Examples Of Character Development In The Epic Of Gilgamesh

Characters that are in stories or poems, usually the protagonist or even the antagonist, show some kind of change and characteristics throughout a story. This can include the rising or the falling of a character. You can see these changes during series of events going on in the poem; such as battles or Mofits. Character analysis shows us a timeline on where and how the character has evolved. An example of this is the ancient Mesopotamia epic poem â€Å" The Epic of Gilgamesh†. There is no known author for this work, however, it is often known as the earliest surviving great works of literature. It’s not called â€Å"The Epic of Gilgamesh† for nothing, Gilgamesh is shown in almost every part of the Poem. Him being the protagonist, really shows us,†¦show more content†¦This shows us that Gilgamesh felt powerless, and was scared about being shown that he was. In my opinion, I do not think that we were shown that the dream was only to predict something betwe en the two characters, Gilgamesh and Enkidu. But, I feel as if this dream also gave us a hint of how lonely Gilgamesh was. It talked about that the only thing Gilgamesh love was the throne, now because it was being threatened, he has crippling exaggerating of not being loved by others, also a sense of loneliness lingers inside him. However, this is the reason the authors put Enkidu into this story. It not only starts helping with Gilgamesh mental state by gaining a friend but his personality as well. Next, there are many parts in the poem that go hand-in-hand to make up event two. Gilgamesh as a whole realizes that he has to gain respect for himself to be known as a great king. We see this at the end of tablet I and the start of tablet II. In the second dream that Gilgamesh has, he lusts over the crown So much, that in fact go to mash is blind to his people. He foresees that if he does not change his ways then once he does no one will, in fact, remember him, let alone be known as, one of the greats. (Pg106) At first, Gilgamesh saw Enkidu as a threat to his throne, it was not long until Gilgamesh and Enkidu fought. Surprisingly, Gilgamesh lost this battle between Enkidu, Leaving Gilgamesh embarrassed and ashamed. Enkidu did put Gilgamesh into his place. In myShow MoreRelatedThe Heros Journey In The Epic Of Gilgamesh And The Matrix1291 Words   |  6 Pagesrecurring characters, actions, and situations. Even when pieces of literature that seem to have no connection to each other ar e examined, such as The Matrix directed by Lana and Lilly Wachowski, and The Epic of Gilgamesh by N.K. Sanders, the monomyth, the heros journey, and archetypes are efficient ways to help compare and match pieces of literature and publications; all while helping to reflect on current societys fears of power, technology, and fulfillment of life. In the Epic of Gilgamesh as wellRead MoreAthanasia: Human Impermanence and the Journey for Eternal Life in the Epic of Gilgamesh1740 Words   |  7 PagesAthanasia: Human Impermanence and the Journey for Eternal Life in the Epic of Gilgamesh â€Å"Will you too die as Enkidu did? Will grief become your food? Will we both fear the lonely hills, so vacant? I now race from place to place, dissatisfied with whereever I am and turn my step toward Utnapishtim, godchild of Ubaratutu† (Jackson â€Å"Gilgamesh Tablet IX† 4-9) Gilgamesh so much feared death that he threw away his honor as a warrior in order to obtain immortality. For centuries there have existed individualsRead More Lessons Learned From the Epic of Gilgamesh Essay1448 Words   |  6 Pages The Epic of Gilgamesh, a Mesopotamian epic poem with no known author, is the story of the brute King of Uruk, Gilgamesh, who was two-thirds divine and one-third human, which teaches readers the unstoppable force of death, the wrath of the gods, and also the power of friendship, which are illustrated to readers through the characters journeys, and those encountered along the way. The poem, which is divided into twelve tablets, starts off with Gilgamesh being a vicious tyrant, one who â€Å"wouldRead MoreEpic of Gilgamesh Essay915 Words   |  4 PagesThe Epic of Gilgamesh is one of earliest known pieces of literature. Through years of storytelling and translation, The Epic of Gilgamesh became a timeless classic. This story is believed to have originated from Sumerian poems and legends about the king of Uruk, Gilgamesh. Throughout the epic, many t hemes arose about women, love, and journeys and the one I would like to discuss is the theme of death. Also, I will discuss if Gilgamesh accepts morality at the end of the story and the development ofRead MoreThe Heros Journey1704 Words   |  7 Pagesalmost every hero-quest goes through (no matter what culture the myth is a part of). He calls this common structure â€Å"the monomyth† (Hero’s Journey). The â€Å"hero’s journey† appears in drama, storytelling, myth, religious ritual, and psychological development. It describes the typical adventure of The Hero, who goes out and achieves great deeds on behalf of the family, group, tribe, or civilization. There are twelve steps, or stages, of the typical