Analysis on a Marketing News Story which was published in 2013 Essay

Analysis on a Marketing News Story which was published in 2013 - Essay Example This means that in 2014, organizations that do not employ effective marketing techniques may fail to sell their goods because of inefficient communication. According to Demers (2013), social media and mobile usage has increased in the society, signalling that customers are developing preferences for goods that are advertised on these devices. Kurtz (2013) also argues that the high usage of social media is influencing purchase patterns meaning that the assumption may be applicable; although there is need for further research to test whether this tenet is applicable in real life. Consumer behaviour is also monitored through online techniques such as advertisement tracking, which traces sites that are preferred by numerous internet users. The author has analyzed each online marketing technique while stating how it is perceived and preferred, and the value it creates to consumers and marketers. Consumer Behavior and Corporate Communication Demers (2013) analysed the increase in the usage of the World Wide Web and found out that it may guarantee large market shares for products that are advertised through the internet. ... Images are used widely on the Internet because they are attractive and catch the attention of both current and prospective product users; scientists have proven this assumption, meaning that it is applicable to more than fifty percent of the members of the society (Doster, 2013). The author also argues that users prefer simple images with short descriptions. Table 1: showing the trends in the usage of the internet from 2008 to 2012 (http://www.kpcb.com/insights/2013-internet-trends) The trend in the table indicates that consumers in the United States are the most frequent users of the Internet while India has the least number of internet users compared to other countries. This means that organisations should shift their marketing techniques from outbound to online as indicated in Appendix 2. The author advises organisations to penetrate more than one social media platform meaning, advertising goods on these platforms appeals to consumers and captures large markets for different firms (Heaton, 2012). Essentially, marketers should adopt the integrated communication methods in order to achieve and maintain a competitive advantage. Demer (2013) also argues that consumers are shifting their preference to goods that are advertised by the sales persons of the selling companies. This is because customers believe that the selling companies convey true information about goods more than television and radio (Doster, 2013). This is additional evidence that stresses the significance of online marketing, which is conducted directly by the selling company. Companies that use the radio and television may not reap high benefits in 2014 because

Conflict in a case study about conflict intervention in somalia Essay

Conflict in a case study about conflict intervention in somalia from1992 to 2010 - Essay Example Addressing these issues would also mean the promotion of broad objectives like the U.S. foreign policy to ensure regional stability in the whole of Africa in terms of trade and investments, supporting human rights and democracy and removing situation and circumstances which provides protected havens for the international terrorists and drug traffickers. The anarchy that followed the collapse of Somalia as a nation state in 1991 fathered large-scale migration of populations; the nation was facing economic chaos and the incidences of mass violence. The persistence of these problems triggered political dangers as groups emerged whose main aim was to initiate war and empower leaders. (Ohaegbulam, 2004, p. 65) Root cause of the conflict During the late 1980s the coalition of the three clans- the Marreexaan, Ogaadeen and the Dhulbahante – popularly known as the â€Å"MOD† under the leadership of President Maxamad Siyaad Barre was a declaration of war against the Isxaaqs of th e previous British colony in the Northwest which was organized into the Somali National Movement- the SNM. He also organized the Majeerteens in the northeast as the Somali Salvation Democratic front, the SSDF and the Hawiyas to Mogadishu’s direct west and south, which was organized as the United Somali Congress, known as the USC. ... The SNM were angry about the fact that their army could not make it to Mogadishu- the major land holdings of the Isxaaqs before the armies of the USC. The SNM were reluctant of returning home in the north but they had to, so while returning they created a rump state. In the meantime the USC’s military leader Maxamad Faarax Aideed from the Habar Gidir subclan challenged Mahdi’s right to the presidency. Hence these all resulted in the inter-clan war in 1991 to gain a control over Somalia. Beside this an inter clan war also took place to have a control over Mogadishu. The absence of the central government placed the country at a disadvantage, as there was nobody to negotiate on the behalf of the state and both the Somali population and the international relief workers were vulnerable to attack. (Lahneman, 2004, p. 31; Webersik, 2004, p. 518; Somalia Civil War, n.d; The civil war in Somalia, n. d) The Social Economic and Political crisis After the collapse of the Somali sta te in January 1991 the country faced disorganization in their education and learning system, which was an impact of the division of the clan in the country. In the process of the social breakdown the schools, technical education centers and the university faced the worst consequences. The infrastructures of the institutes were destroyed. The major victims of the civil war were the children, as nearly 3000 of them were dying every day in the early days of 1992. (Abdi, 1998, pp. 327-328) The situation at that time had worsened in the South especially in Mogadishu where the instances of well armed youths along with their armed Land Rovers roamed around the city and the roadways plundering and looting masses, extorting

Elasticity on Demand, Breakeven Analysis and Pricing Decisions Essay Example for Free

Elasticity on Demand, Breakeven Analysis and Pricing Decisions Essay When a firm changes prices, the effect on profits is more important than the effect on revenue. There is a simple formula to calculate the critical Price Elasticity of demand which is just sufficient to maintain the contribution to overheads and profits. This will be greater than that required to maintain revenue. A common issue in business and in business studies is whether a firm should change the prices at which products are offered. The calculations begin with estimates of the reaction of customers to the new prices. This reaction is represented as Price Elasticity of Demand (PED), the ratio of the proportionate changes in volume and price. Students are always told and some students even remember that Elastic Demand (PED gt;1) means more revenue from a lower price and less from a higher one; and Inelastic Demand (PED But who wants the same revenue with lower profits? Any change in price will have a much bigger impact, proportionately, on the contribution per item for the firm than on the asking price to the customer. It follows that an increase in price may succeed in raising profits, even though revenue falls; and that a lower price may reduce profits even though revenue increases. So the critical question is not whether the PED is greater or less than one, but whether it is sufficiently high (for a lower price) or sufficiently low (for a price increase) to improve profits. The critical level of PED can be found by an application of breakeven analysis. We can take the current level of contribution to overheads and profit; and ask what the volume (units sold) must be to give the same level of contribution at the alternative price. Having found this critical volume, we can then compute what the PED would be to give us this volume at the new price, compared with the existing price and quantity. This then will be the Critical Price Elasticity of Demand (CPED). If we are raising prices, any PED less than CPED will increase profits; if we are lowering price, we want PED to be more than CPED. And while there is no way, short of trying the price change, to know what the PED actually is, a firm may well have sensible ideas about the likelihood of its being significantly greater or less than a specified value. It may seem that calculating the CPED is rather a waste of time, since we should have to calculate the required change in quantity first; and might just as well reckon our chances of getting this volume after our price change, without entering into Elasticity computations at all. However it turns out that there is a very simple formula for calculating the CPED.

