Projects and Project Management Essay Online For Free - Free Essay Example

Projectification of the organisational world has resulted in apparent agreement that projects and project management are an efficient means of implementing organisational strategy. By way of a literature critique, discuss this statement exploring the content, limitation and inherent problems of the strategic alignment of projects. Introduction Organisations in contemporary times face an increasingly volatile and fast changing business environment. Customer choices are becoming ever more fickle, and by extension, difficult to address. This scenario has led to a focus on customisation that challenges the traditional focus on standardised offerings (Lampel, 2001; Beaume et al., 2009). The often referred to silo form of organisational functions and work processes has been replaced by a network or matrix form to gear organisations towards such customisation. This has had serious implications for how organisations leverage and develop their resources and capabilities (Gareis and Hueman, 2000; Beaume and Midler, 2010). Such an orientation can permit organisations to deliver better value. However, there are diverse combinations of variables that shape product and service choices to orient what organisations offer to their customers (Cooke-Davies and Arzymanow2003). Projectification, or working through projects allows cl ustering relevant attributes that a particular client may require, as distinct from another clients requirements. Such projectification has also come to be known as a competence of organisations to deliver their strategy through the vehicle of projects (Lampel, 2001:273; Frederickson and Davies, 2008: 295). This paper examines projectification of organisations using assertions from extant literature (Gareis, 1992). In doing so it elucidates issues in, and nature of, strategic alignment of projects in organisations. Projects and the organisation Projects are micro-organisms embedded within the going concern that is understood as an organisation. They are unique by virtue of the resources and capabilities they deploy and by way of their requirements, processes and deliverables (Shenhar et al., 2002). From a management of projects perspective there are several variables that relate to the approach of top management towards doing projects (Morris, 1987). Essentially these are about the nature of project portfolio, the way projects are resourced, the relative influence projects exercise on functional areas, and strategic choices that organisations make (Raz et al., 2002). Such choices could relate to technologies, operating practices, personnel, or even organisational growth strategies (Cooke-Davies and Arzymanow, 2003). The idea of best practices in project management can be used as an illustration to show the influence of top management sensemaking of the control and support requirements that projects have (Lampel, 2001: 278; Gareis and Hueman, 2000: 716). When the organisation tends to prescribe best practices for its portfolio, or for certain types of projects in its portfolio, it seeks to provide some standardisation based on performance reflections from past, and also address the need augment future project performance. On the other hand, when an organisation is flexible and is looking at good practices instead, it is being more liberal about how projects emerge in terms of how they choose to adapt guidelines in the way they see fit to achieve project objectives (Leroy, 2002). Both sides have their pros and cons. In case of the former- overt control will affect the unique nature of projects that work towards customised solutions, and in the case of the latter, too much flexibility can cause chaos that may put organisational identity itself at risk (Spender and Grant, 1996; DAdderio, 2001; Chatterjee and Wernerfelt, 1991). We develop this idea further in this paper as we discuss proje ctification, extent of project orientation, and the consequent issues and challenges organisations encounter. The nature of strategic configuration by projects Strategic configuration of an organisation is but a set of strategic choices it makes to achieve its goals, or alternatively, increase congruence with business environment (Beaume et al., 2009). The mushrooming of extant research that sees organisations as less predictable, and unbounded entities has led to development of thought on what is known as the contingency approach (Cohen and Levinthal, 1990; Connor and Prahalad, 1996). Such an approach speaks of dynamism in the strategic configuration, but under an overall direction delivered by the higher order strategic choice organisations have been forced to make à ¢Ã¢â€š ¬Ã¢â‚¬Å" in this case that of projectification. The challenges of such dynamism include the ability to understand and deliver the scope of change, the ability to synthesise experiential