â€Å"Hero’s Journey†. The twelve steps are: The ordinaryRead MoreA Critical Appraisal of: Beowulf and Gilgamesh Essay examples1640 Words   |  7 PagesA Critical Appraisal of: Beowulf and Gilgamesh There are many differences and critical comparisons that can be drawn between the epics of Beowulf and Gilgamesh. Both are historical poems which shape their respected culture and both have major social, cultural, and political impacts on the development of western civilization literature and writing. Before any analysis is made, it is vital that some kind of a foundation be established so that a further, in-depth exploration of the complex natureRead MoreAnalysis Of The Epic Of Gilgamesh 1449 Words   |  6 Pagesbeginning in The Epic of Gilgamesh, Gilgamesh is a bully king who frightens and annoys the people of Uruk. After the gathering with Enkidu and becoming his friend does Gilgamesh transform, into a hero worthy of history. The brotherly or â€Å"bromantic† ( considering the questionable relationship they have) love the two have for each other helps Gilgamesh become an better leader to his people by permitting him to better understand and identify with them. Even though the myth of Gilgamesh is very ancientRead MoreRole Of Civilization In The Epic Of Gilgamesh1194 Words   |  5 Pagescommunity, The Epic of Gilgamesh has challenged that idea and suggests that whether or not a Sumerian was civilized or not, determined their relationship with the environment and community. In The Epic of Gilgamesh, representation of the best and worst of humanity is presented through the characters, Enkidu and King Gilgamesh. From the beginning, Enkidu is portrayed as an uncivilized, wild man who is living harmoniously with the environment in which he resides, whereas King Gilgamesh is portrayed asRead MoreThe Epic Of Gilgamesh Essay1801 Words   |  8 PagesTonisia Tutt Professor Andre World Literature 1 October 11, 2015 The Epic of Gilgamesh does not quite have a happy end. Truthfully, Gilgamesh is not successful in his mission. It is shortsighted and deceived to expect that Gilgamesh, the saint, must be effective in his journey to hold the characteristics of courage. An unsuccessful journey not harsh any more than a courageous ending is essentially joyful. For recognitions of this, we need to look no more distant than the plenty of thoughtful legendsRead MoreThe Epic Of Gilgamesh, By Yusef Komunyakaa1808 Words   |  8 PagesThe epic of Gilgamesh is one of the oldest heroic epics . It plays a important role throughout the human history. Written between 2150-1400 BCE, the Babylonian Gilgamesh Epic is seen as the greatest legacy of the ancient Mesopotamian culture. It has been translated into hundreds of languages and spread all around the world. Thousands of versions and adaptations were made since we found the charm of this poetic work. In 2006, theatre producer Chad Gracia and poet Yusef Komunyak aa presented us with

The Scarlet Letter By Nathaniel Hawthorne - 1574 Words

The Scarlet Letter, by Nathaniel Hawthorne, narrates the events of young adulteress Hester Prynne and her secret lover Arthur Dimmesdale – telling a story of lust, guilt, and betrayal. Despite her affair being more passionate than her legal marriage to Roger Chillingworth, Hester’s sinful act ends with a pregnancy which results in disastrous consequences. She is thrown into a crowd of ravenous puritans, vying to save themselves from eternal damnation, and is forced to endure the harsh hypocritical criticism of her peers. Through this emotional pain and suffering Hester raises her child, Pearl, to the best of her abilities, only to be surprised when she ends up as wild and free as the act that conceived her. Pearl’s untamed character is†¦show more content†¦She is described as being â€Å"sprung, by the inscrutable decree of Providence, a lovely and immortal flower, out of the rank luxuriance of a guilty passion† (Hawthorne 80). Even though Pearl h erself has not committed any crime, due to her parents being â€Å"guilty†, she is also punished and treated as an outcast. The diction of â€Å"rank luxuriance† indicates that Hester and Dimmesdale s act of adoration is more complex than a naive impulse. As a result, though their behavior is considered foul, it has a sense of beauty - being extravagant and rich - like Pearl. By being compared directly to a â€Å"lovely and immortal flower,† she gains the characteristics of youth, beauty, and innocence, which will last not only to the end of her existence, but to the end of time. She is born into a society of strict rules and traditional values, and being a child, she should have been molded into the monochrome individual similar to her peers, however, that was not the case. Pearl is a rare beauty, blossoming in the infertile soil of her rigid environment, flourishing for all to see. As a member of the next generation, Pearl is representative of the future, welc oming the budding roses ready to sprout, and is displaying an everlasting time of imperfections and grace. Despite that, Pearl is trapped in a community persistent on tired doctrine and is resistant to change. While at the governor’s mansion, Pearl spots a garden through a window – one that is desperately trying to

