Criticism of Practical Application of Utopia in Brave New...

Criticism of Practical Application of Utopia in Brave New World Debra Ackerman Mrs. Eileen Waite Criticism of Practical Application of Utopia in Brave New World Aldous Huxleys Brave New World illustrates the loss of morality when established standards are replaced by amoral criteria. In his novel, Huxley criticizes the practical applications of Utopia in actual society. Huxleys depiction of love, science, and religion support the ineffectiveness of implementing Utopia in everyday life. In Brave New World, Huxley shows contempt for the human emotion of love. The people that make up his imaginary society have no conception of love or any other passion, and actually scorn the idea. Huxley believes that along with passion†¦show more content†¦Not only are people born, or in this sense created, by scientific means, but they are also conditioned to think and live a certain way through science. Even before babies are born, they are treated to a specific amount of oxygen, or a specific temperature in order for them to be conditioned to fit into a certain caste. In the novel, Henry Foster explains this process to the students saying: We also predestine and condition. We decant our babies as socialized human beings, as Alphas or Epsilons, as future sewage workers, or future . . . Directors of Hatcheries. (12) In Brave New World, science and technology are used not to help society, but to control society. From the time that the embryos are in each bottle to the time of death for each person, science is acting as a controller, ruling over every individual life. Although their world is based on science and technology, the leaders of Utopia know that science is dangerous; [they] have to keep it most carefully chained and muzzled (231). In a world where Community, Identity, and Stability is the main objective, scientific advancement is unacceptable. As the World Controller explains, science is . . . another item in the cost of stability . . . incompatible with happiness (231). Huxley knows that along with science comes change and in his Utopia, no one can afford change. By sacrificing change, the controllers of the brave new world are maintaining stability. In our society, man controlsShow MoreRelated The Application of Utopia in Brave New World Essay1190 Words   |  5 PagesThe Application of Utopia in Brave New World      Ã‚   Aldous Huxleys Brave New World illustrates the loss of morality when established standards are replaced by amoral criteria.   In his novel, Huxley criticizes the practical applications of Utopia in actual society. Huxleys depiction of love, science, and religion support the ineffectiveness of implementing Utopia in everyday life.      Ã‚  Ã‚  Ã‚  Ã‚   In Brave New World, Huxley shows contempt for the human emotion of love.  Read MoreOrganisational Theory230255 Words   |  922 Pagesothers who should know better) to trivialize this very problematic and challenging subject. This is not the case with the present book. This is a book that deserves to achieve a wide readership. Professor Stephen Ackroyd, Lancaster University, UK This new textbook usefully situates organization theory within the scholarly debates on modernism and postmodernism, and provides an advanced introduction to the heterogeneous study of organizations, including chapters on phenomenology, critical theory and psychoanalysis

Cyber Bullying And The Internet - 1324 Words

As we enter the age of the Internet we have ushered in the newest, and arguably, most powerful form of bullying, called cyber bullying. Unfortunately, no one is exempt from cyber bullying. The Internet is a tool that gives anyone a voice, including bullies. It is a marvelous element that has become an operating tool in our daily lives. We learn from it, communicate with it, and are entertained by it. However, there are people who use it to mistreat others. We hear on the news, more often than we should, of young people committing suicide due to cyber bullying. While there are bullies of all ages, today’s youth is growing up in a technological age which makes the already tortuous period of adolescence even more painful. During adolescence we are naturally influenced by others, and constantly, obsessively comparing ourselves to everyone else. In cyberspace the bully has an accessible, almost effortless outlet that, if he so chooses, makes him anonymous. By concealing his identit y, unless someone is a cyber-hacking wizard, the victim of his bullying won’t know where it is coming from. This allows him to say whatever he wants, whenever he wants, at the click of a few buttons, and remain nameless. This gives him the audacity he may not have in a face-to-face situation, to say anything that invades his head to this person he intends to hurt, without having to witness his victim’s reaction. It is almost as easy as having a thought. He can type harmful comments almost as fast as theShow MoreRelatedThe Internet and Cyber-bullying Essay643 Words   |  3 PagesBullying is a major act that is increasing among our teens today, and it is something that we need to act about, as it not only damages the self-esteem of young teen, but in severe cases it may lead to suicide or severe depression, leading to drug use. Bullying is not only limited to the real world, but also the online, virtual world, in a form known as ‘Cyber Bullying’.Cyber bul lying is when a child or teen is threatened, harassed, humiliated orembarrassed by another person using the InternetRead MoreInternet Violence And Cyber Bullying3649 Words   |  15 PagesThe use of internet is prevalent showing its global consumption. Social media have been available even to the young population. They are effective means of communication, socialization, and in collecting and sharing information. However, internet is becoming unsafe and hostile. They do not just serve its real purpose; instead they become effective means for bullies to perform offences or harmful activities anonymously (Davison Stein, 2014). Internet-related abuses and cyber bullying has long beenRead MoreWhen the Internet Attacks! : Cyber Bullying and Blogging800 Words   |  4 PagesWhen the Internet Attacks! : Cyber Bullying and Blogging Engagement in internet attacks is a disturbing way in which individuals seek attention at the cost of another person’s self worth. With the use of bullying to make others feel small, snark to increase their own self importance, and distortions of the truth to make things more â€Å"interesting†, this is a large issue that effects many lives in different ways. The internet has become a large part of most daily lives in the United States, accordingRead MoreBullying and the Internet Technology is and will be constantly changing, because of this cyber1500 Words   |  6 PagesBullying and the Internet Technology is and will be constantly changing, because of this cyber bullying is becoming more of a problem. Some advances in technology like being able to have x-rays, MRI’s have had a positive affect, while others like the cell phone, and social media have not. In about the last 25 years bullying has evolved from being picked on at school to being harassed through things like text messaging, social media, and email. In the past, bullying could happen anywhere like onRead MoreCyber Bullying And Its Effect On Society883 Words   |  4 PagesCyber-bullying is the use of electronic communications to bully a person. Cyber-bullying takes place by using the Internet, cell phones, video game systems, and other technology. Cyber-bully sends or posts text or image that is intended to hurt feelings or embarrass another person in front of others. Bullying is an aggressive behavior which causes harm and stress to its victims and it escalates over time. Furthermore, everybody has mobile phones and they are using it all day long. There is certainlyRead More Cyber Bullying Essay1419 Words   |  6 Pagesare unaware of is bullying exists in many forms and is more common in the cyber world. In 2012, CBC news reporter Joan Leishman , aired â€Å"Cyber-bullying,† she describes a story about a student named David Knight’s unbearable life entering the Internet. Later in 2014, Rachel Simmons, a forme r Rhodes Scholar and the founding director of the Girls Leadership Institute, wrote an article titled â€Å"Cyberbullying Is a Growing Problem.† Simmons article addressed the impact of cyber bullying in the 21st centuryRead MoreCyber Bullying Is Harmful Than Traditional Bullying1512 Words   |  7 PagesCyber-bullying involves the use of technology to cause distress, harm, and torture to the victim. This involves sending abusive or intimidating messages, emails, and pictures through the use of several technological avenues. Traditional bullying involves physical aggression to a victim through using abusive verbal language and physical beating. Cyber- bullying seems to have surpassed traditional bullying because of the increased advance in the world of technology. Most bullies have turned to technologyRead MoreThe Prevention of Cyberbullying627 Words   |  3 Pagesthe Internet, bullying persists with new forms and faces. Bullies can hide behind anonymous user profiles onlin e, creating an environment in which young victims have no direct resources. Effective methods of controlling the problem of cyber bullying are necessary to prevent problems such as suicide. One student in Iowa committed suicide after bullies at his school posted that the student was gay on Facebook; as a result of this and related suicides, the state of Iowa is redefining what cyber bullyingRead MoreCyber Bullying. Today, This Is The Most Popular Topic Amongst1233 Words   |  5 PagesCyber Bullying Today, this is the most popular topic amongst the younger generation. The rise of technology has influenced our lives with the use of social networking sites and electronic devices predominant with today’s youth. What many adults are unaware of is bullying exists in many forms and is more common in the cyber world. In 2012, CBC news reporter Joan Leishman, aired â€Å"Cyber-bullying,† where she relates a story about a student named David Knight’s unbearable life entering the internet. LaterRead MoreCyber Bullying And Its Effects On Society1283 Words   |  6 Pagesis also now being used to cause harm to people. Cyber bullying differs from traditional physical bullying, because it occurs through emails, texts, or social media. The person behind the computer can remain anonymous because the internet allows individuals to make up false information. Negative effects, such as depression, suicide, and anxiety are some factors resulted in cyber bullying. There is a strong emotional impact caused by cyber bullying due to the lack of remorse demonstrated online.