knowledge, constructively align power structures, and also, examine organisational identity issues that come with a project-based approach (Lampel, 2001; Lampel and Jha, 2004). In recent times, it is the idea of a project-based organisation that remains central to such emergence in strategic orientation. A project-based entity is understood as one where functions, architecture, role descriptions and resource allocation aspects are heavily geared towards the needs to delivering projects (Turner and Peyami, 1996). The extent of project orientation Not all organisations emphasise doing projects with the same scope and centrality. This is because of the process difficulties and resource commitments required for doing so from a management of projects perspective (Morris, 1987). Top management orientation owing to still other factors, and also the nature of business an organisation is in matters greatly. This relative context has delivered the idea of extent of project orientation (Lampel and Jha, 2004). The key variables defining such orientation are project autonomy, scoping and programming of projects (Lampel and Jha, 2004:361, Wheelright and Clark, 1992). In essence project orientation is about the extent to which organisations are oriented towards supporting versus controlling the projects they do. For instance, an organisation can choose to support projects extensively and gear its functional areas towards projects, but on the same hand, also exercise a lot of control on project level strategy and operations. In c ontrast, the organisation can allow a high degree of flexibility in how projects strategies and work towards customised deliverables (Lewis et al., 2002). The latter clearly calls for greater autonomy, and is often a challenge for management of leadership and power structures in organisations (Lampel and Jha, 2004). What objectives and tasks projects are trusted with matters as well, and this is not always visible by their resource loadings alone (Chatterjee and Wernerfelt, 1991). For example, setting up a new manufacturing unit maybe very resource intensive, and it may be aligned to organisational aspirations of growth. However, another project leveraged to communicate and embed new technologies may be less resource intensive, but more important in terms of affecting the core of organisational capabilities (Grant, 1996). Popular literature has shown that organisations can be classified based on the extent of their projectification or importance they give to projects in informing the delivery of their strategy (Wheelright and Clark, 1992). Higher the projectification or project orientation, higher is the value generated, albeit only if the interface between projects and organisations is managed well (Turner and Peyami, 1996). The projectivity model by Gareis (1992) below provides a pictorial representation of this interface. The figure clearly indicates a need for synergy between project and organisational goals. It also puts across several issues in management of this interface. These are about how and to what extent project systems, operations, and organisational support and control mechanisms, are configured towards deriving value from projectification. Figure 1: (Gareis, 1992) This brings us to discussing a perspective on typology of organisations with respect to the extent of projectification or project orientation (Lampel and Jha, 2004). A truly project based organisation is one where all organisational functions service projects, and by extension, project leadership profile and autonomy related variables score very high. There is a lesser degree of project orientation in cases where- though projects are supported extensively and comprise a majority of the organisational turnover, but they are also geared to deliver internal change and operational uplift initiatives (Shenhar et al., 2001; Shenhar et al., 2002). In this sense, they also support needs of functional areas. The design, resourcing and reporting configuration is thus of a lower order and partly under the control of functional areas that are in effect internal clients. Both these types are in contrast with core operations led organisations where projects are unequivocally (and if delivered at all) only support mechanisms to inform functional and operational silos that deliver generic products and services. Arguably there is reducing number of organisations in this bracket (Lampel and Jha, 2004; Raz, et al., 2002) As mentioned, this variatio n is often due to aspects such as nature of business and also organisational culture (Lapre and Van Wassenhove., 2001). Thus, these need to be contextualised when speaking of performance improvements from projectification. Several aspects to do with practices, routines, and technologies need to be considered. A crucial one for instance, is knowledge that is embedded in individuals that work on projects, but