Business process Essay Example | Topics and Well Written Essays - 1500 words

Business process - Essay Example Richard L. Daft in his book â€Å"Management† 4th Edition defines a business process, when pentagon moves thousand of tons of humanitarian aid; it needs hundreds of approvals from the government. It has to first prepare the list of things needed to be sent. It then estimates the cost of these things. Then it has to identify the source of funding for this process i-e. Where are they going to get the money to pay for this aid , either it is going to be through a government grant or through some private charity? After this has been decided again needs the approval from the government. And if it's a government grant it has to wait till they get the required budget. Then after getting the budget they again need to have approving official's signature. Then they have to wait till finance office sends the cheque. The traveling group has to make traveling arrangements and obtain travel advance i-e advance money. Then they have to obtain the traveling tickets from the concerned departme nt. And after these thirteen cumbersome steps only, the concerned people can travel and send the humanitarian aid. As already discussed all these steps were cumbersome and there was a lot of red-tape involved the entire process take too much, As a result that aids value to the recipient was less than if it was achieved immediately. As already discussed all these steps were cumbersome and there was a lot of red-tape involved the entire process take too much, As a result that aids value to the recipient was less than if it was achieved immediately. For example suppose after the Tsunami, Pentagon decided to send aid to those who lost their homes in the disaster. If the above process is being followed, it will take atleast a week for this aid to reach the people. The value of this aid for the consumer would now be less or in other words it would not be as important as if it would have been received the next day. The reason behind this loss of value for the recipients is that by the time they would have gotten the aid from the neighboring countries. They would have been able to console themselves as time is the best healer and due to diminishing marginal utility. That is if you have something then another unit of the same thing gives you less satisfaction. After Tsunamis victims received the aid from neighboring countries then the Pentagon's aid will not give these people the same utility or same value as before. Same happens with the consumer, the more time businesses take to satisfy there needs and wants the less value that thing (product or service) gives to the consumers. This is because the consumer demands are ever changing. If they demand something and if a business takes too much time in producing that thing, then by the time the business

The Theory Of Gentrification Essay Example | Topics and Well Written Essays - 1250 words

The Theory Of Gentrification - Essay Example The theory of gentrification and the rent gap (Smith 1979), suggests there has been a great deal of pressure for change in some parts of the city. This paper argues that history matters to how gentrification unfolds in Boston and this explains the pressures that have led to change in that Boston’s gentrifying neighborhoods. Smith (1979, 538) states that after a period of sustained deterioration, many cities in America are experiencing gentrification of certain central city neighborhoods. He states that the initial signs of revival in the 1950s grew in 1960s and by 1970s had caused widespread gentrification that affected most of the older cities in the country. The earlier issues of sustained deterioration acted that occurred in American cities over time shows a historical aspect that influenced the changes in terms of gentrification in the country. The signs of revival that were recorded in the American cities between the 1950s and the 1960s represent the pressures that led to the cities’ gentrifying neighborhoods. Lewis (1979, 23) states, â€Å"History matters to the structure and look of a landscape. We inherit a landscape, which forms the basis for any changes, or developments we subsequently make. Change itself is uneven (historically lumpy).† Lewis clearly shows that history contributes to the manner in which a landscape changes. A landscape cannot just change without an influence. There must be some past issues that influence how a city changes. The history might be desirable or not but either of them influences how a city changes. If the history is desirable, it will contribute to positive change in terms of improvement from the past. However, if the history is undesirable, it will influence the city to change considerably aiming for desirable outcomes. However, this does not mean that the change must be consistent because generally, change is uneven. In Boston, for instance, history has played a major factor in terms of is gentrification. Originally, the city was a forested land.

Marks Spencer SWOT and PESTLE Analysis

Marks Spencer SWOT and PESTLE Analysis The greatest strength of Marks Spencer is its brand image which influences the customers choice. For quality assurance the consumer can confidently rely on St Michaels Brand Label (Benady D 2005). It has diverse products Clothing, food, furniture, financial products, etc. This is an advantage to the company as the customers who believe in the quality of one item will be drawn to another item hoping for the same quality. Their human resources are very good which is very important for running any business. Their presence in the international market is a good advertisement for them. WEAKNESS (COMPETENCE) It is clear from research findings that the company was successful till late nineties and then the decline has begun. This decline is because of inexperienced people at the helm of affairs. The company was blind to the changes in the market and continued their traditional thinking. They didnt adapt to the changes as they occurred. This is evident from thier lack of appeal of the St Micheal brand to the under 30s age bracket(Tony Grundy 2005). According to a channel 4 programme the management was focused more on the day to day operations rather than long term strategies. The same programme revealed that the company was tied to the generalised view of the market instead of thinking about the different market segments. MS was very late in introducing the loyalty card to its customers. When all the other retailers were having those cards the customers of MS didnt not have them which is a weakness of the company. Most of the merchandise of MS was womens wear. Most of the customers must have been women. There should have been few women in the management who could have understood the taste of women. There were internal conflicts between the management personnel which has affected the company. Financial Times, 19 May 1999 stated, MS has behaved more like a wholesale buyer of products à ¢Ã¢â€š ¬Ã‚ ¦ rather than thinking about the sort of person that was buying the item and what else they could sell to that customer. OPPORTUNITIES New Products MS has a flair for diversified products. Introduction of innovations in this regard can help the company to come up some more new products that can create increased taste in the customers for the company. Re focus on international markets In the early 2000s we find that the company started cutting down the European expansion programme. We find that the trading conditions have become tough for the company to compete well at the international level. If the company can review its marketing mix and rectify their shortcomings in regard with their proper use of 7Ps, the opportunities in the