Metaphysical Poetry Definition Example For Students

Metaphysical Poetry Definition Metaphysical poetry was originally a style of poetry to describe the poet John Donnes work, but then later extended to a school of 17th century poets. The verse deals with the use of philosophy to explain the human drama in the universe. Their poetic style and method is what linked the poets together. Here, the poets Andrew Marvell, who wrote To His Coy Mistress, George Herbert who wrote Love and John Donne who wrote The Sun Rising all fit into the metaphysical grouping. All the poems include an argument within themselves. The poem To His Coy Mistress is structured within a syllogistic framework which begins with an initial premise, then introduces a qualification to the premise, and ends with a resolution to the conflict. In addition, Marvell manages to marry a syllogistic framework with a passionate poem of seduction. He firstly argues that if the couple had all the time in the world, he would woo his lady so slowly her coyness would be irrelevant. Had we but world enough, and time, This coyness, lady, were no crime. He proceeds to outline what he would do out of love for his lady if they were both to live for much longer, mentioning such lengths of time as centuries and ages. Throughout this initial premise of if, he uses esoteric imagery to illustrate his argument. For example, he describes his life as a vegetable love, which not only gives connotations of a slow, developing love to grow for his mistress, but also the description of a vegetable soul. The vegetable soul is the lowest level of the soul in the Renaissance concept in the levels of reason. Therefore, this suggests a kind of love that could exist without sensual enjoyment and suggests, by its association with the vegetable soul, that it is a lower form of love than sexual love. This is because the middle soul the sensible soul deals with passion and love. This use of metaphysical conceit is common in all the poems, and Marvells technique of drawing upon philosophy to illustrate his argument gives the poem an intellectual appeal, not just a visual one. There is also complete devotion displayed in this first stage of the argument, namely: I would Love you ten years before the flood. And you should, if you please, refuse Till the conversion of the Jews. Here, this deals with the extremity of his argument. He is prepared to love her ten years before the flood presumably Noahs Ark, and would not be at all insulted if she refused to love him back until the conversion of the Jews, seemingly until the end of time. Once his opinions have been established, he then continues to t he second stage of his argument. Beginning with the conjunction of But a word that prepares us for an alternative argument, Marvells second stage in his syllogistic framework refutes the initial premise by addressing the concepts of reality. He now asserts that time is an issue, having already established that if it wasnt, his method of seduction would be different. By firstly shifting to the present tense, which creates a sense of immediacy, he then uses more stylistic devices to convey the sense of urgency that is necessary when he is discussing the lack of time that the couple possess. For example, he firstly describes the winged chariot that is hurrying near. The winged chariot metaphor gives the reader connotations of a fast and furious speed, which is then neatly juxtaposed with the Deserts of vast eternity which gives an atmosphere of a slow, fruitless future. .uaf5120545adf1cedb32e83a9e4aef86a , .uaf5120545adf1cedb32e83a9e4aef86a .postImageUrl , .uaf5120545adf1cedb32e83a9e4aef86a .centered-text-area { min-height: 80px; position: relative; } .uaf5120545adf1cedb32e83a9e4aef86a , .uaf5120545adf1cedb32e83a9e4aef86a:hover , .uaf5120545adf1cedb32e83a9e4aef86a:visited , .uaf5120545adf1cedb32e83a9e4aef86a:active { border:0!important; } .uaf5120545adf1cedb32e83a9e4aef86a .clearfix:after { content: ""; display: table; clear: both; } .uaf5120545adf1cedb32e83a9e4aef86a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uaf5120545adf1cedb32e83a9e4aef86a:active , .uaf5120545adf1cedb32e83a9e4aef86a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uaf5120545adf1cedb32e83a9e4aef86a .centered-text-area { width: 100%; position: relative ; } .uaf5120545adf1cedb32e83a9e4aef86a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uaf5120545adf1cedb32e83a9e4aef86a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uaf5120545adf1cedb32e83a9e4aef86a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uaf5120545adf1cedb32e83a9e4aef86a:hover .ctaButton { background-color: #34495E!important; } .uaf5120545adf1cedb32e83a9e4aef86a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uaf5120545adf1cedb32e83a9e4aef86a .uaf5120545adf1cedb32e83a9e4aef86a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uaf5120545adf1cedb32e83a9e4aef86a:after { content: ""; display: block; clear: both; } READ: Cousin Kate EssayMarvell then has a pronoun switch, which draws the woman directly into the argument and enhances the sense of intimacy, with the intimate form of you thy. Marvell then uses grim, humorous, phallic imagery to demonstrate how lust will inevitably die, and the consequence of there being no lust in death. Thy beauty shall no more be found; . then worms shall try That long-preserved virginity. There is a grim, dark humor present, not only with the phallic imagery of the worms, but also the use of quaint, which also had a crude, underlying meaning at the time when the poem was written. The third and final stage is the resolution of the argument in the syllogistic framework. Marvell asserts that due to him being unable to love her slowly and realizing that time is precious, he resorts to the logical conclusion of a quickening of affection: Now let us sport us while we may This hurried tone is present throughout the final stage, however Marvell also uses the realities of life to subvert the premise of the first part of the argument. To do so, he uses extremely strong imagery again to conclude his argument with the last part of the argument concentrating on sexual imagery, such as the amorous birds of prey/Rather at once our time devour which can also be extended to an image of the couple seizing control of the issue by devouring time and the iron gates of life. Also, adverb use enhances the intensity of his emotion, such as Now.. , being an imperative conveying his sense of urgency to the reader, and Let us also asserting their mutual, joint enterprise, and willing insinuating a sexual eagerness. The use of metaphysical conceits here make the argument much more than a brief sexual encounter, but a vigorous sexual union where Marvell wishes to defy barriers and the concept of time, which is summed up in a crescendo in lines 45 and 46: Thus, though we cannot make our sun Stand still, yet we will make him run. The last couplet sums up the whole argument Marvell expresses that although they cannot stop time, they as a couple can control how fast the time goes. This is reminiscent of the carpe diem theme and the poem by Herrick: Gather ye rosebuds celebrating the enjoyment of life and the need to seize the day. Furthermore, the words Stand still can be related back to Joshua in the Old Testament, where he commanded the sun to stand still whilst he did heroic deeds. This is clever, ironic humor, as earlier in the poem he implies the lack of an afterlife, as the woman is destined to lie in the marble vault and only vast deserts implying nothing of eternity lies before them, inste ad of the spirit being reborn into an eternal life. Marvell also uses the rhyme scheme of the poem to re-emphasize this union of two parts. The entire poem consists of rhyming couplets, which takes two separate lines and make a matching pair out of them. In addition, the concentrated style of the poem and the frequent use of enjambment demonstrate the compression and intensity of Marvells argument. Marvells uses learned and diverse reference to not only the Bible but also to philosophy, combined with the logical structure unusual for a love ballad, as the structure almost takes on a business-like arrangement, frank emotion and sexuality and humor although still with a light tone. Although the basic argument is a sexual conquest, it also is an assertion of human capability to defy the imperatives of time. All the metaphysical poets have drawn on the same key features of not only using logic and reasoning to explain intense emotions, but also draw upon specialized areas such as law, religion, and philosophy to describe their love, often in conceits an unusual tactic to adopt, which produces a witty and humorous style to many pieces of work in this particular school of poets.

Laertes and Hamlet Essay Example

Laertes and Hamlet Paper Hamlet does not have the character to be a revenger, he can say he words, make promises to himself and others but when faced with the situation he cannot do it. Laertes has similarities with Fortinbras in the way he conducts his revenge he too is a man of action, and unlike Hamlet ready to fight anyone who he thinks may have had something to do with his fathers death. His readiness to believe that Hamlet is responsible for all the tragic events in the court during his absence and his willingness to go farther than the King to ensure that Hamlet will be killed in the fencing are witness to this. He is a very powerful character and behaves in a way Hamlet wishes he himself could act. Laertes is extremely angry, he thinks that Polonius should have been given a better burial and this spurs on his desire for revenge. In Act IV scene V it is announced that Laertes has burst into the court with a band if men threatening the lie of the king, whom he takes to be his fathers killer. Claudius knows that he must have Laertes on his side in order to keep the Danes on his side and to hold his position as king. He is scared Laertes will lead the Danes against him. We will write a custom essay sample on Laertes and Hamlet specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Laertes and Hamlet specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Laertes and Hamlet specifically for you FOR ONLY $16.38 $13.9/page Hire Writer So, almost immediately he devises a plan to keep Laertes on his side and protect himself from Hamlet at the same time. In other words, he uses Laertes to scheme against Hamlet, to save his own life. When Laertes returns from France Claudius jumps on the opportunity provided by Laertes fury at his fathers death. The King skilfully quietens Laertes and leads him to the plot by which Laertes will be the instrument of Hamlets death, as the king desires. Claudius spends a lot of time convincing Laertes of his innocence and Hamlets guilt, and hegoes on persuading Laertes until his mind is made up for him: he is determined to kill Hamlet. This is exactly what Claudius wanted and Laertes is now so angry at Hamlet he is prepared to do anything. Claudius is very sneaky in how he goes about talking to Laertes. And where thoffence is let the great axe fall. (Act IV scene v Line 213). Here is shown to already be fuelling Laertes desire for revenge and he is leading him straight to Hamlet. The King finishes his work of convincing Laertes that Hamlet, not he himself, is guilty of Poloniuss death and Ophelias madness. At first Laertes mistrusts him: why is Hamlet still free? The king makes a good case: he will not kill him for fear of alienating his queens affection, and, the people of Denmark love their prince. Instead he whips Laertes into a passionate desire for vengeance on Hamlet. In Act IV scene vii when the messenger brings the letters from Hamlet, Claudius is shocked Hamlet is still alive but does not allow it to weaken his control over Laertes. Laertes is desperate at this point having learned of his fathers death and seen Ophelia in a terrible state right before his eyes, and he unlike Hamlet, helped by encouragement from Claudius is ready to take revenge. Im lost in it, my lord. But let him come; It warms the very sickness in my heart, That I shall live and tell him to his teeth, Thus diddest thou. (Act IV, Scene VII Lines 53-56). Laertes is very active in his thoughts of revenge, he doesnt hold back; this is very different to Hamlets behaviour. Although Laertes does let Claudius take control of his revenge, not because he isnt capable of doing it himself but because Claudius provides such a good case that he should do it and Laertes should just focus on actually killing Hamlet. Throughout this scene Claudius builds up Laertes desire for revenge to such a point that Laertes is even prepared to take Hamlets life in a church. Claudius needs Hamlet out the way as soon as possible but is very devious and in his speech to Laertes drops no hints that any of the revenge he is planning on Hamlet is for his own purpose. That we would do, We should do when we would; for this would changes (Act IV, Scene VII Lines 118-119). Claudius tells Laertes that they should do at once what they want to do kill Hamlet or otherwise they will be influenced not to like Hamlet. This is ironic because Hamlets actions are continually put off by thought. Claudius is deadly, he has everything planned out the fencing the poisoning and he has Laertes to do the deed for him who has the motive to leave Claudius free of any blame. Laertes, like Fortinbras, has revengeful characteristics. It is not hard for him to think about murder and he agrees to Claudius plans straightaway he doesnt delay his actions, unlike Hamlet. This shows the audience the great difference in personalities between the revenge characters. When Laertes learns of Ophelias death it adds to his rage and his desire to kill Hamlet. Laertes is distraught at his sisters death, especially the way in which her funeral service was carried out, this adds to his hatred of Hamlet and leads to their fight in Ophelias grave when both characters seem prepared to kill each other. Fortinbras is not one of the main characters in the play, but he is always somewhere in the background. He is a definite man of action willing to fight whoever whenever. He is also very clever, in his first appearance in Act IV Scene IV, when he and his army are on an expedition to Poland to fight over a piece of disputed territory. The audience may realise that Fortinbras perhaps has an alterior motive to pass through Denmark on the way to Poland linked to his desire for revenge. He is perhaps passing through to see whats going on, to see whether an invasion would be a good idea at that particular point in time. Unlike Laertes and Hamlet, Fortinbras revenge is laid out to him on a plate; he barely has to lift a finger before he finds himself in the perfect position to take over Denmark. The most we see of Fortinbras is in the last scene after nearly all of the main characters have been killed. This quarry cries on havoc. O proud death, What feast is toward in thine eternal cell, That thou so many princes at a shot So bloodily hast struck? (Act V Scene II Lines 346-349). Here Fortinbras is basically saying that the heap of bodies cry out for merciless slaughter in revenge (havoc). To cry havoc was to give army the signal to break ranks and plunder what they had conquered. Fortinbras realises the opportunities now open for him, now that the royalty of Denmark are dead and he seizes these opportunities. I have some rights of memory in this kingdom, Which now to claim my vantage doth invite me (Act V Scene II Lines 371-372). Fortinbras knows he has the rights to the crown of Denmark, as well as to Norway, and now the opportunity invites him to claim his rights. Horatio tells Fortinbras that Hamlets dying wish was that Fortinbras would take the throne. Hamlet realised what would be best for Denmark and its future. Fortinbras is a replacement approved by Hamlet himself. This is how Shakespeare ends the play. The final scene is the climax of the revenge theme in the play. The three characters are each involved and each gets their revenge in one way or another. Laertes kills Hamlet with his poisoned foil. Hamlet kills Claudius though even at this point in the play Hamlet is avenging his mothers death not only his fathers and it is perhaps this a murder committed right before his eyes- which actually forces him to kill Claudius and when he does it is particularly striking that at this moment Hamlet utters not one word concerning the assassination of his father. Fortinbras arrives at the court to find the King Queen and heir to the throne dead and the position as king of Denmark wide open to him, none of which is through his own doing. Fortinbras symbolises the outside world breaking into the play the court destroying the vicious circle of love, hate and revenge. It is therefore very important. He provides a contrast to the rotten, poisoned state of Denmark. In Conclusion, revenge is one of the most important themes within hamlet. The differences in the ways Hamlet, Laertes and Fortinbras conduct their revenge lead to many of the events throughout the play and raise their interest value to the audience. The revengers are wholly responsible for the dramatic climax at the end of the play and the many deaths within it. Even though Claudius helps Laertes, and Hamlet should have taken his revenge much earlier on in the play. The final event of Fortinbras gaining the title King of Denmark is the climax of the revenge theme. The play begins with showing the strict security at Denmark because they fear invasion from Norway, but it ends with the Court of Elsinore and the position of ruler held within it left wide open for Fortinbras to take. This shows the total collapse of Denmark caused by the corruption and the revenge led by the characters throughout the play. Claudius efforts to kill hamlet paid off, but he got killed in the process, as well as his wife, therefore losing his position as King. Hamlet got revenge on Claudius but it was perhaps not justified. Laertes got his revenge on Hamlet but in the end made peace with him by asking Hamlet for an exchange of forgiveness, he wants them to die as friends. Many people have questioned why hamlet delayed his revenge, but there really is nothing surprising about it. It is one of the ways in which Shakespeare links hamlet to everyday life, to show him as human. It is the nature of all human beings to put off a searching task or an impelling duty involving something disagreeable or worse. (A man who has to write a difficult letter will tidy his desk e.g. before he begins). So with Hamlet; the delay is simple and can be matched with a similar inclination in us all. Shakespeare humanized Hamlet; the evidence talked about in this essay suggests that Hamlet is really delaying action because it is human to do so, and not part of his character. The events of the last scene are not what the audience would have expected to happen. One way to explain this is that Shakespeare wanted to disrupt the conventions of classical tragedy, which he may have seen as too heavily laden with stereotypes. His Macbeth, Othello, Brutus, even his King Lear, are, from the first act, so imprisoned in conventional attitudes that they become perfectly predictable. But, not in Hamlet; Shakespeare surprises us at each turn, it is the unpredictable, which dominates, and the final scene has only tenuous connections with the first act. Maybe Shakespeare chose in the final analysis only to present the themes, which for him had any fundamental importance: doubt and uncertainty therefore perhaps anticipating the theatre of the absurd and making it so popular.