the context of the knowledge is lost with the end of the project. This is unless the individual moves to a very similar project and/or the knowledge is harnessed to inform project management systems in general. Strategising for management of projects is thus crucial for informing effective project management. (Wenger, 1998; Connor and Prahalad, 1996) Issues and concerns for strategy in projectification As aforementioned, it is the shift towards networked and matrix forms has delivered research in the context of project orientation and project-based organisations (DAdderio, 2001; Morris and Hough, 1987). In order to derive value from such an orientation it is crucial to be able to synthesise and operationalise the experience and knowledge from working on projects, and understand project performance for informing future projects. Since projects are unique entities such an objective is difficult to achieve and presents a crucial challenge for the management of projects (Morris, 1987). This can be for instance, in the form of requiring novel en-cultured knowledge management and learning systems like communities of practice, moving the right kind of people around, and spotting emerging project level competencies (Wenger, 1998; Grant, 1996). The role of project leadership becomes crucial, and also, by the same token, shapes a new power and control sharing strand in the organisati on (Leroy, 2002). Motivational aspects to do with sharing knowledge with peers in highly competitive times, and also cultural issues that call for more collaboration despite such competition -are some of the challenges to reckon with (Drew and Coulson-T, 1996; Grant, 1996; Beaume and Midler, 2010). Conclusions There is a dominant argument to favour the assertion that there is a very visible difference between project management and management of projects (Morris,1987). While the first aspect is about tools and techniques, and to some extent the practices and processes that are used in execution of projects, the second one is about how organisations do projects and choose to relate to them, in terms of support and control mechanisms that they deploy. The latter is what dominates extant research on projectification. The issues it brings out as in this review paper, relate to a host of challenges organisations face. This is when they seek to become projectified, or aspire to derive value from projectification. The first and foremost is the extent of monitoring of projects by way of control through standardised procedures; the second is the harnessing of knowledge and expertise that emerges doing projects, and the third is about autonomy given to projects that determines their resourci ng patterns and power quotients within organisations that host them (Shenhar et al., 2002; Cookie and Arzymanow, 2003). The project environment and the corporate environment can be in synergetic tension or in a disruptive interface. This is likely to be determined by the extent to which organisations are able to manage disruptive challenges brought by projectification, and are able to be balanced in creating and modifying cellular resource and capability pools within projects (Connor and Prahalad, 1996: 481). These pools also need to be integrated with the organisation, and provide feedback and experiential knowledge to the organisation. The choice about the extent of projectification is also a function of organisational confidence and past experiences with projectification. That it yields value is irrefutable, but the risks of not doing projectification properly, or overdoing it given organisational experience, readiness and nature of business are also very real (Cooke-Dav ies and Arzymanow 2003). References Beaume, R., Maniak, R. Midler, C. (2009) Crossing innovation and product projects management: A comparative analysis in automotive industry. International Journal of Project Management (27):.166-174. Beaume, R. Midler, C. (2010) Project-based learning patterns for dominant design renewal: The case of Electric Vehicle. International Journal of Project Management, 28(2):142-150. Chatterjee S. Wernerfelt B. (1991). The link between resources and type of diversification theory and evidence. Strategic Management Journal, 12 (1): 33-48. Cohen W. M. Levinthal D. A. (1990). Absorptive capacity: a new perspective on learning and innovation. Administrative Science Quarterly. 35(1): 128-153. Connor, K. R. Prahalad, C. K. (1996). A resource-based theory of the firm: Knowledge versus opportunism. Organisation Science, 7: 477-501. Cooke-Davies T. Arzymanow A (2003). The maturity of project management in different industries: An investigation into variations between project management models. International Journal of Project Management 21 (6):471à ¢Ã¢â€š ¬Ã¢â‚¬Å"8. DAdderio, L. (2001). Crafting the virtual prototype: How firms integrate knowledge and capabilities across organisational boundaries. Research Policy. 