international market are immensely huge. Alliances There is big opportunity for better alliances for the existing companies with proven history of past success. MS should grab this opportunity to develop thoughtful and fruitful alliances. Assets and established structures Being in the business for a considerably long period the company has assets and established structures which can be used for the expansion of the business. Retrospection into the existing flaws of the company can help rejuvenate its business by developing overseas supply chain. THREATS New existing competition For every existing business there is always the threat of the new competition that is likely to crop up. This is evident from the history of the company the MS lost the market share to Oasis which offered more fashionable with similar prices. Others like the discount stores and supermarkets posed a great threat the company. BHS, Top Shop and ASDA can be potential threats in this regard. Volatility in Price of raw material Price of raw material is always volatile. This volatility can be a big threat to the company because the budget plans will have be to changed according to the changing prices of the raw material Economic recession During the time of this case study recession was slowly peeking up with few incidences like twin tower attack which affected the global economy. People will become more economical during these times where they cut down their expenses luxuries and comforts and concentrate more on basic needs. Internal and Corporate Appraisal Porters Five Forces Threats from Potential entrants Potential entrants of that time include BHS, Top Shop, ASDA, TESCO, Morrison etc. These have the potential to take over the market from MS. Suppliers bargaining power The suppliers of the raw material have developed a bargaining power due to the entry of the new companies into the market. If they get a better bargaining power of supplying things from other companies then they will obviously have more choices to make than sticking on to MS. Competitive Rivalry There is a stiff competitive rivalry seen in the market for MS. Labels like Gap, Next, Primark, New looks, Acadia Group etc, are the leading rivals. Oasis has offered different fashions to the customers with the similar prices. Others like the discount stores and supermarkets posed a great threat the company. It has brought lot of loss to the market share of the company. If MS doesnt take precautions to check this condition, competitors will take away the complete market share from MS. Buyers bargaining power In a growing market and with the emergence of new companies the bargaining power of the buyers has always risen up. In the market where once there is only one option now there are many options available to them. This has increased the bargaining power of the buyers to a large extent. With the economy playing heavily on the minds of people loyalty is the final thing that they would think of when someone else like Oasis and the like are ready to give a better offer. Threats from substitutes There is a big threat from the substitutes. This threat posed mainly by retailers like John Lewis, Sainsbury, Rackhams, etc. External Environment PESTLE Analysis The pestle analysis helps us to understand the external environment of Marks and Spencer better. POLITICAL The door for British Companies was opened to invest in Europe due to the Free Trade Agreements and European Integration. These political factors helped MS to stretch the wings of its expansion globally. In response to the global dictate of off shoring MS has launched a new franchise operation in Poland and Australia (Olins,1997) ECONOMIC Being in the Retail sector MS is volatile in regard with any changes made in the interest rates. The twin tower collapse of September 11 has affected the economy of the world so much. Prices have fallen low. This has changed the figures of profit completely. Fortunately, things slowly changed for better. SOCIAL The taste of a consumer keeps changing always. These changes are both an opportunity and a threat to the industry. Its an opportunity because of the new market of the consumers. It is however a threat if the company doesnt adapt itself to the change which is exactly what has happened with MS. It went on with the traditional thinking not giving adherence to the changes. TECHNICAL The Marks Spencer Charge card was launched nationally in 1985. Online shopping was launched on the Marks Spencer website in 1999. The introduction of such technology helped the business to work fast and efficiently. LEGAL There were few legal problems that the company had to face especially in the international operations. But they are short lived. ENVIRONMENTAL The company was involved in using environmental friendly resources in the production of cotton and wool. The threats are in terms of legal consequences for livestocks in terms of health and safety.

SOCIETY VS INDIVIDUAL: REPRESSION ON DIONYSIAN PERSONALITY IN THE STRANGER :: essays research papers fc

Many books have been written by many authors that deal with a struggle between society and individual. Albert Camus’ The Stranger (L’à ©tranger) deals with this same topic, but it can be analyzed from a unique and very interesting point of view. The way of life of people can be analyzed by classifying them into two main forces that oppose each other. These forces were named after the Greek gods Apollo and Dionysus.   Ã‚  Ã‚  Ã‚  Ã‚  Theses terms were first used by the German philosopher Friedrich Nietzsche. The main concept of the Apollonian personality is that these persons’ main mode of functioning is by reason, whereas the Dionysian personality functions by intuition. In Camus’ The Stranger, Mersault’s personality can be seen as Dionysian (reasons will be discussed later), but his main attitude towards society is quite Apollonian. This leads to the statement that the Dionysian personality of Mersault is restrained by society, making him seem or behave in an Apollonian style.   Ã‚  Ã‚  Ã‚  Ã‚  The term Apollonian was first used by Nietzsche to represent principle of order, logic, clarity, moderation, and control in human personality and society. He applied the word Dionysian to represent spontaneity, passion, intuition, an excess in human personality, and rebellion against society. The Apollonian self is what makes people be organized, be on places on time, follow the rules, etc. An Apollonian person often wants solitude and quiet moments to think. Some of these persons often loose temper when they encounter their clashing personality, the Dionysian personality. The Dionysian personality always wants to have fun, live the moment, resist authority and act on hunches. A Dionysian person usually has a tendency to resist authority, jump to quick conclusions (whilst the Apollonian tends to think a lot before jumping to conclusions or making decisions) and indulge, or overindulge, him/herself. While the Apollonian person likes to have quiet time to think, a D ionysian person likes to daydream. The Dionysian personality basically revolves around the senses and what is natural and beyond reason.   Ã‚  Ã‚  Ã‚  Ã‚  In The Stranger, Mersault’s personality can be difficult to analyze. Some people say that his personality is strongly Apollonian; some say that he is a balance of both personalities, and others say that he is Dionysian. Mersault, as society sees him, he is an individual with antisocial traits, a person who rarely speaks and does not show many emotions. All these traits can be related to the Apollonian style. But we can also see that he enjoys laughing, going to the beach, basic human needs like eating, drinking and having sex and he resists or rebels against society.

