator, the reader is forced to piece together a coherent plot and meaning from more separated pieces of  information. Modernists experimented with many literary genres. For example, T. S. Eliot created his influential poem The Wasteland by juxtaposing quotations from other literary works and songs, interspersed with fragmentary narratives of original stories. Fiction uses an analogous technique of juxtaposition. Each successive chapter of William Faulkner novel As I Lay Dying, for instance, drops the reader into a different characters consciousness without the direction or help of an omniscient narrator. To figure out the plot, the reader must work through the perceptions of characters who range from a seven-year-old boy to a madman. The abrupt, disturbing shifts from one consciousness to another are an intended part of the readers experience. As with all literary techniques, juxtaposition is used to communicate particular themes. In Cane, a work that defies our usual definitions of literary genres, Jean Toomer juxtaposed poetry and brief prose sketches. In this way, Cane establishes its thematic co ntrast of rural black culture in the South and urban black culture of the North. Morrison, who wrote her masters thesis on two modernists, Faulkner and Virginia Woolf, uses juxtaposition as a structuring device in Sula. Though relatively short for a novel, Sula has an unusually large number of chapters, eleven. This division into small pieces creates an intended choppiness, the uncomfortable sense of frequently stopping and starting. The content of the chapters accentuates this choppy rhythm. Almost every chapter shifts the focus from the story of the preceding chapter by changing the point-of-view character or introducing sudden, shocking events and delaying discussion of the characters motives until later. In 1921, for example, Eva douses her son Plum with kerosene and burns him to death. Although the reader knows that Plum has become a heroin addict, Evas reasoning is not revealed. When Hannah, naturally assuming that Eva doesnt know of Plums danger, tells her that Plum is burning, the chapter ends with Evas almost nonchalant Is? My baby? Burning? (48). Not until midway through the next chapter, 1923, does Hannahs questioning allow the reader to understand Evas motivation. Juxtaposition thus heightens the readers sense of incompleteness. Instead of providing quick resolution, juxtaposition  introduces new and equally disturbing events. Paradoxically, when an occasional chapter does contain a single story apparently complete in itself, it too contributes to the novels overall choppy rhythm. In a novel using a simple, chronological mode of narration, each succeeding chapter would pick up where the last one left off, with the main characters now involved in a different incident, but in some clear way affected by their previous experience. In Sula, however, some characters figure prominently in one chapter and then fade entirely into the background. The first chapter centers on Shadrack, and although he appears twice more and has considerable psychic importance to Sula and symbolic importance to the novel, he is not an important actor again. In similar fashion, Helene Wright is the controlling presence of the third chapter, 1920, but barely appears in the rest of the book. These shifts are more unsettling than if Shadrack and Helene were ancestors of the other characters, generations removed, because the reader would then expect them to disappear. Their initial prominence and later shadowy presence contribute to the readers feeling of disruption. The choppy narration of Sula expresses one of its major themes, the fragmentation of both individuals and the community. Sula. New York: Knopf, 1973. Rpt. New York: Penguin, 1982

Judith Butler Gender Performativity Cultural Studies Essay

Judith Butler Gender Performativity Cultural Studies Essay The challenge presented by Butlers theory depicted in Gender Trouble is derived from her revision of the generally established orthodox assumptions in our western society regarding gender and sexual identity. She attacks the accepted naturalness of gender and reveals it as the fiction that it essentially is. According to Butler, the actions that are associated with a persons sexual identity are not a reflection of someones innermost self but rather culturally coded acts. Butlers theory is primarily based upon the philosophical views of the French theorist Renà © Descartes that a persons conception of his own identity is essentially dualistic. Descartes claimed that a persons process of self-identification transpires by making a clear distinction between the body and the mind. The essence of this opposition is that the body is in fact perceived as inferior to the mind. The basis of this claim is exactly what Butler intends to reverse, namely that a persons everyday behaviour reflects his or her gender and sexual identity and is essentially a reflection of that persons individual psyche. Her provocative argument that gender is merely a stylized repetition of acts essentially implies a form of materialism that negates any possibility of a spiritual explanation of self-identity. Unlike Luce Irigaray, Butler refutes the notion of sex as a naturally established category. Butler argues that alongside gender, sex is also an acquired socio-cultural category. Butler argues that the construction of gender and sexual identity emerges out of culturally and socially established practices. These practices, including their discourse, have their own recorded history as well as their own social and political dynamics. Furthermore, Butlers criticism of Irigaray is essentially that Irigarays Womans