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Chapter 6--Communication, Coaching, and Conflict Skills
Student: ___________________________________________________________________________
2. For sending difficult and unusual messages, it is best to use written forms of communication.
True False
3. The richest communication channel is a written memo because it allows you to go into much more detail.
True False
4. In oral face-to-face communication, before sending a message, you should answer the question, "why can't
this person understand?"
True False
5. Before sending a message, you should answer the question, "What's going on?"
True False
6. The five steps in the oral message-sending process are (1) develop rapport; (2) state your communication
objective; (3) transmit your message; (4) check the receiver's understanding; and (5) get a commitment and
follow up.
True False
7. In the oral message-sending process, the purpose of developing rapport is distract the person from the real
reason for the communication.
True False
8. Regardless of the goal of communication, it is always important to get a commitment to the action.
True False
9. In oral face-to-face communication, when giving instructions, the sender should not ask for the receiver's
commitment to the action, but allow the receiver 24 hours to consider it.
True False
10. In written communication, one important tip is set an objective for your communication before you begin
writing.
True False
11. In written communication, one important tip is that writing is more about impressing people.
True False
12. In written communication, one important tip is write in the passive voice such "it is recommended" instead
of "I recommend".
True False
13. The 1-5-15 rule states that you should limit each paragraph to a single topic with an average of five
sentences that have an average of 15 words.
True False
14. Seventy-five percent of what people hear accurately, they forget within a week.
True False
15. The message-receiving process includes listening, analyzing, and checking understanding.
True False
16. Analyzing is the process of thinking about, decoding, and evaluating the message.
True False
17. In the message-receiving process, while the person is talking, it is important to think about what you are
going to say in reply.
True False
18. In the message-receiving process, while the person is talking, it is important to listen and evaluate what is
said at the same time.
True False
20. Paraphrasing is the process of verifying messages and determining if objectives are being met.
True False
21. Paraphrasing is the process of having the receiver restate the message in his or her own words.
True False
22. Feedback is important in improving our performance, and we should solicit feedback, and not just wait until
someone provides us with feedback.
True False
23. One of the most common and effective approaches to getting feedback is to give the entire message and then
ask, "Do you have any questions?"
True False
24. Feedback usually does not follow a message, because people have a tendency not to ask questions.
True False
25. One reason why people do not ask questions is because receivers feel ignorant.
True False
26. The most common cause of messages not resulting in communication is the lack of getting feedback that
ensures mutual understanding.
True False
27. Communicating is the sole responsibility of the message sender.
True False
29. To indicate to your manager that you understand his or her message, ask broad, general questions.
True False
30. An effective example of asking the listener to paraphrase is "Now tell me what you are going to do, so I can
tell you where you do not understand me".
True False
31. An effective example of asking the listener to paraphrase is "Now tell me what you are going to do, so I can
be sure that I explained myself clearly".
True False
32. Coaching is the process of giving motivational feedback to maintain and improve performance.
True False
33. Research has shown that the most important contributor to employee success and retention is receiving
praise and recognition.
True False
37. The job instructional training (JIT) steps include (1) trainer presents the task; (2) trainee receives
preparation; (3) trainee performs the task; and (4) trainer follows up.
True False
38. Feedback should be given in about two weeks after an incident to allow reflection.
True False
39. Criticism is the process of pointing out mistakes, which places blame and is embarrassing.
True False
40. Once you tell people they are wrong or made a mistake, they may begin to dislike the task or job.
True False
41. "My manager must really care about me and appreciate my work, so I'll try harder" describes the attitude of
employees with overly critical managers.
True False
42. The major difference between criticism and coaching feedback is that criticism is judgmental and makes
people feel like losers.
True False
43. The performance formula is used to explain the process managers go through in determining the reasons for
effective or ineffective performance and deciding what to do about it.
True False
44. The performance formula explains performance as a function of ability, motivation, and skills.
True False
45. When dealing with an ability performance issue, it is necessary to get employees to verbally commit to the
change if they seem willing to make it.
True False
47. One of the reasons the psychological contract is often broken is because the other party(ies) has different
expectations than we hold.
True False
48. Functional conflict exists when disagreement and opposition supports the achievement of organizational
objectives.
