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Contents vii
Conclusion263
References265
Index275
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List of Figures
This second edition of Program Management would not have been achievable
without the people who have trusted me to apply my expertise to their programs.
In the last 20 years, many of them have helped shape the methodology that
forms the backbone of this book. Let me acknowledge among these, Malcolm
Davis and Peter Czarnomski from Pfizer UK; Eric Miart from Eurocontrol,
Brussels; Rod Gozzard from NAB, Melbourne; Anna Massot from Bayer,
Germany; Sulaiman Mohammad Al Marzougi from Kuwait National Petroleum
and Bader Salman Alsalman and Saud Hamed Alsharari from ELM, Riyadh.
Following the publication of the first edition, I was privileged to be asked
by the Project Management Institute to be a contributor to the Third Edition
(2013) of their Standard for Program Management as well as being sought by the
Project Management Association of Japan to review the English version of the
Third Edition (2015) of P2M: A Guidebook of Program & Project Management
for Enterprise Innovation. This has enabled me to gain a broader perspective of
the discipline and of its evolution.
More specifically, I want to thank Alberto Brito from Brazil, Anne Boundford
from the UK, Mustafa Dülgerler from Abu Dhabi, Rick Heaslip from the US,
Bader Salman Alsalman from Saudi, Chris Stevens from Australia, who are all
extremely busy but took the time to read the final draft of this second edition
to provide their endorsement.
Finally, I would particularly like to recognise the contribution of Motoh
Shimitzu and Eric Norman. Motoh shared his thoughts in multiple face-to-
face and virtual discussions about the difference of program management
approaches in Japan and the Western world and enabled me to use some of
his ideas and concepts in this book. Eric and I have had numerous challenging
conversations on the purpose, philosophy and approach of program
management; he took the time to review the whole final draft and almost all
his comments made it into the final print.
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Reviews for
Program Management
Thiry’s revised landmark work embraces many important changes. He takes a broad and
in-depth view of multiple professional standards, explaining pragmatically the essence
of key focus areas, for executives, managers, and students alike, on how to lead, step-
by-step, successful program outcomes. This is essential reading for those moving from
narrow technical to broader leadership skills, critical to value-driven organisations under
pressure to deliver better strategies through program management.
Chris Stevens, Principal, Project Standards and Practice, NBN Co, Australia;
member of PMI’s Standards Members Advisory Group
Already a cornerstone in the library of important industry publications, the first edition of
Program Management by Dr Michel Thiry broke new ground in 2010 by providing a clearly
understandable and practical context for sifting through an assortment of conflicting
and sometimes competing views about the application of program management in
organizations. In many ways, the first edition was a catalyst for many of the advances
in program management practice we recognize and enjoy today. This second edition
reflects the deep understanding Dr Thiry has gained since the first publication through
careful observation, critical thinking, and the art and science of hard-won experience.
This latest update by one of the industry’s foremost thought leaders reveals an awareness
of the critically important role program management now plays in organizations large
and small for the delivery of key strategic benefits and real, measurable value in an
increasingly complex, fast-paced, unpredictable and continually evolving (shall we say
… “agile”) business environment. The second edition is destined to take its place as a
frequently referenced, often quoted, dog-eared and battle-worn guide for the serious
program manager. On my bookshelf, it stands next to its heavily marked-up and Post-
It-littered brother, the first edition. If the second edition of Program Management by Dr
Michel Thiry isn’t part of your library, it should be.
Eric S. Norman, practising program manager; Chair of PMI’s ‘The Standard for
Program Management Third Edition’ Core Committee
Michel’s book has created an important resource for researchers and practitioners in
the program management domain. It brings up a clear and rational alignment between
program components within an organizational context, which will help in executing
the strategies and realizing real value. Anyone involved in program management will
treasure this book!
Bader Alsalman, PMO Manager, ELM company, Saudi Arabia
Program Management provides new insights about the program manager’s critical role
in managing organizational decision making and change. Michel Thiry’s perspectives on
integrating the principles and practices of established program management standards
and guides provide a valuable contribution to the fields of both program and project
management. I found it to be full of valuable perspectives and contributions to the field,
and have very much enjoyed reading it.
