The Changing Verbal Portraits of Emily in A Rose for Emily Essay

The Changing Verbal Portraits of Emily in A Rose for Emilyâ â â â â â â â A Rose for Emily, by Faulkner, gives countless subtleties as well as a mind boggling structure. Long after the peruser has figured out how to recognize and talk about the capacity of critical detail, they frequently keep on battling with the impact of structure on a story. The symbolism of changing representations in A Rose for Emily permits the peruser to investigate both to discover meaning. Notwithstanding the strict representation of Emily's dad, Faulkner makes various metaphorical pictures of Emily herself by confining her in entryways or windows. The ordered association of Emily's representations outwardly engraves the progressions happening for an amazing duration. Like an impressionist artwork that changes as the watcher moves to various positions, in any case, the basic association gives pieces of information to the entire picture or to the inspirations driving her changes. Sequentially, the back-flung front entryway makes the primary scene of a young Miss Emily, perseveringly monitored by her dad. Miss Emily, a thin figure in white,1 epitomizes the defenseless virgin, floating out of sight, subordinate and aloof. The dad, a spraddled outline in the closer view, his back to her and gripping a horsewhip (CS 123), is a threatening dull picture expecting the predominant front position. His turned around recommends a negligence for her enthusiastic government assistance as he avoids potential peril - or infringement of her maidenhead- - with his horsewhip. The back-flung entryway welcomes admirers in, yet just the individuals who satisfy Grierson guidelines. Sadly, those guidelines are out of reach - The Griersons held themselves excessively high for what they truly were (CS 123)- - and Miss Emily remains... ...cefully on her memorial service coffin with a basic picture of adoration and misfortune, a strand of iron-silver hair laying on the yellowed cushion of a feeble wedding bed. This frightful picture is the fianl pen stroke murmuring the commendation of her squandered life. Notes 1 Collected Stories of William Faulkner (New York: Vintage, 1977), 123. In the future CS. 2 The southern grower designed his way of life after the English nation noble man (Daniel Boorstin, The American:â The Colonial Experience [Random House, 1958]).â In doing as such, he built up an implicit rules that mirrored the sentimentalism of the medevial age.â A primitive attitude - loaded with dignified love, a code of respect, and a sentimental mission - is apparent in a few of Faulkner's male characters, e.g., Sutpen in Abaslom, Absalom! what's more, Hightower in Light in August. 3 The Sound and the Fury (New York:â Random House, 1992), 78. The Changing Verbal Portraits of Emily in A Rose for Emily Essay The Changing Verbal Portraits of Emily in A Rose for Emilyâ â â â â â â â A Rose for Emily, by Faulkner, gives endless subtleties as well as a mind boggling structure. Long after the peruser has figured out how to distinguish and examine the capacity of huge detail, they regularly keep on battling with the impact of structure on a story. The symbolism of changing pictures in A Rose for Emily permits the peruser to investigate both to discover meaning. Notwithstanding the exacting picture of Emily's dad, Faulkner makes various allegorical representations of Emily herself by surrounding her in entryways or windows. The sequential association of Emily's pictures outwardly engraves the progressions happening for a mind-blowing duration. Like an impressionist artistic creation that changes as the watcher moves to various positions, be that as it may, the basic association gives pieces of information to the entire picture or to the inspirations driving her changes. Sequentially, the back-flung front entryway makes the main scene of a young Miss Emily, steadily watched by her dad. Miss Emily, a thin figure in white,1 exemplifies the powerless virgin, drifting out of sight, subordinate and detached. The dad, a spraddled outline in the forefront, his back to her and gripping a horsewhip (CS 123), is a threatening dull picture accepting the predominant front position. His turned around recommends a dismissal for her enthusiastic government assistance as he avoids potential threat - or infringement of her maidenhead- - with his horsewhip. The back-flung entryway welcomes admirers in, however just the individuals who fulfill Grierson guidelines. Shockingly, those principles are out of reach - The Griersons held themselves excessively high for what they truly were (CS 123)- - and Miss Emily remains... ...cefully on her burial service casket with a straightforward picture of adoration and misfortune, a strand of iron-silver hair laying on the yellowed cushion of a feeble wedding bed. This frightful picture is the fianl pen stroke murmuring the tribute of her squandered life. Notes 1 Collected Stories of William Faulkner (New York: Vintage, 1977), 123. From this point forward CS. 2 The southern grower designed his way of life after the English nation refined man (Daniel Boorstin, The American:â The Colonial Experience [Random House, 1958]).â In doing as such, he built up a set of principles that mirrored the sentimentalism of the medevial age.â A primitive mentality - loaded with cultured love, a code of respect, and a sentimental mission - is clear in a few of Faulkner's male characters, e.g., Sutpen in Abaslom, Absalom! what's more, Hightower in Light in August. 3 The Sound and the Fury (New York:â Random House, 1992), 78.