Love Triangles and Betrayal in Carmen Essay

The creation of operas from pre-existing literary texts is a complex process implicating the original author, the librettists, the opera directors, the publishers, and the composer. In the process of transformation, the involved parties consider prevailing cultural values as well as their own artistic ideals. These considerations weigh all the more heavily on the process when the literary text involves complex romantic relationships. Georges Bizet’s Carmen (1875), Giuseppe Verdi’s Otello (1887), and Claude Debussy’s Pelleas et Melisande (1902) provide examples of this transformation process. In all three of these works, love triangles figure prominently. These love triangles, though they share some superficial similarities, are extraordinarily different in terms of their composition and the ultimate fate of the characters. Carmen When the directors of the Opera-Comique, a venue with repertoire typically geared towards an extremely conservative, family-oriented, bourgeois audience (McClary, 1992, p. 15-16), commissioned Bizet to write an opera in 1872, Bizet suggested Prosper Merimee’s novel Carmen as a possible subject (Macdonald, 2010). The directors of the Opera-Comique were divided in their support of this work as a subject for an opera. De Leuven, in particular, was against this choice, citing the scandalous nature of the story and the conservative nature of the venue’s target audience as reasons behind his disapproval: â€Å"Carmen! The Carmen of Merimee? Wasn’t she murdered by her lover?†¦ At the Opera-Comique, the theatre of families, of wedding parties? You would put the public to flight. No, no, impossible. † (as cited in Jenkins, 2003). Indeed, it appears that the on-stage death was of particular consternation for the director: â€Å"Death on the stage of the Opera-Comique! Such a thing has never been seen! Never! † (as cited in Nowinski, 1970, p. 895). The choice of Carmen ultimately played a role in de Leuven’s resignation from his post in 1874 (McClary, 1992, p. 23). The source text for Carmen is a novella by Prosper Merimee. The author originally published this work in 1845 in the Revue des deux mondes, a non-fiction journal. The author had previously published travelogues in the same journal, and this work contained no indication that it was a work of fiction (Boynton, 2003). Instead, the work reads as a â€Å"true† story of Merimee’s voyage to Spain in 1830. In the midst of his travels, the author-narrator encounters Don Jose, the man who, after succumbing to Carmen’s seductive powers, kills her in a jealous rage following her confession of a love affair with Lucas. The librettists for Carmen, Henri Meilhac and Ludovic Halevy, at the time that they were commissioned to write this work for the Opera-Comique had already successfully worked together as a team on a number of works (including Offenbach’s La Belle Helene and La Vie parisienne) for the Parisian boulevard theatres (McClary, 1992, p. 18). In their previous librettos, the team had split the work: Meilhac wrote the prose dialogue, and Halevy supplied the verse (McClary, 1992, p. 18). In operatic settings, the prose would typically be left as spoken dialogue (for the Opera-Comique) or set as recitative. In transforming Merimee’s novella into a libretto, Meilhac and Halevy made numerous changes. Unfortunately, there is a lack of primary source evidence detailing the minutiae of the collaborative process which would shed further light upon the reasons behind these changes (Jenkins, 2003). These changes include minimizing Carmen’s criminal activities, adding the character of Micaela, and eliminating Merimee’s framing device. The removal of Merimee’s framing device (accomplished by not including a narrator) and the introduction of Don Jose before his downfall make Carmen, and not Don Jose, the focus of the story (Jenkins, 2003). Indeed, the Carmen of the libretto, with her voice not being interrupted by the narrator’s commentary, speaks directly to the audience (McClary, 1992, p. 21). Carmen was composed as a four-act opera comique, originally with spoken dialogue (as opposed to recitative). The dialogue was transformed into recitative by Guiraud for a production in Vienna, and it was performed this way for many years before producers reverted to Bizet’s original spoken text (Macdonald, 2010). Further changes to Merimee’s original resulted from Guiraud’s involvement. Meilhac’s original dialogues at times quoted directly from Merimee’s Carmen, and these instances of direct quotation were largely eliminated in Guiraud’s version (McClary, 1992, p. 45). With the addition of Micaela, the librettists created a moralizing character, the polar opposite of Carmen, with whom the Opera-Comique audiences could readily identify (McClary, 1992, p. 21). The addition of Micaela complicates the love triangle. In Merimee’s original, the love triangle included the characters of Carmen, Don Jose, and Lucas. In the operatic version, both Don Jose and Escamillo are in love with Carmen, and both Carmen and Micaela are in love with Don Jose. The librettists also substantially changed Carmen’s character. Though they downplayed Carmen’s involvement in criminal activities (she is no longer the leader of the smugglers as Merimee portrayed her) arguably in order to make her more sympathetic, they focus almost exclusively on her sexuality (to the exclusion of her healing powers and intelligence as presented in the original) (McClary, 1992, p. 22). Bizet’s music underlines the differences in characters and underlines the complex nature of the interlocking love triangles in the opera. Micaela is presented as a sweet, pure, innocent woman. Her entrance is conventional, and her music is marked by neither intense chromaticism nor indications of exoticism (McClary, 1997, p. 120). Carmen’s entrance, in contrast, disrupts the formal procedures Bizet set up from the beginning of the opera, and her music is largely chromatic and marked with features typically associated with the exotic (McClary, 1997, p. 120). Her music, like her body and personality, is irresistible to any man she sets her sights on. Don Jose’s music is different from that of both of his female admirers. His melodic lines are long, irregularly