natural state is outside of the phallocentric economy. In her influential book Gender Trouble (1990), Butler does not offer an ontological or essentialist description of what it is to be a woman (Butler, 32). Instead she presents the argument that the traditional power structures of our society in fact create the very identities that it regulates. These power structures are essential to the notion of sexuality. Butler claims that sexuality does not have a natural state where powe r later comes in to disrupt that state. According to Butler, sexuality does not exist outside of power. It is for this reason that Butler does not present any ontological arguments. For Butler, the concern with the ontology of a woman is simply a misrecognition of some ontological core for what is merely a series of repetitions. The essence of gender is a matter of repetitions. Butler ascripes power to regimes as in the power regimes of heterosexism and phallogocentrism seek to augment themselves through a repetition of their logic . . . (Butler, p.32). Consequently, if repetition is bound to persist as the mechanism of the cultural reproduction of identities, then the crucial question emerges: what kind of subversive repetition might call into question the regulatory practice of identity itself? (Butler, p. 32). This question is directly relation to the core argument that Butler presents in Gender Trouble. In other words, Butlers understanding of gender as performative is grounded in her belief that the very core of gender identity is produced through the repetition of behaviour. She talks of repetitions in which the subject is neither outside of those repetitions nor that the subject is something internal which is expressed through those repetitions. So much as the repetitions themselves are the very mechanisms by which those identities are reproduced and the very positive concepts of identities are brought forward. In addition to this ground-breaking claim, Butler introduces the concept of gender as a performance or gender performativity. In discussing this notion of gender performativity, Butler stresses the importance of the distinction between performing a gender and gender as a performance. When she talks about gender as performative, Butler argues that this is not similar as saying that gender is performed. When we say that we perform a gender weve taken on a role, were acting or role-playing in some way. This performance of a rule is definitely crucial to the gender that we are and the gender that we present to the world. Nevertheless, it is very different from what she means by gender performativity. For something to be performative means that it produces a series of effects. We act and walk, speak and talk in ways that consolidate the impression with being a man or being a woman. Butler explains that in our modern-day society people act as if being of a man or being of woman is actually an internal reality or in fact something that is simply true about us. Instead it is a phenomenon that is produced and reproduced all the time. Butler claims that no person is born with a fixed gender. Gender is not to be perceived as a manifestation of a subjects internal essence. Alternately, one should view gender identity as a produced product of our actions and discourse. That is to say, Butler argues that everyday actions, speech, utterances, gestures and representations, dress codes and behaviours as well as certain prohibitions and taboos all work to produce what is perceived as an essential masculine or feminine identity.  [1]   By introducing the notion of gender performativity, Butler criticizes the traditional power structures whose agenda is to keep people in their socially accepted gendered place. Institutional powers like psychiatrical normalization intend to prevent the disruption of the established gender norms. Butler questions how these institutions are established or whether they ought to be policed. She insists on the historical and cultural foundation of these institutional powers and emphasizes the importance of overcoming this silent gender police function that the institutional powers project. Furthermore, Butler expresses her desire to resist the violence that is opposed by ideal gendered norms against those who are non-conforming in their gender presentation. In the final chapter of Gender Trouble Bodily inscription, Performative subversions, Butler gives the important inner-outer distinction regarding our notions of gender the attention which it merits. Butler argues that in the orthodox view of gender the figure of our inner soul is inscribed on the outer body. However, these inscriptions on the body or the outside create the illusion of a concrete and organized gender core. Thus, what makes this problematic is that so far we have gained our understanding of our own inner essence through the inscription on the body. To support her own theory, Judith Butler adopts the argument made by Foucault in his influential work Discipline and Punish that the suffering imposed on prisoners is, contrary to western belief, externalized. The oppression of the prisoners is not manifested in the inner soul but rather on the external body. Foucault argues that since the methods of punishment used by the agents of the institutional power are inflicted on the body, these actions similarly justify the institutes control over the prisoners body. Butler engenders Foucaults argument and claims that gender is fundamentally the principal representative of western cultural society which operates on the external body, and in this process formulates the definition of masculine or feminine, in addition to standardizing the image of heterosexuality.