Narrators Reaction to Erskines Death in The Portrait of Mr. W.H. - Literature Essay Samples

The long, antepenultimate paragraph of â€Å"The Portrait of Mr. W.H.† neatly interrupts the dialogue that has just revealed the true nature of the death of Erskine, a friend of the narrator. The narrator is taking in the shocking news that Erskine had died naturally of consumption and not by suicide, as a letter from Erskine himself had previously led the narrator to believe. Then, in considering the odd circumstances surrounding his friend’s recent demise, the narrator asks himself why Erskine in his tragic egress â€Å"turned back to tell [him] what was not true† (100). The paragraph continues with the narrator musing on the meaning of his friend’s dying untruth, ultimately in an attempt to convince himself of its â€Å"very uselessness† (100) in converting him back to the theory of Willie Hughes. However, latent in the language he uses to dismiss and devalue Erskine’s letter lays that exact capacity for reconversion that the narrator expl icitly denies. He is almost desperately persuading himself that he has lost faith in the theory. He wants to believe that he had at that same moment in which his faith left him, experienced a fundamental change in his character and sensibility that prevents him from being affected by Erskine’s pose of martyrdom. He assures himself that Erskine’s act was futile and that he is firm in his unbelief, but in assuring himself, his very deliberate language rife with ambiguity, deception, and misrepresentation seems to suggest that Erskine’s pose is slowly instilling in the narrator a nervously revived belief.The narrator, stepping away from the doctor who just informed him of the suicidal nature of Erskine’s death, immediately asks himself a litany of questions, pondering the motive for his friend’s lie. Characteristic of Wildean narration, he paraphrases and misappropriates a literary source. He alludes to a passage of indirect speech from Les Misà ©rab les, generalizing it and attributing it to Hugo himself. By first posing the question â€Å"was Hugo right?† the narrator asserts a rhetorical mode and, given Hugo’s respected and well-known place in literary history, there is a preemptive level of external authority lent to the succeeding question: â€Å"is affectation the only thing that accompanies a man up the steps to the scaffold† (100)? By posing his citation of Hugo as a question, the narrator wants to be taken on his word that this is an accurate, unloaded representation of Hugo’s own thought. He distracts from the problem of the veracity of the attributed paraphrase and redirects attention to the veracity of the formulated question. However, on closer inspection, it seems to be a paraphrasing of convenient misremembering or, more likely, of calculated misrepresentation. In Hugo’s novel a Bishop goes up the scaffold with a condemned man. The narrator in Les Mis, who probably most nearly ap proximates Hugo, actually calls the act â€Å"sublime† and misunderstood (326). It is only some of the â€Å"people in the town who said it was all affectation† (326). Wilde’s narrator reorganizes the passage, eliminates the sublimity, attributes the misunderstanding of the townspeople to Hugo himself, and ultimately presents a misleading paraphrase to characterize Erskine’s action. As a result, he reveals his actively depreciative and misleading tendencies that set the tone for his subsequent musings. Nevertheless, he does so in the form of questions that demonstrate his palpable doubts and indecision about the thoughts crossing his mind. He compounds that uncertainty with the subliminal connotations of the true, contradictory passage from Hugo that is ineluctably entwined with the paraphrase. So, while he is ostensibly questioning the futile affectation of Erskine’s dying act, he is implicitly suggesting the incompatibly sublime aspect of the act that was Hugo’s real assertion.Wilde’s narrator continues along the same line of thought with one more question: â€Å"Did Erskine merely want to produce a dramatic effect† (100)? No, the narrator admits, confident in his ability to pigeonhole his friend, â€Å"that was not like him† (100). In fact, according to the narrator, attempting to produce such an effect was more â€Å"like something I might have done† (100). What is initially striking about this sentence is the vagueness inherent in constructing a sentence around a simile with the decidedly vague descriptor â€Å"something.† Yet, it is also notable that the narrator chooses to make this confession in the potential pluperfect tense coupled with ‘might.’ The use of this tense demonstrates the careful and deliberate break that he is making with his former self, the narrator from the beginning of the story, since he could just as easily have constructed the sentence using the present tense. His use of the verb ‘might’ draws even more attention to his phrasing and, in the process, causes his assertion to seem somewhat suspiciously labored. The ‘might’ creates even further distance by insinuating that even if he was like he used to be, there is still only the possibility of him producing something like such a dramatic effect. He could have used the conditional ‘would’ in place of ‘might’ and created less of a rift between himself, both past and present, and the hypothetical production of such a dramatic effect.The narrator â€Å"had grown wiser,† though, than he was at the beginning of the text and that’s why it is only his past, naive self that might possibly do something similar to what Erskine did. Considering his effusive praise and passionate emulation of Cyril Graham for the majority of the text, before he claims to have lost belief in the Willie Hughes theory, he is required to ad mit the possibility of his former self being desirous of creating such an effect. However, it is possibly the fear that Erskine’s dramatic pose at a self-realized departure is affecting his disbelief in the theory that leads the narrator to distance himself self-consciously.Nevertheless, the narrator claims that he does not think that mere dramatic effect was the purpose of his friend’s letter. He claims that Erskine â€Å"was simply actuated by a desire to reconvert [him] to Cyril Graham’s theory† (100). Essentially, the narrator sets up two possible motives for his friend’s letter: to create a dramatic effect or to reconvert him to the theory. He dismisses the former in favor of the latter. But, oddly, he uses synonymous adverbs in both instances. â€Å"Merely† and â€Å"simply† both provide a plain, stripped-down, almost diminutive description of the two possible motives. This is another conscious move to minimize the significance and influence of Erskine’s letter. However, in juxtaposing the two potential motives as separately uncomplicated and dismissible, either as untrue or ineffective, does that not leave room for the effectiveness of their conflation? This conflation does not enter into the narrator’s thought process and understandably so, as it would, no doubt, force him to admit the effect that Erskine’s letter was having on him, despite his protestations. For isn’t the production of a dramatic effect, in this