True False
49. The five conflict management styles are (1) avoiding, (2) competing, (3) negotiating, (4) accommodating,
and (5) collaborating.
True False
50. The one best conflict style for all situation is collaborating, a win-win approach.
True False
52. The accommodating conflict style is appropriate to use when the conflict is trivial.
True False
53. The negotiating conflict style is appropriate to use when unpopular action must be taken on important
issues.
True False
54. The advantage of the collaborating conflict style is that it tends to lead to the best solution to the conflict,
using assertive behavior.
True False
55. The collaborating conflict style is appropriate when you are dealing with an important issue that requires an
optimal solution, and compromise would result in suboptimizing.
True False
56. The conflict style most difficult to implement successfully and most likely to be underutilized when
appropriate is the accommodating conflict style.
True False
57. The first step of the initiating conflict resolution model is to plan a BCF statement that maintains ownership
of the problem.
True False
58. The BCF model describes a conflict in terms of beliefs, consequences, and feelings.
True False
59. A mediator is a neutral third party who makes a binding decision to resolve a conflict.
True False
60. An arbitrator is a neutral third party makes a binding decision to resolve a conflict.
True False
64. The manager of a manufacturing plant is inaugurating a major quality initiative and is planning the
announcement to the employees. She has considered the goal and mode of the message. What other issue should
be considered in this planning?
A. who should receive the message
B. the timing of the message
C. whether to solicit feedback
D. all of the answers are correct
65. The oral message-sending process includes all of the following steps EXCEPT:
A. develop rapport.
B. state your communication objective.
C. transmit your message.
D. translate the meaning of the message.
66. Which of the following is NOT a step in the oral message-sending process?
A. develop rapport
B. state your communication objective
C. transmit your message
D. check the receiver's commitment
69. To improve your written communication skills, which of the following are important tips?
A. Write to impress
B. Message should be detailed and thorough
C. Write in the passive voice
D. Don't spend time editing your important work
E. Set an objective for your communication before writing
70. To check for the receiver's understanding in oral communication, you ask him or her
A. Do you have any questions?
B. Direct questions
C. Indirect questions
D. To paraphrase the message
E. B and d
72. The message-receiving process, as a listener, which of the following should you avoid doing?
A. When people interrupt you, continue talking.
B. Ask to meet in a noisy area so no one can hear what you say.
C. Finish the speaker's sentence, so he or she will know that you are listening.
D. Listen to the entire message without interrupting the speaker.
E. A, b, and c
76. ____ is the process of thinking about, decoding, and evaluating the message.
A. Paraphrasing
B. Analyzing
C. Listening
D. Checking understanding
79. ____ is the process of verifying messages and determining if objectives are being met.
A. Paraphrasing
B. Listening
C. Feedback
D. Criticism
80. The process of having the receiver restate the message in his or her own words is ____.
A. paraphrasing
B. feedback
C. confirmation
D. verification
81. Which of the following is one of the reasons why people do NOT ask questions?
A. Receivers feel ignorant.
B. Receivers are ignorant.
C. Receivers are reluctant to point out the sender's ignorance.
D. all of the answers are correct
82. Which of the following is NOT one of the guidelines you should use when getting feedback on messages?
A. ask questions
B. be aware of nonverbal communication
C. verify the message
D. be open to feedback
88. An employee has mismanaged a client relationship and lost the client. As the manager, you want to use a
self-evaluation type of coaching feedback. Which of the following might apply?
A. "I told you to be careful with that relationship."
B. "I guess that this just shows why we emphasize training."
C. "When you lose clients, that makes me frustrated."
D. "Why do you suppose that client dropped us and went to our competitor?"
90. Which of the following is NOT one of the job instructional training (JIT) steps?
A. trainee receives preparation
B. trainer presents the task
C. trainer outlines the parameters of the task
D. trainee performs the task
94. Which of the following is used to explain the process managers go through in determining the reasons for
effective or ineffective performance and deciding what to do about it?