Our Town essays

Our Town essays What is the definition of a small town? Is it where everyone knows your name, like the theme song of Cheers, or is it where everyone cares about each other and knows what's going on in town. Grover's Corner fits the definition of the classic small town back in the early twentieth century. Our Town by Thornton Wilder shows that this small town is very close in manor and growth to Asheville, North Carolina. Grover's Corners as imagined today would have everything in common with Asheville. It would consist of one rather large shopping mall. This is where all the local teenagers spend their free time, even with the lack of money to spend. The fact that some students have ambitions, like Emily, and some really would rather just settle down near their hometown and be a farmer, like George. In truth today Emily with her drive to learn and be at the top of her class would have gotten her a lot farther in life than it did in the play. Emily would have become a surgeon and gone off to school somewhere. She would never be able to leave her hometown, Emily would move back with her husband and settle down and have those babies just like in the play. Grover's Corners, which occupied about 3 thousand people at that time, would be about the same today as Asheville as the growth rate is very similar. Asheville is at about 60,000 residents now within the city limits with many more outside in the suburbs. The city is not big enough to be called a big city with urban problems and industrial centers but is big enough to where people notice it. Life here is simple in that we don't have all of the violence and trouble of big cities. Grover's Corners was a place where you didn't have to lock your door at night. There was no evidence of crime and if there was it would be dealt with swiftly, and with a great cause of concern of the neighborhood. Grover's Corners would eventually come to be l ...

Fathers Day Quotes From Daughters to Dads

Fathers Day Quotes From Daughters to Dads Fathers and daughters share a special bond. Reach out to the most special man in your life on Fathers Day  with one of these special messages  about the relationship between fathers and daughters.   Fanny Fern To  her, the name of father was another name for love. Anne Geddes Any man can be a father,  but it takes someone special to be a dad. Euripides To a father growing old, nothing is dearer than a daughter. Margaret Thatcher I just owe almost everything to my father [and] its passionately interesting for me that the things that I learned in a small town, in a very modest home, are just the things that I believe have won the election. Margaret Truman Its only when you grow up, and step back from him, or leave him for your own career and your own home- its only then that you can measure his greatness and fully appreciate it. Pride reinforces love. Shakira I thank God that Im a product of my parents, that they infected me with their intelligence and energy for life, with their thirst for knowledge and their love. Im grateful that I know where I come from. Anne Sexton It doesnt matter who my father was; it matters who I remember he was. Angelina Jolie And my dad:  youre a great actor but youre a better father. Gloria Naylor Old as she was, she still missed her daddy sometimes. Helen Hayes When Charles first saw our child Mary, he said all the proper things for a new father. He looked upon the poor little red thing and blurted, Shes more beautiful than the Brooklyn Bridge. Enid Bagnold A father is always making his baby into a little woman. And when she is a woman he turns her back again. Phyllis McGinley The thing to remember about fathers is, theyre men. A girl has to keep it in mind: They are dragon-seekers, bent on improbable rescues. Scratch any father, you find someone chock-full of qualms and romantic terrors, believing change is a threat - like your first shoes with heels on, like your first bicycle it took such months to get. John Gregory Brown Theres something like a line of gold thread running through a mans words when he talks to his daughter, and gradually over the years it gets to be long enough for you to pick up in your hands and weave into a cloth that feels like love itself. John Mayer Fathers, be good to your daughters. You are the God and the weight of her world. Garrison Keillor The father of a daughter is nothing but a high-class hostage. A father turns a stony face to his sons, berates them, shakes his antlers, paws the ground, snorts, runs them off into the underbrush, but when his daughter puts her arm over his shoulder and says, Daddy, I need to ask you something, he is a pat of butter in a hot frying pan. Stanley T. Banks You fathers will understand. You have a little girl. She looks up to you. Youre her oracle. Youre her hero. And then the day comes when she gets her first permanent wave and goes to her first real party, and from that day on, youre in a constant state of panic. Anonymous They say that from the instant he lays eyes on her, a father adores his daughter. Whoever she grows up to be, she is always to him that little girl in pigtails. She makes him feel like Christmas. In exchange, he makes a secret promise not to see the awkwardness of her teenage years, the mistakes she makes or the secrets she keeps. Ashton Kutcher, on being a step-parent I like being what the girls call MOD- my other Dad. What Ive learned in the past year is that every kid is different. But as long as you love them and never forget that love, then you have the key. I think its all about just being there and loving them because kids feel that every single day. Alice Walker It no longer bothers me that I may be constantly searching for father figures; by this time, I have found several and dearly enjoyed knowing them  all. Margaret Atwood All fathers are invisible in  daytime; daytime is ruled by  mothers  and fathers come out at night. Darkness brings home fathers, with their real, unspeakable power. There is more to fathers than meets the eye.

Cerebral palsy Research Paper Example | Topics and Well Written Essays - 1250 words

Cerebral palsy - Research Paper Example William Little in 1861 and then this disease was called little disease for a long time. After some time Little’s idea was changed to some extent by some other physicians such as Sigmund Feud proposing that even insults during pregnancy faced by the mother can cause this disorder in the child even before the birth. Major causes of Cerebral Palsy occur in parental age which is known as age from birth to first five years (Berker and Yalcin, 47-57). CP is the most common cause of the disability occurring in childhood in Western Societies. It was thought previously that increased cared during, pregnancy, infant caring system and early parental period can decrease the intensity of the disease yet it is not proved as probability of the disease increased between 1980’s and 1990’s greatly. Certain factors that are involved in the early child hood can increase the chances of CP (cerebral palsy) to occur in the children. Even presence of a single risk among all the risk fac tors involved in the aid of disease to happen can increase the chance of disorder to happen in the child as compared to the normal population of babies. Risk factors involved are divided into three main types that prenatal, perinatal and postnatal factors. Prematurity and low birth rates that exist heavily in the western countries are the two main factors that lead to CP. Postnatal risk are also a main factor that exists in rest of the world (Berker and Yalcin, 47-57). A clear relation exists between CP and birth weights. Low weight increases the risk than can result in the disease. Increase in quantity of waste products can affect the development of CNS. Multiple pregnancies can also increase the risk factor. Baby which carries these risks should be taken into extreme care by the medical professionals and parents from the time of birth to early five years which are known as parental years. Other risk factors include bleeding in the brain, brain infections, head injuries and infecti ons affecting the mother and ultimately the child during pregnancy. In some cases however the cause of CP can never be determined (Chan). Clinical analysis of the behavior of the children that are suffering with CP include impairments in CNS, muscle tone, strength and selectivity that are directly related to the damage of the baby in CNS. Secondary problems faced by the children are based on these primary problems. Tertiary problems occur due to the adaptive mechanism followed by the child to deal with primary and secondary problems. Muscles grow due to stretches that occur as a result of active movement. When a child moves and plays it results in a necessary movement of muscles that is required by them to grow properly. This leads to the fact that the child which cannot play due to poor selective control and abnormal balance is having a greater chance of carrying CP. As a result muscles do not grow result in an abnormality in the movement and posture in future (Berker and Yalcin, 4 7-57). Abnormality caused due to lack of muscle movement can result in partial or complete malfunctioning in different parts of the body shown in the diagram as follows: CP due to lack of movement muscles Source: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzCsmEpQyRbOj19_wrNAlM0AyJBQtuVrktwdJZTCMQyCi-iH1mOzcgh4StdDiy4_PcQap_RGMwGclcfuxhfJA5s5G1kf6B8QcparRVV-sbgLxL4Q4A-vimn-NVXbmi08ZsmkkR6hZJSAc/s1600/cerebral_palsy2.gif The movement problem during infancy period is not apparent. It happens in the period after the infancy when the children carrying CP show delay in muscle related

Poem Essay Example | Topics and Well Written Essays - 750 words - 3

Poem - Essay Example Dickinson’s use of symbolism and personification in describing her journey, or rather, her encounter with death helps bring out her point of view. Dickinson’s use of symbolism shows during the drive in the chariot which symbolizes her journey from the living to the dead. She passes from childhood (â€Å"We passed the school, where Children strove†) to maturity (â€Å"We passed the Fields of Gazing Grain†) then to her time of dying (â€Å"We passed the Setting Sun†) then eventually to her grave (â€Å"A Swelling of the Ground†). Notably, there is the repetition of the word â€Å"passed† which brings out the theme of symbolism. In stanzas three and four, Dickinson uses the word four times as the carriage symbolically moves down the path of life from the children and the grain, which are both living to the time of transition, or death, the setting sun. From this point onwards, the time stops, and it is the sun that passes them. This shows that they passed out of time of the living into the time of eternity where only time can pass them. The transition starts as when the sun sets, and ever ything becomes dark thus welcoming the damp and cold of the night (â€Å"dew drew quivering and chill.†) The use of personification in the poem occurs in two instances as Dickinson takes us through the drive with death. First, she personifies Death itself into a gentleman caller because she refers to him as a ‘he,’ in stanzas 1 and 2 while the rest of the stanzas she uses ‘we’ to show that two people are together. She also uses capital D when mentioning Death thus stressing the fact that Death is a name of a gentleman, and all names of people begin with a capital letter. Secondly, Dickinson personifies the setting sun when she refers to it as a ‘he’ when she says â€Å"Or rather He passed Us.† In this case, she acknowledges the capability of the sun as a point of transition. In the