instance, inextricable from Erskine’s actuation of a desire to reconvert the narrator? Especially given the narrator’s aesthetic sensibilities and his friend’s intimate understanding of his predilections and personality?As the pace continues to build in the narrator’s thoughts, he becomes more blatant in his use of misrepresentation as a means to cope with his unwanted reconversion. He says that Erskine â€Å"thought that if [the narrator] could be made to believe that he had given his life for [the Willie Hughes theory], [he] would be deceived by the pathetic fallacy of martyrdom† (100). He pretends that his friend thought that he would never find out that he actually died of consumption, which is utterly ridiculous given the fact that Erskine asked his mother to present the narrator with the portrait. Cyril Graham’s suicidal martyrdom was the impetus of the narrator’s original belief, but it seems as though he may have, in fact, grown wiser or more jaded. But Erskine was aware of this; he was aware that martyrdom is â€Å"merely a tragic form of skepticism† (100). Therefore, it is not on actual martyrdom that Erskine relies to reconvert the narrator, but the pose at martyrdom, the realization of his â€Å"own personality on some imaginative plane out of the reach of the trammeling accidents and limitations of real life† (33). The narrator continues to harp on martyrdom, though, as if the suicide was not a pose. He claims â€Å"no man dies for what he knows to be true† (100). Again, he makes an irrelevant, deceptive point in an attempt to protect his waning disbelief. His assertion is without traction since no one has claimed to know the truth about the theory, rather Erskine believes in it and desires to transfer that belief. In discussing martyrdom the narrator seems to forget that Erskine died naturally, so no one has died for anything. Erskine died by consumption and posed his death as a martyrdom to something he believes in, knowing full well that the fallacy of his pose would be revealed, but confident that his deliberate â€Å"mode of acting† (33) would, nonetheless, affect his friend, the narrator.The interrupting thoughts of the narrator culminate with a declaration of â€Å"the very uselessness of Erskine’s letter† (100). This uselessness is exactly what the narrator has been approaching all along; it is exactly what he ha s been using to fight his encroaching reconversion: a confusion of â€Å"an ethical with an aesthetical problem† (33). For Erskine merely wished to go out as he pleased, trumping the limitations of his fatal disease, approximating the death of his dear friend, Cyril Graham, and providing a last hurrah for a theory he had been reconverted to on his deathbed. Erskine is not a slave and true martyr to the theory, but the emptying ciborium of its legacy.Therefore, the narrator’s declaration of Erskine’s letter’s uselessness is based on the preceding sense he gives that he thinks Erskine thought he would never find out about the true nature of his death. This is decidedly untrue. In stooping to misguided and misleading utilitarian ethics to dismiss Erskine’s letter, the narrator appears to be flailing about in a last ditch effort to assure himself that he has not been infected with belief. However, it is apparent that he is merely trying to avoid admitt ing his subtle reconversion. The subsequent paragraph gets more explicit about the narrator’s reentrance into the cult of Willie Hughes. Erskine’s mother returns and hands him the portrait, that symbol of a faith based on deceit. Then, as regent to the deceased high priest, her son, baptizes the narrator as â€Å"her tears fell on [his] hand† (100). This happens without narrative comment and all of the denials of reconversion seem ridiculous when in the last paragraph, written in the present tense, the narrator looks at the portrait and admits â€Å"there really is a great deal to be said for the Willie Hughes theory of Shakespeare’s sonnets† (101). And isn’t he ultimately carrying out the legacy that was given to him, â€Å"stained with the blood of two lives† (98), by telling the story?

Can Entrepreneurship Be Taught - 1355 Words

GROUP 3 PRESENTATION Question 3 †¢ Can we teach entrepreneurship and bring some entrepreneurial awareness and changes among individuals. Give evidence Approach in answering the Question †¢ Definition of Entrepreneurship †¢ Entrepreneurship education †¢ Approaches to teach entrepreneurship †¢ Conclusion The concept of entrepreneurship There is no universal agreed definition of entrepreneurship. However, Entrepreneurship is defined differently by different scholars. Schumpeter (1934) defines Entrepreneurship as a person’s ability to be innovative in terms of goals, methods of production, markets, sources of supply and industrial organization. The concept of entrepreneurship cont†¦. Also, Craven (2008) believes that all successful†¦show more content†¦Ã¢â‚¬ ¢ The University of Illinois’s Academy for Entrepreneurial Leadership describes entrepreneurship as â€Å"a process that can lead to creative solutions to social problems or the formation of new and innovative enterprises.† †¢ As such, entrepreneurship â€Å"spans opportunity recognition and resource acquisition and leads to innovation and invention.† The key aspects of entrepreneurship Three aspects of the entrepreneurial process are identified in these definitions: †¢ Opportunity identification and recognition, †¢ Resource acquisition and †¢ Innovation. The key aspects of entrepreneurship cont.. †¢ Schumpeter’s interpretation of entrepreneurship includes all three of these aspects, while Schultz’s idea of adjustment to exogenous economic change is largely covered by opportunity recognition and resource acquisition. †¢ Knight’s, Kirzner’s, and Schultz’s concepts of entrepreneurship also suggest a fourth aspect: the management of existing resources in a new or established organization. The key aspects of entrepreneurship cont.. †¢ All these aspects of entrepreneurship involve bearing uncertainty, as suggested by Cantillon and Knight . How are these aspects of entrepreneurship taught? Let us consider each aspect in turn ï  ¶Identifying andShow MoreRelatedEntrepreneurship As An Entrepreneur, Real World Experience Essay1568 Words   |  7 PagesEntrepreneurship is a topic that is heavily debated in regards to if it can be taught or not. The word Entrepreneurship originates from a French word that means to undertake. In the business sense, it is defined in the Merriam-Webster dictionary as one who organizes, manages, and assumes the risks of a business or enterprise. Since entrepreneurship is an appealing career path, people want to know if they can be taught it or if it is something they have intrinsically. The objective of this essayRead MoreEntrepreneurship Is A Nature Or Nurture Process Essay1468 Words   |  6 PagesEntrepreneurship is a complex field of study in business that sparks much debate. One prominent discussion relates to whether entrepreneurship is a nature or nurture process. In order to answer this question, entrepreneurship must first be defined. 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Creating A Ketone Through An Oxidation Reaction Using A...