The Seven Deadly Sins: Seen, Heard, and Felt Essay -- Seven Deadly Sin

The Seven Deadly Sins: Seen, Heard, and Felt  Ã‚      The play of Doctor Faustus by Christopher Marlowe concentrates very highly on ideas of evil. Marlowe uses many aspects of evil to show the downfall of the somewhat odd man, Faustus. Devices including irony, foreshadowing, and symbolism are used very effectively in the play to convey feelings of sympathy and remorse for Faustus. Actually seeing a production of this play would further assist in an understanding of exactly what Faustus was faced with in his moments of severe weakness. By actually seeing a rendition of what Faustus was faced with, members of the audience can question themselves about what they would have done if they were Faustus. Act 2, Scene 2, lines 115-117 is a very good place to help an audience feel what Faustus was feeling and seeing. Script Doctor Faustus appears as a tall lanky man, with dark brown hair, which lies close to his head, and curls up at the ends. His moustache is trimmed close to his upper lip. Faustus plays with the moustache frequently during this scene. He wears a plain black suit, a white dress shirt with a plain black necktie and polished shoes. He is adorned only with one piece of jewelry, a wristwatch. Faustus needs to be a man who looks simple enough to fall prey to the Devils' plans. He can not look too strong or stupid either, because a man of either of those qualities would not fall into the Devil's trap. He must look like an everyday sort of man in order for the audience to be able to relate to him, and to place themselves in his experience, and learn from the experience. Belzebub and Lucifer are tall, dark, lavish looking men. They have very strong shoulders and use them to make their appearances very solid and unwav... ... Sins. Explanation This version of the scene is set in the nineteen-eighties. This is done so a modern audience should be able to relate the sins more directly to themselves. If this was not done, then some members of the audience might not be able to relate at all to the play's messages. Many of the costumes used could not be relevant to members of other societies either. People living in Europe would not necessarily understand the significance of a man dressed in sloppy jeans and a t-shirt as a normal everyday sight in many American homes. Hopefully some of the images used in this version of the play will serve as a wake-up call to those people who may be falling towards "the Devil" and can avoid the bitter end that Doctor Faustus reached.    Works Cited Marlowe, Christopher. "Doctor Faustus." New York: Penguin Group, 1969.            

Important english

Why is sport important children? The Ottawa Cltlzen Straight Talk About Children And Sport hlldren have to be active every day. Physical activity stimulates growth and leads to Improved physical and emotional health. Today, research shows that the Importance ot physical activity in children is stronger than ever. For example, medical researchers have observed that highly active children are less likely to suffer from high blood pressure, diabetes, cancer of the colon, obesity, and coronary heart isease later in life.Exercise is also known to relieve stress Some children experience as much stress, depression, and anxiety as adults do. And because exercise Improves health, a fit child Is more likely to be well-rested and mentally sharp. Even moderate physical activity has been shown to Improve a child's skill at arithmetic, reading, and memorization. But sport, not just exercise, gives a child more than just physical well-being; it contributes toa child's development both psychological ly and socially.Sport psychologist Dr. Glyn Roberts of the University of Illinois has worked primarily in children's sport for the last two decades. He emphasizes that sport is an important learning environment for children. â€Å"Sport can affect a child's development of self-esteem and self-worth,† explains Roberts. â€Å"It Is also wlthln sport that peer status and peer acceptance Is established and developed. † One way children gain acceptance by their peers is to be good at activities valued by other children, says Roberts.Research shows that children would rather play sports than do anything else. A study conducted in the united States showed that high school boys and girls would rather be better at sports than in academic subjects. The same study showed that high school boys would rather fall in class than be Incompetent on the playing field. Because sport Is Important to children, being good at sports Is a strong social asset. Young boys in particular use sport s and games to measure themselves against their riends.Children who are competent at sports are more easily accepted by children of their own age. and are more likely to be team captains and group leaders. Such children usually have better social skills. The primary goal of parents and coaches is to help children find the success in sport they need to make them feel valued and ‘ Of2 wanted. Every cn110 can De successTul at one spo the sports that are right for each child. 3 Children and Sport: An Introduction rt or anotn tne time to Tina

Essay on Entrepreneurship in the Global Environment part 2Essay Writing Service