Sample Marketing Plan Essay Example for Free

Sample Marketing Plan Essay The following pages contain an annotated sample marketing plan for Blue Sky Clothing. At some point in your career, you will likely be involved in writing—or at least contributing to –a marketing plan. And you’ll certainly read many marketing plans throughout your business career. Keep in mind that the plan for Blue Sky is a single example; no one format is used by all companies. Also, the Blue Sky plan has been somewhat condensed to make it easier to annotate and illustrate the most vital features. The important point to remember is that the marketing plan is a document designed to present concise, cohesive information about a company’s marketing objectives to managers, lending institutions, and others who are involved in creating and carrying out the firm’s overall business strategy. Five-Year Marketing Plan Blue Sky Clothing, Inc. TABLE OF CONTENTS EXECUTIVE SUMMARY This five-year marketing plan for Blue Sky Clothing has been created by its two founders to secure additional funding for growth and to inform employees of the company’s current status and direction. Although Blue Sky was launched only three years ago, the firm has experienced greater-than-anticipated demand for its products, and research as shown that the target market of sport-minded consumers and sports retailers would like to buy more casual clothing than Blue Sky currently offers. They are also interested in extending their product line as well as adding new product lines. In addition, Blue Sky plans to explore opportunities for online sales. The marketing environment has been very receptive to the firm’s high-quality goods—casual clothing in trendy colors with logos and slogans that reflect the interests of outdoor enthusiasts around the country. Over the next five year, Blue Sky can increase its distribution, offer new products, and win new customers. COMP ANY DESCRIPTION Blue Sky Clothing was founded three years ago by entrepreneurs Lucy Neuman and Nick Russell, Neuman has an undergraduate degree in marketing and worked for several years in the retail clothing industry. Russell operated an adventure business called Go West!, which arranges group trips to locations in Wyoming, Montana, and Idaho, before selling the enterprise to a partner. Neuman and Russell, who have been friends since college, decided to develop and market a line of clothing with a unique—yet universal—appeal to outdoor enthusiasts. Blue Sky Clothing reflects Neuman’s and Russell’s passion for the outdoors. The company’s original cotton T-shirts, baseball caps, and fleece jackets and vests bear logos of different sports—such as kayaking, mountain climbing, bicycling, skating, surfing, and horseback riding. But every item shows off the company’s slogan: â€Å"Go Play Outside.† Blue Sky sells clothing for both men and women, in the hottest colors with the coolest names—such as sunrise pink, sunset red, twilight purple, desert rose, cactus green, ocean blue, mountaintop white, and river rock gray. Blue Sky attire is currently carried by small retail stores that specialize in outdoor clothing and gear. Most of these stores are concentrated in northern New England, California, the Northwest, and a few states in the South. The high quality, trendy colors, and unique message of the clothing have gained Blue Sky a following among consumers between the ages of 25 and 45. Sales have tripled in the last year alone, and Blue Sky is currently working to expand its manufacturing capabilities. Blue Sky is also committed to giving back to the community by contributing to local conservation programs. Ultimately, the company would like to develop and fund its own environmental programs. This plan will outline how Blue Sky intends to introduce new products, expand its distribution, enter new markets, and give back to the community. BLUE SKY’S MISSION AND GOALS Blue Sky’s mission is to be the leading producer and marketer of personalized, casual clothing for consumers who love the outdoors. Blue Sky wants to inspire people to get outdoors more often and enjoy family and friends while doing so. In addition, Blue Sky strives to design programs for preserving the natural environment. During the next five years, Blue Sky seeks to achieve the following financial and nonfinancial goals: Financial Goals 1. Obtain financing to expand manufacturing capabilities, increase distribution, and introduce two new product lines. 2. Increase revenues by at least 50 percent each year. 3. Donate at least $25,000 a year to conservation organizations. Nonfinancial goals 4. Introduce two new product lines—customized logo clothing and lightweight luggage. 5. Enter new geographic markets, including southwestern and Mid-Atlantic States. 6. Develop a successful Internet site, while maintaining strong relationships with retailers. 7. Develop its own conservation program aimed at helping communities raise money to purchase open space. CORE COMPETENCIES Blue Sky seeks to use its core competencies to achieve a sustainable competitive advantage, in which competitors cannot provide the same value to consumers that Blue Sky does. Already, Blue Sky has developed core competencies in (1) offering a high-quality, branded product whose image is recognizable among consumers; (2) creating a sense of community among consumers who purchase the products; and (3) developing a reputation among retailers as a reliable manufacturer, delivering the requested number of products on schedule. The firm intends to build on these competencies through marketing efforts that increase the number of products offered as well as distribution outlets. By forming strong relationships with consumers, retailers, and suppliers of fabric and other goods and services, Blue Sky believes it can create a sustainable competitive advantage over its rivals. No other clothing company can say to its customers with as much conviction â€Å"Go Play Outside†! SITUATION ANALYSIS The marketing environment for Blue Sky represents overwhelming opportunities. It also contains some challenges that the firm believes it can meet successfully. Table A illustrates a SWOT analysis of the company conducted by marketers to highlight Blue Sky’s strengths, weaknesses, opportunities, and threats. The SWOT analysis presents a thumbnail sketch of the company’s position in the marketplace. In just three years, Blue Sky has built some impressive strengths while looking forward to new opportunities. Its dedicated founders, the growing number of brand-loyal customers, and sound financial management place the company in a good position to grow. However, as Blue Sky considers expansion of its product line and entrance into new markets, the firm will have to guard against marketing myopia (the failure to recognize the scope of its business) and quality slippages. As the company finalizes plans for new products and expanded Internet sales, its management will also have to guard against competitors who attempt to duplicate to products. However, building strong relationships with consumers, retailers, and suppliers should help thwart competitors. COMPETITORS IN THE OUTDOOR CLOTHING MARKET The outdoor retail sales industry sells about $5 billion worth of goods annually, ranging from clothing to equipment. The outdoor apparel market has many entries. L.L. Bean, REI, Timberland, Bass Pro Shops, Cabello’s, and Patagonia are among the most recognizable companies that offer these products. Smaller competitors such as Title IX, which offers athletic clothing for women, and Ragged Mountain, which sells fleece clothing for skiers and hikers, also grab some of the market. The outlook for the industry in general—and Blue Sky in particular—is positive for several reasons. First, consumers are participating in and i8nvesting in recreational activities that are near their homes. Second, consumers are looking for ways to enjoy their leisure time with friends and family without overspending. Third, consumers are gaining more confidence in the economy and are willing and able to spend more. While all of the companies listed earlier can be considered competitors, none offers the kind of trendy, yet practical products provided by Blue Sky—and none carries the customized logos and slogans that Blue Sky pans to offer in the near future. In addition, most of these competitors sell performance apparel in high-tech manufactured fabrics. With the exception of the fleece vests and jackets, Blue Sky’s clothing is made of strictly the highest quality cotton, so it may be worn both on the hiking trail and around town. Finally, Blue Sky products are offered at moderate prices, making them affordable in multiple quantities. For instance, a Blue Sky T-shirt sells for $15.99, compared with a competing high-performance T-shirt that sells for $29.99. Consumers can easily replace a set of shirts from one season to the next, picking up the newest colors, without having to think about the purchase. A survey conducted by Blue Sky revealed that 67 percent of responding consumers prefer to replace their casual and active war more often that other clothing, so they are attracted by the moderate pricing of Blue Sky products. In addition, as the trend toward health-conscious activities and concerns about the natural environment continue, consumers increasingly relate to the Blue Sky philosophy as well as the firm’s contributions to socially responsible programs. THE TARGET MARKET The target market for Blue Sky products is active consumers between the ages of 25 and 45—people who like to hike, rock climb, bicycle, surf, figure skate, in-line skate, ride horses, snowboard or ski, kayak, and other such activities. In short, they like to â€Å"Go Play Outside.† They might not be experts at the sports they engage in, but they enjoy themselves outdoors. These active consumers represent a demographic group of well-educated and successful individuals; they are single or married and raising families. Household incomes generally range between $60.000 and $120,000 annually. Despite their comfortable incomes, these consumers are price conscious and consistently seek value in their purchases. Regardless of their age (whether they fall at the upper or lower end of the target range), they lead active lifestyles. They are somewhat status oriented but not overly so. They like to be associated with high-quality products but are not willing to pay a premium price for a certain brand. Current Blue Sky customers tend to live in northern New England, the South, California, and the Northwest. However, one future goal is to target consumers in the Mid-Atlantic states and Southwest as well. THE MARKETING MIX The following discussion outlines some of the details of the proposed marketing mix for Blue Sky products. PRODUCT STRATEGY. Blue Sky currently offers a line of high-quality outdoor apparel items including cotton T-shirts, baseball caps, and fleece vests and jackets. All bear the company log and slogan, â€Å"Go Play Outside.† The firm has researched the most popular colors for its items and given them names that consumers enjoy—sunset red, sunrise pink, cactus green, desert rise, and river rock gray, among others. Over the next five years, Blue Sky plans to expand the product line to include customized clothing items. Customers may select a logo that represents their sport—say rock climbing. Then they can add a slogan to match the logo, such as â€Å"Get over It.† A baseball cap with a bicyclist might bear the slogan, â€Å"Take a Spin.† At the beginning, there would be ten new logos and five new slogans; more would be added later. Eventually, some slogans and logos would be retired, and new ones introduced. This strategy will keep the concept fresh and prevent it from becoming diluted with too many variations. The second way in which Blue Sky plans to expand its product line is to offer items of lightweight luggage—two sizes of duffel bags, two sizes of tote bags, and a daypack. These items would also come in trendy an basic colors, with a choice of logos and slogans. In addition, every product would bear the Blue Sky logo. DISTRIBUTION STRATEGY. Currently, Blue Sky is marketed through regional and local specialty shops scattered along the California coast, into the Northwest, across the South, and in northern New England. So far, Blue Sky has not been distributed through national sporting goods and apparel chains. Climate and season tend to dictate the sales at specialty shops, which sell more T-shirts and baseball caps during warm weather and more fleece vests and jackets during colder months. Blue Sky obtains much of its information about overall industry trends in different geographic areas and at different types of retail outlets from its trade organization, Outdoor Industry Association. Over the next three years, Blue Sky seeks to expand distribution to retail specialty shops throughout the nation, focusing next on the Southwest and Mid-Atlantic regions. The firm has not yet determined whether it would be beneficial to sell through a major national chain such as REI or Bass Pro Shops, as these outlets could be considered competitors. In addition, Blue Sky plans to expand online sales by offering the customized product line via Internet only, thus distinguishing between Internet offerings and specialty ship offerings. Eventually we may be able to place internet kiosks at some of the more profitable store outlets so consumers could order customized products form the stores. Regardless of its expansion plans, Blue Sky fully intends to monitor and maintain strong relationships with distribution channel members. PROMOTIONAL STRATEGY. Blue Sky communicates with consumers and retailers about its products in a variety of ways. Information about Blue Sky—the company as well as its products—is available via the Internet, direct mailings, and in person. The firms’ promotional efforts also seek to differentiate its products from those of its competitors. The company relies on personal contact with retailers to establish the products in their stores. This contact, whether in-person or by phone, helps convey the Blue Sky message, demonstrate the products’ unique qualities, and build relationships. Blue Sky sales representatives visit each store two or three times a year and offer in-store training on the features of the products for new retailers or for those who want a refresher. As distribution expands, Blue Sky will adjust o meet greater demand by increasing sales staff to make sure it stores are visited more frequently. Sales promotions and public relations currently make up the bulk of Blue Sky’s promotional strategy. Blue Sky staff works with retailers to offer short-term sales promotions tied to event and contests. In addition, Nick Russell is currently working with several trip outfitters to offer Blue Sky items on a promotional basis. Because Blue Sky also engages in cause marketing through its contribution to environmental programs, good public relations have followed. Nontraditional marketing methods that require little cash and a lot of creativity also lend themselves perfectly to Blue Sky. Because Blue Sky is a small, flexible organization, the firm can easily implement ideas such as distributing free water, skiers, and discount coupons at outdoor sporting events. During the next year, the company plans to engage in the following marketing efforts: Create a Blue Sky Tour, in which several employees take turns driving around the country to campgrounds to distribute promotional items such as Blue Sky stickers and discount coupons Attend canoe and kayak races, bicycling events, and rock climbing competitions with our Blue Sky truck to distribute free water, stickers, and discount coupons for Blue Sky shirts or hats. Organize Blue Sky hikes departing from participating retailers. Hold a Blue Sky design contest, selecting a winning slogan and logo to be added to the customized line. PRICING STRATEGY. As discussed earlier in this plan, Blue Sky products are priced with the competition in mind. The firm is not concerned with setting high prices to signal luxury or prestige, nor is ti attempting to achieve the goals of offsetting low prices by selling high quantities of products. Instead value pricing is practiced so that customers feel comfortable purchasing new clothing to replace the old, even if it is just because they like the new colors. The pricing strategy also makes Blue Sky products good gifts—for birthdays, graduations, or â€Å"just because.† The customized clothing will sell for $2 to $4 more than the regular Blue Sky logo clothing. The luggage ill be priced competitively, offering a good value against it competition. BUDGET, SCHEDULE, AND MONITORING Though its history is short, Blue Sky has enjoyed a steady increase in sales since its introduction three years ago. Figure A shows these three years, plus projected sales for the nest three years, including the introduction of the two new product lines. Additional financial data are included in the overall business plan for the company. The timeline for expansion of outlets and introduction of the two new product lines is shown in Figure B. The implementation of each of these tasks will be monitored closely and evaluated for its performance. Blue Sky anticipates continuing operations into the foreseeable future, with no plans to exit this market. Instead, as discussed throughout this plan, the firm plans to increase its presence in the market. At present, there are no plans to merge with another company or to make a public stock offering.