The objective of this lab was to create a ketone through an oxidation reaction using a using a secondary alcohol and oxidizing agent in order to use that ketone in a reduction reaction with a specific reducing agent to determine the affect of that reducing agent on the diastereoselectivity of the product. In the first part of this experiment, 4-tert-butylcyclohexanol was reacted with NaOCl, an oxidizing agent, and acetic acid to form 4-tert-butylcyclohexanone. In the second part of this experiment, 4-tert-butylcyclohexanone was reacted with a reducing agent, either NaBH4 in EtOH or Al(OiPr)3 in iPrOH, to form the product 4-tert-butylcyclohexanol. 1H NMR spectroscopy was used to determine the cis:trans ratio of the OH relative to the tert-butyl group in the product formed from the reduction reaction with each reducing agent. Thin-layer chromatography was used in both the oxidation and reduction steps to ensure that each reaction ran to completion. In an oxidation reaction, the number of C-H bonds decreases or the number of C-O bonds increases, while in a reduction reaction, the number of C-H bonds increases or the number of C-O bonds decreases. In the oxidation step of this reaction, 4-tert-butylcyclohexanone is formed from when a C-H bond is lost while a C-O bond is gained to create a carbonyl. In the reduction step, 4-tert-butylcyclohexanol is formed when the carbonyl is converted into an alcohol when a nucleophilic hydride attacks the carbonyl. Whether the OH is in theShow MoreRelatedChemistry Experiment : Oxidation Of Borneol1607 Words   |  7 Pages Experiment 3: Oxidation of Borneol to Camphor By: Evan Holley Lab partner: Jeffrey Horton T.A.: Garret CHM2211L-008 07/12/2015 Introduction The overall goal in this lab was to oxidize borneol, a secondary alcohol, into camphor, which is a ketone. For the purposes of oxidation chromic acid was utilized, which was prepared by adding a 1:1 ratio of chromium trioxide to dilute sulfuric acid. The oxidation reaction occurs as a two-step reaction. The first step involves the formationRead MoreMultistep Synthesis of Benzilic Acid2109 Words   |  9 PagesMulti-Step Synthesis of Benzilic Acid from Benzoin Abstract: The main purpose of this experiment was to convert a secondary alcohol to a ketone, utilizing a mild and selective oxidizing agent. In addition, this converted alpha diketone was then subjected to rearrangement to a carboxylate salt, then acidification, to produce an alpha-hydroxyacid. In this experiment, benzoin was used and converted into benzil, which was then used to synthesize benzillic acid. The yields were not ideal: .081g of benzil-Read MoreAdipic Acid43555 Words   |  175 Pagesproductions of adipic acid in the world. 2. General Description Generally, adipic acid has a structure of  Carbon 6 straight-chain with two carboxylic acid (-COOH) groups. Due to its long aliphatic chain, it is slightly soluble in water, alcohol and acetone. Adipic acid can also be called as 1,4-butanedicarboxylic acid, 1,6-hexanedioic acid, adipinic acid, acifloctin, acinetten, octafluorohexanedioic acid as well as hexanedioic acid. It is expected to have a chemical formula of C6H10O4 and

Strategic Retail Marketing and Promotions †MyAssignmenthelp.com

Question: Discuss about the Strategic Retail Marketing and Promotions. Answer: Strategic Retail Marketing And Promotions As a consultant for a Wellington-based entrepreneur, I have decided to set up an online retail curation site on curated artisanal products. I will be preparing a tactical plan that outline the retail concept, the target market, tenant mix, and promotion strategy. Retail Concept Just like fashion styles, the vocabulary of retail is constantly changing. While some consider the term curated retail to be a new concept, the fact is, curation has existed for a long time. The terms refers to the concept that retailers deploy a strategy to minimize the number of choices a customer must make along with ensuring that the product lines they carry are unique and highly desirable to their target shopper. And, retail experts believe curated retail is here to stay. According to Craig Patterson, editor-in-chief of Retail Insider, Curated retail involves a narrower product focus, which may lead to personalization and increased brand relevancy. Patterson agrees, the idea of curated retail is not new, but, more recently feels we are seeing a higher focus on it, Because consumers demand curated and personalized offerings and competition is so great, and offerings so broad, retailers are seeing opportunity to sell better with less, he said. Several smaller retailers have used curating as amarketing strategy to differentiate their businesses alongside the big names of Kanye West and big retailers like Nordstrom who are doing curated pop-up shops. Curated retail is defined as having a deep point of vieweven if it means we cant be all things to all people, said Jen Lee Koss, a Canadian retailer and co-founder of BRIKA, an online and brick-and-mortar retailer of artisan crafts. BRIKA was co-founded by Koss and Kena Paranjape who saw a need to focus on talented artisans and designers who according to Koss, Are being lost in the noise and desire a true platform to bring their well-crafted goods to a wider audience. The duo recognized that there is a core customer who is inherently creative and craves unique special goods. Their business model began as an online site and has evolved to physical retail. The co-founders hand-select artisans and makers from all over North America for their uniqueness and commitment to quality, ethical business and building a purposeful contribution within their community. These artisans benefit from having an easy platform in which to sell their goods online. Their model requires no inventory as each of the maker ship directly from their studios. BRIKA launched at the end of 2012 with five artisans and today they have over 400 within their curated community. More recently, Koss and Paranjape have opened permanent stores and pop-up shops in the Toronto area. The BRIKA online business has benefited by having physical stores. We most certainly see a correlation between our stores and an increase in online sales in the same geography, Koss said. BRIKA has also sold merchandise through Hudson Bay and Holt Renfrew department stores. Koss wants to see this distribution platform grow. She explained that the combination of an online presence and physical stores enables them to reach a wider audience. As such, they will be opening more brick-and-mortar locations worldwide. Koss said, We envision a day where we are in every primary and secondary city, in the most special neighborhoods and weaving crafts into the local fabric. One achievement that the BRIKA team is most proud of was opening their first stand-alone location. We had always envisioned an offline