Miss story free essay sample

Having a sense of being different makes it difficult to belong. Good afternoon fellow Melbourne City Counsel members I will be presenting my opening statement about girls involved in gang activities in regards to the National Crime Prevention Counsel Im apart of. My name is Christina and I have worked with many organizations in the past to educate and help the community gain understanding and awareness of the recent dangerous and risky behavior taking place between girls as young as 12 years of age which as Im sure you know is becoming a growing problem within society. According to NEWS Bureau of Crime Statistic Data, the number of Juvenile female offenders has increased by 36% in the last decade, compared to an 8% increase for Juvenile males. 75 % of runaways are females which leads to girls aged 12-18 becoming at risk of being homeless. These shocking statistics are the reason my aim is not only to provide awareness but also to consider solutions or ideas to implement as a counsel. Theft, underage drinking, violence and gang activity has resulted in teens across Australia to personally victimize individuals within the community. Factors that have influenced the way hose girls are behaving include peer pressure, family conflict, masking their true identity and creating more interesting personae of themselves, which could easily be a defense mechanism to belong within a group or to be a member of something. Girls are acting out and developing these new identities usually because of something horrific that has happened in their lives. They are victims; we should not judge somebody actions before getting to the source of the problem. These girls have had influences and have been raised differently to your average teenager. They ay never have been taught right from wrong or understood basic human morals since usually they have an absence of role models in their lives. They also may never have felt as though they belonged with their family members especially if the parents they are currently living with are not their own. Abandonment is something teenagers fear the most, to feel as if nobody is there for them and that nobody cares what happens to them may cause these girls to stop caring and to mask the fear they are feeling with distractions like violence, drugs and alcohol. Back in 2011 Alley and Jamie let the public into their lives by speaking about their taxation. The background of the girls explained why they were behaving recklessly. Alley spoke about how she had grown up on a public housing estate with seventeen siblings. Alley has been in and out of Juvenile detention centre. When she was asked about the detention centre she described it as A bucking paradise and admitted to participating in these crimes to get back into their centre. Although Alley had numerous siblings, she still felt as if she didnt belong and had not yet met somebody who could completely understand her. Alley met Jamie who happened to be a cousin she had no knowledge existed. They quickly became close and together they Joined to take part in these ruthless activities. Joining with her cousin helped Alley to tell as though she mattered to somebody. Jamie on the other hand, clarified she was thirteen years of age when she was in care of an aunt, where she was forced to shoplift. She had run away from her aunt and lived with an uncle for three weeks before he was arrested and Jailed for drug abuse. Jamie was then placed in a foster family, which lasted for three days before running away to another relative who again demented that she steal. The moving had left psychological damage to Jamie and made her question where she really belonged and who she belonged with. Alley and Jasmines problems within themselves are from various types of neglect. The problem these teenagers often face is homelessness. Being able to have a place to call home is important in adolescence not only for a sense of direction but also to feel part of a family union and to feel love. If these girls are getting abused at home and experiencing ghastly experiences like incest or having parents addicted to crack, then home becomes a place that these teens would rather not go to. They have realized in their minds that running away, forming gangs and abusing drugs is often better for them then being abused at home. Parents can literally make or break a child. Recently a fifteen year old, lets call her Jodie moved back in with her mother and stepfather after they passed all safety checks with the Department of Community Service only to discover that they had established an unlicensed brothel in the home and expected the daughter to service clients. The fifteen year old did not want the life she lives but unfortunately it was out of her control. We can only control so much f our lives, we cannot control or change who our parents are. The violent and illegal behaviors these girls take a part in is often due to poor parenting and feeling as though forming gangs with people you have experiences in common with will help them feel a part of something and