Ophelia Essay -- English Literature Essays

Ophelia A play with great value and quality would best describe one of Shakespeare’s intriguing plays, Hamlet. Events, dilemmas, action, and the characters all contribute greatly to make the play interesting and appealing. Every event that occurs leads to the outcome of dilemmas and action. The characters personalities is what makes the action is even more exciting. Each character has got their own special significance in the roles they play. However Ophelia, the daughter of the Lord Chamberlain Polonius, allows an atmosphere of simplicity and delicacy to surround the play. Her simple nature causes inner thoughts that allow us to question her true character. From the start of the play Ophelia seems to always keep her distance and speak very little. She is very distinctive of the other characters and keeps to herself most often. Her first presence in the play takes place when her brother, Laertes, and her father lecture her about keeping away from Hamlet and not believing his love. â€Å"Hold it a fashion, and a toy in blood,† (1.3. 6) this is said by Laertes as he describes that Hamlet’s love will last for a little while then fade, which makes his love insignificant. Ophelia doesn’t argue and agrees to remember what he said, however she immediately tells him to make sure he follows his own advice, â€Å"†¦and recks not his own rede.† (1.3. 51) Having said this by her displays a quality that is not usually seen. In accepting her brother’s advice she also makes sure he understands that he needs to take his own advice too. Generally with Polonius, who also disfavors Hamlet, she is very respectful and obedient. After a long lecture from him too she says â€Å"’tis in my memory locked† (1.3. 86) and â€Å"I shall obey my lord† (1.4. 136). In spite of h er love towards Hamlet she doesn’t debate the fact that he has not allowed her to see Hamlet anymore. She tells him the truth about what Hamlet has said or what she feels. Ophelia is the kind of girl who always had her father or brother telling her what to do and what to think. She says, â€Å"I do not know, my lord, what I should think†(1.3. 104) when her father asks her if she believes Hamlet’s love. Here she seems dubious and uncertain of her feelings or what she is to do. Ophelia is seen as inexperienced and very innocent for she doesn’t look like she understands love or her emotions. Due to her inexperience and lack of g... ...as always confident that he would result with the outcome he wanted. He took advantage of every chance he got. For example the players who performed the play ‘Mouse-trap’. Whereas, Ophelia, unlike Hamlet who ‘acted’ mad, really goes mad and sings her sorrow and mourning through. She doesn’t accept to face reality, for she is now on her own and without her father’s support. This proves that she had always needed someone to tell her what to do and how to feel. And now once her father was gone, there was no one to fill the emptiness she felt. Concluding, Shakespeare’s play, Hamlet, combines a lot of themes and remarkable incidents. Specifically the roles of each character unite to form an extraordinary impression on the play. Particularly, Ophelia’s character is very perceptive and penetrating. She is described as inexperienced, vulnerable, sensitive and very frail. Leading a very protective life doesn’t result in a positive end for her. Her attitude circles the play with a sense of deep warmth and the role she plays helps express the mood of the play. Although very different from Hamlet’s determined character, she has her own urbane manner. Quotes where taken from the play.

Relationships and Breakup

* When two parties disclose personal information with each other the consensus is that the two persons will like each other more. (Rowland Miller, 2012) * Disclosure within a relationship is beneficial by raising intimacy, trust and closeness levels between two partners (Dindia & Fitzpatrick, 1985: Duck, 1994a) * Strangers who open up to each admire each other more than couples who reveal less personal information to each other (Slatcher, 2010) * That being said, this shows that there is a very strong bond when disclosing personal information to each other and that it plays a large role when building a relationship. * Social penetration theory (Altman & Taylor,1973) * New relationships have a large breadth of topics discussed, while the depth of the topics is very shallow. Self-disclosure is rare to be found at this level of relationship. Break ups * If a person’s past relationship was broken off early within the relationship, that is the depth of the topics discussed was very shallow and little self-disclosure occurred, than it would be safe to say that within a new relationship they would seek that acceptance and self-disclosure earlier on. They never really got to disclose personal information with their ex, therefore they may pursue that self-disclosure more ambitiously within the new relationship. * If a person’s past relationship was broken off at a later stage where self-disclosure between two partners was a common occurrence the parties may misattribute the separation with rejected disclosed information. Within new relationships it may take longer for them to disclose information with their new partners. Revised Filter Theory New Relationships Hypotheses/Questions we want to ask: * Does the denial of disclosed information from previous relationships have an outcome on newly formed relationships? That is, is it harder to disclose information to new partners? Does it take longer? * If past the past relationships ended early on before self-disclosure could occur. Do people pursue self-disclosure earlier on in the newly formed relationship?

A Modern America: Industrialized Immigrants Realizing The American Dream Essay

The â€Å"American Dream† is a phrase or concept that gets thrown around a lot here in America, and if ten different people were asked what it meant, you would probably get ten different answers. It is generally seen as the fact that anyone can get anything if one works hard enough. In his book the Epic of America which was written in 1931, James Truslow Adams defines the â€Å"American Dream† as: â€Å"that dream of a land in which life should be better and richer and fuller for everyone, with opportunity for each according to ability or achievement. It is not a dream of motor cars and high wages merely, but a dream of social order in which each man and each woman shall be able to attain to the fullest stature of which they are innately capable, and be recognized by others for what they are, regardless of the fortuitous circumstances of birth or position.† I see the â€Å"American Dream† as one of the reasons why Americans should get on their knees every day and thank God for this country (along with baseball and apple pie). To me, the â€Å"American Dream† is the fact that anyone, no matter the social or financial stature, can obtain anything he wants if he gives the required effort. In â€Å"The Newsies†, the main characters are Francis Sullivan (a.k.a. Jack Kelly) and his unlikely friend David. Jack’s father is a convict and his mother is dead, but he tells others that they are out West looking for a ranch and are going to send for him when they find one. Although he knows that this is not true, he still dreams of catching a train out West to Santa Fe. Railroads are vital to the realization of Jack’s dream, as it is his transportation out West. Jack believes in the equal opportunity rights that make our nation great. David is a member of a struggling, but loving family and he has a valuable education. He is working as a Newsie while his Dad is out of work. David’s father had an accident at a factory and became useless to his employer, thus he was fired. The factories of the time provided virtually no opportunity for advancement due to the fact that everyone generally does the same thing over and over, which is why the factory was so quick to fire Mayer. Since he had no workers union to protect him, he was forced to live with only the income David and his younger brother Les could bring in. David’s mindset that you can achieve anything you work towards if you believe in and do it with passion directly correlates with the American dream. In the 1900’s, catchy headlines were essential to selling newspapers; especially headlines with words like maniac, corpse, love nest, or nude in the title. During this time when a trolley strike was in full effect, good headlines were hard to come by, so the newsies decided to improve the truth a little by exaggerating uninteresting headlines and making them seem like interesting stories. The newsies bought the â€Å"papes† that they sold and got to keep the profit from what they sold, so a 10-cent price increase was almost crippling. Because the was not a Newsies Workers Union, it was imperative for all of the newsies to come together if there was going to be an effective strike. The owner of â€Å"The World†, Mr. Pulitzer, exemplifies the corrupt businessmen of the time. He was a man that judged his quality of life by the size of his wallet. It came quite easy to him to up the paper price to the â€Å"distribution apparatus† 10 cents. He also uses his money and political power to influence those around him. He influences the mayor to stop the strike by baiting him with a conversation about the upcoming election with a few others as wealthy as himself. Pulitzer also tries to bribe Jack with everything he’s been dreaming of: money, freedom, and a trip out West. He knew that if he cut of the strike at the head, the rest would follow. In America during this time, both immigrants and children were treated poorly. This is demonstrated in the movie when the police violently stop the convention using their force. Children along with immigrants were often given poor working conditions. Also, a shot was seen of men being beaten because they would not join the trolley strike. Obviously at this time land and money were more valuable during this time of industrialization than human life. At the conclusion of the movie, Jack’s dream is realized, but not in the form of Santa Fe. All of his effort is rewarded when (with a little help from others) the prices are brought back down. He realized that just because you don’t have family doesn’t mean no one cares about you. Moreover, in the American â€Å"happily ever after† style, he falls in love with David’s sister Sarah (as if a kiss is any sign of true love, right Ms. K?). David’s dream of winning as the underdog is also realized, and all of his hard work is rewarded. Without suffering through these growing pains, America would not be what it is today. Jack and David’s dream that anyone can be anything if they work hard enough and believe in it has almost become a right as an American. Though greed is still evident and corrupt politicians are as prevalent as ever, it is not a trademark of our society anymore, and for that I am thankful. In conclusion, it was the immigrants that came to America so they could become something that gave the nation a big part of its character today. Their sacrifices have become our blessings.