presence, and when we finally found the perfect space, we executed on it quickly and cheaply. Seeing our footprint grow allows our artisans and designers to become bigger and more successful. BRIKA shares some similarities with Etsy; including some of their makers utilize both online platforms. BRIKA claims they are more highly selective than Etsy. Interestingly, both companies have ventured into having real storefront exposure. Esty is now a public company based in Brooklyn, New York. It was founded in 2005 and today has over 1.7 million active sellers and has international offices too. Target Market One of the most important aspects of a promotion strategy is to identify your target market. Who's going to buy your curated artisanal products? Are the curated artisanal products specifically designed for males or females like some grooming products? Or, are they meant for either gender like soft drinks and smartphones? What about age? Are the curated artisanal products intended for use by a specific age group? Will they be readily affordable by the average consumer, or will they be priced high to attract wealthy customers? Identifying your target market will allow you to tailor your promotion strategy specifically to deliver your message to the right people at the right time. Both males and females will be served. Tenant Mix Tenant mix is a combination of factors, including the proportion of space or number of units occupied by different retail/service types, as well as the relative placement of tenants in the centre. And a good tenant mix is a variety of stores which work together to enhance the centres performance and operate successfully as individual businesses. Further, Tenant mix refers to the combination of business establishments occupying space in a shopping centre to form an assemblage that produces optimum sales, rents, service to the community and financiability of the shopping centre venture. These descriptions of tenant mix all stress the underlying objective of maximizing shopping centre profitability, and are therefore investor-oriented. Only the third mentions the key to maximizing profitability, which is maximization of sales, through provision of the optimum service to the community. The concept of tenant mix design therefore involves provision of a range of merchandise and services, c arefully chosen to appeal to the catchment shopping population. These services may include restaurants and other food outlets, and increasingly also include leisure facilities such as cinemas. Comparison Goods: Comparison goods as being purchased at irregular intervals, for long term use, with suitability, quality, price and style being important factors in their selection. The group is epitomised by fashion and footwear, jewellery, and the more expensive household equipment and furniture.The reason for the increase in sales when comparison goods retailers cluster close together is their attraction to shoppers wanting to compare similar goods before making a purchase. The importance of comparison shopping as a motivation for visiting shopping centres, which has long been forwarded as one of the primary reasons for designing and managing tenant mix. Two compatible businesses located in close proximity will show an increase in business volume directly proportionate to the incidence of total customer interchange between them, inversely proportionate to the ratio of the business volume of the larger store to that of the smaller store and directly proportionate to the sum of the ratios of purposeful purchasing to total purchasing in each of the two stores. The concept of comparison shopping used in tenant mix management therefore has to include not only the selection of tenants, but their relative locations within the centre. Convenience Goods: Convenience goods are described as purchased regularly, so that convenience of location, selection and buying are important. The group includes food, newspapers and drinks, and is typically sold from local corner and parade shops, supermarkets and unit shops, some of which are situated in shopping centres top. Promotion Strategy Product promotion is one of the necessities for getting your brand in front of the public and attracting new customers. There are numerous ways to promote a product or service. Some companies use more than one method, while others may use different methods for different marketing purposes (Rolbina, Kalenskaya, Novenkova Ukpere, 2016). Regardless of your company's product or service, a strong set of promotional strategies can help position your company in a favorable light with not only current customers but new ones as well. Components of a Promotion Strategy When we talk about promotion, we're talking about influencing consumers. Of course, you want to inform the public about purple widgets, and you want them to understand why you have the best purple widgets on the planet, but you also want to persuade people to buy them. And, you want to build lasting relationships that will keep them coming back for more. That's the goal of a successful marketing promotion strategy. Devising the right promotion strategy is a complex process. There's so much to consider! Let's take a look at some examples of the types of activities that you'll need to work through in order to promote your product. Message To begin, you'll need to describe your company's unique selling proposition. What is it about your purple widgets that sets them apart from the competition? What message are you going to send to consumers to persuade them to buy your widgets? You have to have a clear picture of exactly what you're selling as the basis for your promotion strategy. Strategy After you've established why consumers should buy your widgets, you'll need to determine whichbasic marketing strategy will work best for your product. Will you use a push strategy, where you push the product onto the customers with high profile advertising or direct selling? Or, perhaps you'll use a pull strategy, like the luxury car maker Rolls-Royce, where you build a prestigious brand so that customers seek you out. There is no single 'right' strategy for every situation. You need to tailor your plan to your product. Budget Another important consideration in crafting your promotion strategy is your budget. In some cases, you may have the latitude to determine how much money you'll invest in promotion. In other cases, you may have to work within a budget dictated by other people in the organization (Ramanathan, Ramanathan, Subramanian, Subramanian, Parrott Parrott, 2017). Regardless of which situation you have, it's important to know at the outset how much money you'll be able to invest in promotion so that you can plan accordingly and get the most bang for your buck (Garg Steyn, 2014). Social Media Social media websites such as Facebook and Google+ offer