CHAPTER 1

Introduction

 Career development as the “outcomes of actions on career plans as

viewed from both individual and organizational perspectives”. Breaking that

down, career development is viewed from two points of view: the employer

(the organization) and the employee (the individual). The organization’s

objective is to maximize its human resources productivity to achieve its goals,

and career development aids in that outlook by ensuring the “best match

between people and jobs”. The organization will place importance on how its

employees are managing their respective careers, and will take steps that

provide structure to the employees’ progress on their chosen career paths.

From the purpose of view of the worker, career development is

extremely important, since it is a great tool or perhaps a platform for them to

obtain their objectives, which might be anything from getting higher pay or

receiving incentives and bonuses, to achieving job flexibility and satisfaction.

Another definition attached a more personal desiring to it, pertaining to

career development as a complete process spanning over an individual’s

lifetime that inevitably molds his work identity. it's a lifelong process, starting

as early as that time in their childhood when, as an example, a baby saw a

firefighter save someone from a burning building and, in complete awe,

declares, “I want to be a firefighter once I grow up”.

Statement of the Problem

Since the last time of Aristotle and Plato, the developmental processes

that lead to creative output have been on internet. In recent years, the

orderliness of career movement through patterns responsibility and output has

been studied with some care, however, the time-oriented changes in artistic

careers has not received much attention.

Research on careers follows one of two main thrusts. The first is

psychological in nature. It focuses on personality traits, verbal or spatial

ability, and other internal factors. The second approach, found chiefly in

sociology, emphasizes the interaction of of situational influence in individual

behavior.

A psychologist studying artistic performance would concentrate on the

internalized character of the creative process. He would point the childhood

and adult emotional experience, originality and flexibility of thinking, ability to

distinguish color and form and to take risk, and such factors as the needs of

structure and tolerance of ambiguity. In accounting for changes in artistic

performance he would point to changes is the constellation of psychological

traits and needs causative influences.

The sociologist investigating the same phenomenon would study

additional factors outside the individual artist, including the audiences fow

which he produces and activities of his peers, the institution with which he

interacts on his occupational capacity, and his education and training. The

sociologist would this account for change in artistic performance through

references to changes which had taken place in the larger social context. The

study of artistic production, therefore derives from and is shaped by general

sociological theory and research.

Development studies have been dominated by the psychological, or

interior, approach. Even when over mention is made of the kinds of

environmental factors which influence or even shape career patterns, an

overriding concept is that internal process are the principal shapes of action,

with external events seen only as modifiers. To some degree developmental

psychology has recognized these limitations. Long stretch has suggested that

heredity, past environment and present environment all play a part in any age-

functional relationship.