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试论亨利•汤在管理思想方面的主要贡献

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参考答案:

亨利•汤在管理思想上和泰勒有着极为相似的认识,他的主要贡献有:

1.汤首先强调的是管理的重要性,认为管理是一门独立的学科。当时美国的企业界不重视管理,否认管理是一门独立的学科,工程师一般局限于自己的专业领域,只用纯技术的观点来考察问题,不关心企业的管理方面。1886年,汤发表了《作为经济学家的工程师》一文,强调指出管理的重要性,大声疾呼他的工程师同事们承认并努力来发展管理的科学。他认为“为了高效率地指挥一个企业,工厂管理与工程技术有着同样的重要性”。

2.支持并推广科学管理运动。汤于1870年就开始系统地应用高效率的管理方法。1884年—1890年,他先后担任过美国机械工程师学会的副会长和会长,此外还有相当长的时间是学会的领导成员之一。他运用自己的影响力支持科学管理运动,提供宣传阵地,促进了该学会成员对科学管理运动的兴趣和支持。汤是科学管理运动的重要先驱者之一。

3.汤在著名论文《利益分享》中提出了一种激励职工的收益分享制度。在他之前也有人提出用利润分享的办法来缓和劳资矛盾,但他认为利润分享既不是一种公正的措施,也不是一种正确解决问题的方法。因为一个部门职工努力节省下来的利润,会被另一些部门职工的失误所抵消,使得整个企业的利润减少或没有利润。他提议,为每一个工作单元或部门确定生产成本和定额,然后根据他们自己的表现,把赢利返还给他们。

具体做法是:职工有一个最低保证工资,其定额由科学方法测定,每一部门超过定额而生产出来的收益,由职工和雇主各得一半。定额应保持三五年不变,以免降低工资,挫伤职工的积极性。汤的收益分享制度,实际上是对作为刺激生产的手段(工资问题)这个重要课题进行了开创性实验,其重要性不亚于泰勒的时间和动作研究及成本分析等课题。

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Sofia Coppola’s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slap-stick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic through melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American movies. If Focus Features markets "Lost in Translation" carefully, this most original comedy could win audiences well beyond art houses.
Bob Harris (Murray) is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many years, he is also in the midst of a midlife crisis that dampens his spirits but not his wit.
Charlotte (Johansson) , the neglected wife of a photographer, experiences a similar air-condl-tioned nightmare. Married two years, she already feels lost in the relationship, unable to partici-pate in her husband’s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity.
These two people discover each other late at night at the bar. Neither one can sleep. A friend-ship evolves in their mutual isolation.
Coppola sees in Tokyo’s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and in a few sequences, a rubbery physicality that earns sustained laughs. Johansson makes Charlotte’s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined.
Using high-speed film stock, cinematographer Lance Aeord gives the glaring neon and num-bingly sleek interiors a kind of romantic sheen. The score produced by Brian Reitzell created out of Japanese musical themes and "Tokyo dream-pop" adds to the sense of an Eastern city that has succumbed in large measure to Western culture.

The word "slapstick" underlined in Paragraph 1 is closest in meaning to ______.

A.farce

B.soap opera

C.idol play

D.science fiction