feel as though they belong within a group which they may never have felt at home before. We cannot as allow ourselves to Judge the actions of these girls when they have experienced more in their twelve to eighteen years of life then some do in a lifetime. As a community we need to understand that people in these circumstances are citing out because in reality they are scared. Placing them into these detention centre will only encourage them to keep committing crimes to gain a spot back into the centre. We as a community should be alarmed that these young girls already expect to either go to Jail or encounter teen pregnancy in their future. Taking drastic action is necessary to ensure that the girls get help and have somebody to listen to, they are lacking in a sense of belonging. The persona they are creating for themselves looks tough, threatening and rough on the outside but inside they must be feeling anything but tough. Remember they are only kids. I am by no meaner saying this behavior should be tolerated but I do believe in not coming to a conclusion to punish but rather to look a little deeper into the real issues and help by implementing solutions and ideas that could help save the lives of young people within our community. Try to recall what your teenage years were like and what friends and family you had by your side. Could you imagine your life without them? It is a natural desire to want love, support and affection and when we dont receive these essentials we start to lose ourselves. Please do not hesitate to ask any , ones.

Music in the Digital age free essay sample

The Leon Journal of undergraduate Research in Communications ; Volvo. 1, No. 2 ; Fall 2010 Music in the Digital Age: The Emergence of Digital Music and Its Repercussions on the Music Industry Sadie A. Stafford* Senior Majoring in Broadcast and New Media Leon University Abstract The clearly ubiquitous evolution of digital music has created an apparent and drastic shift in the way consumers and producers view and use the music industry.The presence of these music files that have been digitally compressed, thus making them easily attainable to all for a small fee or Illegally downloaded for free, has made the USIA industry reevaluate how they are to make a profit off their art form. Social media web sites have also created a visible demand from consumers for artists to maintain a consumer-artist digital relationship, making the Internet not only a promotional vehicle for artists, but also a necessity for profit. These new means of music distributing and marketing have not only pushed the music industry to new levels, but has created a whirlwind of changes as record labels are losing control, with artists and consumers having the upper hand. We will write a custom essay sample on Music in the Digital age or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page L. Introduction The inspirational Bob Marble once said, One good thing about music, is that when it its you, you feel no pain. But in our current state of being In a digital age, it is the music and the people who create this music that seem to be feeling all the pain.As the digital age encroaches on our lives, consumers are demanding the music industry to keep up with these changes, which in turn, has led to financially devastating consequences for this industry. In a world that Is full of conflict, economic despair, war and constant turbulence among nations, there Is only one entity that few can say they genuinely hate and that is music. Music is an integral art of our society as well as a part of societies throughout the world. It is art that strives to feed the soul and paint a canopy of emotions through song. With this being said, It Is Important to note that we have reached a time when music has become so easily attainable that anyone who has a computer can potentially become an overnight phenomenon. Much of this shift can be attributed to the digital age and its undeniable presence in the music world. According to Rick Cranes, president of the Songwriters Guild of America, Digital music has become the ubiquitous soundtrack of American 2008).This rapid emergence of new technologies has caused huge alterations in what was once a straightforward business model for success in the music industry, causing many industry leaders to take a second look at music to be so simple that the value is diminishing? Does our obsessive Internet usage lend itself towards a shrinking level of respect for music art* Keywords: Digital Age, Music Industry, Social Networking, Interactive Music Marketing, Music Pirating and Sampl ing Email: Sadie. [emailprotected] Com Music in the Digital Age by Sadie Stafford -? 