Ludwig Mies van der Rohes New National Gallery, Berlin

Ludwig Mies van der Rohes New National Gallery, Berlin The closest Ludwig Mies van der Rohe got to realising his vision of the column-free pavilion? Was this final expression of his ideas of canonical significance for 20th Century architecture? The New National Gallery in Berlin was Ludwig Mies van der Rohes last design. Throughout his career he had been employing the same central ideas he was concerned with to most of his designs, gradually developing and refining them. In order to understand his last building, said to embody successfully all the ideas he was most passionate about, it is important to see how these evolved from building to building over the years. Then one can consider this final expression of his ideas as a result of a lifetimes worth of work and assess it in terms of its significance in Modern Architecture. Since the 1920s, Ludwig Mies van der Rohe had been focusing on evolving two types of forms which could be adapted to a range of situations; the skeletal framed building with small cellular spaces ideally designed for office and apartment buildings and the single volume pavilion where a larger completely flexible space is needed. At a time of rapid and continuous change, it made sense for Mies van der Rohe to develop the latter, the infinitely flexible space. Contrary to the largely known notion by Louis Sullivan that form follows function, Mies believed that buildings should be designed with the least amount of fixed elements so as to be as flexible as possible and ready to adapt as their functional requirements change over time. His designs since 1921 are a demonstration of his quest for flexible space. He was pursuing open and flowing rather than closed and cellular. The New National Gallery is widely considered the most developed expression of such a space. In this project, Mies had the opportunity to create the infinitely flexible interior but also incorporate two more of his most important notions; appropriate and visible structure and fluidity between interior and exterior. Miess most central principles synthesized into a single pavilion of powerful scale and presence. Miess journey from his first buildings to the embodiment of his most significant ideas in the New National Gallery was anything but a straight line. However, there were significant steps that marked the development of his idea of the column-free pavilion. These significant stages were outlined by Miess pupil and future associate Peter Carter. The idea of an open and flowing space first materialized in the house designs of Frank Lloyd Wright where living areas are fairly open and interconnected. Wrights open plan designs excited architects all over Europe. However, it was Mies who took the idea of the de-cellurization of the building further. His sequence of space-liberating designs from about 1920 onwards changed the way in which architects thought. Miess Brick Country House was his first development of the free-plan interiors that Frank Lloyd Wright had introduced. It was a long way before the creation of the completely unobstructed interior space, but an important move in this direction, as in this project Mies started subdividing the interior by free standing walls rather than conventional ones. He only let walls to meet as L or T junctions to allow the interior space to flow freely from one room to the other and out into the landscape. Although this merely constituted the first step in his pursuit of open flowing space, Mies van der Rohe had already taken the concept of spatial continuity and fluidity much further than anything proposed by Wright. Though he had started removing interior walls, the exterior of the Brick Country House remained solid. The next step towards his open flowing space was abolishing the division between interior and exterior space. The opportunity to apply this was the Barcelona pavilion; one of the most influential designs of the 20th Century. In this project, Mies transformed practical, conventional walls into abstract planes freely disposed as in a De Stijl composition. In the De Stijl movement, artists simplified visual compositions with the use of primary colours and straight horizontal and vertical lines. In the Barcelona pavilion, walls are not functional in the conventional way. Instead of supporting the roof and separating specific rooms, these planes loosely define space. What is also unclear and undefined in this project, is the division between the interior and the exterior space, another important step towards his open-flowing space. After substituting load-bearing walls with slender columns, the next step to the Miesian transparent pavilion was to remove columns from the interior completely and placing them on the outside perimeter of the building. This would render possible the interior to be completely unobstructed from any fixed elements and theoretically make it totally flexible. This was first seen in his Concert Hall project in 1942. Lastly, in the Farnsworth House in Plano, Mies van der Rohe would dematerialize completely the outer walls of the pavilion so as to push the concept of transparency sandwiched between two horizontal planes. Mies van der Rohes long series of experimentation had as a result the development of a general architectural form, the column-free Miesian pavilion. The pure glass-walled version of the column-free Miesian pavilion would provide the parti for the New National Gallery in Berlin. The commission for a new art gallery in Berlin was an opportunity for Mies to finally build the single-volume clear-span pavilion in its purest form which he had never been able to build before. He was commissioned to construct a much needed permanent home for the modern art collection in the Western part of the then divided city. Though half the size and population of West Berlin, the Eastern part included most of the cultural institutions and the historic centre of the city. It was in this context that the Culture Forum was designed. It was going to be a cluster of buildings dedicated to culture and the fine arts to replace the institutions that had fallen in the eastern part of the post-war city. The New National Gallery was going to be part of it and would epitomize the integration of West Berlin and West Germany into the democratic capitalist system of the West. The site for the new gallery was Kemperplatz, an area between Potsdammer Strasse and the Tiergarten that had once been a busy centre of Berlin life before being destroyed by wartime bombing. Apart from the church of St. Matthews of 1846, nothing was left standing after the war and this unused land that remained would provide the site for the development of Berlins new Culture Forum. The driving idea behind the gallery was the creation of a minimalist, steel and glass, column-free pavilion which would stand as a noble monument in the townscape. In his pursuit for a monument-like feel and uncompromising symmetrical composition, Mies referred to ancient temples such as the Parthenon. The gallery would later on be aptly named and largely known as the temple of light and glass. Once built, it would create a dramatic contrast to the other buildings of the Kulturforum by Hans Scharoun. Whereas Scharoun was much more expressionist, Mies opted for austere