A. attribution theory
B. psychological contract
C. performance formula
D. BCF model
95. The three factors that make up the performance formula are:
A. ability, motivation, and goals.
B. ability, goals, and resources.
C. ability, motivation, and resources.
D. goals, motivation, and resources.
96. If Chris has resources and is well trained, she may still lack ____.
A. ability
B. motivation
C. resources
D. goals
97. If Chris has an intense desire and is well trained, she may still lack ____.
A. ability
B. motivation
C. resources
D. goals
98. In the performance formula, John and his team are not performing as well as other teams. Based on your
assessment of the situation, you believe that John and his team have the ability to perform well and seem to be
motivated to do the work, what should you do next?
A. Get John's commitment to change
B. Have John and his team sign a psychological contract
C. Check to see what resources that they may be lacking.
D. Send them to training
101. ____ exists when disagreement and opposition support the achievement of organizational objectives.
A. Functional conflict
B. Dysfunctional conflict
C. Friction
D. A dilemma
103. The ____ conflict style user attempts to passively ignore the conflict rather than resolve it.
A. accommodating
B. collaborating
C. negotiating
D. avoiding
104. The avoiding conflict style creates a ____ situation because the conflict is not resolved.
A. win-lose
B. lose-lose
C. win-win
D. none of the answers are correct
105. Which of the following is true about the avoiding conflict style?
A. Should never be used.
B. Does not result in resolution of the conflict.
C. Often results in problems worsening.
D. Should be used if continuing the confrontation may result in retaliation or physical harm.
E. B, c, and d
107. The ____ conflict style user attempts to resolve the conflict by using aggressive behavior to get his or her
way.
A. accommodating
B. collaborating
C. negotiating
D. forcing
109. The ____ conflict style user attempts to resolve the conflict through assertive, give-and-take concessions.
A. collaborating
B. avoiding
C. accommodating
D. negotiating
110. The negotiating conflict style is appropriate to use when:
A. unpopular action must be taken on important issues.
B. time is short.
C. the conflict is between peers.
D. the person enjoys being a follower.
111. The ____ conflict style user assertively attempts to jointly resolve the conflict with the best solution
agreeable to all parties.
A. forcing
B. collaborating
C. accommodating
D. negotiating
117. A(n) ____ is a neutral third party whom makes a binding decision to resolve a conflict.
A. mediator
B. consultant
C. arbitrator
D. negotiator
120. List and explain the three parts of the message-receiving process.
121. Describe paraphrasing and state why it is used.
122. Identify two common approaches to getting feedback, and explain why they don't work.
124. Discuss the relationship between the performance formula and the coaching model.
125. Define the five conflict management styles.
130. Which personality traits are associated with being closed to feedback?
132. What is 360-degree feedback, and are many organizations using it?
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menschliche Gestalt ihnen gleichgestellt, zum Ornament geworden,
und daher kommt es, daß die linienzeichnende Gravierung im
romanischen Mittelalter eine bevorzugte Technik für die Dekoration
von Metallflächen werden konnte. Ihre Steigerung ist das Niello, eine
schwarze Schwefel-Silberverbindung, die in die vorgravierten Linien
des glänzenden Silbers eingeschmolzen wird und so die Darstellung
dunkel in hellem Grunde zeichnet. Gerade diese Anwendung ist
bezeichnend, denn das Niello ist ursprünglich eine
impressionistische Technik mit dem Zweck, in breite Flächen
eingeschmolzen zu werden. So wird es im hellenistischen
Kunstgewerbe verwandt, so in der Kleinkunst der italienischen
Renaissance. Aber im romanischen Mittelalter zeichnet der dunkle
Niellostreif auf dem hellen Metallgrund wie bei der Gravierung der
Schatten in der eingeritzten Furche. Bedürfte es für die Stillogik
dieser Anwendungsart noch eines Beweises, so würde ihn das Email
liefern, an dem sich die Geschichte dieser Entwicklungen besonders
klar ablesen läßt.