113 sits because practically anyone can become a music star?The digital age has created both a luxury and a monster for consumers and producers alike because it has come upon us so rapidly that at times, it seems to get ahead of what we know how to handle. This article will look to analyze the introduction of new technologies in regards to music production through a literature review and expert interviews, as well as investigate the inventive marketing tools artists are now using to promote their music. But the true goal of this research is to see what repercussions this technology has on music artists and their labels and of course, what we can expect or the future of the music industry.As technology and new media advance and improve, so do the means for marketing and promoting of anything and everything. The music industry is no exception to this ever-changing whirlwind that has scooped up artists and their music and has moved them to an entirely different level of sharing, purchasing, marketing and distributing. The pressure consumers have placed on the music industry to keep up with their demands is enormous. It is expected that record companies and independent artists develop new means of communication and distribution of their m usic as the Internet ND online databases explode with popularity.In this digital age, labels are losing much of their importance and artists are more capable of promoting themselves, granting them more ownership over their own work (Halogen-Kuwaiti and Regna, 2004). II. Music Pirating and Amps The real growth in emerging technologies began in 1998 with the evolution of the MPH player. This allowed for a new type of audio-compression that was at the time, a revolutionary means for listening to music. What the creators of MPH files and music industry experts didnt know was that this technology that they thought would help hem, would actually hurt them in the long run.By developing a type of music file that is so compressed it takes up less space yet maintains the integrity of the audio quality, music personnel predicted that this technology would make it much easier to distribute and enjoy music across many outlets (computers, Pods, MPH players, etc. ). But this creation actually led to the development of the infamous online file sharing sites such as Anapest and Aziza, inspiring the birth of peer-to-peer (POP) transfers of music free of charge. From the introduction of these file-sharing sites, pirated music or music downloaded illegally) skyrocketed.In attempts to combat this music stealing, this inadvertently led to the development of online music stores such as tunes in 2000 (Copal, Lowercase, Marksmen Telling, 2007). Because of these rising technologies, not only are record labels looking at new means of music distribution, online. Before all this though, it is important to look into how the digital world has made a splash in the lives of musicians and labels in terms of POP file sharing. The main concern is not how we play the music, but where it comes from and what we do with t. (Whats the Controversy, hotheadedness. Com). According to Jeffery Valises of Business World, many believe that, online music has led to illegal sharing of music files to the detriment of the industry (Valises, 2009). These technologies have led to a decline in cost of music for consumers as well as an increase in their knowledge of artists, which are two of the reasons why this POP file sharing has blossomed so quickly (Copal, Lowercase, Marksmen Telling, 2007). So although services such as tunes are completely legal and actually promoted, it is what happens to the music after it lands in the hands of the purchaser that music aficionados are worried about.Once that music leaves the hand of its owner in the form of a burned CD, on an pod player or through a flash drive, it is considered stolen music and the artist will not receive a cent of profit. The individuals downloading these music files are many times referred to as free-riders, who are individuals who consume a public good without actually paying for it [which can] unde rmine the market efficiencies (Copal and Patriarchates, 2006). This illegal file sharing is not a minute problem, it is one that resents an incredible concern to many musicians and labels alike.According to the Digital Music Report 2009, 40 billion music files were illegally shared worldwide last year (Valises, 2009). This number is of course astounding, but when one looks at the financial backlash of these downloads, it is even more devastating to the music industry. According to the Recording Industry Association of America (ARIA), two kinds of losses were attributed to piracy, losses from street piracy- the manufacture and sale of counterfeit CDC- and losses from online piracy (ARIA Web Site FAQ).ARIA also obtained a report from the Institute for Policy Innovation that does a breakdown of how drastic the economic losses have been from these forms of piracy. According to the site: Global music piracy causes $12. 5 billion of economic losses every year, 71,060 U. S. Jobs 114 -? The Leon Journal of Undergraduate Research in Communications ; Volvo. 1, No. 2 ; Fall 2010 lost, a loss of $2. 