geometrical forms that show the structure of the building and let it stand out from, but also connect to its surroundings. Amid the visual tumult of Berlins Culture Forum there reposes a single island of order and tranquillity, the New National Gallery. Mies may have wanted continuity and fluidity between the pavilion and its surroundings. Nonetheless, it was never meant to hide in Berlins busy life, but as previously mentioned, it had to have a monumental form. This prerequisite, along with the inclination of the land encouraged the idea of setting the gallery on a large open terrace. The experience of reaching the entrance further intensifies the gallerys monument-like feel. Wide steps guide the visitor who begins to feel slightly separated from the surrounding city. The feeling intensifies as the visitor walks towards the back and the sloping site starts to fall away on either side. By then, the pavilion sits well above street level, and almost has the tranquillity of the top of a hill and has therefore become psychologically detached from the everyday bustle beneath. This method of detaching a building from its surroundings and raising it as if on a pedestal was often used by Mies van der Rohe, starting with his first project, the Riehl house. This method also gives the building a sense of calm, again referring to the ancient temple on the top of a hill. Sitting on the large open terrace, surrounded by sculptural works of arts, is Miess minimalist pavilion. It is the pinnacle of Miess idea of free space. He eliminated interior columns completely to allow for a large unobstructed space for artists to exhibit their work without any limitations in terms of space. Mies van der Rohe followed the notion he introduced in Barcelona pavilion and any fixed elements in the interior space of the gallery have no load-bearing function. The Tinos marble-faced columns in the New National Gallery provide for ventilation and roof drainage and the gallery is supported by eight slender cruciform columns placed on the outside of the pavilion, two on each side. By completely removing solid walls, Mies wanted to symbolise that space extends beyond the boundaries of the interior. The large spans of glass are set far back from the edge of the roof thus creating the effect of a floating plane. The unique open space created on the upper floor is mainly used for temporary, travelling exhibitions, and is ready to be modified according to changing needs, whilst all the permanent collections are safely hidden in the lower level, away from natural light. The steel and glass podium sits on a colossal subterranean stone pedestal. Though not visible, the lower level is perfectly proportional to the podium above. The lower level, apart from accommodating for the whole of the permanent collection, also includes all of the buildings functional spaces including support and utilitarian rooms. Closed on three sides, the lower floor only opens on the west side, to reveal a quiet outdoor sculpture garden. The garden is enclosed by grey granite walls which separate it from the surrounding bustling city. The floor, paved in granite slabs is another example of Miess pursuit of a flexible space. The slabs are laid loosely on the gravel, ready to be moved into new arrangements if required. With the outdoor garden, Mies created an oasis of calm in a bustling metropolis. Mies van der Rohe firmly believed in appropriate structure. A building, he was convinced, should be a clear and true statement of its times and in the case of the New National Gallery its time was characterised by advanced industrialism. For Mies van der Rohe, a buildings structure should be true to the materials and processes of its time, but also poetic and visible through the building, rather than obscured behind decorative features. Like many architects after the First World War, he wanted to bring the advantages of industrialized production methods to his architecture. He was interested in finding a new material which would allow most parts of the building to be manufactured in a factory, to ensure better quality and eliminate on-site labour. One of the most important features of a design that hoped to achieve transparency sandwiched between two horizontal planes, was the roof. Mies van der Rohe designed a monumental roof which he wanted to have as if floating above the large spans of clear glass. The design was a difficult issue to be negotiated with engineers but also a chance for the architect to bring the post-war industrialised production methods in this project. The roof, being massive, was made in sections. Its thickness is constant and always visible. What varies between sections is the quality of the steel which changes according to the level of pressure sustained by each section. The roof is a fine example of Mies van der Rohes pursuit of true structure. The ceiling, with no false ceiling added to it, also incorporates a black grid of beams which is used as an exhibit surface when the gallery hosts light exhibitions. The colossal roof, 1200 tonnes of steel, was put together and raised in one day. As a whole, the gallerys sharp geometrical structure is a sharp contrast to Scharouns neighbouring Berlin Philharmonic, built only a few years before. Whereas Scharoun was much more expressionist and concealed his structure with organic shapes, eliminating any kind of symmetry, Mies van der Rohe opted to show the structure in every possible way. All these structural and compositional elements form Mies van der Rohes pavilion, his last great design and one of the most important buildings of modern architecture. The New National Gallery may succeed magnificently as a work of art in itself but it has been criticised widely as an exhibition space. In his pursuit of the column-free clear-span pavilion Mies may have compromised certain aspects of the gallery and its functionality as an exhibition space. Whilst the lower ground galleries and the sculpture garden fulfil their purposes admirably , the pavilion above disappoints in significant ways. In the upper floor, light floods the pavilion from its glass walls on all sides and can be regulated by white curtains on three sides. Theres also a lighting system in the roof with warm diffuse light. However, in exhibition spaces, diffused indirect lighting from above is more ideal, modifiable by blinds and electric light only if necessary. The sideways illumination in combination with the lighting from above fails badly. Pictures are inadequately lit and there is a strong glare compromising the visitors comfort in viewing the artwork. The curtains partially eliminate the glare but compromise the gallerys visual transparency which is its strongest feature therefore defeating the purpose of the large spans of glass walls. In his drive for the translucent pavilion, Mies seems to have compromised the viewers comfort and experience of viewing the exhibited artwork. Moreover, the upper pavilion which Mies was so determined to create as a multifunctional space, is not as successful. Though its large-scale is suitable for exhibiting large objects and the side-lighting lights such objects beautifully, the space is unsuitable for smaller paintings. Smaller paintings are lost in the grand scale of the pavilion. It seems that Mies van der Rohes vision