Das mittelalterliche Email hat seine früheste Blüte in Byzanz
gehabt. Wie die Verroterie die roten Steine in die Goldzellen bettet,
inkrustiert, so schmilzt diese Technik die farbige Emailmasse in die
Goldzellen. Und doch ist die Differenz sehr groß. Das beweglichere
Email formt mit den Goldstreifchen die Randlinien figuraler
Zeichnungen, füllt diese mit den mannigfaltigsten Farben, deren
Flächen zwischen den dünnen Goldrändern für den Anblick
entscheidend sind. Bei der Verroterie sind die Goldlinien derber, das
Ornament strenger stilisiert, die Farbe einfacher. Kurz gesagt —
Email und Verroterie sind beides koloristische Techniken, aber die
Verroterie entspricht dem kräftigen Wechsel von hellen und dunklen
Tönen, wie im ravennatischen Kapitell (Abb. 35), das Email dem
malerischen Nebeneinander der Farbenflächen, wie im
byzantinischen Mosaik (Abb. 37). So wird es vom Deutschland der
ottonischen Zeit übernommen, in dessen Buchmalerei wir die
parallelen Erscheinungen schon kennen gelernt haben. In der
klassischen Zeit des romanischen Stiles indessen wird dieses
koloristische Zellenemail (Email cloisonné) von einer anderen
Schmelztechnik verdrängt, die vollkommen zeichnerisch arbeitet,
nämlich vom Gruben-Email (Email champlevé; Plättchen in Abb. 53).
Jetzt hebt man aus einer Kupferplatte die Flächen, die das Email
aufnehmen sollen, aus, und die breiteren Begrenzungslinien, die
stehen bleiben und vergoldet werden, geben, oft noch durch
Gravierung unterstützt, eine energische Zeichnung. Das Email selbst
unterstützt diese Wirkung durch neue Eigenschaften. Waren seine
Farben früher, da sie noch mit raumdurchbrechenden
impressionistischen Tendenzen Zusammenhänge hatten,
durchscheinend (transluzid) und ließen den goldenen Grund
leuchtend durchschimmern, so ist nun, bei den undurchsichtigen
(opaken) Emailen des Mittelalters allein die Oberfläche maßgebend
für den farbigen Ausdruck. Das Gerät wirkt nur noch mit der Haut,
wie die romanische Kirche mit der Wand. An die Stelle des tiefen,
unersättlichen Glänzens tritt eine befriedigte Sicherheit, wie überall
in diesem ernsthaft festen Stil.
Er steht als eine Einheit vor uns, wie die Volkskraft einheitlich
war, die ihn bildete, der religiöse Sinn stark, der seine Werke schuf.
Architektur und Kunstgewerbe, Plastik und Malerei folgen
demselben Schönheitsgesetz, und dieses ist im letzten Grunde
dasselbe, das dem dorischen Stil der frühen Zeit seine strenge
Größe gab: jede Form aus dem Zweck entstehen zu lassen und den
Zweck in ihr auszudrücken. Das heißt nicht, daß der Stil
phantasielos wäre. Von dem Reichtum des ornamentalen Details
war schon die Rede, und es ist für jede Art der Dekoration nicht
ärmer als für die architektonische. Aber selbst die Formen der
Kirchen variieren in Grundriß und Aufbau nach Zweck und
Landschaft. Westfälische Kirchen, denen ihr kubischer Turm den
Charakter gibt, sind derber, rheinische belebter als sächsische.
Sogar eine Hauptfrage, wie die der Bedachung, wird keineswegs nur
durch die flache Balkendecke gelöst, wenn diese auch in der frühen
Zeit die wichtigste Form ist, sondern auch durch gewölbte
Steindecken, wie sie vor allem im Süden Frankreichs durch das
ganze romanische Mittelalter vorkommen. Hier, wo die römischen
Bauten noch immer als die besten Vorbilder technischer
Konstruktion der Zeit vor Augen standen, werden Kuppeln und
Tonnengewölbe in strengen, ruhenden Formen als kräftiger
Abschluß fast regelmäßig verwandt. Aber das Kreuzgewölbe (Abb.
44), das einen quadratischen Raum in vier, in scharfen Graten
zusammenstoßenden Kappen überwölbt, vermochte eine Reihe von
aufeinanderfolgenden Quadraten, wie der basilikale Grundriß sie
darstellt, am ehesten vollkommen gleichmäßig zu überdachen. Um
das Jahr 1100 verdrängt diese alle anderen Abschlußformen des
Raumes. Auf ihr beruht die Stilentwicklung der Folgezeit.