7 billion in workers earnings, and a loss of $422 million in tax revenues, $291 million in personal income tax and $131 million in lost corporate income and production taxes (ARIA Web Site FAQ). Ill. The Power of Music Sampling and SharingDue to music pirating, record companies are losing money and many artists believe that this is indirectly forcing record companies to be more hesitant to take on new talent, preferring to stick with the talent they have to dodge their losses (Valises, 2009). Research done in the Chicago Journal titled Do Artists Benefit from Online Music Sharing concluded that consumers are more likely to sample first rather than directly purchase (Copal and Patriarchates, 2006). This implies that sampling is the future to music sales and can be used as a truth-revelation mechanism to determine how a consumer values a piece of music. It was found that the more the becomes for them. If the consumer has relatively little vested interest in the artist though, that sampling can turn into decreased revenues for that particular artist and label because of pirating. The gravity of this music stealing has forced the authorities to become involved in attempts to bring a stop to this uncontrollable theft. Organizations like the Recording Industry Association of America (ARIA), the Digital Media Association (Dime) and the National Music Publishers Association (AMP) are actively searching for ways to combat this threat to the music industry.For example, in the ARIA mission statement they mention that they work to protect intellectual property rights worldwide and the First Amendment rights of artists (Dime Press Release, 2008). In attempts to act upon their promises, ARIA has begun to initiate lawsuits against people that are illegally downloading music. The association stresses the fact that if you steal music online, you m ight as well Just go to the store and steal and actual CD because the difference between these two choices is nonexistent. Another interesting aspect of music sharing and illegal downloading is how it has effected a songs survival time on the music charts.A study done by four college professors called The Effect of Digital Sharing Technologies on Music Markets looked Into this very topic. They predicted that with the emergence of file sharing, well- known artists would decrease in popularity (which they refer to as the dilution of the superstar effect) and newer artists would emerge from below to produce chart hits. Nat they found was slightly different than what they expected. The study showed that sharing has relatively little effect on top albums and their survival on the charts.Smaller, lesser-known artists on the other hand, are hurt from this sharing and experience less sales than before POP sharing was developed. Because of this, minor labels are looking for ways to use file sharing as a beneficial tool to popularize their albums as opposed to hurt their sales with pirated music downloads (Copal, Lowercase, Marksmen and Telling 2007). This love-hate relationship, along with artists desire to enhance their digital relationships with consumers is all part of the new age of music, something that is Just on the verge of being explored. IV. What the Musicians ThinkSpeaking of artists, it is interesting to note where they stand on this issue of illegal digital downloading because it is them who are inevitably the ones affected by this Issue. Obviously, a majority of the artists are opposed to this form of music listening because, the more illegal downloading is taking off, the more the record companies are suffering, the more that theyre only concentrating on the big artists (Artist Buzz, NNW. hotheadedness. Com). Bigger artists like John Legend believe that many people illegally download because consumers feel that artists as successful asLegend, Madonna or the Battles dont need more money so they dont see the big deal in downloading a few of their songs free of charge. But Legend points out that theres a whole industry that thrives off of those 99 cents you pay for your download (Artist Buzz, wmwwhatsthedownload. Com). Before all of this digital music existed, it was pretty common for children and young people to make mix tapes for their friends, but as Sarah McClellan puts it, Its one thing when we were kids and En made tapes for our friends of songs.But it went to five people and now it goes to Music in the Digital Age by Sadie Stafford -? 115 Artist Buzz, wmwwhatsthedownload. Com). So the concern is not that people are sharing one song with a few people; the problem is that once music files get online, there are an endless number of people who can access them, which is Just what people do. The ARIA clearly states on their Web site that, we have embraced the technological advances that have allowed millions upon millions of people around the world to enjoy the music we create. We want fans to enjoy their Pods, CD burners, and other devices, but we want them to do so responsibly, respectfully, and Nothing the law. Surprisingly enough, there are also artists who feel that this illegal downloading is somewhat of a good thing and are completely supportive of the digital era of music. Piracy acts as promotion for an artist because once the consumer has downloaded an unknown song, it is said that they are more likely to purchase something from that artist in the future (Copal and Patriarchates, 2006).The Black Eyed Peas for example believe that downloading music is a good way for newer artists to get their music out there if they dont have a big record company backing