of the column-free pavilion fails as an exhibition space. Ironically, the lighting and grand-scale of the upper floor seem to restrict the spaces use to certain types of exhibitions, rather than adding to the infinitely flexible space that Mies van der Rohe envisioned. As a result, this infinitely flexible space turned out to be unfriendly for exhibiting art but Mies was unapologetic. It is such a huge hall that of course it means great difficulties for the exhibiting of art. I am fully aware of that. But it has such potential that I simply cannot take those difficulties into account. He considered the gallery a closed form, perfect in itself and would not allow any modification that would alter its perfectly symmetrical form. For example, when it was proposed to extend the flower floor to gain functional space that was very much needed for the gallery, a change that would in actual fact be invisible, Mies van der Rohe refused to ruin the careful proportions between the two floors. The lack of substantial functional space, and the unwillingness to do anything about it, further demonstrates that Mies compromised the buildings functionality as an exhibition space in his effort to create the perfectly proportional Miesian pavilion. Though the upper floor may not be perfectly suitable for exhibiting and viewing paintings, it is the gallerys primary architectural expression. The building is the result of many gradual steps in Mies van der Rohes journey towards the column-free pavilion and is considered a shining symbol of modern architecture. Here is a 20th Century icon of timeless serenity and composure, its functional imperfections forgotten as one contemplated its majesty as a monument and symbol. The way it sits on its site, its simple yet careful composition, along with its visible structure and use of materials make it a true Berlin monument which expresses the spirit of the industrial time in which it was designed and built. From a must-see tourist attraction and symbol of Berlin in post stamps, to a home for 20th Century European art, Mies van der Rohes last project and all the ideas it embodies represents one of the most important buildings of 20th Century architecture. Buildings such as this will refresh us by awakening all the more mans deep desire for poetic serenity and structural honesty. Ludwig Mies van der Rohe is largely considered as one of the pioneering masters of modern architecture. In every building his intentions are straightforward and his concepts of truth to structures, materials and harmonious composition are stated clearly. By this point in his career, he had developed the ideas he was most passionate about and incorporated them into the New National Gallery. It is with this project that Mies van der Rohe managed to create the column-free pavilion he had been striving for the most of his career. It stands as a monument in its context and embodies his most important principles, thus rendering it as a building of great significance for 20th century architecture.

Child Development Through Education Essay -- School Teaching Education

Child Development Through Education One important aspect of any person’s life is their education. Children start with their education as early as the age of three. They are put into some form of schooling. The general pattern of schooling for all children is preschool, elementary school, middle school, highschool, and some may choose to go on to college. Each level of schooling is very important for its own particular reasons. The entire education process plays a vital role in each individual’s life. People grow emotionally, socially, psychologically, and intellectually throughout their childhood and adolescent years. Factors that lead to this are their enrollment in school, the people they come in contact with through school and the success they achieve over the years. Each level of education will be examined and the development of a child through each of these stages will be further explained. Children can be labeled the term preschoolers when they are between the ages of three and five. Even though they still seem like babies, this is a time when all young children are most rapidly growing and going through many changes in all areas of development. Most motor skills are mastered. They start to cognitively understand classes and relationships. They absorb an abundant amount of information about their social and physical worlds. At the early childhood stage, the cognitive development is language acquisition. This involves both oral and written communication. Physical development is of large and small muscle groups. Large muscle development is the development of motor skills such as running or throwing, which involve the limbs and large muscles (Slavin). Small muscle development is the development of dexteri... ...wer kids show up late for class (Hopkings). With all this information documented it shows the true importance of parent involvement in education. The more involved the parents are, the better off each child will be. Throughout the years spent in schooling, a lot of changes occur. The development process is particular for the many stages throughout one’s education. Each level builds on developments from the previous level. Support from family, friends, teachers and fellow classmates is needed for the proper development of each individual. Because this process takes up much of your childhood and early adult life, it makes it even more important to get off to a good start at a young age. Each child should be given the opportunity to go to preschool and continue through high school. Support is needed all the way through in order to reach success.

International Marketing MacDonald`s Essay

This paper will look at the development of the McDonalds Corporation in Kazakhstan and the obstacles that it has overcome. It will also look at the McDonalds Corporation in relation to its major competitors and analyze how the company has responded to its surrounding environment. In closing, we will look at the prospects for McDonald’s future and it will be clear that McDonalds will be able to maintain its dominant market position. It will continue to be a model that serves as a benchmark for others in the industry. We will go on to analyze the market segments, target market, advertisement of the corporation to the target audience and performance of McDonald’s Corporation. 