phrased, and lacking in regular cadences (McClary, 1997, p. 124). Additionally, he, unlike Escamillo, lacks a signature melodic line (McClary, 1997, p. 127). McClary points to the incompatibility of Carmen’s and Don Jose’s musical styles as evidence of the ultimate failure of their relationship. In contrast, Carmen’s brief duet with Escamillo in act four seems sincere because their musical styles are compatible (McClary, 1997, p. 125). Ultimately, Don Jose kills Carmen in a fit of jealousy over her relationship with Escamillo, and Micaela is deprived of her true love as he gives himself up to the police following his murder of Carmen. Otello Though the two Shakespeare aficionados Giuseppe Verdi and Arrigo Boito met as early as 1862, it was not until 1879 that the events leading to the composition of Otello were set in motion (Aycock, 1972, p. 594). The four-act Otello received its premiere on February 5, 1887 in Milan. In transforming the play into opera libretto, Boito eliminated six of the fourteen characters and cut the entire first act (Aycock, 1972, p. 595). Boito also cut Othello’s statement of self-defence following his murder of Desdemona from the end of the play (Aycock, 1972, p. 596). This last cut serves to keep the opera’s focus on the tragic love story. This love story principally revolves around the actions of Othello, Desdemona, and Iago. When the opera opens, Desdemona and Othello are newly married. However, Roderigo (Iago’s friend) still loves Desdemona. Iago, upset with Cassio who has been promoted over him, fabricates proof of Desdemona’s infidelity with Cassio in order to play on Othello’s jealous nature. The proof of this infidelity, in both the play and the opera, is a handkerchief. Othello murders Desdemona, and when he learns that his belief in his wife’s infidelity was mistaken, he kills himself. In this story, both Roderigo and Othello are in love with Desdemona. Given Roderigo’s minimal role in the opera, however, Iago takes his place in the dramatic situation of the love triangle. It is his betrayal and deception that leads to the demise of the two main characters. The end of the first act contains a conventional love duet between Othello and Desdemona. As Aycock (1972, p. 595) remarks, the love between these two principal characters is mature and predicated on confidence in each other’s fidelity. The climax of this love duet, on the words â€Å"un bacio†¦Otello!†¦ un bacio,† features a new melody in the orchestra. This melody reappears only in the last act, most notably when Othello commits suicide (Lawton, 1978, p. 211). The character of Iago in the opera is much more the creation of Verdi and Boito than of Shakespeare. Iago’s Credo, where he proclaims his devotion to a cruel God and admits that he is unquestionably evil, was entirely the invention of Boito (Aycock, 1972, p. 600). For Verdi, the emphasis on this character allowed him to confirm to Italian operatic tradition, which called for a baritone villain role (Aycock, 1972, p. 601). Pelleas et Melisande Maurice Maeterlinck’s play Pelleas et Melisande received its Parisian premiere at the Theatre des Bouffes-Parisiens on May 17, 1893, and Claude Debussy was in attendance (Grayson, 1985, p. 35, 37). By the fall of the same year, he had already begun composing what would later become Act IV scene 4 (Grayson, 1985, p. 37). In the case of this operatic transformation, there was no librettist acting as a middle-man. Instead, Debussy constructed the libretto himself, from Maeterlinck’s original text. The composer remained true to the original play, changing nary a word. He did, however, cut some scenes, and these cuts were made with the Maeterlinck’s authorization. In November 1893, the composer travelled to Ghent to meet with the author, and the two men discussed several possible cuts. Debussy reported to Ernest Chausson that Maeterlinck had given him â€Å"complete authorization to make cuts and even indicated some which were very important, even very useful† (as cited in Grayson, 1985, p. 37). From Maeterlinck’s original play, there were only four scenes that Debussy did not set: Act I scene 1, Act II scene 4, Act III scene 1, and Act V scene 1 (Grayson, 1985, p. 38). These scenes appear to have been cut because they are unrelated to the central narrative, leading to the demise of both Pelleas and Melisande. While Debussy used Maeterlinck’s original text, he did, in some instances, cut some of the text to make the libretto more concise. Act III scene 3, for example, was cut so heavily so that only one third of the original text remained (Grayson, 1985, p. 40). Two further cuts came in 1902. During Pelleas et Melisande’s first season at the Opera-Comique, Debussy was forced to cut one scene from the performances: Act IV scene 3 (Grayson, 1985, p. 39). This almost purely symbolic scene features Yniold (Golaud’s son from a previous marriage). At the end of the scene, Yniold, wishing to share his experiences with Melisande, unwittingly reveals to Golaud that she is not in her room (Grayson, 2003, p. 76) – in essence, he signals her disloyalty to her husband. The scene was reinserted in its second season. Also, at the dress rehearsal, the Director of Fine Arts, censored the work, calling for the suppression of Act III scene 4, a scene where Yniold is forced, by his violent father, to spy on the suspected lovers (Grayson, 2003, p. 80). Pelleas et Melisande begins with Golaud discovering Melisande by a fountain in a forest. She seems to be lost and confused, and she follows Golaud on his wanderings. The two get married in secret and return to the castle of Golaud’s father. There, Melisande meets Golaud’s brother Pelleas, and these two fall in love. In one scene, Golaud happens upon Pelleas caressing Melisande’s hair streaming out from a tower window, and he realizes that his brother has betrayed him. Golaud, blind with jealousy, kills his brother in Act III. At the end of the opera, Melisande also dies, but not before giving birth to a daughter. The plot, then, revolves around the love triangle of Melisande, Golaud, and Pelleas. The unquestioning inclusion of on-stage deaths demonstrates how much the Opera-Comique had changed since the 1875 premiere of Carmen. From the time of Debussy’s first draft of Act IV