companies a way to promote products and services in a more relaxed environment. This is direct marketing at its best. Social networks connect with a world of potential customers that can view your company from a different perspective. Rather than seeing your company as "trying to sell" something, the social network can see a company that is in touch with people on a more personal level (Lusch, Serpkenci Orvis, 2015). This can help lessen the divide between the company and the buyer, which in turn presents a more appealing and familiar image of the company (Varley, 2014). Mail Order Marketing Customers who come into your business are not to be overlooked. These customers have already decided to purchase your product. What can be helpful is getting personal information from these customers. Offer a free product or service in exchange for the information. These are customers who are already familiar with your company and represent the target audience you want to market your new products to (Zentes, Morschett Schramm-Klein, 2017). Product Giveaways Product giveaways and allowing potential customers to sample a product are methods used often by companies to introduce new food and household products. Many of these companies sponsor in-store promotions, giving away product samples to entice the buying public into trying new products (Chen, 2015). Point-of-Sale Promotion and End-Cap Marketing Point-of-sale and end-cap marketing are ways of selling product and promoting items in stores. The idea behind this promotional strategy is convenience and impulse. The end cap, which sits at the end of aisles in grocery stores, features products a store wants to promote or move quickly (Desai, Purohit Zhou, 2016). This product is positioned so it is easily accessible to the customer. Point-of-sale is a way to promote new products or products a store needs to move. These items are placed near the checkout in the store and are often purchased by consumers on impulse as they wait to be checked out. Customer Appreciation Events An in-store customer appreciation event with free refreshments and door prizes will draw customers into the store. Emphasis on the appreciation part of the event, with no purchase of anything necessary, is an effective way to draw not only current customers but also potential customers through the door. Pizza, hot dogs and soda are inexpensive food items that can be used to make the event more attractive. Setting up convenient product displays before the launch of the event will ensure the products you want to promote are highly visible when the customers arrive. After-Sale Customer Surveys Contacting customers by telephone or through the mail after a sale is a promotional strategy that puts the importance of customer satisfaction first while leaving the door open for a promotional opportunity. Skilled salespeople make survey calls to customers to gather information that can later be used for marketing by asking questions relating to the way the customers feel about the products and services purchased (Bhaduri Fogarty, 2016). This serves the dual purpose of promoting your company as one that cares what the customer thinks and one that is always striving to provide the best service and product. References Bhaduri, S. N., Fogarty, D. (2016). Strategic Retail Marketing Using DGP-Based Models. In Advanced Business Analytics (pp. 57-70). Springer Singapore. Chen, C. C. (2015). Research on Fashion Retail Tenant Mix of Shopping Center in Preparatory Period-A Case Study of U Town in Xizhi. Desai, P. S., Purohit, D., Zhou, B. (2016). The strategic role of exchange promotions. Marketing Science, 35(1), 93-112. Garg, A. K., Steyn, S. (2014). The Ideal Tenant Mix and Shopping Centre Size for the Proposed Thatchfield Convenience Centre. International Journal of Business and Management, 10(1), 243. Lusch, R. F., Serpkenci, R. R., Orvis, B. T. (2015). Determinants of retail store performance: a partial examination of selected elements of retailer conduct. In Proceedings of the 1995 World Marketing Congress (pp. 495-504). Springer, Cham. Ramanathan, U., Ramanathan, U., Subramanian, N., Subramanian, N., Parrott, G., Parrott, G. (2017). Role of social media in retail network operations and marketing to enhance customer satisfaction. International Journal of Operations Production Management, 37(1), 105-123. Rolbina, E. S., Kalenskaya, N. V., Novenkova, A. Z., Ukpere, W. I. (2016). Marketing foundation for retail and office centers tenant mix. Varley, R. (2014). Retail product management: buying and merchandising. Routledge. Zentes, J., Morschett, D., Schramm-Klein, H. (2017). Marketing Communication. In Strategic Retail Management (pp. 307-326). Springer Fachmedien Wiesbaden.

Labovian Narrative Analysis Essay Sample free essay sample

In this paper. I perform a narrative analysis on an â€Å"oral narration of personal experience† ( Labov. 2011 ) . As follows. Section 1 discusses the methodological analysis used to execute the analysis. Section 2 discusses the construction of the narrative and presents the consequences of the analysis. and Section 3 concludes with a sum-up of the narrative and analyses. Section 1: Methodology For this analysis. I used a personal experience that is termed an evoked narration. which means I asked the person to portion a narrative alternatively of trusting on of course happening colloquial informations ( Labov. 1997 ) . The narrative is told by a household relation of mine. Lisa. It is about a extrasensory experience she had as a kid in Sydney. Australia and involves the independent motion of a tabular array while Lisa and others were at an unfastened house. To analyse Lisa’s narrative. I used Labov’s original theoretical account of narrative. which breaks down a narrative into distinguishable classs: Abstract. We will write a custom essay sample on Labovian Narrative Analysis Essay Sample or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Orientation. Complicating Action. Evaluation. and Coda. In add-on. I used general Labovian narration theory to depict the temporal construction and map of Lisa’s narrative ; nevertheless. I have refrained from utilizing the term Resolution due to its ambiguity in Labov’s literature. Below. in Narrative A. the narrative has been transcribed to ease the undermentioned narrative analysis. Each independent clause is numbered. and all dependent clauses are indented below them. Narrative A: An history of Lisa’s extrasensory experience ( 1 ) Yeah. one time I had this truly interesting extrasensory experience ( 2 ) Uh. back when I was in High School in Sydney in approximately 1977. ( 3 ) my parents were house hunting( 4 ) and silent and I were look intoing out a house in Killara they were interested in. ( 5 ) Equally shortly as we stepped through the front door into the broad. sunstruck hall. ( 6 ) we were