Fashion Brand Louis Vuitton Essay Example

Fashion Brand Louis Vuitton Essay Example Fashion Brand Louis Vuitton Essay Fashion Brand Louis Vuitton Essay The anatomy of the luxury fashion brand Received (in revised form): 9th September 2008 Antoinette M. Fionda is a PhD student specialising in Luxury Fashion Marketing at Heriot-Watt University. Previously, Antoinette worked in both the Fashion and the Luxury Fashion sectors in a variety of areas from design to management and consultancy. Christopher M. Moore is Chair in Marketing and Head of Fashion, Marketing and Retailing at Glasgow Caledonian University. Prior to his appointment at GCU, he was Professor of Marketing and Director of the George Davies Centre for Retail Excellence at Heriot-Watt University Edinburgh. A graduate of the universities of Glasgow and Stirling, his doctoral research was in the area of fashion retailer internationalisation. His current research interests include business models for luxury fashion retailers; fashion brand management issues and trends in fashion retailer internationalisation. ABSTRACT Purpose: To explore the critical dimensions necessary to create and maintain the success of a luxury fashion brand. Design/methodology/approach: This study adopts a qualitative approach in the form of case studies of 12 international fashion retailers. This involved semi-structured interviews with management to explore their knowledge and experiences, supported by secondary research such as internal documents and media reports. Findings: Identi? es nine interrelated key luxury fashion brand attributes that are crucial in the creation and maintenance of the brand proposition. The management of the luxury fashion brand is complex, and requires a consistent and coherent approach. Originality/value: An empirical understanding of the luxury fashion brand’s critical dimensions will assist in effective and ef? ient luxury fashion brand management. Journal of Brand Management (2009) 16, 347–363. doi:10. 1057/bm. 2008. 45 Keywords: luxury fashion branding; brand management INTRODUCTION The luxury goods market is signi? cant, not only in terms of its market value (estimated to have exceeded US$130 billion in 2007),1,2 but also in terms of its rate of growth – which has in the past 10 years signi? cantly outpaced that of other consumer goods categories. The rate of growth has been driven by a variety of factors, the most signi? cant of which has been the : Correspondence: Antoinette M. Fionda School of Management and Languages, Heriot-Watt University, Edinburgh, UK increase in the number of high-net-worth individuals with an appetite for luxury brand consumption. In response to signi? cant consumer interest and demand, the suppliers of luxury fashion goods have developed business strategies that seek to better service consumer demand by increasing availability through the extension of their geographic coverage and their market accessibility via the opening of  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 6, 5/6, 347–363 www. palgrave-journals. com/bm/ Fionda and Moore dedicated points of sale. 3–5 Fuelling and supporting this development of the luxury market has been increased media interest in luxury goods consumption, and the emergence of luxury brand awareness as an integral element of consumer culture. Consequently, a variety of studies have noted that luxury brands are among the most recognised and res pected of consumer brands the world over. 5,6 Within the luxury offer, there is an everexpanding offer of luxury categories. There are four principal categories of luxury goods: fashion (couture, ready-to-wear and accessories), perfumes and cosmetics, wines and spirits and watches and jewellery. 7 More recently, the categories of luxury automobiles, hotels, tourism, private banking, home furnishing and airlines have been added. 8 The focus of this study is the luxury fashion goods category. Firstly, this focus is justi? ed on the basis that it accounts for the largest proportion of luxury goods sales, with a 42 per cent share in 2003,9,10 and the strongest product category growth in 2007. 1 Secondly, previous studies have suggested that the branding of luxury fashion goods is more complex than other sectors by virtue of the speed of change within the sector (the majority of luxury fashion goods are dormant at the end of the fashion season),2,7,12,13 as well as the scale and number of fashion items that are marketed using a single luxury brand name. Thirdly, the marketing of fashion goods is typically more complex and costly as a result of differences in product numbers, operating scale and the tendency for luxury fashion companies to take direct control of the distribution of their goods within markets. As such, these costs and the complexity of managing the marketing of this category of luxury goods have previously been shown to exceed those of the other luxury brand categories. 8,12,14,15 Yet, despite the signi? cance of the luxury sector in terms of the insights that it could provide with respect to contemporary business practise and the nature of consumption, it has been recognised that the sector has been under-represented within the academic literature. ,12,16 Furthermore, although the literature relevant to the branding of consumer goods has grown hugely in the past decade, the application of branding within the luxury goods sector has received minimal attention. In particular, although various recent studies have sought to delineate the form and function of consumer brands, there have been very few empirical studies that have sought to identify and understand the processes that support the creation and maintenance of the luxury fashion brand. This study is based on the propo sition that the luxury brand – and speci? ally the luxury fashion brand – is distinctive because of its application to diverse, ever-changing product assortments (from underwear to business suiting), that it invariably operates as an experiential brand (within the retail space), and that it functions as a means of creating and communicating an identity for the brand user. As such, it is suggested that the delineation of the form and dimensions of the luxury fashion brand will not only contribute to an understanding of the nature of luxury marketing, but will also offer further insight into the functioning of branding in general. Therefore, it is within this context that the aim of this study was to provide a framework incorporating the dimensions of the luxury fashion brand. Given this uncertainty and neglect, and mindful of the opportunity to contribute to a wider debate concerning the nature and characteristics of product branding, two principal objectives were identi? ed for this study: 1. to identify the dimensions of the luxury fashion brand; 2. to create a framework depicting the luxury fashion brand. 348  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347–363 The anatomy of the luxury fashion brand RELEVANT LITERATURE De? ning the luxury fashion brand Conceptualisations of luxury are typically derived from either a consumption perspective5,17–20 or from an application as a product branding device. 7,21–23 There has emerged a strong strand of literature that seeks to explain luxury consumption, particularly in terms of having a symbolic function that operates at the individual and collective level. As such, luxury is identi? ed in terms of its psychological value,5 its function as a status symbol20,24,25 and as a highly involved consumption experience that is strongly congruent to a person’s self-concept. 7 From a product perspective, luxury brands are frequently de? ned in terms of their excellent quality, high transaction value, distinctiveness, exclusivity and craftsmanship. 21,23,26,27 Jackson7 proposes the following as the core characteristics of the luxury product: ‘†¦ exclusivity, premium prices, image and status which combine to make them more desirable for reasons other than function’. (p. 158) Research on luxury brands Research relevant to the creation and development of luxury brands is limited,12,16,26 and previous studies have recognised a lack of clarity with respect to what de? es a luxury brand. 5,17,28 Instead, the research examining the marketing of luxury goods has tended to take a consumer perspective,1 speci? cally in terms of motivations for purchasing luxury goods. 20,29,30 These studies are often criticised for their over-reliance on student samples and lack of appropriate external controls. 16 Other key research areas within luxury include the development,12,31,32 the protection33–36 and the brand extension. 37–39 More recently, great attention has been given to a consideration of the dimensions of the luxury brand (Table 1). Nueno and Quelch23 highlight the importance of product excellence to the development of a credible luxury brand, in addition to the signi? cance of controlled distribution. Bernard Arnault, the chief executive of? cer (CEO) of LVMH,41 emphasises the signi? cance of corporate identity, culture and spirit, and furthermore indicates the importance of creative excellence in luxury brand development. Similarly, the Morgan Stanley Dean Witter40 model considers the dimensions from a practitioners’ viewpoint. Phau and Prendergast28 highlight four key luxury attributes, although indicating that their identi? d attributes of recognised brand identity, quality, exclusivity and customer awareness are critical elements of the luxury brand. Beverland16 maintains that this is not an exhaustive list. Indeed, he proposes that these are instead the characteristics of any successful brand and not only that of a luxury brand. Consequently, Beverland provides additional dimensions within his frame work, and these include elements such as external endorsement, corporate culture, brand/corporate heritage and product integrity. In 2003, Alleres22 suggested six characteristics of a luxury fashion brand that is derived from the strong in? ence of the French luxury heritage brands. Considering the Italian model, Moore and Birtwistle12 examine Tom Ford and Domenico De Sole’s strategy for the repositioning of Gucci as an authentic luxury fashion brand. They identify dimensions that all require careful management to develop and create a successful brand. Although the authors make no claim that the Gucci template can be universally applied, they argue that it serves to provide a more comprehensive account of luxury brand development when compared with other studies. One of the most recent models is provided by Okonkwo,2 in which she identi? s 10 core characteristics of the successful luxury fashion brand.  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347à ¢â‚¬â€œ363 349 350 Fionda and Moore Table 1: Overview of the key models identifying the luxury fashion brand dimensions Arnault (2000)26 Phau and Prendergast (2000)28 Marketing The brand name Critical mass; Global recognition Product integrity Quality Recognition symbols; Creations Marketing; Value driven emergence Alleres (2003)22 Morgan Stanley Dean Witter (2000)40 Beverland (2004)16 Moore and Birtwistle (2005)12 Oknokwo (2007)2 Critical dimensions Nueno and Quelch (1998)23 Brand/marketing strategy Well known brand identity Relevant marketing programme; Global reputation A distinct brand identity; A global reputation; Emotional appeal Product and design Premium quality; Heritage of craftsmanship; Element of uniqueness to each product; Recognisable style or design; Ability to time design shifts when category is fashion intensive Brand image; A drive to reinvent oneself to be the best Product quality; Creativity Core competences and other products Product integrity; Iconic products/ design; Control over product manufacturer Premium price Innovative, creative, unique and appealing products; Consistent delivery of premium quality; Heritage of craftsmanship Price Exclusivity Powerful advertising Evoke exclusivity Increase brand awareness Limited production run Communications strategy Premium price Exclusivity in goods productions High visibility Brand leadership/ designer Personality and values of its creator Company sprit  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347–363 Distribution strategy Immaculate ? agship stores Superb customer service Endorsement Endorsement; Fashion shows, store displays, PR, product packaging The creators Culture Culture Designer PR face of the brand Locations Flagship store and Tightly controlled store brand concept distribution Controlled distribution of the brand History History Heritage Heritage . Adapted from references 2,12,16,22,23,28,40,41 The anatomy of the luxury fashion brand And although Okonkwo2 states that this is not a de? nitive model, she does maintain that it provides an insight into the management of a luxury brand. Key luxury fashion brand characteristics As Table 1 highlights, there are a number of reoccurring and divergent identi? ed key attributes within the literature, in order to create and maintain luxury fashion positioning. Within the luxury proposition, the concept of brand – speci? cally the brand name and identity – is considered fundamental. 2,7,22,42 The luxury brand requires a relevant, clear and de? ned marketing strategy. 12,16,23 The strategy is formed to assist in developing the global reputation and presence of the brand, and to leverage the brand status and awareness. 8,28 In conjunction with the concept of brand, various ther attributes are considered crucial for creating a luxury brand, including product and design attributes of quality,2,7,9,12,16,21,23,25,27,28,42 craftsmanship,2,7,19,21,23,26,42 and innovative, creative and unique products. 2,12,22,23,40,42 Bruce and Kratz13 highlight the fact that the iconic coveted products are central to the luxury product offer. These iconic products are typi ? ed by authentic, quality and exclusive characteristics26,27,38 that are aspirational. These key products often epitomise the brand signature or ‘brand DNA’,23 as they can assist in portraying the personality and values of the creators. ,13 The appointment of the high-pro? le fashion designer enhances the appeal of the products,7,13 and subsequently increases their relevance to a current market. The premium price of luxury goods is only explicitly referenced in two of the frameworks within Table 1. 2,12 Although it has been acknowledged previously that a high price positioning need not necessarily equal a luxury positioning, there is a consensus in the literature that luxury goods typically command a premium price differential when compared with other products within the same category. 1,26,43 The components of rarity and exclusivity are considered a signi? cant trait of luxury brands. 21,23,26,27,44–48 The Nueno and Quelch23 and Okonkwo2 models both identify th at limited production is fundamentally linked to the maintenance of the brand exclusivity. The aura of scarcity adds to the appeal of luxury brands. 49 Managers can sustain the exclusivity of the brand through advertising, endorsement, controlling distribution and price,49 and producing limited editions lines. 2,23 The environment and service provided by luxury brands are considered a crucial attributes in the luxury proposition. ,12,22,40,50,51 Luxury stores are considered shopping cathedrals52 that use architecture to convey a sense of splendour,13 and de? ne the shopping experience for wealthy customers. 13,52 The luxury environment and experience of a brand is showcased in the ? agship store, which is de? ned as a major outlet generally located in a capital city, retaining the full collection of a fashion brand’s merchandise. 52 These stores typically enjoy signi? cant ? nancial investment, and are considered crucial to a brand’s marketing communication process and reputation, and as a support for the wholesale business. 3 Company own-stores allow the companies to manage the customer experience at the point of sale. 7 Customer service is also vital in the luxury consumption experience. 2,24 Within fashion, branding has become as much about branding the experience as the product. 54 The consumption experience provides an insight into the brand lifestyle by making it a reality. 