30 (9): 1409-1424. Drew S. Coulson-Thomas C. (1996). Transformation through teamwork: the path to the new organisation? Management Decision. 34 (1): 7-17. Frederickson, L. Davies, A., (2008) Vanguards and ventures: Projects as vehicles for corporate entrepreneurship. International Journal of Project Management: 26(5):.487-496. Gareis, R. (1992) Management of network of projects, AACE transactions. Accessed 30.10. 2010, from www.wu- wien.ac.at/pmg/pos/docs/ pub_portfolio_management.pdf Gareis, R. Hueman, M. (2000) Project Management Competencies in the Project-oriented Organisation, The Gower Handbook of Project Management, JR Turner and SJ Simister (ed.), Gower, Aldershot, 709-721 Grant, R.M. (1996). Prosper ing in dynamically-competitive environments: Organisational capability as knowledge integration. Organisation Science. 7(4): 375-387. Lampel, J. (2001). The Core Competencies of effective project execution: The challenge of diversity. International Journal of Project Management, 19 (8): 471-483. Lampel, J. Jha, P.P. (2004) Models of Project Orientation in multi-project organisations, in J.K. Pinto, and P.W.G Morris (Eds.), The Wiley Project Management Resource Book, New York: Wiley: 358-371. Lapre, M.A. Van Wassenhove, L.N. (2001). Creating and transferring knowledge for productivity improvement in factories. Management Science, 47 (10): 1311-1325. Leroy, D. (2002) Knowledge Management and Projects Capitalization: A systemic Approach. Proceedings of PMI Research Conference, 2002. Lewis, M.W., Welsh, M.A., Dehler, G.E. Green, S.G. (2002) Product Development Tensions: Exploring Contrasting Styles of Project Management, Academy of Management Journal, 45 (3): 546- 564. Morris, P.W.G. Hough, H.H. (1987) The Anatomy of Major Projects, A study of the Reality of project Management. John Wiley Sons, 238- 246 Raz, T., Shenhar, A.J. Dvir, D. (2002) Risk Management, project success, and technological uncertainty, RD Management 32 (2): 13-26. Shenhar, A.J., Dvir, D. Lechler, T. Poli, M. (2002) One size does not fit All à ¢Ã¢â€š ¬Ã¢â‚¬Å"True for Projects, True For Frameworks, PMI Research Conference Shenhar, A.J, Dvir, D., Levy, O. Maltz, A.C. (2001) Project Success: A Multidimensional Strategic Concept, Long Range Planning, 34: 699-725. Spender, J.C. Grant, R.M. (1996), Knowledge and the firm: Overview, Strategic Management Journal, 17: 5-9. Turner, R. Peyami, R. (1996) Organising for Change a Versatile Approach, The Project Manager as a change Agent. Composed and Edited by JR Turner, KV Grude and L Thurloway, McGraw-Hill, 72-74. Wenger, E. (1998) Communities of Practice: Learning, Meaning and Identity. Cambridge: Cambrid ge University Press, 11-121. Wheelwright, S.C. Clark, K.B. (1992) Revolutionizing Product Development, Quantum Leaps in Speed Efficiency, and Quality. The Free Press, A Division of Macmillan, Inc. New York, 175-196.

Essay Topic - How to Know Which Topics to Write About in Your Essay

Essay Topic - How to Know Which Topics to Write About in Your EssayThinking of taking a logic essay but not sure what topics to write about? This will be your guide. I hope you find this information useful.Logic essay topics are more important than you think. This is because they actually have to be useful, and actually apply to some aspects of life in order for them to be helpful. You also need to decide which ones you want to cover. Doing so can be very challenging.There are many different logical concepts that can be tackled in an essay, such as a sentence or argument. Each of these will need their own topic. Some of these are: Argumentation, Meaning, Conclusion, or Controversy.Before going about writing your essay, you should understand how all the different logical concepts work. These are important. If you understand them, you'll be able to get your essay written and completed with ease. This is important for your future education.An essay is basically an argument. It's a discu ssion between two or more people. Therefore, when writing an essay, you need to be able to express how you see things.You must also be able to demonstrate your understanding of the topic. You must be able to state why you feel as you do. However, you need to be able to prove this. You need to go back and reread your essay at least three times before it is submitted.After doing all this, there are other things that you should remember when dealing with logic essay topics. For example, you need to have a paper bag or notebook in which to write your essay. This is because a wordprocessor can sometimes cause your essay to become illegible, especially if it is very long.Remember, an essay is not simply about learning how to make things. It's about learning how to present things to others. And you need to get this right in order to get your essay accepted.

Piracy is A Problem, But the Stop Online Piracy Act is Not...