both impressed by the welcoming atmosphere in the house. ( 7 ) There were one or two pieces of furniture in the hallway including an old-timer tray tabular array which had truly old Castor wheels on it the type that don’t turn over really easy even on smooth floors like that hall. ( 8 ) The tray tabular array was standing somewhat at an angle to the wall and the forepart border was about 2 inches farther out from the wall than the rear border. ( 9 ) I noticed all this because we had been standing in the hall chew the fating to the house proprietor. Mrs. C. for a piece ( 10 ) when a adult male came to the fr ont door. ( 11 ) Mum and I were confronting off from the door and towards the tabular array. ( 12 ) Mrs. C at the door had her back turned( 13 ) but her visitant at the front door had a clear position of it ( the tabular array ) ( 14 ) No-one was standing within 5 pess of the tabular array( 15 ) and no-one was traveling about to do the floor to travel ( 16 ) but that table really swimmingly and intentionally moved in on its ain towards the wall to sit neatly parallel to it. ( 17 ) The silence was deafening! ( 18 ) The adult male at the door stopped talking for several seconds ( 19 ) so pointed at the tabular array( 20 ) and in a really rickety voice said â€Å"That table merely moved! † . ( 21 ) Mrs C merely kind of said â€Å"hmmm†( 22 ) and concluded the conversation.( 23 ) He left.( 24 ) she turned back to us.( 25 ) and continued our confab( 26 ) as though nil had happened.( 27 ) Suffice to state that was merely the first brush of several I had in that house. Section 2: Results A ; Analysis In the undermentioned subdivisions. I foremost describe the general qualities of each narrative class ; 2nd. explicate Lisa’s narrative in footings of the narrative classs ; and. 3rd. show the analysis of Lisa’s narrative in footings of Labovian narrative theory. Section 2. 05: The Most Reportable Event Before plunging headfirst into the analysis. it will turn out advantageous to specify the term most reportable event ( MRE ) . Harmonizing to Labov. any given narration is constructed around the MRE. It is the ground for the narrative in the first topographic point. Generally it refers to an uncommon or rare event that greatly affects the participants involved. The more uncommon the event appears. the less credibleness it will keep. and frailty versa. Thus it is necessary for the narrative to set up credibleness elsewhere. otherwise the narration will ensue in failure. Section 2. 1: Abstraction Abstractions. like those in academic articles. occur at the beginning of texts and supply a compendious description of the information to follow. In a sense. they indicate what the reader can anticipate the article to be approximately. In footings of personal narrations. the Abstract informs the hearer what the narrative will be approximately and that it will get down shortly thenceforth. Clause ( 1 ) of Lisa’s narrative is a great illustration of narrative abstracts: ( 1 ) Yeah. one time I had this truly interesting extrasensory experience Lisa begins her narrative by briefly saying that she experienced something beyond the normal scope of account. This statement informs the hearer that they can anticipate a narrative and decision out of the ordinary. Section 2. 2: Orientation Immediately following the Abstract. the talker sets the scene by orientating the hearer to the environing elements involved in the narrative. Labovian narrative theory refers to this as the Orientation. It has two intents: foremost. to locate the clip. topographic point. participants. and general occurrences of the narrative ; and 2nd. to set up the credibleness of the MRE. The Orientation establishes credibleness by get downing the narrative with an event that would be foolish to inquire approximately. such as ordinary events. which are events that lack involvement in themselves ( Labov. 2002 ) . Common lingual characteristics of the Orientation are past uninterrupted verbs and temporal adjuncts. In Lisa’s narrative the Orientation begins with clauses ( 2-4 ) : ( 2 ) Uh. back when I was in High School in Sydney in approximately 1977. ( 3 ) my parents were house hunting ( 4 ) and silent and I were look intoing out a house in Killara they were interested in.Here. she presents the background information needed to continue with the balance of the narrative: Sydney. a house. Lisa and others. and an unfastened house walk-through. There is no ground to inquire about how these events came approximately. because they are so commonplace. Therefore. the credibleness of the narration is non in inquiry. In add-on to clauses ( 2-4 ) . clauses ( 7 ) and ( 8 ) can be considered portion of the Orientation as good. because they contribute to the scene ; nevertheless. they have been incorporated into the Complicating Action. Unfortunately. I will non discourse the Orientation any farther due to infinite restraints. Section 2. 3: Complicating Action The Complicating Action is the narrative proper. It is what the Abstract and Orientation set up to be told. Generally it contains a set of consecutive clauses. called a narrative concatenation. which leads up to the narrative’s MRE. Each consecutive clause efforts to reply the inquiry â€Å"what happened following? † and can utilize the simple yesteryear or present tenses to travel the narrative forward. In footings of Lisa’s narrative. the Complicating Action is bookended by clauses ( 5 ) and ( 16 ) the story’s MRE. But. non all the clauses in between can be considered clauses of perplexing action. This is because they are non a portion of the narrative concatenation and service as retrospective observations. For case. clauses ( 11-15 ) focal point on the participants’ propinquity and orientation to the tabular array ; they do non come on the narrative forward. In fact. by concentrating on these ordinary events. they slow down the narrative and ris e the expectancy of the most reportable event. If we remove all the clauses that do non lend to the forward motion. the true narrative concatenation becomes evident: ( 5 ) Equally shortly as we stepped through the front door into the broad. sunstruck hall. ( 6 ) we were both impressed by the welcoming atmosphere in the house. ( 9 ) I noticed all this because we had been standing in the hall chew the fating to the house proprietor. Mrs. C. for a piece ( 10 ) when a adult male came to the front door. ( 16 ) but that table really swimmingly and intentionally moved in on its ain towards the wall to sit neatly parallel to it.These five clauses constitute the Complicating Action and. as we can see. it is comparatively short in comparing to the full narrative. Although clause ( 10 ) is necessary for the Evaluation. even the man’s debut is non critical to the narrative’s patterned advance. It is possible at that place was non much of a narrative to state. but because the credibleness of the MRE was questionable. embroidery of the narrative concatenation with ordinary. hence less questionable. events increased the credibleness of the MRE and produced a longer narrative. Section 2. 