Richard Heaslip, author of Managing Complex Projects and Programs;
Adviser to executives sponsoring complex programs
As a practitioner of programme management I live and breathe this world every day and
Michel does a great job at structuring and bringing programme management to life in
a constructive way. The book is very useful for me because it spans and links multiple
standards. I work with people who come from a PRINCE2 background and it can relate to
what they do. When in doubt or simply in need of inspiration this book provides you with
ideas on how to move forward. Overall, a great book.
Anne Boundford, PMP Programme Manager at Rolls Royce
We all know the decision making process; but most of us are not familiar with decision
management within the context of program management. This is one of the numerous
gaps in the practical application of program management that Michel has addressed in
his book, making it a must-read for program and project managers undertaking complex
initiatives.
Mustafa Dülgerler, Senior Enterprise Architect at National Bank of Abu Dhabi
This is a must read book! For strategy management scholars interested in the theme of
strategy execution, as it brings state-of-the-art discussion on the importance and use
of program management as a vehicle for implementing strategic changes; for senior
executives, as it provides the guidelines to establish the organization and governance
structure to achieve strategic goals; for program managers and program team members,
as it provides a roadmap to manage programs, through a concise program life cycle and
a set of management tools for each stage of the proposed life cycle. Finally, it is not a
book based on current standards, but a book that the review of program management
standards will be based on.
Alberto S. Brito, Founder and Managing Partner at CDA Tecnologia
If you are interested in improving your delivery capability and effectiveness then Program
Management should be on your must read list. In my 15 years of project and program
management experience I have yet to find a book which has addressed the subject from
such a global perspective.
Chris Richards, PMP, Assistant Director Business Operations,
US-Based Technology Services Company
Program Management describes the practical considerations often overlooked when
translating ideas into real, value generating programs. The model marrying Programs to
Strategic Decision Management (Chapter 3) is alone worth the book.
Ron Sklaver, Enterprise Program Manager, Tate & Lyle, US-UK
Thiry provides an excellent example of his Benefit Breakdown Structure (BBS), showing
benefits at Level 1, followed by critical success factors, specific actions, and deliverables.
It is further detailed…with actions describing the current state and the proposed future
state, plus capabilities and dates required to achieve them. He presents an achievability
matrix for projects within the program and a discussion of risk packages. A program
manager could take the BBS plus these concepts and relate it to the program work
breakdown structure and have a powerful technique to apply.
Project Management Journal
I would recommend that program managers who want a simple and useful guide to get
hold of a copy of the book and keep it handy. Organizations should place a copy of the
book in their library along with books on strategy and strategy implementation. For
academics teaching a course in program management it would be a good as a textbook
or as a reference book from which relevant readings can be suggested to students.
Associate Professor Shankar Sankaran University of Technology,
Sydney for PPPM eJournal
I would recommend this book and have in fact used it at work to help clarify governance
issues and solutions with colleagues. Definitely a book to add to your library.
ProjectManager.com, Australia
I consult and teach in this area and welcome this book as a very useful contribution on
the topic … It is certainly the best book I have read on the specific subject of Program
Management, and represents considerable research, reflections on experience and new
thinking on a current prominent subject.
Harold Ainsworth on Amazon.com
Introduction
that I am familiar with, some of which I developed over years of practice, I will
aim to refer to a range of applicable techniques and methods at each stage of
the process.
I have provided this executive summary for readers who are not practitioners
or students and who will want to focus their available time on the sections that
matter most to them. Each section outlines one part or chapter of the book and
highlights sections that are of particular interest for specific group of readers.
Part I aims to set the scene for program management and how it fits within the
greater organizational and business context. Chapter 1 explains the emergence
of program management and compares views from different professional
bodies. Chapter 2 compares and sets programs within the greater organizational
context, in particular other similar strategy delivery methods. Finally, Chapter
3 outlines what constitutes program maturity for an organization and how to
set up a program culture.