8 Along with the control of the consumer experience, Moore and 12 2 Birtwistle and Okonkwo also state the importance of controlling the manufacturer, particularly within license agreements, to ensure that the brand positioning is not compromised. 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347–363 351 Fionda and Moore Brand heritage is considered prevalent in Alleres’,22 Beverland’s16 and Moore and Birtwistle’s12 models. Many luxury brands have a long history, which adds to the authenticity of the brand,21 and is considered one of the hallmarks of a luxury brand. 49 The retention of heritage has the ability to create nostalgia and credibility for a brand,55 and is often correlated to the heritage of the country of origin. 6 Powerful marketing co mmunications are considered key to building the luxury brand image. 2 Relevant advertising can provide support in establishing the brand image, which consequently assists in creating identity and attraction,53,57 and generates awareness. 58 Other means of luxury brand communication are celebrity endorsement, public relations (PR), events and direct marketing. 2,12,16,52 Finally as highlighted in Arnault’s model (cited in Kapferer),26 the company spirit is considered key to luxury fashion brand success. The investment in the spirit or culture of a ? m allows the support for a brand to extend to the internal as well as an external commitment to the brand. 59 Internal branding assists the employees in understanding desire, and encourages them to deliver on the brand promise. 60–62 Despite the fact that many of the dimensions of luxury branding are identi? ed in the literature, it is unclear whether and how these attributes are connected. Nor is it clear whether this is a de? nitive listing. Furthermore, as highlighted in the review of the frameworks of the luxury brand, there is a dearth of research that empirically considers the dimensions. Beverland’s16 paper, the only empirical investigation in Table 1, is considered narrow in its scope and therefore in its application. 12 Given this uncertainty and neglect, and mindful of the opportunity to contribute to a wider debate concerning the nature and characteristics of product branding, this study will identify the dimensions of the luxury fashion brand and depict within a framework. METHODOLOGY In order to investigate these issues, an interpretive qualitative case study research methodology was adopted, as it is considered to be the most appropriate for an exploratory theory building approach. 6,63–65 Furthermore, the number of research studies adopting case study design is increasing within a marketing context66–68 and within a luxury marketing/branding context. 12,16 There are three main reasons that support the implementation of a case study design for this research. Firstly, as the key aim of this study is to investigate the means and methods of l uxury fashion brand creation and development, the use of the case study method assists in providing in-depth descriptions and illustrations rather than surface-level observations. 6,68 Thus, within this context, the close proximity with those involved in the management of luxury fashion brands provides the opportunity to obtain an intimate understanding. Furthermore, the case study method can provide contextual and historical dimensions to research,65,69 thus providing a means to consider the unique history and heritage of each brand and how these in? uence their decision-making today. 16,70 Secondly, because of the lack of empirical work in the area, this approach provides a means of extracting rich and relevant data. Both Yin71 and Perry67 suggest that the case study method can assist in compensating for a lack of established theory and/or where accepted principles and constructs have not been established and are clearly inadequate. Thirdly, there is a dearth of conceptual development within this ? eld. The case study data facilitate the identi? cation and construction of conceptualisations of the luxury brand building process. 352  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347–363 The anatomy of the luxury fashion brand Preparation for data collection Case companies were chosen based on literal replication following strict criteria. The study focuses on British luxury brands because of access restrictions. The criteria for case study selection were established as follows: 1. The cases should be identi? ed as luxury fashion brands through both the ? rms and established databases, principally Walpole, Mintel and Euromonitor, positioning the brands as a luxury fashion proposition; 2. The potential selected brands should have been in existence for a minimum of 2 years. This allows for a historical review of the luxury fashion brand development; 3. The ? agship stores should operate in prestige locations; 4. The potential companies should operate at least one luxury fashion store in the UK. In order to identify companies that meet these requirements, four resources were consulted: Walpole, a British luxury association;74 Mintel’s9 ‘Luxury Goods Retailing’ report; Euromonitor,3 ‘The World Market for Luxury Goods’ report; and various leading fashion journals including Vogue, Elle, Marie Claire, Arena and GQ. From these, 26 British luxury fashion brands were identi? d. Initially, all 26 companies were contacted, allowing them all an equal opportunity to take part in the study. This became a process of self-selection. Out of the 26 companies contacted, 12 agreed to participate. To preserve anonymity in report ? ndings, companies were coded (Table 2). The case brands differed in their luxury brand orientation towards heri tagebased image ‘history’ or a design ‘story’based image, corporate size and the product offering. Multiple sources of evidence, documentary evidence and interviews, were used in the data collection phase to protect the research from bias. 5–77 In all the cases, a tape-recorded interview with the CEO, managing director or marketing director was conducted, which lasted between 1 and Table 2: Key to case companies and similarities and differences Company Interviewee Country of parent origin America British Japan British France Japan British France Italy Japan Japan Japan Sector A B C D E F G H I J K L Managing Director Marketing Director Managing Director Managing Director Marketing Director Managing Director Brand Manager Marketing Director Managing Director CEO CEO CEO Heritage Brand; Jewellery extended into fashion (menswear and womenswear), accessories and home Heritage Brand; Accessories extended into fashion (menswear and womenswear) Lifestyle purist brand; Fashion oriented (menswear, womenswear and childrenswear) Savile Row Tailor; Fashion and accessories (menswear) Heritage Brand; Fashion and accessories Heritage Brand; Fashion (menswear and womenswear), and accessories Savile Row Tailor; Fashion and accessories (menswear) Heritage Brand; Fashion and accessories (menswear) Fashion oriented; Fashion (menswear and womenswear), and accessories Department Store and own fashion brand; fashion (menswear and womenswear), accessories and home Savile Row Tailor; Fashion and accessories (menswear) Heritage Brand; Fashion and accessories (menswear and menswear)  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347–363 353 Fionda and Moore 2 hours. In order to ensure the quality of the research design, Yin71 suggested four criteria: construct validity, internal validity, external validity and reliability, which were jointly considered at each stage. This investigation, as an exploratory case study, satis? ed Yin’s criteria (Table 3). The interview questions focused on the history and origins of the brands; the characteristics that differentiate the selected case companies as a luxury brand; the marketing actions and investments that they invest in to assure, maintain and protect the brand over time; their manufacturing and distribution policies; and how these affect their brand management strategy. Finally, the interviews considered the critical success factors relevant to a luxury fashion brand. The interviews were transcribed, and all the data and case materials analysed, so that a general sense of the data could be established. The important themes, the frequency of occurrence, relative importance to the interviewee, emergent patterns and areas of contradiction were identi? ed in accordance with established protocols. 82 The analysis Table 3: Case study tactics for four design tests Phase of research which tactic occurs Research design/ preparation of data collection Case study topic Tests was conducted on a case-by-case basis and then by cross-case analysis. 3,65 Thereafter, the conclusions were all veri? ed and con? rmed. The ? ndings and themes were compared with the literature on the subject area and through case report veri? cation by the interviewee and other academics. RESULTS AND ANALYSIS The cross-case analysis revealed a number of key themes that emerged from the d ata. The proposed themes are identi? ed as the principal dimensions of a luxury fashion brand. Within each of these key themes, various sub-themes illustrated within the cases exist (Table 4). The following presentation of the key research ? ndings is developed from nine principal luxury brand dimensions and the evidence from the case data, which is identi? d by quote number (Q1, Q2, and so on). Clear brand identity The importance of a clear brand identity and a clear understanding of the brand Reference Use theory in single-case studies Use replication logic in multiple case studies Use multiple sources of evidence Establish chain of evidence Use case study protocol Develop case study database External validity External validity Construct validity Construct validity Reliability Reliability Internal validity External validity Construct validity Yin (2003)71 Data collection Data analysis Do pattern-matching Comparison of evidence within the literature Have key informants review draft case study report Yin (2003),71 Riege (2003),72 Eisenhardt (1989)63 and Parkhe (1993)73 Yin (2003),71 Riege (2003),72 Flick (1992)76 and Perakyla (1997)77 Yin (2003),71 Riege (2003) and Hirschman (1986)78 Yin (2003),71 Riege (2003) and Eisenhardt (1989)63 Yin (2003),71 Riege (2003) and Lincoln and Guba (1985)79 Yin (2003),71 Riege (2003) and Huberman and Miles (1994)80 Riege (2003) and Yin (1994)65 Yin (2003),71 Riege (2003) and Le Compte and Goetz (1982)81 Composition Source: Adapted from Yin, 2003,71p. 34. 354  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347–363 The anatomy of the luxury fashion brand Table 4: Case study evidence Case study evidence Components inherent to the creation of the luxury fashion brand Clear brand identity Emotional appeal/ aspirational Brand values/DNA Global marketing strategy Q1: ‘Our brand has a strong aspirational appeal. Our customers want to buy us not just for our beautifully crafted products but for our prestigious image and to buy a piece of our heritage’ (Company, J) Q2: ‘All luxury fashion brands need to be clear on their DNA†¦ what makes it different and relevant as it is a very competitive ? eld out there. Everyone here works towards the blueprint for the brand and the brand values’ (Company, F) Q3: ‘(the designer) would consider us as a fashion orientated brand which has greater emphasis on classic than say avant-garde’ (Company, C). Q4: ‘We create trends- we are fashion! That is why out customers comes to us’ (Company I)S Q5: ‘We have a three year plan to develop the (brand) further internationally as well as nationally though investment in directly-owned stores, advertising and our product offering’ (Company, L) Q6: ‘The communications strategy is critical within the luxury fashion sector. We use a combination of advertising, PR, celebrity endorsement and direct marketing to the customer. We need to be in the key magazines and broadsheets to ensure we are increasing awareness about the brand and the products’ (Company, H) Q7: ‘We need to show in Milan. It is vital for us. It is the place to show if you are serious about fashion’ (Company, I) Luxury communications strategy Direct marketing; Sponsorship; Fashion shows; Celebrity endorsement Advertising; PR Product integrity Functional, quality and craftsmanship Innovation and seasonal offer Q8: ‘Quality, it is all about quality. It should be the best materials, best craftsmanship and hand ? ished†¦ to me luxury is something I buy today and will have in ? fty years. ’ (Company, J) Q9: ‘We invest in craftsmanship. In our ? agship store in London we have a unique workshop on the top ? oor which our VIP can visit and see their investment piece be created. ’ (Company, A) Q10: ‘As a luxury fashion brand we need to develop both a fashion and a classic offer in our range – we introduced over 10 000 products obviously not just in clothing and accessories but the greatest level of involvement comes from fashion. We have classics pieces which re? ect our heritage but we also have fashion ‘show pieces’ which keep it fresh and exciting! ’ (Company A). Q11: ‘Compare us to luxury cars for example- we have to design, sample, manufacturer, distribute, create our own stores, sell and eventually discount on at least a bi-annual basis, although that is changing, literally hundreds of products, styles which is huge in terms of investment†¦ whereas luxury cars or hotels have in comparison a far easier job in my opinion’ (Company, F) Q12: ‘†¦we always have to consider the brand handwriting, to ensure it is in keeping with the brand image†¦ it is our iconic products which truly epitomize the brand. ’ (Company B) Q13: ‘We have just completely redesigned all of our packaging and packaging accessories as they were off-brand. It is so important that it (livery) enhances the luxury product’ (Company, B) Q14: ‘We have a very strong design handwriting. Our products and everything else for that matter must be inkeeping with that’ (Company, C) Q15: ‘For us the designers very muc h personify the brand- they are our spokesperson’ (Company, D) Q16: ‘†¦we have to be sure that prices are relevant to what they are today and to luxury’ (Company D) Brand signature Iconic products Brand livery Recognisable style Creative direction Prestige price Consistent with positioning Exclusivity Limited editions Controlled ranges and locations Q17: ‘†¦ Managed scarcity it is a game all luxury fashion brands are playing. We all must manage the availability and exclusivity ratio. In reality, this is the management of the pro? tability and luxury exclusive image’ (Company, F) Q18: ‘We had to close a number of licensees as they were not in keeping with our repositioned brand image. We also stopped selling to a number of our wholesale clients as they no longer matched our stockists criteria’ (Company, L)  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347–363 355 Fionda and Moore Table 4: Continued Case study evidence Components inherent to the creation of the luxury fashion brand Luxury heritage Brand history and/or story Q19: ‘Our heritage is extraordinary so of course we are going invest in it and try to educate customers through our museum archives and website, and the products and product ranges. ’ (Company, H) Q20: ‘Everything is based around him (the designer) he controls everything. It is all about his personality’ (Company, I) Q21: ‘Our ? agship stores were designed by truly amazing architects, in an amazing building to create an amazing space to showcase our brand in a completely controlled environment which allows our customers to experience the lifestyle at our ‘Motherstores’. We aspire to create the ideal international luxury experience’ (Company A) Q22: ‘Service is key in the luxury environment thus our staff are carefully recruited and trained to be approachable and friendly to add to the (consumption) experience’ (Company, E) Q23: ‘†¦the culture of the company is important you can not create a successful brand without the right management team, internal commitment to the brand and the brand vision and right external partnerships’ (Company, C) Q24: ‘We have exceptional partnerships with our licensees and manufacturers. We are