Essay on Entrepreneurship in the Global Environment part 2Essay Writing Service Essay on Entrepreneurship in the Global Environment part 2 Essay on Entrepreneurship in the Global Environment part 2Essay on Entrepreneurship in the Global Environment  part  1Entrepreneurship models’ analysis and comparisonAbove all, Akio Morita and Marcel Bich were true entrepreneurs convinced of the correctness of their assumptions about the global markets for consumer goods despite the existing rules of the game, and the history proved their market assessment to be right.In particular, Baron Marcel Bich’s skills included a unique ability to feel the market condition of disposable products of mass consumption. His goal was to saturate the mass market with cheap, reliable products that could be thrown away after they fulfilled their intended purpose. Bich’s strategy was to identify the products that are used every day and yet are so expensive that instead of throwing away their owners try to repair them. He focused on the simple and obvious things and did not let anyone stand in his way.Indeed, disposable culture was the product of mind of a rebel, an image-breaker and a workaholic who did not listen to anything but his intuitive belief. Marcel Bich ignored the opponents who predicted his defeat in almost any market he entered. For example, the shaving accessories market industrial specialists including the Gillette said that the potential market for disposable products is less than 10% of the safety razors consumer market, while Marcel Bich predicted that could take 50% or more of the razor market (Landrum, 1993). His rightness manifested so vividly that it struck himself and shocked the entire industry only a few years after the start of production he possessed more than 60% of the market. Marcel Bich is now a recognized genius innovator who stands behind the whole culture of disposable things. The recipe of his successful innovations is to attack new and unknown markets with the following philosophy: concentrate on one product used by everyone every day and make it durable and cheap. His prophetic advice to innovators around the world encourages them to iterate professionals and listen only to oneself as he reached success because he did not listen to anyone’s but his own advice.Akio Morita followed a similar idea. Making decisions about the development of new products, he would always say: â€Å"Sony creates markets† (Collins and Porras, 2004) Akio Morita believed that supply generates demand and not vice versa, and denied market research conducted by the largest US firms to justify each of their business decisions. When asked why Sony did better than American companies, Akio Morita replied that America is a society of excuses; no one takes responsibility; American manager no longer wants to make decisions. Even the most solid market research could predict that Sony Walkman would be a success, moreover that it would be a sensation and cause the emergence of numerous imitations (Morita, 1986).Thus, Morita and Bich had an intuitive way of thinking clas sical for innovators. Intuitive-thinking leaders see new perspectives that can be explored, new programs for the development, new organizational structures that can be implemented, new buildings that can be constructed. Intuitive-thinking leaders can revitalize staff, mobilize energy and create vibrant and sustainable change. Such leaders have a specific charisma – the charisma of ideas, as Stokes, Wilson and Mador (2010) rightfully mark. Powerful and clear image of a new dream is a source of great power. As a result, both Akio Morita and Marcel Bich were guided by the strategy of making dreams come true by taking risky decisions that could result in big profits.One of possible explanations for this entrepreneurial courage was an active creative temperament of these managers unique in its nature. Thus, basing on Collins and Porras (2004) study, Akio Morita gained energy from the events of the outside world, and according to Carl Jung classification of personality types, he wa s an extrovert. He saw the world of business as a big picture, that is, as a whole. Akio Morita saw the forest rather than the trees when evaluating opportunities. Akio Morita made decisions in a reasonable and objective manner typical for technical education he received. Akio Morita’ temperament based on the intuitive way of thinking gives the right to classify him as a creator of a point of view or a system.In turn, Marcel Bich can be called a dynamic workaholic. An introvert, he got his energy from the inner world of ideas, emotions and experiences, and he had developed intuition that allowed him to see a large picture of the world. According to Jung’s typology, Marcel Bich belongs to INTP type (introversion, intuition, thinking, perceiving), which makes him a tireless, thinking and acting innovator. Bich was also a representative of the vanguard of the leading figures of culture. Studies have also shown that this type of person is very creative and endowed with log ical thinking (Bornstein, 2004).In addition, Marcel Bich was hazardous, and, like most fans of competitions, was not afraid to take a big risk for the sake of great potential. His trade developments show greater propensity to take risks, and in his rare statements in the media, he used the terminology of athletic competitions. He focused on winning, which naturally did not arose big love for him in the establishment. For example, French bankers for a long time refused to credit him justifying this by his excessive carelessness. Marcel Bich could not forgive that to them are used their services only in cases of emergency (Landrum, 1993). Similarly, Morita always sacrificed the present for the future making any business decisions. His success, the success of Sony, and the success of Japanese business is largely determined by the desire to compete. This desire is a direct consequence of the fact that the life of the Japanese people is uncertain, and this uncertainty is based on the dai ly struggle for survival. Japanese encounter daily danger from birth every year they face typhoons and tsunamis, their land is constantly shaken by life-threatening earthquakes and volcanic eruptions. Their land has no natural resources other than water, and less than a quarter of the land is suitable for agriculture and living. Akio Morita (1986) believed that this constant threat to life left its mark on the psyche of the Japanese and made them ruthless in competition, strive to extra-achievements and preserve what they have.Morita’s commitment manifested in how aggressively Sony entered a new market, categorically attacking competitors: suffice it to recall the advertising slogans of Sony: â€Å"The One and Only†, â€Å"It’s a Sony†, â€Å"Like.No.Other† (Sony Official Website, 2014). On the other hand, New York Times once called Bich the most fast-moving entrepreneur: competitors were constantly amazed at the speed of its penetration to a new market and its development; bankers were confused by his impetuosity (Landrum, 1993). In the speed of moving toward his goals was his strength, and scaring away the others, it became his way to success. In this regard, Bornstein (2004) claims that most people in the world do not achieve their goals because they never actually put them in the first place. This makes the major difference between successful innovators and average people. Real creators form and control the environment on their own, while an average person rather adapts to the existing environment. Maslow has also confirmed this through his study, concluding that a self-actualizing creative personality shows to be independent, autonomous, and self-directed, however, only 10% of the population are self-actualized and are able to select simple, elegant solutions out of chaos and complexity (Zimmerer and Scarborough, 2005). And yet, this ability proves to be fundamental to all successful innovators and entrepreneurs and is most evident in the performance by Byron Marcel Beach and Akio Morita.At the same time, in spite of their natural passion to risk, neither Bich nor Morita were committed to achieving instantaneous success. On the contrary, the emphasis on long-term macro-economic requirements of mass market was predominating in their business philosophy, making it strategic entrepreneurship, under Wickham (2006) terminology. For instance, based on the long-term prospects, Morita decided to locate a plant in San Diego, long before it became necessary (Collins and Porras, 2004). In totally Japanese tradition, he also never considered there first technological developments as failures, but rather as an investment into the company’s experience. As a result, later innovative developments by Sony have always been ahead of their competitors and immediately entered the mass usage, becoming simply irreplaceable. In turn, the market philosophy of Marcel Bich based on the creation of products radically opposite by their consumer cycle – i.e. cheap and non-renewable products, has also been closely linked to time and its society. Creating a culture of disposables, with some mysterious instinct, Bich caught the emerging needs of the generation that was in constant rush and was not willing to waste time on repairing consumer products. The generation of â€Å"future shock† already appeared by that time, and each of innovators considered here contributed to its growth and strengthened its consumer habits in the long run.ConclusionGenerally, the assessment of module MGT6A3 outcomes puts us in front of the idea that today, in an increasingly unpredictable and competitive dynamic economy and a rapidly changing business environment, companies need a new type of manager an enterprising leader whose behavioral norms differ from those of a classical business leader.On the one hand, new management challenges are related to the new global strategies and approaches to diverse human resources. The global market leads to necessity to take into account the specifics of hundreds of thousands of cultures, while the current history of management abounds with examples of companies that proved unable to find a way to foreign markets or simply failed.On the other hand, as Deakings and Freel (2009) claim, managers increasingly agree that the boundary between entrepreneurs and business leaders becomes blurred and fuzzy. Leaders are beginning to use an entrepreneurial approach to business and it is the way the next generation of leaders is brought up in. Both entrepreneurs and business leaders must possess strong communication skills, be energetic, flexible, determined, self-reliant when it is necessary to rely on intuition, to be visionaries. Entrepreneurial Leadership is based on the leader seeing oneself as an entrepreneur that runs one’s own business. From Entrepreneurship in the Global Environment course we have learnt that leaders of this type (Zimmerer and Scarborough, 2005; Stokes, Wilson and Mador, 2010; Bornstein, D., 2004):take the initiative charging people with energy, act as if their role in the company is not just important, but critical,demonstrate entrepreneurial creativity, constantly look for new opportunities and use them,take risks, dare to initiate new risky business projects, set the strategic direction and inspire their people,take responsibility for the failure of their team, learn from these failures and use them as a stepping stone to the success and strategic achievement.Entrepreneurial leadership requires a lot of self-confidence to think, behave and act as an entrepreneur in order to implement the company’s plans for the benefit of all its players. Tenacity and aggressiveness guided Marcel Bich and Akio Morita on their way to dominance in their business around the world, as we have shown it in this paper. Unshakable self-confidence, exceptional self-esteem and simply extraordinary intuition all focused o n achieving the goals and never let these entrepreneurs down. Farsightedness, commitment and rebellious spirit led them to enter new markets with new ideas and concepts that had never existed before. They both broke the established traditions and they created their own trade organizations contrary to the opinion of competitors, distributors and investors who believed that the task was impossible. While the majority of the industry leaders were too conservative to indulge in dangerous waters the innovators usually sail in, Marcel Bich and Akio Morita ignored the traditional trading companies and created their own means of moving towards success. These outstanding entrepreneurs used their talents to improve the world, and each one who aspires to become an innovator should try to learn from them to develop this remarkable skill.