1.0 Introduction McDonalds Corp., headquartered in Oak Brook Illinois, is the world’s number one fast food chain, serving about 49 million customers daily. The company operates and licenses more than 31,000 restaurants 30,000 McDonald’s in about 120 countries which generated a total $19.06 million in revenues for the fiscal year of 2012. McDonald’s brand is one of the ten most popular brands worldwide. Continuous marketing, promotional and public relations activities promote McDonald’s brand image in order to differentiate the Company from its many competitors. McDonald’s restaurant offer a menu that is uniform to all locations and emphasizes low value prices which includes its famous burgers, cheeseburgers like the Big Mac, Quarter Pounder with Cheese, several chicken sandwiches, Chicken McNuggets, french fries, salads, desserts, sundaes, soft drinks and other beverages. Its restaurants also provide breakfast menu that would include Egg McMuffin, bagel sandwiches, hotcakes, and muffins. Many new products were introduced in the last two years in accordance to the management’s decision to establish a new menu with more choices that is expected to bring a significant growth in sales as it was already shown by the financial results of 2012 which the highest increase in US comparable sales for the last 30 years. The successful manager constructs a marketing program designed for optimal adjustment to the uncertainty of the business climate. The inner circle represents the area under control of the marketing manager. Assuming the necessary overall corporate resources structures, and competencies that can limit or promote strategic choice the marketing manager blends price, product, promotion, channels-of-distribution, and research activities to capitalize on anticipated demand. The controllable elements can be altered in the long run and, usually, in the short run to adjust to changing market conditions, consumer tastes, or corporate objectives. Kazakhstan, from the Kazakh language, means a land of Kazakhs Stan – land. Kazakhstan is located in Central Asia, and is the ninth largest country in the world after Russia, China, USA, Argentina, Brazil, Canada, India and Australia. It is situated north of Uzbekistan, northwest of Kyrgyzstan, northwest of Turkmenistan, east of China, and south of Russia. Kazakhstan shares the Caspian Sea with other countries on its western border. As its neighbors in the region, Kazakhstan is a landlocked country and the second largest republic of the Commonwealth of Independent States after the Russian Federation. Kazakhstan doesn`t have MacDonald’s in the market. However it is really good opportunity to bring the fast food to a new market and get to know the culture. There must be a reason behind not having world’s most famous fast food corporation in a big country. According to my research it is possible to bring new product to the new market and get success in that market. 2.0 Objectives 1. To introduce MacDonald`s to a new market in Kazakhstan city of Almaty 2. To open 20 franchise by the end of 2015 in Almaty, Kazakhstan 3. To increase sales in fast food in 5 coming years. 4. To increase the customers till 50% by the end of 1st year. 3.0 Issues The theoretical framework of this study is based on a number of relevant theories that are discussed in this part. The model which authors constructed in this study integrates cross-culture and 4P marketing strategy. It can be divided into two parts. Firstly, the authors will analyze some components of culture which lead to the phenomenon of cross culture, such as the different values, languages and customer behaviors. During this process, Hofstede‟s culture dimensions will be employed as the approach to understand cross-culture better. Secondly, based on the analysis of marketing standardization and adaptation, the marketing mix 4ps as main international marketing strategies will be used to achieve our research purpose. When marketers discuss international marketing, one of the important issues often considered is the cultural differences. In relation to international marketing, culture can be defined as â€Å"the sum total of learned beliefs, values, and customs that serve to direct consumer behavior in a particular country‟s market† (Doole and Lowe, 2008, p.73). Such components as beliefs, values and customs are often ingrained in a society and have obvious differences among different countries. Cultural differences manifest themselves in several ways. Hofstede (2001) distinguishes symbols, heroes, rituals and values. Among theseï ¼Å'the underlying values are invisible. Although values are always invisible and may be hard to measure, they often play an important role when the marketers try to make decisions, which help to enter a foreign market. Also, according to Mooij (2004), the values that characterize a society cannot be observed directly. They can be inferred from various cultural products (fairy tales, children‟s books, or advertising) or by asking members of society to score personal values by stating their preferences among alternatives, and then calculating the central tendency of the answers. When it comes to marketing, the value concept is often used in an ethnocentric way. Besides, values are learned unconsciously, people are only partly aware of them, and measuring values is not an easy job (Lowe et al, 1998). Often, the problems they face are a result of their mistaken assumption that foreign markets will be similar to the home market, and so they can do the business in a similar way. Doole and Lowe (2007) point out that the values of a culture satisfy a need within that society for order, direction and guidance. Culture sets the standards shared by significant sections of that society which, in turn, set the rules for operating in that market. Mooij (2003) considered that the managers of transnational corporations should provide appropriate products according to the local consumer values and buying behaviors of a certain market. The product strategy owing to cultural factors, usage factors and legal factors. Hall (1990) described some countries‟ culture is high-context culture. 3.1 SWOT Analysis 3.2 Strength MacDonald’s has a strong global presence with its nearest domestic competitor being only half its size, McDonald’s is the market leader in both the domestic and international markets. MacDonald’s benefit from cost reduction through economies of scale because of its enormous size and its huge global presence allows it to diversify risk involved with the economic performance of specific countries. In international markets, MacDonald’s is well placed to expand and take advantage of long-term economic growth. MacDonald’s also has a strong real estate portfolio. The company’s outlets are located in areas that are highly known for visibility, traffic volume and ease of access. MacDonald’s also has exceptional brand recognition. This strong brand recognition creates significant opportunities for the company. MacDonald’s is able to generate more sales because of its brand recognition. 3.3 Weakness The food industry is really saturated. As a result of this, MacDonald’s has to deal with the prospect of looming market saturation, which could make it difficult to add new outlets. The market is forecast to grow by around 2% per year. Lack of product innovation is another weakness of McDonalds. The last breakthrough for McDonald’s was the Chicken McNugget in 1983, but again the company’s new strategy seems to have successfully dealt with the problem through the popularity of its new salads and other new products. 3.4 Opportunity MacDonald’s sold its Donatos Pizzeria back to its founder in 2003 and discontinued Boston market operations outside of the US. The company will instead focus on Chipotle Grill which is the company’s most successful non MacDonald’s branded chain of restaurants. Also to increase profitability the company has slowed its expansion of McDonald’s restaurants so as to refurbish and change the image of current restaurants and adding new features such as Internet access. 