strict in our management and control but we are very proud of our partners and hopefully this is reciprocated’ (Company, K) Environment and consumption experience Globally controlled distribution Superior service Flagship stores Luxury culture Internal commitment to the brand External partnership commitment to the brand values were apparent in each of the case companies (Table 4, Q2). Nearly all of the brands discussed the importance of a clear brand identity and values that truly differentiate and entice the consumers on a functional as well as emotional level (Table 4, Q1). The ‘fashionability’ element was considered a brand value that was apparent in each of the brands, although with differing degrees of importance. The heritage in conjunction with the legacy of the original creator of the brand prompted the level of importance of each of the brands placed on this element (Table 4, Q3 and Q4). Each of the case companies had a developmental strategy to invest in the distribution, awareness and positioning of the brand over a 3- or a 5-year period (Table 4, Q5). proposition, the case companies employed all or a combination of the following marketing communication tools: fashion shows, advertising, PR, direct marketing and celebrity endorsement (Table 4, Q6). All of the brands considered direct communication with the customer on a personal level an area of growing importance. They all partook in direct marketing to ensure that a relationship was developed with the customer. The investment in PR made, ‘†¦ the brand interesting and attainable’ and raised awareness. A number of the brands also invested in catwalk shows and considered these a vital element of luxury fashion positioning (Table 4, Q7). These brands tended to place greater importance on the fashion element of the brand. Marketing communications All of the brands invested in a communications strategy. The methods differed between brands, however. To increase brand awareness and a luxury fashion brand Product integrity This key theme emerged as signi? cant in the case companies, and within each there were several sub-categories, which included ‘product quality’ (Table 4, Q8) ‘craftsmanship’ 356  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347–363 The anatomy of the luxury fashion brand and ‘attention to detail’ (Table 4, Q9). To achieve their ‘fashion status’, each of the case companies invested in innovation and creativity. A parity between the classic luxury and the fashion directional pieces was achieved through balancing the collections (Table 4, Q10). Many introduced fashion ‘show pieces’ for press or VIP customers. Case Company J highlights the difference between managing luxury fashion and luxury goods which require higher levels of investment in management, time and resources (Table 4, Q11). of developing the luxury status of the brand. The price not only re? ected the handmade product and quality attribute associated with luxury, but also suggested the element of exclusivity of a product, as high price creates a barrier of entry (Table 4, Q16). A number of the cases employed strategies to increase exclusivity, including limited edition products and ranges, and through strategic alliances. Exclusivity Exclusivity is inherent to luxury brand positioning (Table 4, Q17) as de? ned by the literature. Each of the case companies strictly controls the distribution and accessibility of the brands to ensure exclusivity (Table 4, Q18). Furthermore, the ? ndings revealed that exclusivity can be controlled through limited production runs and the number and typology of distributors in each of the cases. Brand signature Each of the companies recognises the importance of the brand signature and iconic products, referring to them as the ‘designers’ style’, ‘handwriting’ or the ‘brand DNA’. Each considered these inherent to the luxury fashion brand. All of the brands produce or sell numerous product categories that need to be internal, consistent and coherent, which will minimise the damage of confusing the consumer (Table 4, Q12). Each of the brands ensured that the whole collection had a clear signature through comprehensible managerial direction initially, and then repeated meetings to ? nalise the products (Table 4, Q14). The iconic product epitomises the brand signature (Table 3, Q12). In a number of the cases, the iconic products have close connections to their heritage. The design is extended to the packaging and livery (Table 4, Q13). Each company considered it vital that the packaging cohered with the brand image. All of the case companies identi? ed the importance of a design team (Table 4, Q15) and invested in eminent designers to work on various products of their collections to ‘†¦ raise and punctuate the fashion element of the brand’ (Company D). Heritage All of the case companies have extremely interesting histories, and each has highlighted the value of remaining faithful to the historic positioning (Table 4, Q19) or the founding and current designer (Table 4, Q20) of the brand because this strategy has the ability to add and maintain the brand’s authenticity. For example, Company C produced a book illustrating its history, and retained original features from the leather production process; and Companies A, J and H preserved their history through an extensive exercise of attempting to buy back archive pieces and by reproducing products or design-based products from their archive collection. Luxury environment and experience All the representatives identi? ed the signi? cance of both the store environment and superior service to brand luxury creation. Firstly, the store environment is typi? ed by the ? agship store, which was considered Premium price The importance of price was clearly identi? ed by all of the respondents as a means  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347–363 357 Fionda and Moore crucial by the Chief Executive of Company C, as ‘it is an important part of what the consumer is paying for’. Company A considered the London ? agship the ‘motherhouse’, as it is the home of the brand (Table 4, Q21). The ? agship was considered to require the greatest investment but it provided the paramount experience. A number of the representatives also highlighted the fact that the ? gship store actually assisted their licensing and wholesale business. For the business-tobusiness customer, the store provides an insight into the personality and soul of the company, which assists in the development of a working relationship. Other distribution methods included boutiques, wholesale and licensee. The level of investment decreased accordingly, however, as did the level of control. The service provided by all the case study companies was considered superior to other fashion brands and the more diffused luxury brands. The companies claimed to provide this level of service for their customer, as it added to the experiential dimension, which was considered essential for luxury (Table 4, Q22). Many of the brands offered personalised service, which included staff spending hours with a client, direct personal phone calls and merely ensuring the shopping experience is made as easy as possible. Clearly, each of the companies views this as an inherent quality that a brand should offer their consumers. Control over the distributors, suppliers, manufacturers and licensees was considered crucial in the creation and maintenance of the luxury fashion brand. nies recognise the importance of the right people working internally to create the brand, from management to the staff on the shop ? oor. Furthermore, within the organisation there is a need for honesty, integrity, morality and teamwork, as without these the message created would be false. In conclusion, each of these aforementioned components is considered important in the creation of a luxury fashion brand, as each add to the luxury brand image and positioning. The research ? ndings identi? ed the interrelated components of a luxury brand through an examination of the actions undertaken with each of the representatives of the case studies. This builds on the ? ndings of the literature, which either discussed luxury brands on a surface level or considered the concept from a generic perspective rather than speci? cally to the luxury fashion market. Discussion Figure 1 illustrates the various components inherent to the luxury fashion brand as derived from the ? ndings of the research. The model identi? es nine key components that are inherent to the creation of a luxury fashion brand. Each attribute consisted of a number of sub-categories, which all must be consistent in order to create the brand. The ? rst major dimension identi? ed was the clear brand identity. Clear brand identity relates to the symbolic nature and the intangibles of luxury brands and the future development and investment into the brand. The fashion element of each of the brands has a strong correlation to the brand values. Although each of the brands clearly has a fashion element, they place differing levels of importance on and investment into the fashion factor. The second component, marketing communications, refers to the common methods employed to create awareness, which include fashion shows, celebrity endorsement, advertising, direct marketing, events sponsorship and PR. Each of these Culture The management of the internal and external relationships with the brand was developed through the company culture (Table 4, Q23 and Q24). This aspect assisted in the luxury brand proposition authenticity, according to Case Company C. The culture of a brand refers to the expertise behind the brand. All of the Case Compa- 358  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347–363 The anatomy of the luxury fashion brand Recognisable Style Brand Livery Direct Marketing; Sponsorship; Fashion Shows; Celebrity Endorsement Advertising; PR Innovation Seasonal Products Functionality, Quality Craftsmanship Global Marketing Strategy Creative Direction Iconic Products Brand Values/DNA Marketing Communications Emotional Appeal/ Aspirational Product Integrity Design Signature Consistent with positioning Clear Brand Identity Premium Price LUXURY FASHION BRAND Culture Exclusivity Internal commitment to the brand External Partnership Commitment to the brand Environment and Service Globally Controlled Prestige Distribution Superior Service Heritage Limited Editions History and/or Brand Story Exclusive Ranges DOS Flagship Stores Figure 1: The components of a luxury fashion brand. methods needs to be coherent and to work towards a common goal of increasing consumer awareness. The subsequent category considers the product integrity, and includes various elements such as quality, craftsmanship and attention to detail. The fashion element within the product is derived from investment in innovation, creativity and the appointment of an eminent fashion designer, which together allow a company to achieve the luxury fashion status and integrity in this attribute. Within the product range, the importance of design signature along with iconic products, eminent designers and brand livery was considered vital in the creation of a luxury brand. The importance of price relevance was clearly identi? ed in the literature19,26,43,83–86 and similarly by each of the case companies. The following component, exclusivity, relates to accessibility of the brand and the need for this to be strictly controlled, in terms of product availability and distribution, in order to be coherent with the rest of the attributes. The subsequent component relates to the history and heritage of a luxury brand, which  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347–363 359 Fionda and Moore was considered crucial for the brand, as it brings an element of authenticity. The store environment and service appear together, as each of the case companies considered the store environment part of the service. The environment within the context of the luxury fashion market is encapsulated in the form of the ? agship store and the superior service, which provide customers with the ultimate brand experience. Culture, the ? al component, refers to the expertise behind the brand, which must be coherent and consistent from management, manufacturers and designers to th e sales staff, to ensure the success of the brand. All of these elements are interdependent and need to be maintained simultaneously, as independently they do not infer luxury status. In each of the cases, however, the ? rms placed varying levels of emphasis on each of the components illustrating the path-dependent nature of luxury fashion brand creation and development. ?agship experience and ? nally, Milan, New York, Paris or London fashion shows. All of these are considered vital in the quest to achieve ‘fashion’ status. The greater the emphasis placed in these characteristics, the greater the fashion orientation of the luxury brand. This study has identi? ed an empirically developed model, the elements of which are interdependent and cohesive. These attributes must be managed concurrently in order to create and maintain a luxury fashion brand positioning. Thus, the management of the luxury brand demands a consistent and coherent approach. Limitations and future research It is noted that this study has limitations, most notable of which is the scale of the research. Moreover, all of the case companies were British, because of accessibility issues, which results in the study being culturally narrow. Although the brands’ country of origin is limited to the British perspective, the parent companies of the brands are diverse, with representation from France, Italy and Japan. There are a couple of areas that could be considered for future research. Firstly, there is an opportunity to extend the study to a larger number of companies, which would help to identify the extent to which these ? ndings have a wider application. Secondly, investigating the brand crossculturally would provide an insight into any cultural differences in the marketing of luxury. CONCLUSIONS Despite the importance and growth of the luxury sector,3,5,16,19,42 investigation into the creation and maintenance associated with luxury fashion brands has received limited empirical exploration within the research literature. 6,28 The research that is available, despite Beverland’s16 study, which is con? ned to the wine sector, is not developed from an empirical basis or directly focused on the fashion sect or. Therefore, this investigation sought to address research neglect through the provision of a framework for luxury brand marketing in the fashion sector. Although these components could arguably be applicable to a generic luxury brand, the differences among luxury fashion brands stem from the emphasis placed on the speci? c elements, namely, the investment into innovative and seasonal new product development, the appointment of a renowned fashion designer as a creative director, directly owned stores and CONTRIBUTION OF THE STUDY This study has examined the issues intrinsic to luxury fashion marketing, and has identi? ed the areas that need to be considered by brand managers and marketers, although creating and maintaining the luxury fashion brand. The key ? ndings include nine inherent interrelated attributes crucial for creating a luxury fashion brand in the context of the luxury fashion market, and the 360  © 2009 Palgrave Macmillan 1350-23IX Brand Management Vol. 16, 5/6, 347–363 The anatomy of the luxury fashion brand successful management of the luxury fashion brand demands a consistent and coherent approach from the brand custodians. Furthermore, it can be concluded from the key ? dings that the process of creating and maintaining the luxury fashion brand is an extremely complex activity that requires continual planning and investment of resources in conjunction with coherent and consistent marketing and management decision making to generate the possibility of achieving success. Finally, thro ugh an in-depth analysis of the marketing issues inherent to luxury fashion branding, this study has contributed to the growing body of research available on luxury fashion brands.