This chapter will interest both managers and practitioners since it defines
what a program is in relation to other similar methods and explains why
program management is ideally suited to realize strategic decisions.
but who is a perfect “milky way” of brilliancy, and has made Pindar
himself “take a nobler flight.” Milton alternately strikes Addison with
awe, rapture, and shock at his politics. He
is not only neat, but very largely true. When Dryden shall decay,
luckily there is harmonious Congreve: and, if Addison were not tired
with rhyming, he would praise (he does so at some length) noble
Montague, who directs his artful muse to Dorset,
as to which all that can be said is that, if so, either the verses of
Montague or the verses of Dorset referred to are not those that have
come down to us under the names of the respective authors.
To dwell at all severely on this luckless production of a young
University wit would be not only unkind but uncritical. It shows that at
this time Addison knew next to nothing[575] about the English
literature not of his own day, and judged very badly of what he
pretended to know.
The prose works of his middle period, the Discourse on Medals
and the Remarks on Italy, are very fully illustrated from the Latin
poets—the division of literature that Addison knew best—but indulge
hardly at all in literary criticism. It was not till the launching of the
Tatler, by Steele and Swift, provided him with his natural medium of
utterance, that Addison became critical. This periodical itself, and the
less known ones that followed the Spectator, all contain exercises in
this character: but it is to the Spectator that men look, and look
rightly, for Addison’s credentials in the character of a critic. The Tatler
The Spectator Essays, such as the rather well known papers on
criticisms. Tom Folio and Ned Softly, those in the Guardian, the
good-natured puff of Tom D’Urfey, &c., are not so much serious and
deliberate literary criticisms, as applications, to subjects more or less
literary, of the peculiar method of gently malicious censorship, of
laughing castigation in manners and morals, which Addison carried
to such perfection in all the middle relations of life. Not only are the
Spectator articles far more numerous and far more weighty, but we
have his own authority for regarding them as, in some measure at
least, written on a deliberate system, and divisible into three groups.
The first of these groups consists of the early papers on True and
False Wit, and of essays on the stage. The second contains the
famous and elaborate criticism of Milton with other things; and the
third, the still later, still more serious, and still more ambitious, series
on the Pleasures of the Imagination. Addison is looking back from
the beginning of this last when he gives the general description,[576]
and it is quite possible that the complete trilogy was not in his mind
when he began the first group. But there is regular development in it,
and whether we agree or not with Mr Worsfold’s extremely high
estimate of the third division, it is quite certain that the whole
collection—of some thirty or forty essays—does clearly exhibit that
increasing sense of what criticism means, which is to be observed in
almost all good critics. For criticism is, on the one hand, an art in
which there are so few manuals or trustworthy short summaries—it
is one which depends so much more on reading and knowledge than
any creative art—and, above all, it is necessary to make so many
mistakes in it before one comes right, that, probably, not one single
example can be found of a critic of importance who was not a much
better critic when he left off than when he began.
In Group One[577] Addison is still animated by the slightly desultory
spirit of moral satire, which has been referred to above; and, though
fifteen or sixteen years have passed since the Account, he does not
seem to be so entirely free as we might wish from the crude sciolism,
On True and if not the sheer ignorance, of the earliest period. He
False Wit. is often admirable: his own humour, his taste, almost
perfect within its own narrow limits, and his good sense, made that
certain beforehand. But he has rather overloaded it with somewhat
artificial allegory, the ethical temper rather overpowers the literary,
and there is not a little of that arbitrary “blackmarking” of certain
literary things which is one of the worst faults of neo-classic criticism.
The Temple of Dulness is built (of course) “after the Gothic manner,”
and the image of the god is dressed “after the habit of a monk.”
Among the idolatrous rites and implements are not merely rebuses,
anagrams, verses arranged in artificial forms, and other things a little
childish, though perfectly harmless, but acrostics—trifles, perhaps,
yet trifles which can be made exquisitely graceful, and satisfying that
desire for mixing passion with playfulness which is not the worst
affection of the human heart.