3.5 Treats McDonald’s is exposed to changes in the global economy. The company’s aggressive international expansion has left it extremely vulnerable to other countries economic slowdown. Foreign currency fluctuation is also another problem global companies like McDonalds. The Fast food industry is becoming an increasingly competitive sector. MacDonald’s keeps up with competitors through expensive promotional campaigns which leads to limited margins to gain market share. McDonald’s is attempting to differentiate itself, with new formats and new menu items, but other fast food industry are doing the same too. 4.0 Marketing MacDonald`s in Kazakhstan 4.1 Marketing Mix The marketing mix can be adjusted on a frequent basis, to meet the changing needs of the target group, and the other dynamics of the marketing environment Barlon and Kimuli (2006). They are as follows: product, price, place, and promotion. Having identified its key audiences, a company has to ensure a marketing mix is created those appeals specifically to those people. The marketing mix is a term used to describe the four main marketing tools the 4Ps. By analyzing detailed information about their customers, as derived from ongoing market research, the McDonald’s Marketing department can ascertain information key to determining the correct marketing mix. * Which products are well received in Kazakhstan * What prices consumers are willing to pay * What TV programmers, newspapers and advertising consumers read and view * Which restaurants are visited Accurate research is essential in creating the right marketing mix which will help to win customer loyalty and increase sales. As the economy and social attitudes change, so do buying patterns. McDonald’s needs to identify whether the number of target customers is growing or shrinking and whether their buying habits will change in the future. Market research considers everything that affects buying decisions. These buying decisions can often be affected by factors wider than just the product itself. Psychological factors are important, e.g. the image a particular product conveys or how the consumer feels when purchasing it. These psychological factors are of significant importance to the customer. They can be even more important than the products’ physical benefits. Through marketing, McDonald’s establishes a promine nt position in the minds of customers. This is known as branding. 4.2 Product The important thing to remember when offering menu items to potential customers is that there is a huge amount of choice available to those potential customers with regard to how and where they spend their money. Therefore McDonald’s places considerable emphasis on developing a menu which customers want. Market research establishes exactly what this is. However, customers’ requirements change over time. What is fashionable and attractive today may be discarded tomorrow. Marketing continuously monitors customers’ preferences. At any time a company will have a portfolio of products, each in a different stage of its cycle. Some of McDonald’s options are growing in popularity while arguably the Big Mac is at the ‘maturity’ stage. 4.3 Price The customer’s perception of value is an important determinant of the price charged. Customers draw their own mental picture of what a product is worth. A product is more than a physical item; it also has psychological connotations for the customer. The danger of using low price as a marketing tool is that the customer may feel that a low price is indicative of compromised quality. It is important when deciding on the price to be fully aware of the brand and its integrity. 4.5 Promotions The promotions aspect of the marketing mix covers all types of marketing communications. One of the methods employed is advertising, sometimes known as ‘above the line’ activity. Advertising is conducted on TV, radio, in cinema, online, using poster sites and in the press for example in newspapers and magazines. What distinguishes advertising from other marketing communications is that media owners are paid before the advertiser can take space in the medium. Other promotional methods include sales promotions, point of sale display, merchandising, direct mail, telemarketing, exhibitions, seminars, loyalty schemes, door drops, demonstrations, etc. 4.6 Place Place, as an element of the marketing mix, is not just about the physical location or distribution points for products. It encompasses the management of a range of processes involved in bringing products to the end consumer.

To what extent do we feel sympathy towards the character of Heathcliff?

Heathcliff through out ‘Wuthering Heights' is a very secluded character. He is introduced as a seven-year-old orphan, probably an Irish famine immigrant. Mr. Earnshaw brings him back to Wuthering Heights. His story, in the words of Nelly Dean, is a â€Å"cuckoo's story†, his presence in Wuthering Heights overthrows the rightful role of the rightful heir, Hareton. The reader's sympathies towards Heathcliff change at different stages, at one point feeling angry with Heathcliff for being so cruel, and then the next feeling sympathetic for his treatment. This talent of Bronte's keeps the reader undecided on Heathcliff, even at the end of the novel the argument exists on whether we as the reader do and should feel sympathy towards Heathcliff. Even on the first night of Heathcliff's arrival he caused jealousy and resentment. He being the reason that Mr. Earnshaw breaks the toys that he has brought for the children. Nelly recorded ‘From the very beginning he bred bad feelings in the house'. Heathcliff usurps the affections of Mr. Earnshaw to the exclusion of Hindley-: ‘The young master had learnt to regard his father as an oppressor rather than a friend. However, just because Hindley is jealous and striving for attention this does not mean it was Heathcliff's fault that Mr. Earnshaw felt favour towards him. In another incident Mr. Earnshaw gives both Hindley and Heathcliff a colt. When Heathcliff' colt goes lame he threatens to blackmail Hindley if he does not swap with him. He then vows ‘I'm trying to settle how I shall pay Hindley back,' he continues ‘I don't care how long I have to wait, if only I can do it at last. I hope he will not die before I do! ‘. From the beginning Heathcliff has interrupted a calm family and turned affections upside down, although Hindley is not completely welcoming to Heathcliff the reader can understand him being threatened by a stranger. However, Heathcliff is an innocent child just an orphan. He is viewed as a thing rather than a child; Mrs. Earnshaw was ready to fling it out of doors, he is described as ‘a dirty, ragged, black haired child;' Nelly even claims ‘I put it on the landing of the stairs, hoping it might be gone on the morrow. ‘ Following the death of Mr. Earnshaw Heathcliff is abandoned to him suffering at the hands of Hindley, this arouses in Heathcliff deep hatred and passion for revenge. Heathcliff is deprived of love, a social life and education; according to Nelly this treatment was ‘enough to make a fiend of a saint. ‘ He is separated from the family, reduced to the status of a servant, forced to become a farmhand, undergoes regular beatings and separated from his one love, Catherine. The personality that Heathcliff develops in adulthood is a result to the deprivation of his childhood. On the other hand Heathcliff becomes consumed with revenge. He never forgets