scene 4 in the fall of 1893, it took almost a decade for the opera to reach the stage of the Opera-Comique. Debussy worked intensely on the opera in 1895 and completed a short score of the opera in August of that year (Grayson, 2003, p. 78). Though he had a completed opera, he had major difficulties finding a suitable venue for the performance of the work. Albert Carre, the director of the Opera-Comique, accepted Pelleas â€Å"in principal† in 1898, but he did not give Debussy written confirmation of the deal until 1901 (Grayson, 2003, p. 79). Though Debussy was ambivalent about Wagnerian leitmotive techniques, he does employ leitmotivs in Pelleas. While most of these leitmotivs are connected to ideas, each major character has his or her own leitmotiv (Nichols and Smith, 1989, p. 81). Melisande’s motive, for example, is comparatively lyrical, wandering, and typically played by oboes or flutes while Golaud’s motive consists of two notes in alteration with a more pronounced rhythmic emphasis. These motives are typically associated with different harmonic fields. Melisande’s melody is pentatonic but is typically harmonized with a half diminished seventh chord (Nichold and Smith, 1989, p. 91). Golaud’s motive, because of its sparse melodic line consisting of only two notes, is more harmonically flexible. Debussy uses it in a variety of harmonic contexts including whole-tone, dorian, and minor. Comparison of Works These three works present a widely diverse picture of operatic life in late nineteenth century France and Italy. In terms of source texts, there is a novella (Carmen), a play in verse (Otello), and a play in prose (Pelleas et Melisande). In two of the cases (Carmen and Otello), neither the composer nor the librettist knew the author of the original literary work. In the case of Pelleas, the composer had direct contact with the original author and constructed the libretto himself. These three operas were then composed in different forms: an opera comique in versions with both spoken dialogue and sung recitative (Carmen), a hybrid of continuous action with set pieces (Otello), and a largely through-composed work with one aria (Pelleas). In each instance, the transformation process reveals that it was not only the librettist and composer who were involved in the opera’s ultimate form: opera directors, publishers, and censors also had some hand in the final product. One shared trait amongst these three works was the need for the librettist to cut considerable amounts of literary material from the original text. This phenomenon is understandable given that it takes a considerably longer period of time to sing a text rather than say it. In choosing sections of texts to cut, the librettists were faced with the challenge of leaving enough of the narrative design so that it would remain comprehensible to the audience. The composer could then use musical devices to fill in some of the gaps that this missing text created. For example, Bizet could use different musical styles to highlight differences in race and class (McClary, 1997). Similarly, Debussy could use different harmonic languages (whole tone, pentatonic, modal) to indicate subtly differences in the quality of light (Nichols and Smith, 1989). A second shared trait is that two of the composers appear to have made decisions based on operatic convention in their composition of the opera. Bizet’s concession to operatic convention takes the form of the introduction of the character of Micaela, a character absent from Merimee’s original but whose presence, as mentioned above, was deemed necessary to make the work suitable for the conservative Opera-Comique audience. Verdi’s concessions are evident in the finale to Act 3, where he asked Boito to alter the libretto to make room for a traditional grand concertato finale (Parker, 2010) as well as in the changes to Iago’s character mentioned above. A third shared trait is that these three works focus on love triangles, with an act of betrayal or jealousy leading to the deaths of one or more of the principal characters. In Carmen, the primary love triangle revolves around Carmen, Don Jose, and Escamillo. In the end, Carmen dies. In Otello, the love triangle of Othello, Desdemona, and Roderigo has a tragic ending with the death of both Othello and Desdemona. Similarly, the Pelleas-Melisande-Golaud triangle results in the death of two of the characters: Pelleas and Melisande. In each case, the composer highlights one of the romantic relationships as being more viable or more sincere than the others. Bizet, as noted, employs different musical styles for each of the characters, with only Escamillo’s language being compatible with Carmen’s. Verdi wrote a traditional love duet for Othello and Desdemona, the sincerity of which is highlighted with its aforementioned reappearance in the final act. Debussy employs a technique similar to that of Bizet: he has Pelleas and Melisande sing together in octaves in Act IV scene 4). The similarities between the presentations of the love triangles stops with this characteristic, for the relationship dynamics within the central triangles are quite different in these works. In Carmen, the title character is both the primary female love interest and the character responsible for the betrayal. She betrays Don Jose’s love for her, however ill-founded it may be, by confessing her love for Escamillo. In contrast to the other operatic heroines studied here, Carmen is a femme-fatale. In Verdi’s Otello, the love between Othello and Desdemona is sincere, and neither one carries on an affair with someone else. The primary reason behind their deaths is Iago’s treachery. However, Othello does, in a sense, betray Desdemona by believing Iago’s lies. His acknowledgment of this betrayal can be seen in his committing suicide. In Debussy’s Pelleas, the guilty party is less clearly identified. Melisande, though she betrays her marriage by falling in love with Pelleas, is not depicted as a femme fatale. Instead, she is presented as an innocent, idealized woman (Smith, 1981, p. 105). Pelleas betrays his brother by having an affair with his wife. Though Debussy, as mentioned above, sympathizes with their love and highlights the love Pelleas and Melisande have for each other by having them sing together in octaves. It appears that these characters are not to be held accountable for their actions because their love was inevitable, foretold in advance by fate. ? References Aycock, R. E. (1972). Shakespeare, Boito, and Verdi. The Musical Quarterly, 58 (4), 588-604. Boynton, S. (2003) Prosper Merimee’s novella Carmen. New York City Opera Project: Carmen. Retrieved from http://www. columbia. edu/itc/music/NYCO/carmen/merimee. html Grayson, D. (1985). The Libretto of Debussy’s Pelleas et Melisande. Music and Letters, 66 (1), 35-50. Grayson, D. (2003). Debussy on stage. In The Cambridge Companion to Debussy. Ed. Simon Trezise. Cambridge: Cambridge University Press, pp. 61-83. Jenkins, C. (2003). Carmen: The Librettists. New York City Opera Project: Carmen. Retrieved from http://www. columbia. edu/itc/music/NYCO/carmen/librettists. html Lawton, D. (1978). On the ‘Bacio’ theme in Otello. 