He had led up to this batch, a few weeks earlier, by some cursory
remarks on Comedy, which form the tail of a more elaborate
examination of Tragedy, filling four or five numbers.[578] Readers who
On Tragedy. have already mastered the general drift of the
criticism of the time before him, will scarcely need
any long précis of his views, which, moreover, are in everybody’s
reach, and could not possibly be put more readably. Modern
tragedies, he thinks, excel those of Greece and Rome in the intricacy
and disposition of the fable, but fall short in the moral. He objects to
rhyme (except an end-couplet or two), and, though he thinks the
style of our tragedies superior to the sentiment, finds the former,
especially in Shakespeare, defaced by “sounding phrases, hard
metaphors, and forced expressions.” This is still more the case in
Lee. Otway is very “tender”: but it is a sad thing that the characters in
Venice Preserved should be traitors and rebels. Poetic justice (this
was what shocked Dennis), as generally understood, is rather
absurd, and quite unnecessary. And the tragi-comedy, which is the
product of the English theatre, is “one of the most monstrous
inventions that ever entered into a poet’s thought.” You “might as
well weave the adventures of Æneas and Hudibras into one poem”
[and, indeed, one might find some relief in this, as far as the
adventures of Æneas are concerned]. Tragedies are not even to
have a double plot. Rants, and especially impious rants, are bad.
Darkened stages, elaborate scenery and dresses, troops of supers,
&c., are as bad: bells, ghosts, thunder, and lightning still worse. “Of
all our methods of moving pity and terror, there is none so absurd
and barbarous as the dreadful butchering of one another,” though all
deaths on the stage are not to be forbidden.
Now, it is not difficult to characterise the criticism which appears in
this first group, strengthened, if anybody cares, by a few isolated
examples. It contains a great deal of common sense and good
ordinary taste; many of the things that it reprehends are really wrong,
and most of what it praises is good in a way. But the critic has as yet
no guiding theory, except what he thinks he has gathered from
Aristotle, and has certainly gathered from Horace, plus Common
Sense itself, with, as is the case with all English critics of this age, a
good deal from his French predecessors, especially Le Bossu and
Bouhours. Which borrowing, while it leads him into numerous minor
errors, leads him into two great ones—his denunciations of tragi-
comedy, and of the double plot. He is, moreover, essentially
arbitrary: his criticism will seldom stand the application of the “Why?”
the “Après?” and a harsh judge might, in some places, say that it is
not more arbitrary than ignorant.
The Second Group,[579] or Miltonic batch, with which may be taken
its “moon,” the partly playful but more largely serious examen of
Chevy Chase, is much the best known, and has been generally
ranked as the most important exhibition of Addison’s critical powers.
On Milton. It is not, however, out of paradox or desire to be
singular that it will be somewhat briefly discussed
here. By the student of Addison it cannot be too carefully studied; for
the historian of criticism it has indeed high importance, but
importance which can be very briefly summed up, and which
requires no extensive analysis of the eighteen distinct essays that
compose the Miltonic group, or the two on Chevy Chase. The critic
here takes for granted—and knows or assumes that his readers will
grant—two general positions:—
1. The Aristotelian-Horatian view of poetry, with a few of the more
commonplace utterances of Longinus, supplies the orthodox theory
of Poetics.
2. The ancients, especially Homer and Virgil, supply the most
perfect examples of the orthodox practice of poetry.
These things posed, he proceeds to examine Chevy Chase at
some, Paradise Lost at great, length by their aid; and discovers in
the ballad not a few, and in the epic very great and very numerous,
excellences. As Homer does this, so Milton does that: such a
passage in Virgil is a more or less exact analogue to such another in
Paradise Lost. Aristotle says this, Horace that, Longinus the third
thing; and you will find the dicta capitally exemplified in such and
such a place of Milton’s works. To men who accepted the principle—
as most, if not all, men did—the demonstration was no doubt both
interesting and satisfactory; and though it certainly did not start
general admiration of Milton, it stamped that admiration with a
comfortable seal of official orthodoxy. But it is actually more
antiquated than Dryden, in assuming that the question whether
Milton wrote according to Aristotle is coextensive with the question
whether he wrote good poetry.