The internet is one of the few things in the world that is truly all over the world. Millions use the internet every day for more reasons than one person can think of; to connect with family and friends, find information for a research paper, or to achieve the perfect chicken masala recipe. The internet is made up of a mass expanse of web content and copyright, which is where online piracy comes in. Online piracy is the illegal use or distribution of copyrighted content, such as music, films, and can even include pharmaceuticals. Millions of dollars are ripped off every year from the illegal downloading of just music. In the visual that I have included you will see that America tops the list of music illegally downloaded from†¦show more content†¦The terminology of the act is also too broad and general; it would give the government an unreasonable amount of power over the internet. The law could potentially be manipulated to censor the internet. Those prosecuted for copyrigh t infringement would be given the bare minimum of their due process rights. Websites could potentially be shut for just mentioning something copyrighted or having a link to the copyrighted content. SOPA will put enormous pressure on third party websites to police their forums with an intensity that would eventually cause pandemonium. Sophie Stalla-Bourdillon, a lecturer at the University of Southampton Law School stated in her article about internet intermediaries that â€Å"how can one promote freedom of expression while expecting Internet intermediaries to take the initiative to police their systems or networks and in particular to react upon infringements of Intellectual Property (IP) rights.† Youtube reported that 100 hours of videos are uploaded to their site per minute; That is 144,000 hours of video per day. Youtube would not be able to screen all of these videos equal to the rate that they are getting uploaded. 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In what way does act 1 scene 5 of Twelfth Night prepare the audience for events that happen in the rest of the play Essay Example For Students

In what way does act 1 scene 5 of Twelfth Night prepare the audience for events that happen in the rest of the play Essay Twelfth Night is the play we have been studying in class, written by William Shakespeare. It is named Twelfth Night because twelve days after Christmas up to twelfth night on 6th January, was a time of celebrations and festivities, often known as the feast of fools, where all kinds of foolishness, trickery and sham were allowed. The play is set in an enchanted dreamland called Illyria. A fictitious world, full of magical possibilities and romantic comedy, where anything can possibly happen. Illyria is also a secure place, for example brother finds sister, lovers will marry and time itself will resolve any tangling difficult situations, because sometimes Illyria is also an unreliable world of disguise and mistaken identity. I swear I am not what I seem is Viola speaking, disguised as Cesario. The name Illyria also helps with the reinforcement of the fictions and exotic picture of the dreamland, something that was important because everyday life could be tough in those days. The accepted view of love in the Elizabethan times was that personal preference was unimportant, and it was up to parents and relatives to arrange their sons and daughters marriages amongst upper class and rich families in order to level or uphold their wealth, land and power. Shakespeare proved otherwise in this play as we saw the rich countess lady Olivia fall in love with the servant Cesario. Aside in a soliloquy Olivia reveals her love affections for Viola, catch the play Methinks I feel this youths perfections. Shakespeares aim was to send a message out to people that love was a very important and complex matter in their lives, and that love wasnt about wealth, power or control, but of secure happy relationships. This is a summary of the following events that occur in Act 1 Scene 5; Olivias maid Maria is furious at Olivias Clown as he continues to joke about with her relation ship with Sir Toby, but is ordered to leave by Olivia. Feste challenges Olivia by offering to prove her a fool by pointing out that she should not mourn her brother since he is in a better place, namely heaven. The more fool, madonna, to mourn for your brothers soul being in heaven. Olivia is satisfied, but Olivias uptight steward, Malvolio is not, regarding Feste as old and lacking in wit no more brain than a stone. Olivia gives us an insight into Malvolios arrogant and vain character by saying that he suffers from self-love. Cesario request for lady Olivias presence, eventually gaining her audience. Lady