19th-Century Music, 1 (3), 211-220. Macdonald, H. (2010). Carmen (ii). Grove Online. Retrieved from http://www. oxfordmusiconline. com/subscriber/article/grove/music/O008315? q=carmen&search=quick&pos=22&_start=1#firsthit McClary, S. (1992). Georges Bizet, Carmen. Cambridge: Cambridge University Press. McClary, S. (1997). Structures of identity and difference in Bizet’s Carmen. In The Work of Opera: Genre, Nationhood, and Sexual Difference. Ed. Richard Dellamora and Daniel Fischlin. New York: Columbia University Press, pp. 115-130. Nichols, R. & Smith, R. L. (1989). Claude Debussy, Pelleas et Melisande. Cambridge: Cambridge University Press. Nowinski, J. (1970). Sense and sound in George Bizet’s Carmen. The French Review, 43 (6), 891-900. Parker, R. (2010). Otello (ii). Grove Music Online. Retrieved from http://www. oxfordmusiconline. com/subscriber/article/grove/music/O003882>. Smith, R. L. (1981).

Kellogs Case Study

The management process is responsible for identifying, anticipating and satisfying customer requirements profitably. ELEMENTS OF PRODUCT Kellogg’s provide a such variety of food, their food is reliable. They are take care of providing a safe and healthy work environment. Their food is good for health as well, which is the main point what makes product valuable to us. Core of product is benefit. Whatever is makes you satisfied is core benefits. Cornflakes is the actual product of kellogg’s, which is exist with the colour, style, branding, fashion, quality.Kellogg’s cornflakes is the most valuable, reliable, and a very popular product which is makes us satisfied to buy it. In order to satisfied core benefits company create a product. Driving product is depending on process marketing. E. g. i buy cup of coffee, augment this cup with selave when it is hot. Augmented element cost money. Augment product is created with the customer care, finance, installation, service, delivery, warranties. Kellogg’s cornflakes is also provide a customer care, it is affordable by every kind of people, we can buy it from every kind of shopping center and its widely available so easy to buy.TYPES OF PRODUCT Convection Kellogg’s is available in every shopping centre it is a breakfast so people buy it regularly and it is low priced so everyone can buy it easily. It is widely available and often high brand loyalty which is kellogg’s. Speciality Kellogg’s corn flakes is available in all superstore so people can get it easily and in competition with other brand of product corn flakes is perfect and less frequent luxury purchases. This product has got a personal selling skills. On the pack of this product they give all the information so ustomer can get all information about needs / gather lots of information before buying. Shopping Relatively expensive with infrequent purchases. Usually occurring with customer knowledge in relation to the hig h market brands. In relation to kellogg’s, this product is marketed within major superstores and has a variety of high competition with other known brands, e. g. Nestle. In this case, a high brand led would be cereals which would be aimed at certain customers for example weight watching customers. Unsought Distress purchases with little pleasure.Marketers need to make customers aware of where they are available to create preferences. Kellogg’s have approached this by advertising and promoting different corn flakes e. g. chocolate flakes or honey coated flakes. For the selling of product of Kellogg’s we need to understand the customer behaviour. The behaviour includes what they may buy? Why do they buy? When do they buy? And where do they buy? The modal of customer buyer behaviour includes the 4ps where market stimulation occurs. Other market stimulations include; economic, technological, political and cultural.Consumer decision making For the consumer decision m aking first if all we need to know about the problem then search for the reason of that then alternative evolution then purchase evaluation so then we can get purchase decision and behaviour then we can get our post purchase evaluation. BRAND LOYALTY Brand attitude There are different types of attitude for different brands. When we see the corn flakes first of all we goe the brand kellogg’s in our mind and it makes positive image in our mind, which is a very important thing for the product.Corn flakes is the very popular and reliable brand so people got a good image of this brand, so with the good and success image brand its create a positive brand attitude. Brand preference Why customer should buy that particular brand then the other brand it depend on the quality of brand, quantity of brand, prise of brand, dependability of brand. Kellogg’s corn flakes is the more quality brand, very old and trustable, good quantity, affordable, so with this preferences customer buy this brand more then the other brand.Brand allegiance When customer get satisfied with the brand they will like some change with the same product then if they find it more dependable they will continue buy that brand over the long period of time. kellogg’s is the old and trustable brand. Customers are using this brand been long time so with focus on customer needs kellogg’s providing some choices with the flavour and other product as well. E. g. coco pops, crunchy nut nutty, all bran. etc. Consumer buying decision processFirst of all in buying