them. The band feels that if people download a portion of an unknown bands music and enjoy it, they will eventually purchase the whole CD or download their music legally to further enjoy it. Jason Mrs. also shares this same appreciation for illegal downloading in the sense that he can see some of the benefits it serves. l cant yet complain about downloading because of my fan base, says Mrs.. L would probably say half of my fan base that comes to our concerts, heard about me because of illegal downloading (Artist Buzz, wry. hotheadedness. Com). V. The Digital Epidemic It is also interesting to note who the most frequent perpetrators of music piracy are cause once those individuals and motives behind why people steal music are discovered, it makes the industry that much closer to putting an end to this epidemic. Ere Chicago Journal did an in-depth study of online music sharing and looked into these statistics.They found that the people least likely to illegally download music are females, older people and individuals with an ethical predisposition toward legal lustier (Copal and Patriarchates, 2006). It was also found that an individuals income has a relatively insignificant effect on whether they decide to illegally download music. Many believed that a lower income individual would be more likely to steal music than one more well off because they lacked the superfluous funds for purchasing that particular song or CD.But according to research, it suggested that the true value of the music is solely established by the listener and how much loyalty they have to that artist. In turn, this directly affects how much money they are willing to spend on that artist. This is beneficial research because now the industries are charged with ways to target those specific demographics when looking for wa ys to encourage legal music purchasing. The goal of the music industry is to simply make buying music easier than stealing music (Copal and Patriarchates, 2006), which is something that is far from solved.The only hypothesis that industry experts have is music as well as subsequent music from an artist. This has major implications for the music industry, in that the industry can potentially reverse the effects of online audio piracy by providing more legal and efficient sampling techniques that consumers could use (Copal and Patriarchates, 2006). The Internet can be a Needful tool if the music industry could Just learn how to maximize their profits via USIA sampling because that is where the bulk of music is now being obtained.As of 2008, Atlantic Records was the first major record company to have over half of their income attributed to digital sales (51% of sales). This was a huge milestone for the company, which is owned by Warner Music Group, because it made them realize that the digital world is rapidly taking over th e familiar world of CDC. This is something that newspapers and television stations have already noticed in the sense that much of their viewers look at their content via the Web, as opposed to on TV or in the papers. Now the music industry is realizing that they are no exception to this digital transition.It was originally believed that when digital sales surpassed the sale of CDC, that revenue would make up for lost revenue in stores. But according to Forrester Research, music sales are expected to fall from $10. 1 billion in 2008 to $9. 2 billion in 2013, implying that digital sales will be incapable of making up for this deficit in CD sales (Arrange, 2008). 116 -? The Leon Journal of Undergraduate Research in Communications ; Volvo. 1, No. 2 VI. Social Networking Influences and the Role of Music Labels Music piracy and illegal unloading are not the only challenges that the digital age has brought upon music artists and their labels.The explosive popularity of social networking sites has made huge splash in the lives of musicians and has greatly altered the way marketing teams work towards promoting artists. In a time where terms like Backbone and Namespace are everyday lingo, social media and online marketing have never been so ITIL. Olivia Tortilla, the Executive Vice President of Marketing at Atlantic Records says that although they once viewed the Internet as a promotional vehicle to highlight ewe artists and albums, they now see artist sites as a way to generate online advertising revenues and sell tickets, t-shirts and even music (Holman, 2008).The online pre-sale of music is becoming a huge source of revenue for companies like Atlantic Records because fans know now to go straight to the artists personal Web page to get their music first, sometimes before it is even out in stores. Ere success of an artist is no longer measured in how much money they make on their albums or during a tour. Today, artists are expected to have not only a presence in the real world but in the online world as well. Fans are now demanding relationships with their favorite bands because of these social networking sites.The goal that labels and artists now have in tackling the new means of marketing is embracing the use of technologies to brand and reach out to potential customers (Shih Ray UK, 