an injury sustained on him at Wuthering Heights, after a three-year absence, this impulse for revenge becomes his overpowering passion. He ruins Hindley by encouraging excessive drinking and gambling, after this he turns his attention to the innocent Hareton; – ‘We'll see if one tree won't grow as crooked as another with the same wind to twist. ‘ Heathcliff intends to achieve revenge on Hindley through his son Hareton by treating the boy in the same way he was treated. Heathcliff even states ‘ I've got him faster than his scoundrel of a father had me, and lower,' However even though Hareton is brought up as a ploughboy and treated worse than Heathcliff he does not turn to revenge, he has innate goodness. ‘the trees do not ‘bend as crooked as one another' even though they ‘have the same wind to shape it'. So even though it could be argued the audience cannot blame Heathcliff for wanting to seek revenge, Hareton learns to manage. The excuse of revenge is not good enough, as this could not be acceptable for everyone doing this. Heathcliff becomes consumed in regret against Edgar Linton, who in his eyes has stolen his Catherine from him. He devises a plan to seek revenge on Edgar. When doing so Heathcliff feels no remorse for the fact he uses Edgar's sister Isabella to his advantage and even torturing her. After marrying Isabella she writes in a letter ‘Is Mr. Heathcliff a man? ‘ ‘If so he is mad? And if not he is a devil? ‘ This being a common feature of Gothic novels, the presentation of the plot through multiple narrators, another being Frankenstein by Mary Shelley, one novel within many stories. The book ‘The Rise of the Gothic Novel' criticises this claiming, ‘†¦ haracters and devices being recycled from one text to the next. ‘ However, in argument to this using different types of narration such as letters or diaries enhances the different viewpoints and experiences of every character, a feature in another successful Gothic Novel ‘Dracula'. Heathcliff goes on to destroy Isabella; she is just a pawn in his game. Heathcliff even admits what he has done and showing no regret. ‘I don't care who knows that the passion was wholly on one side; and I never told her a lie about it. She cannot accuse me of showing one bit of deceitful softness. The first thing she saw me do, on coming out of the Grange, was to hang up her little dog; and when she pleaded for it, the first words I uttered were a wish that I had the hanging of every being belonging to her. ‘ The way he treats Isabella is of great enjoyment for him. ‘The more the worms writhe, the more I yearn to crush the entrails. ‘ This is very graphic for someone who is innocent; he finds it thrilling seeing Isabella in despair. He takes a young and impressionable girl who does not understand and then marries her and taking her away from her home and family to a very secluded and depressing way of life. In objection to this idea perhaps Isabella is not very innocent. She is warned of Heathcliff by Cathy and what he wants her for. ‘he'd crush you, like a sparrow's egg, Isabella ,' This example that Cathy gives could be related to the lapwings that Heathcliff keeps and ends starving to death waiting for Cathy to come back to him, perhaps Isabella will be another lapwing, being trapped in Wuthering Heights. Also Cathy tells ‘I know he could not love a Linton; and yet he'd be quite capable for your fortunes and expectations,' So Isabella was warned but carried on with the infatuation regardless. In argument to this Heathcliff does go to the dramatic and violent extent of turning ‘her blue eyes black' when beating Isabella. One reason for this act on Heathcliff's behalf is because of the way he is treated by the Linton's and the alienation from the life of the Grange. He is reminded of his lesser status when Catherine is welcomed into the Linton household where as he is rejected, made fun of and alienated. His love Cathy has been changed and transformed by the Grange. ‘Why, how very black and grim you look! and how-how funny and grim! But that's because I'm used to Edgar and Isabella Linton. Heathcliff has to cope with the dramatic change of his wild and passionate love, returning and finding him funny compared to her new high class associates. When Catherine marries Edgar this is the breaking point for Heathcliff, he cannot bear to live near them. He then disappears for three years. After over hearing a conversation between Nelly and Cathy where she explains that she cannot marry Heathcliff because of his low status. This leads Heathcliff to believe if he can become a gentleman with wealth he would be acceptable. However this is not the case. To become an important figure at this time the status symbol was property. This is what becomes very important to Heathcliff later, when he tries to marry into the Linton family, to have Wuthering Heights and Thrushcross Grange. When he returns with wealth he is still seen as a lower class. On his return Edgar remarks, ‘What, the gypsy- the ploughboy? ‘ This is a typical view of Heathcliff that cannot be changed by wealth. The reader feels very sympathetic for Heathcliff at this point as he was even prepared to change his wild ways and become a sophisticated man for the love of Cathy. Heathcliff then uses Linton to try and gain property. He has no fatherly feelings but is just using his son. His main consideration lies in calculating whether Linton lives long enough to marry Cathy so acquiring Thrushcross Grange-; ‘We calculate it will scarcely last 'till it's eighteen. ‘ Once the marriage has taken place, Linton's life is seen as worthless to Heathcliff-; ‘His life is not worth a farthing, and I won't spend a farthing on him. ‘ Linton like Isabella has just become a pawn in Heathcliff's revengeful game, sympathy is lost for Heathcliff when he can treat others like this. He continues this abuse of Linton when calling his mother a ‘slut' in his presence. A great reason for the reader to feel contempt towards Heathcliff would be his treatment of Cathy. He blames her for Catherine's death, ‘He cursed you, I dare say, for coming into the world (I did, at least. )' He continues to treat Cathy horrifically. He wants to marry Linton to Cathy so arranges for him to meet her and beg her to accompany him to Wuthering Heights by telling her he is scared of Heathcliff. With streaming face and an expression of agony, Linton had thrown his nerveless frame along the ground; he seemed convulsed with exquisite terror. ‘ When Cathy does accompany her cousin Heathcliff imprisons Cathy with Nelly. ‘He shut and locked it also. ‘ Referring to the kitchen door. Cathy then struggles with him for the key, Heathcliff loses his temper and ‘pulling her on his knee, administered, with the other, a shower of terrific slaps on both sides of the head, sufficient to have fulfilled his threat, had she been able to fall. Even though this is the daughter of the woman he claims to live for, he has no compassion for her because she is a Linton, a very selfish attitude to an innocent sixteen-year old. Cathy even begs for her release to be with her dying father, ‘If Papa thought I had left him, on purpose; and if he died before I returned, could I bear to live? ‘ even after pleading to him, Heathcliff continues to keep her prisoner until the next morning. There is however