The next batch is far more important.
What are the Pleasures of the Imagination? It is of the first
The moment to observe Addison’s exact definition.[580]
“Pleasures of Sight is the “sense which furnishes the imagination
the with its ideas; so that by the ‘Pleasures of the
Imagination.”
Imagination’ or Fancy, which I shall use
promiscuously, I here mean such as arise from visible objects, either
when we have them actually in our view, or when we call up their
ideas into our minds by paintings, statues, descriptions, or any the
like occasion.” We can have no images not thus furnished, though
they may be altered and compounded by imagination itself. To make
this quite sure, he repeats that he means only such pleasures as
thus arise. He then proceeds, at some length, to argue for the
innocence and refinement of such pleasures, their usefulness, and
so on; and further, to discuss the causes or origins of pleasure in
sight, which he finds to be three—greatness, uncommonness, and
beauty. The pleasantness of these is assigned to such and such
wise and good purposes of the Creator, with a reference to the great
modern discoveries of Mr Locke’s essay.
Addison then goes on to consider the sources of entertainment to
the imagination, and decides that, for the purpose, art is very inferior
to nature, though both rise in value as each borrows from the other.
He adduces, in illustration, an odd rococo mixture of scene-painting
and reflection of actual objects which he once saw (p. 404). Italian
and French gardens are next praised, in opposition to the old formal
English style, and naturally trained trees to the productions of the ars
topiaria; while a very long digression is made to greatness in
Architecture, illustrated by this remark (p. 409), “Let any one reflect
on the disposition of mind in which he finds himself at his first
entrance into the Pantheon at Rome, ... and consider how little in
proportion he is affected with the inside of a Gothic cathedral, though
it be five times larger than the other,” the reason being “the
greatness of the manner in the one, and the meanness in the other.”
So the “secondary” pleasures of the imagination—i.e., those
compounded and manufactured by memory—are illustrated by the
arts of sculpture and painting, with a good passage on description
generally, whence he turns to the Cartesian doctrine of the
association of ideas, and shows very ingeniously how the poet may
avail himself of this. Next comes a curious and often just analysis of
the reasons of pleasure in description—how, for instance, he likes
Milton’s Paradise better than his Hell, because brimstone and
sulphur are not so refreshing to the imagination as beds of flowers
and wildernesses of sweets. Or we may like things because they
“raise a secret ferment in the mind,” either directly, or so as to arouse
a feeling of relief by comparison, as when we read of tortures,
wounds, and deaths. Moreover, the poet may improve Nature. Let
oranges grow wild, and roses, woodbines, and jessamines flower at
the same time. As for “the fairy way of writing”[581]—that is to say, the
supernatural—it requires a very odd turn of mind. We do it better
than most other nations, because of our gloominess and melancholy
of temper. Shakespeare excels everybody else in touching “this
weak superstitious part” of his reader’s imagination. The glorifying of
the imagination, however, is by no means confined to the poet. In
good historians we “see” everything. None more gratify the
imagination than the authors of the new philosophy, astronomers,
microscopists. This (No. 420) is one of Addison’s most ambitious
passages of writing, and the whole ends (421) with a peroration
excellently hit off.
It is upon these papers mainly that Mr Worsfold[582] bases his high
eulogium of Addison as “the first genuine critic,” the first “who added
something to the last word of Hellenism,” the bringer of criticism “into
line with modern thought,” the establisher of “a new principle of
poetic appeal.” Let us, as uncontroversially as possible, and without
laying any undue stress on the fact that Mr Worsfold practically omits
Longinus altogether,[583] stick, in our humdrum way, to the facts.
In the first place, supposing for the moment that Addison uses
“imagination” in our full modern sense, and supposing, secondly, for
the moment also, that he assigns the appeal to the imagination as
the special engine of the poet, is this an original discovery of his? By
no means: there are many loci of former writers to negative this—
there is one that is fatal. And this is no more recondite a thing than
the famous Shakespearian description of
as