Olivia is quite taken by Cesario but tells him she cannot return Orsinos affections stating, I cannot love him. Lady Olivia however requests that she would like to see Cesario again, asking him to come back to report to her how Orsino took the news. Impressed by Cesario speech and attitudes, Lady Olivia sends Malvolio after him to give back a ring. The theme of the events in act1 scene5 focus on the confusing love triangle with a dramatic irony underneath it. Orsino is crazy in love with Olivia, but Olivia has fallen is love with Viola (Cerario) and Viola is in love with Orsino. Viola has disguised herself as gentleman to work as a messenger for the Count Orsino. She attempts to woo lady Olivia for Orsino, even though she is deeply in love with him herself. She reveals her fear at the consequences her actions will have in wooing lady Olivia when she states in an aside, Whoer I woo, myself would be his wife terrified that she may never have a chance to become Orinos mistress. Nevertheless despite her great efforts at wooing Olivia, she is unsuccessful as Olivia insists that she cannot love Orsino back, I cannot love him. .u1e76853cb6fc83afe14881a1a5e9570e , .u1e76853cb6fc83afe14881a1a5e9570e .postImageUrl , .u1e76853cb6fc83afe14881a1a5e9570e .centered-text-area { min-height: 80px; position: relative; } .u1e76853cb6fc83afe14881a1a5e9570e , .u1e76853cb6fc83afe14881a1a5e9570e:hover , .u1e76853cb6fc83afe14881a1a5e9570e:visited , .u1e76853cb6fc83afe14881a1a5e9570e:active { border:0!important; } .u1e76853cb6fc83afe14881a1a5e9570e .clearfix:after { content: ""; display: table; clear: both; } .u1e76853cb6fc83afe14881a1a5e9570e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u1e76853cb6fc83afe14881a1a5e9570e:active , .u1e76853cb6fc83afe14881a1a5e9570e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u1e76853cb6fc83afe14881a1a5e9570e .centered-text-area { width: 100%; position: relative ; } .u1e76853cb6fc83afe14881a1a5e9570e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u1e76853cb6fc83afe14881a1a5e9570e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u1e76853cb6fc83afe14881a1a5e9570e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u1e76853cb6fc83afe14881a1a5e9570e:hover .ctaButton { background-color: #34495E!important; } .u1e76853cb6fc83afe14881a1a5e9570e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u1e76853cb6fc83afe14881a1a5e9570e .u1e76853cb6fc83afe14881a1a5e9570e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u1e76853cb6fc83afe14881a1a5e9570e:after { content: ""; display: block; clear: both; } READ: With close reference to the play explore the extent to which 'falling in love' and other events happen too quickly to be credible EssayYet what Viola doesnt realise until later on is that Olivia is falling madly in love with her, as Olivia confesses in a soliloquy Even so quickly may one catch the play? The dramatic irony here is that all the characters are fooled into believing that Cesario is a truthful decent young man, and whats more terrible is that Olivia is deceived into falling in love with Cesario by his impressing speech and charming appearance although the audience are completely of Olivia great affections for Cesario but are aware that Cesarios real identity i s a woman. Violas disguise creates suspense and comedy at the same time her disguise affects her life miserably, because she cannot reveal her love to the Duke Orsino, and has unintentionally misled Olivia into falling in love with her, stating Poor lady, she were better love a dream She prays, O time, thou must untangle this because it is now out of her control. Later on in the play William Shakespeare introduces the character Sebastian, Violas lost twin brother, to resolve the confusing love triangle between Orsino, Olivia and Viola. Sebastians first appearance in the play had a negative affect on Sir Toby and Sir Andrew, because they mistook him for Viola and challenge him to a duel You are well fleshed. Come on but resulted injured by Sebastian as Sir Andrew reports to Lady Olivia Has broke my head across, and has given Sir Toby a bloody coxcomb. Although, his presence has a much greater affect on Olivia as she is provided with a real husband who she believes she is in love with, and Viola is reunited back with her brother whom she feared was dead. To express varieties of moods throughout the play and make it easier for the audience to be able to differentiate the higher class people in society from the lower class uneducated people, Shakespeare uses different forms of writing to achieve its purpose. For example in Act1 Scene5 he has used a poetic verse and fear to find a flatter of my mind we do not owe and be this so to signalise to the coming