丰田如何挽回声誉
第一篇：丰田如何挽回声誉
丰田如何走出危机
2010年之初——或者以21世纪第二个十年的开头更显得场面壮阔些——有两家公司消耗了最多新闻纸的版面，一是Google，另一家，就是丰田。在许多名嘴已经纷纷发言和发过言之后，在丰田章男亲自到美国作证和中国道歉之后，这场面热闹得已让人不容再插嘴。但现在看下来，看热闹泄私愤的人多，冒充专家瞎支招的人多，事后诸葛亮地打击丰田模式的多。这些名嘴的观点基本可混同一般老百姓的看法，但架不住人家已经混到脸熟了啊，才能在TV上、103.9上和报纸上瞎叨唠。真恶心！
我看到真正理性、建设性又能说到关键之处，而且还能让其它企业从丰田案例中领略管理启悟的，是哈佛商学院教授Bill George 对丰田的七点建议（鸣谢忘我山人博客）：
1.Face reality, starting with yourself；从丰田章男开始，丰田人必须直面质量门这个残酷现实，承认错误。
2.Don't be Atlas;get the world off your shoulders；丰田章男不要把所有问题都自己扛，企业内部应成立危机处置小组，还应听外部顾问和专家的意见 3.Dig deep for the root cause.；深挖问题的根源所在。
4.Get ready for the long haul；做好打持久战的准备，须提防“拔出萝卜带出泥”状况的出现。5.Never waste a good crisis.不要浪费了这次危机带来的变革良机，须明白祸福转换的道理。6.You're in the spotlight: follow True North。丰田章男应勇敢站出来，承担责任，指引方向。7.Go on offense;focus on winning now.不要一味防守，继续进攻，以赢为目标 短短30多个单词，真是字字珠玑，胜过许多所谓专家的长篇大论。丰田这次爆发的大规模召回事件，我想它有机会成为一个经典案例，接下来我们可以饶有兴致地观察，这家一直想成为全球最大汽车制造商的公司将如何挽回自己的声誉。我建议中国企业可仔细留心从事件爆发到之后，丰田的一举一动。丰田出事并不意味着中国汽车同行有机会上位，若能从其反思的教训和处理危机的手法中学到一二，则善莫大焉。注意Bill George的建议，我认为对其它中国企业同样极具参考价值。
第一条，强调“直面”。道理很简单，但真遇到危机，很多人还是抱着侥幸、逃避的态度，能
捂则捂，比如三鹿前董事长田文华。曾任微软中国区总经理，现在是新闻集团副总裁的高耀曾经向我分享他的危机处理经验，他的第一条也是，世上没有不透风的墙，想保密是保不住的，一定要坦诚面对。而且，通常，危机一定会朝着你所能设想的最坏结果去恶化。信矣夫！
第二条，Bill George强调的是，敢于面对问题的“有勇”还不够，还需有谋；正视自己的同时，还要借助组织力量及外部智慧，以他人之镜观己。
丰田事件第三条，核心是“深挖”。通常，一个公司在高速发展之时，很多问题都会被掩盖，现在，是彻底揪出一切反动派和破坏因素的时候了。
第四条，“持久战”准备，要花费3年、5年还是10年，才能修复受损的声誉，夺回失去的市场份额？耐心更重要。
第五条，不要浪费危机带来的变革良机。只有在困难的时候你才能做出业务再造的决策，如果是好的时候是不会做这些决策的。这是美国麻省理工学院斯隆商学院院长大卫•谢米特雷(David Schmittlein)在谈到经济危机时的观点：《萧条是公司再造的绝佳时机》，危机之
时同样如此，许多在情形好的时候难以推动的变革，现在则有了打破组织惰性的可能。第六条，谈到了危机下，CEO的任务。除了自责、道歉、引咎自处以外，CEO更应该做的是，继续扮演灯塔的角，为陷入迷茫、混乱的组织和人指引方向。你的下属这时候不仅想看到一个坦诚认错的CEO，更需要一个能带领败军、哀兵绝地反击的CEO。
第七条，核心就是“赢”，要争取再次的赢，不要在危机时放弃那些能够带来未来赢的机会，挺住意味着一切，胜利将何惧一切？
关于Bill George：这里有他的一个专题网页，他的最新一本书：《走出危机的7堂课》或许值得丰田及其它中国企业都好好读一读。
第二篇：声誉(fame)
Fame captures it, does not know what else to do but to continue chasing it.Fame and the exhilarating popularity that accompanies it, force the famous person to participate in his or her own destruction.Ironic isn't it? 声誉很像一只追逐自己尾巴的动物，抓住后除了继续追逐不舍之外，再也没有其他方法了。声誉与随之而来的令人兴奋的赞扬迫着这位出了名
的人走上自己的末路。这难道不令人啼笑皆非吗? Those who gain fame most often gain it as a result of possessing a single talent or skill: singing, dancing, painting, or writing, etc.The successful performer develops a style that is marketed aggressively and gains some popularity, and it is this popularity that usually convinces the performer to continue performing in the same style, since that is what the public seems to want and to enjoy.But in time, the performer becomes bored singing the same songs in the same way year after year, or the painter becomes bored painting similar scenes or portraits, or the actor is tired of playing the same character repeatedly.The demand of the public holds the artist hostage to his or her own success, fame.If the artist attempts to change his or her style of writing or dancing or singing, etc., the audience may turn away and look to confer fleeting fickle fame on another and then, in time, on another, and so on and so on.在已经出了名的人们中间，绝大多数是因有一技之长，如唱歌、舞蹈、绘画、写作等等，而获此声誉的。这位成功的表演者展示出一种在市场上可以争雄制胜的风格，因而获得声誉。而且也就是这种声誉常使表演者确信必须把这种风格坚持下去，因为看来这正是大众所需要和喜爱的。可是随着时间之转移，歌手年复一年地依老调唱老歌，画师画同样的风景人物，演员
反复重演同一角，都会感到厌烦。为了维持自己的成功和声誉，众的要求竟把这位艺术家如人质般束缚住了。如果这位艺术家企图改变笔调、舞步、唱腔的话，听众观众就会舍他而去，把那飘忽不定的称誉转移给别人。随后有转移给另一人，这样不停地转来转去。