4: Evaluation The Evaluation subdivision serves a few intents. first it justifies the narrative and the talker for keeping the floor for every bit long as they have ; 2nd. it serves to set up the MRE as the ground for the narrative ; and 3rd. it provides information about what happened after the MRE and its affects on those take parting. Common lingual characteristics in appraising clauses are modals. negatives. appraising commentary. embedded address. and irrealis clauses. Clause ( 17 ) begins the Evaluation subdivision in Lisa’s narrative: ( 17 ) The silence was deafening! At this point in the narrative. it seems that the table’s eldritch motion has elicited a reaction perceptibly different from earlier events. one of deafening silence. If we assume the silence occurred during a conversation. so. in footings of Conversation Analysis. the table’s motion one-sidedly ended the conversation without negociating a shutting. therefore interrupting the norm. If no reaction were elicited. there would hold been no narrative to state. Therefore the reactionist silence serves as evidences for the narrative and establishes the MRE as the ground for the narrative. The balance of the Evaluation. clauses ( 18-26 ) . reads like a narrative concatenation in a complicating action. Except for ( 26 ) . each clause is consecutive and in simple past tense. However. unlike clauses of perplexing action. they do non come on towards an MRE. Alternatively they describe the assorted reactions to the MRE in sequence. including a deictic gesture. possible ambivalency. and going. Section 2. 5: Finale At the terminal of the narrative. the Coda maps to return the narrative to the present tense and inform the hearer that the narrative has concluded. It is frequently accompanied by a â€Å"timeless† statement. In Lisa’s narrative. the concluding clause acts as the Coda: ( 27 ) Suffice to state that was merely the first brush of several I had in that house. Lisa concludes her narrative by saying she will state nil beyond the fact that she has more narratives to state. She explains how it all terminals by stating it does non stop rather at that place. Section 3: Decision After dissecting Lisa’s narrative with a Labovian scalpel. this paper has shown that narrations are non merely simple retellings of events ; instead they are complex buildings with functional intent. As shown above. narrations have an internal construction that can be broken up into distinguishable classs: Abstract. Orientation. Complicating Action. Evaluation. and Coda. Each class provides a necessary map for the narrative. and while some hold flexible places. others do non. Ultimately. the end of a narrative is to inform the hearer of the most reportable event. while continuing its credibleness. To make otherwise would ensue in failure and a decrease of societal standing for the storyteller. As a side note. it would be interesting to look into the construction of Evaluations in other narrations and compare them with Lisa’s. It seemed to me that the reaction to the MRE had higher significance than the MRE did. but because I presently lack experience and cognition in th e field of narrative theory. I can non back up my statement. Mentions Labov. W. ( 1997 ) . Some farther stairss in narrative analysis. The diary of narrative andlife history. Retrieved from hypertext transfer protocol: //www. Trapa bicornis. upenn. edu/~wlabov/sfs. hypertext markup language Labov. W. ( 2002. February 2 ) . Ordinary events. Retrieved fromhypertext transfer protocol: //www. Trapa bicornis. upenn. edu/~wlabov/Papers/OE. pdfLabov. W. ( 2011. January 1 ) . Oral narrations of personal experience. Retrieved fromhypertext transfer protocol: //www. Trapa bicornis. upenn. edu/~wlabov/Papers/FebOralNarPE. pdf

Easter Symbols and Celebration Traditions

Easter Symbols and Celebration Traditions Symbols and Characteristics of Easter Since ancient times, Easter has been observed as one of the most long-expected and sacred holidays. Though its celebration is considered to be tightly connected with missioners spreading the traditions of observance of Christs Resurrection, the feast of Eostre existed in a far pre-Christianity era. The pagans were commemorating the goodness of spring Easter at the beginning of this season of the year, which coincided with commemorating Christs Resurrection by Christians. Gradually, two different holidays assimilated and were celebrated as one, called Easter, with its unique traditions and symbols. To emphasize victory of life over death, faith over disbelief, fertility, and purity, people started to use various symbols associated with the mentioned notions. Read More About Easter Symbols Cross The all-pervading symbol of different festivals is the cross. During Easter holiday, it is used to mourn for Christs death on Good Friday and to glorify the Jesus resurrection. On the Easter Sunday, the cross is decorated with Easter flowers, which are lilies, and bright strips of different colors. Lily The icon, which symbolizes the purity, beauty, and innocence, is the Easter lily. According to the legend, lilies were the flowers which grew at the places where the sweat of Jesus in his hours of sorrow had fallen. Butterfly Another vivid symbol of Easter is the butterfly, whose stages of life remind us Christs path as a human. The first cycle, when a butterfly is a caterpillar, is associated with the life of Jesus; the cocoon cycle is compared with the crucifixion of the Christ; while the final stage, when the cocoon becomes a butterfly, represents Christs Resurrection. Lamb In countries of central and eastern Europe, Eastern lamb, from the religious point, personifies Jesus, and His death is related to the sacrifice of the lamb on the first Passover. In the Bible, Jesus is mentioned as the Lamb of God. Easter Bunny and Eggs The images that have recently become especially popular are the Eater Bunny or Hare bringing colored eggs, nowadays toys and candies, in baskets. Those symbols were brought to the premises of the USA by Germans in the 1770s and got accustomed and preserved till now. Hares, as well as eggs, symbolize the beginning of new life. There are other Easter symbols that are widely used during the celebrations, such as the candle light of the world, baby animals new life and spring, palm branches symbol of hospitality, the empty tomb faith and hope for everlasting life. Easter icons do not end on the represented list of symbols and may differ depending on the country and its specific traditions. Broaden your knowledge and observe Easter holiday according to the traditions with us!