this process ther are different stages with the decision so first step is total set when u got lots of things infront of you then you recognise awareness, then consideration set after that you’ll get some selected things to choice in the choice set then can make your decision. Kellogg's business strategy is clear and focused: * to grow the cereal business there are now 40 different cereals * to expand the snack business by diversifying into convenience foods * to engage in specific growth opportunities. ProductionCornflakes are produced in significant quantities at the Trafford Park factory in Manchester, which is also the largest cereal factory in the world. Cereals derived from cornflakes A former patient of the Battle Creek Sanitarium named C. W. Post started a rival company, as we all as the major other brand of corn flakes in the United States, called Post westies. Australia's Sanitarium also manufactures their own brand of corn flakes called Skippy corn flakes. In addition there are many generic brands of corn flakes produced by various manufacturers. ttp://www. kelloggs. co. uk/products/cornflakes/Cereal/corn_flakes. aspx Kellogg’s commitment At Kellogg’s they are committed to building great brands. they follow shared values, principles and behaviour to provide high quality and great tasting foods in a responsible manner: * They act with integrity and show respect. * They are all accountable. * They are passionate about they business, they brands and they food. * They have the humility and hunger to learn. * They love success. * They strive for simplicity.Kellogg Company has a rich history of corporate social responsibility, a history that has grown and evolved to meet the complexities of today’s business world and the challenges of a global society. They founder, W. K. Kellogg, sought to â€Å"invest my money in people†. That legacy continues to guide they company and they people. Corporate responsibility is a way of life at Kellogg. They responsibilities include: * Sustainability – Understanding, managing and minimising they impact on the environment to a sustainable future for everyone. * Communities – Investing in and enriching they communities so that they can reach their full potential. They are passionate about their business, there brands and there food. * Market place – Behaving responsibly in the market place, se lling nutritious products, advocating healthy lifestyles and acting with integrity and adhering to the highest ethical standards. * Work place – Promoting diversity in their work force and ensuring a safe, healthy workplace. They commitment to social responsibility is as strong today as it was when there company was founded. They are proud of their progress, but there is still much they can do. DiversityThey aim is that diversity in Kellogg’s is something you can feel, see and hear – it is not just a page in the annual report. Instead diversity hits you when you walk through the door. They actively encour age individuals to be themselves and use all of their talents to contribute their best each day for the benefit of themselves, others and Kellogg’s. They desire is for a diverse and inclusive workforce regardless of; language, nationality, work-style, learning style, culture, ethnicity, job level, gender, sexual orientation, life experiences, skills, phy sical abilities, thinking style and marital or family status.Environment They are committed to operating a sustainable business that increases shareowner value and ensures a better quality of life for everyone, now and for generations to come. Sustainability has always been an integral part of Kellogg's recipe for success and it will continue to be in the years to come. Kellogg's promotes and maintains environmentally responsible practices for the benefit of there customers, consumers, employees, and the communities in which they operate. They conduct and grow there business in a manner that protects the environment and demonstrates good stewardship of there worldAs natural restheyces.Kellogg's strives for continual improvement through the development of specific programs that address the environmental cost and impact of there activities, products and services. These programs include a commitment to use resources efficiently, minimise waste, and measure environmental impact Responsi ble marketing Since its foundation, Kellogg’s has been committed to informing consumers of all ages about the importance of a balanced approach to diet and physical activity. Kellogg’s has in place a global marketing code and a longstanding commitment to TV advertising in a responsible manner. This means: They will not encourage over-consumption. They will not use words like ‘king-size’ or ‘super-size’ and all there promotions will depict sensible portion sizes. * They will always present Kellogg’s breakfast cereals as part of a balanced breakfast – usually in a family context. * They will run balanced promotional calendars – featuring a good mix of fun, education and overallbeing-based activities for both adults and children. * They will not target any advertising at children under six years of age. Work / life balance Creating a work environment which allows the business to deliver consistently strong results is essentia l to there future.Helping to create a good work / life balance is an essential part of this. Some of the initiatives run by Kellogg’s include: * Flexitime, home-working, part-time working and job share. * Career breaks, parental leave, time off for dependants and maternity and paternity leave. * Personal development planning, secondments and study leave. * On site gyms, or subsidised access to local facilities, free annual lifestyle assessments in work time, a variety of physical exercise based programmes. Health and safety Employee safety is a value at Kellogg's.They are committed to providing a safe and healthy work environment and preventing accidents. Employees are accountable for observing the safety and health rules and practices that apply to their jobs. They are expected to take precautions necessary to protect themselves and their co-workers, including immediately reporting accidents, injuries and unsafe practices or conditions. Employees also are expected to report to work free from the influence