another side of the character of Heathcliff. At no point in the novel can the reader doubt his eternal love and wild passion for Catherine. His love survives her rejection of him-; ‘It would degrade me to marry Mr. Heathcliff' and despite her marriage to Edgar, Heathcliff's love for continues undaunted. Heathcliff suffers much emotional rejection, but at no point does he waiver in his loyalty to her-; ‘I seek no revenge on you†¦ the tyrant grinds down his slaves and they don't turn against him, they crush those beneath them. ‘ His genuine concern for Catherine prevents him from exacting direct revenge from Edgar. He comments to Catherine-; ‘I would have died by witches before I would have touched a single hair of his head. When hearing of Catherine's illness, he exclaims-; ‘Existence after loosing her would be hell. ‘ Even though she has another husband and left him for the sophistication of Thrushcross Grange he could still not bear to live with out her in his world. Catherine also torments Heathcliff even in death, although her spirit remains Heathcliff's ability to love life is gone. As his own death approaches, he confesses to Nelly the extent of Catherine's hold over him, even though she has been dead eighteen years. ‘I cannot look down into the floor, her features are shaped in the flags†¦ n every cloud, in every tree. ‘ He is angry at the fact that Catherine can abandon him in a world without her he feels no love, ‘Why did you betray your own heart, Cathy?.. you love me, what right do you have to leave me? ‘ The sense of despair Heathcliff feels as a tormented unnatural and hopeless existence, ‘I cannot live without my love, I cannot live without my soul. ‘ He and Cathy are one, they are the natural existence of the Moors, and neither can survive without the other or the natural environment they require to live. This wild and arid landscape for the setting of Heathcliff's and Cathy's love being due to the upbringing of Emily Bronte. Charlotte, Emily and Anne grew up in Haworth Parsonage, an area of Pennine upland in West Yorkshire. This gives reason for the wild and rugged landscape in ‘Wuthering Heights', as this is where Emily grew up and was all that she knew. Nelly later describes Heathcliff's grieving as ‘he howled not like a man, but like a savage beast being goaded to death with knives and spears. Heathcliff feels he belongs with Cathy in both body and spirit and arranges with the Sexton to be buried beside her. Life for him is ‘like bending back a stiff spring'. This typical natural imagery is used through out this book describing the passionate and wild love of Catherine and Heathcliff. Perhaps the key quote of this variety being, ‘my love for Heathcliff resembles the eternal rocks beneath†¦ Nelly I am Heathcliff -he's always in my mind-‘. These tw o characters echo constantly comments of their love for each other. However, Heathcliff is obsessed in Catherine, he should not punish innocent characters for the bitterness he feels for being abandoned by Catherine. Perhaps it could be argued that he is unrealistic about his love for Catherine. It is incestuous, and would be harshly looked upon in terms of class. It could be viewed that Catherine was just realistic that the relationship would be illegitimate. When discussing this with Nelly she asks ‘did it never strike you that, if Heathcliff and I married, we would be beggars? Or perhaps if Catherine loves Heathcliff as much as she claims, social status would not make a difference to her, especially as their love is so wild and un- tamed. According to an article in the ‘Scots Magazine' of June 1797 this is a common fault found in gothic love stories. ‘women in these novels tend to form an attachment to persons unworthy of their affection, and thus to hurry them into marriages terminating in their unhappiness. ‘ This theme o f social powerlessness and females not being able to inherit was felt very strongly for Emily, Charlotte and Anne Bronte. They would not be married, as this would rob them of their personal and property rights. Branwell, their brother would inherit everything their was even though he wasted all his and the family's money on drink, drugs and gambling. (Perhaps a refection of him in the character Hindley. ) This injustice can be noted in many of the sister's texts, highlighting their objection to this social rule. Charlotte in ‘Jayne Eyre' and ‘Vilette' discusses the unattractive opportunity of a female trying to make a living through education, as does Anne in ‘Agnes Grey'. This being of a Marxist Feminist approach. Women being dominated and oppressed through property and wealth. Fran Ansley and Margaret Benston, two Marxist feminists agree that through the power that men had at this time, women had no power or no other ways to be successful other then to be married. However the haunting and gothic image of Heathcliff the reader is left with, of his death, does not cause sympathy. ‘Those deep black eyes! That smile and ghastly paleness! It appeared to me not Mr Heathcliff, but a goblin;' This is a typical gothic description, darkness and pale skin, a haunting vampire like description. Also, eyes through out this novel are often described. Eyes are seen as windows into the soul, this is supported by Dorothy Van Ghent who has ‘famously argued the various windows and barriers serve both to separate and connect polar opposites: inside and outside; human and ghost. ‘ Also, this could apply to different eyes for the Earnshaw's, ‘the Earnshaw's handsome dark eyes' and Linton's. ‘vacant blue eyes of the Linton's'. Heathcliff being described as a ‘typical Gothic Protagonist' means the reader must feel sympathy towards him, as this is a critical ingredient. He is dark, demonic, mysterious and cruel, with his dwelling of Wuthering Heights echoing his personality. He has a mysterious past, often compared to a demonic figure, ‘lying fiend', with typical dark hair, eyes and features. The final quality needed being in spite of his cruelty and destructiveness, he generates a degree of sympathy. After never being taught love, being abused and losing his loved ones, Catherine and Mr. Earnshaw, who the only people to ever show him affection it could be claimed that Heathcliff could not be blamed for the way he was. The passionate and violent environment shaped him into the fiend that he was. However, this can only be an explanation to a certain extent. When Heathcliff returns after his three-year absence he has become a super-human villain driven by revenge. This later Heathcliff is callous with incapacity to love and eventually being consumed with hatred and revenge. In summing up every individual reader will decide on his or her own opinion of Heathcliff, the argument is so balanced it is impossible to judge. Perhaps he is innocent and tortured of love out of his control, but the argument then falls onto the innocent characters such as Isabella and Cathy. Emily Bronte manages with great complexity to keep the compassion of the reader up and down. She manages to transform Heathcliff from a villain to a victim in a chapter, which keeps the character alive; otherwise he may have come across as desperate and then monotonous. Heathcliff is a character of depth and complexity and cannot be judged, therefore the sympathy of the reader varies so much.