end of the scene. Shakespeare also uses blank verse Thy tongue, thy face, thy limbs, actions, and spirit Do give thee five-fold blazon. Not too fast! Soft, soft! to specifically illustrate and express the elevated characters feelings and mood. The last form of writing Shakespeare uses in this play is called prose; ordinary language used by characters in the lower class of the society. For instance when the character Malvolio discovers the love letter from Lady Olivia he begins to express his thoughts aloud in a prose language as he continues Daylight and is champain not more! This is open. I will be proud, read politic authors, I will baffle Sir Toby but prose also emphasizes comic relief. The subplot within the play intensifies comic relief. Foolish tricks are played on Malvolio by a few other characters, which led by Malvolio thoughtlessly believing that Lady Olivia actually loves him. They play these tricks on him because hes an arrogant, self-centred and uptight man, who tries to make life difficult for everyone and believes there should be no enjoyment out of life. This is also a greater opportunity for everyon e to have some additional laughter in this great period of festivities. Shakespeares intentions here were to inform those people who tried to make life difficult for everyone else that people did not appreciate their attitudes and will not stand for it. Twelfth Night consists of many love types of love like romantic love, love at first sight and self love etc, however some of the characters who are tangled up in the web of love are blind to see that their emotions and feelings toward other characters are illusory. They are being deceived by themselves and or the others around them. .ue04a3bf0df95405ecd8dfe2dd21eab87 , .ue04a3bf0df95405ecd8dfe2dd21eab87 .postImageUrl , .ue04a3bf0df95405ecd8dfe2dd21eab87 .centered-text-area { min-height: 80px; position: relative; } .ue04a3bf0df95405ecd8dfe2dd21eab87 , .ue04a3bf0df95405ecd8dfe2dd21eab87:hover , .ue04a3bf0df95405ecd8dfe2dd21eab87:visited , .ue04a3bf0df95405ecd8dfe2dd21eab87:active { border:0!important; } .ue04a3bf0df95405ecd8dfe2dd21eab87 .clearfix:after { content: ""; display: table; clear: both; } .ue04a3bf0df95405ecd8dfe2dd21eab87 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue04a3bf0df95405ecd8dfe2dd21eab87:active , .ue04a3bf0df95405ecd8dfe2dd21eab87:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue04a3bf0df95405ecd8dfe2dd21eab87 .centered-text-area { width: 100%; position: relative ; } .ue04a3bf0df95405ecd8dfe2dd21eab87 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue04a3bf0df95405ecd8dfe2dd21eab87 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue04a3bf0df95405ecd8dfe2dd21eab87 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue04a3bf0df95405ecd8dfe2dd21eab87:hover .ctaButton { background-color: #34495E!important; } .ue04a3bf0df95405ecd8dfe2dd21eab87 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue04a3bf0df95405ecd8dfe2dd21eab87 .ue04a3bf0df95405ecd8dfe2dd21eab87-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue04a3bf0df95405ecd8dfe2dd21eab87:after { content: ""; display: block; clear: both; } READ: How does Shakespeare use dramatic devices in Act 3 scene 1 of 'Romeo and Juliet' in order to make it an exciting scene point in the play? EssayFor example the Count Orsino claims to be vastly in love with lady Olivia And my desires like fell and cruel hounds Eer since pursue me but as soon as he realises that Viola loves him he quickly switches his feelings towards her and results in marrying her. The part of the play I enjoyed the most was the special reunion of the twins. Sebastian had no idea that Viola was still alive, so the disbelief at seeing her again, and dressed to look like him, was touching, an apple cleft in two, describes their close resemblance. There is great emotion on both sides of this happy reunion. Finally the theme of mistaken identity is resolved, with everyone having been revealed as his or her true self. Also for the first time in this play the name Viola is correctly used, and she gets rid of her Cesario disguise, so is finally able to openly reveal on her love for Orsino when she reassures that she still loves Orsino very much when she states All those swearings I swear I will overswear. She is now able to express and act on her love for Orsino as she no longer appears like a man, but as a woman who respects and loves him. I believe that the effect of the play on the Elizabethan people was to make them realise that you couldnt choose whom to fall in love for the sake of other matters and the other message he would have been trying to sent out to people is not to take life to seriously, but to have fun and enjoy it.