of any substance that could prevent or impair them from performing their jobs safely and effectively. Customer information processing PersonalityPersonality is like , if you buy a branded company car so you make personality. when people buy a kellogg’s they think about the image of kellogg’s in the market. so when customer buy a product they buy a brand. Perception Perception works in different way,e. g. we carrying clothes how people look at us, what brand you wearing. So, as the same way its depend on brand what you using. Perception is increases the prise of product. Learning is just not about academic learning but existing knowledge, our own knowledge. E. g. if i am going to buy break fast snack so i need to learn about product a to product b.We learn by application not ny remembering. Attitude from the environment and enfluence we create emotion how good or bad it like attitude. E. g. customer buying a brand to being part of group. Over a hundred years ago, the Kellogg brothers – Will Keith and John Harvey – devised a new breakfast in their quest for healthy foods. That breakfast was of course, Kellogg's Corn Flakes †¦ The Sunshine Breakfast! Crisp, golden flakes made from the finest sun-ripened corn. Since then generations of people have been waking up to enjoy the refreshing, simple taste of Kellogg’s Corn Flakes and ice cold milk. Product details

Third Ventricle Function and Anatomy

Third Ventricle Function and Anatomy The third ventricle is a narrow cavity located between the two hemispheres of the diencephalon of the forebrain. The third ventricle is part of a network of linked cavities (cerebral ventricles) in the brain that extend to form the central canal of the spinal cord. The cerebral ventricles consist of the lateral ventricles, third ventricle, and fourth ventricle. Key Takeaways The third ventricle is one of four brain ventricles. It is a cavity filled with cerebrospinal fluid located between the two hemispheres of the diencephalon of the forebrain.The third ventricle helps to protect the brain from trauma and injury.The third ventricle is also involved in the transport of both nutrients and waste from the bodys central nervous system.It is also involved in the circulation of the cerebrospinal fluid. The ventricles contain cerebrospinal fluid, which is produced by specialized epithelium located within the ventricles called the choroid plexus. The third ventricle is connected to the fourth ventricle via the cerebral aqueduct, which extends through the midbrain. Third Ventricle Function The third ventricle is involved in several functions of the body including: Protection of the Brain From TraumaPathway for the Circulation of Cerebrospinal FluidTransportation of  Nutrients to and Waste from the Central Nervous System Third Ventricle Location Directionally, the third ventricle is situated in the middle of the cerebral hemispheres, between the right and left lateral ventricles. The third ventricle is inferior to the fornix and corpus callosum. Third Ventricle Structure The third ventricle is surrounded by a number of structures of the diencephalon. The diencephalon is a division of the forebrain that relays sensory information between brain regions and controls many autonomic functions. It links endocrine system, nervous system, and limbic system structures. The third ventricle  can be described as having six components: a roof, a floor, and four walls. The roof of the third ventricle is formed by a part of the  choroid plexus known as the tela chorioidea. The tela chorioidea is a dense network of capillaries that is surrounded by ependymal cells. These cells produce cerebrospinal fluid. The floor of the third ventricle is formed by a number of structures including the hypothalamus, subthalamus,  mammilary bodies,  infundibulum (pituitary stalk), and the tectum of the midbrain. The lateral walls of the third ventricle are formed by the walls of the left and right thalamus. The anterior wall is formed by the anterior commissure (white matter nerve fibers), lamina terminalis, and optic chiasma. The posterior wall is formed by the pineal gland and habenular commissures. Attached to the external walls of the third ventricle are  interthalamic adhesions (bands of gray matter) that cross the third ventricle cavity and connect the two thalami. The third ventricle is connected to the lateral ventricles by channels called interventricular foramina or foramina of Monro. These channels allow cerebrospinal fluid to flow from the lateral ventricles to the third ventricle. The cerebral aqueduct connects the third ventricle to the fourth ventricle. The third ventricle also has small indentations known as recesses. Recesses of the third ventricle include the preoptic recess (near the optic chiasma), infundibular recess (funnel shaped recess that extends downward into the pituitary stalk), mammillary recess (formed by protrusions of the mammilary bodies into the third ventricle), and pineal recess (extends into the pineal gland). Third Ventricle Abnormalities CT scan of a brain of a patient with intracerebral hemorrhage from stroke with bleeding into the third ventricle. Sopone Nawoot/iStock/Getty Images Plus Third ventricle issues and abnormalities can occur in a variety of conditions like stroke, meningitis and hydrocephalus. A relatively common cause of an abnormality of the third ventricle occurs with congenital hydrocephalus (abnormal contour with a dilated third ventricle). Ventricular System of the Brain The ventricular system consists of two lateral ventricles, the third ventricle, and the fourth ventricle. More Information For additional information on the third ventricle, see: The Third Ventricle Anatomy of the Brain The brain is the bodys control center. It receives, interprets, and directs sensory information in the body. Find out more about the brains anatomy. Divisions of the Brain Forebrain - encompasses the cerebral cortex and brain lobes.Midbrain - connects the forebrain to the hindbrain.Hindbrain - regulates autonomic functions and coordinates movement. Sources Glastonbury, Christine M., et al. â€Å"Masses and Malformations of the Third Ventricle: Normal Anatomic Relationships and Differential Diagnoses.† RadioGraphics, pubs.rsna.org/doi/full/10.1148/rg.317115083.