Who cannot recognize a Tennessee Williams play or a novel by John Updike or Ernest Hemingway or a poem by Robert Frost or W.H.Auden or T.S.Eliot? The same is true of painters like Monet, Renoir, Dali or Picasso and it is true of movie makers like Hitchcock, Fellini, Spielberg, Chen Kai-ge or Zhang Yimou.Their distinctive styles marked a significant change in the traditional forms and granted them fame and fortune, but they were not free to develop other styles or forms because their audience demanded of each of them what they originally presented.Hemingway cannot even now be confused with Henry James or anyone else, nor can Frost be confused with Yeats, etc.The unique forms each of them created, created them.No artist or performer can entirely escape the lure of fame and its promise of endless admiration and respect, but there is a heavy price one must pay for it.有哪个人会认识不出一本田纳西·威廉斯的剧本、一本约翰·厄普代克或欧内
斯特·海明威的小说，或罗伯特·弗罗斯特，或W.H奥登或T.S艾略特所写的一首诗歌呢?画家中，如莫奈、雷诺阿、达利或毕加索的画，导演制片如希区科克、费利尼、斯皮尔伯格、陈凯歌、张艺谋等等的作品，不也正是这样吗?他们的独特风格，迥异于一般传统，给他们带来美誉及财富。但他们不能自由地另创风格或形式。这是因为众向他们每个人所要求的正是他们原来所提供的一切。直到现在，海明威决不能与亨利·詹姆斯或其他任何人相混淆，弗罗斯特也决不能与叶芝相混淆，如此等等。他们每个人都创造了独特风格。也创遣了他们自己。没有一位艺术家或表演家能完全逃避荣誉的引诱，荣誉给他们带来无穷的赞扬和崇敬，但他们要付出的代价也是靠常昂贵的。Fame brings celebrity and high regard from adoring and loyal fans in each field of endeavor and it is heady stuff.A performer can easily come to believe that he or she is as good as his or her press.But most people, most artists do not gain fame and fortune.What about those performers who fail, or anyone who fails? Curiously enough, failure often serves as its own reward for many people!It brings sympathy from others who are delighted not to be you, and it allows family and friends to lower their expectation of you so that you need not compete with those who have more talent and who succeed.And they find excuses and explanations for
your inability to succeed and become famous: you are too sensitive, you are not interested in money, you are not interested in the power that fame brings and you are not interested in the loss of privacy it demands, etc.---all excuses, but comforting to those who fail and those who pretend not to notice the failure.在每个领域里，出了名就会使一些虔敬的入迷者表示赞扬和尊崇，但这也是一种容易使人陶醉的东西。一位表演家粮容易相信自己的成就当真和报章舆论所说的一样。可是大多数人，大多数艺人并没有得到声名财富。那些失败的表现者又如何呢?其他任何一个失败者又如何呢?真奇怪，对很多人来说，失败也常常会起一种报偿的作用!有些人庆幸自己不像你那样地失败，就会对你表示同情，你的亲朋们也会降低对你的期望，使你不必去同那些才智胜于你而获得成功的人们较量。他们会借口解说你不成功不出名的原因，说什么：你太敏感了呀;你对金钱没有兴趣呀;你对声名所能带来的权力不感兴趣呀;因为声誉要使你丧失隐私权，因而你不感兴趣呀，等等--这一些无非都是借口而已，但对失败者或假装不关心自己失败的人来说，都多少带来一点安慰。History has amply proven that some failure for some people at certain times in their lives does indeed motivate them to strive even harder to succeed and to continue believing in themselves.Thomas Wolfe, the American novelist, had his first novel Look Ho
meward, Angel rejected 39 times before it was finally published and launched his career and created his fame.Beethoven overcame his tyrannical father and grudging acceptance as a musician to become the greatest, most famous musician in the world, and Pestalozzi, the famous Italian educator in the 19th century, failed at every job he ever had until he came upon the idea of teaching children and developing the fundamental theories to produce a new form of education.Thomas Edison was thrown out of school in fourth grade, at about age 10, because he seemed to the teacher to be quite dull and unruly.Many other cases may be found of people who failed and used the failure to motivate them to achieve, to succeed, and to become famous.But, unfortunately, for most people failure is the end of their struggle, not the beginning.There are few, if any, famous failures.历史已充分证明有些人在生命中某些时刻遭遇的失败确实促使他们更努力奋斗，继续深信自己，以求得成功。美国小说家托马斯·沃尔夫的第一部小说《天使，望故乡》出版之前，被退稿39次，终于开始了他的写作事业并赢得了声誉。贝多芬不屈服于他的专横的父亲，还忍气当过乐师，但终于克服一切，成为全世界最伟大最著名的音乐家。19世纪意大利著名教育家贝斯达洛齐从事各业一无成就，但最后专心于儿童教育，研讨了新教育法
的基本原理，形成一种新的教育理论。托马斯·爱迪生十岁左右，从四年级里被赶出校外，因为教师觉得他又笨又倔强。这种以失败为动力，奋发有为，成名成家的人还有多例可举。但不幸的是，对多数人来说，失败是奋斗的结束，而不是开始。成名的失败事例即使有，也是少数。