2002). Today, labels are beginning to lose their importance, as artists are able to promote themselves online. Because of this increased artist power, there is reduced ownership of music copyrights by labels and more by the Ere old model for the music industry was to allow the artists to make the music and hen pass that music off to their respective label to promote them and distribute their work to the masses.But as artists become more technologically savvy and recording studios can be purchased for a small fee via your Mac computer, are labels really going to be necessary in the future? Before the d evelopment of social media sites, there were really only a few different ways to discover new artists as well as follow artists that you were already a fan of. Music was discovered through the radio, through television such as MET and VHF, or your friends and family would inform you f a new band or artist they thought you might like and you could then borrow a CD or pick up a copy of your own at the nearest Best Buy. But now with social media sites, discovering new music is easier than ever. There are four basic ways in which music can be discovered and artists and labels alike are beginning to realize the potential these methods of artist promotion could have in the future of their success. One way consumers are discovering an artist is through simply browsing on the Internet and finding artists through links or genre categories that sort out popular artists. Then there is the stumble-upon method of discovering an artist, which simply means you accidentally encounter an artist you like via the Internet and the sites you visit.Of course there is also the peer-to-peer way of discovering music in Inch a friend can send you music suggestions that they perhaps received through other friends. And lastly, there are the social media and networking sites that open up endless possibilities for sharing, blobbing and promoting of favorite artists or bands to anyone and everyone on the Web. These four differ ent options for discovering music provide countless opportunities or artists to capitalize on if they are intelligent and know how to use the Internet to their advantage. What artists and labels are beginning to see as the most beneficial means of promotion is in establishing a community around the artist through drawing in listeners and fans via popular social media sites (Peters, 2008). With sites like upcoming. Org, last. FM, Namespace. Com and Backbone. Com, artists have an unlimited number of fans they can reach out to and pull in without ever leaving their computers for a performance. The ease that these networks have created for artists o share their music with anyone who is willing to listen is incredible. Not only are the artists and labels promoting their music, but fans are also promoting artists through user-generated content. Once a fan posts a link to a video on their Backbone page, blob, Namespace, or whatever social media site they choose, that automatically generates content and directly promotes the artist without that artist or label spending a penny. There is also the creation of sites such as Namespace Music, which Nas created in 2008 in partnership with three of the top labels, Sony BMW, Universal Music Group, and Warner Music Group as a new way to combine music labels with social media sites.The goals of this partnership was to create an outlet for the artists represented by these labels as well as generate ad revenue on the artists home page. This makes it a win-win situation for Namespace and the labels that are both capitalizing on the deal. The idea behind Music in the Digital Age by Sadie Stafford -? 117 around an albums release (Holman, 2008). But although this rev enue is expected to help the continuing deficit of CD sales by bringing in an estimated $1 billion in venue by 2012, the anticipated monetary loss from CD sales at that point is expected to be at $3 billion a year. This means that although digital sales will help the revenue generated from music sales, they still wont make up for the revenue lost from the CD sale deficit. This ease in marketing and promotion does not come Introit a cost. Because it is now so easy to put your work out there for millions to see, the competition in the music industry is tougher than ever. Although labels are beginning to lose their importance, they havent disappeared quite yet because once o are signed to that label, the chances of your band making it generally increases greatly.The financial backing and publicity you receive through a label deal are still highly valuable in this cut-throat market and will continue to be until someone comes Jp with an alternative way to make yourself known to the public. Ill. Interactive Music Marketing Ninth that being said, it is not too far from the time when other artists will act as a type of label for newer, up and coming artists. We are already seeing this type of promotional model with mentors and third party promoters forming a partnership. Is means that an established, already famous artist can provide the newcomer Ninth exposure and funds (Halogen-Kuwaiti and Regna, 2004). In doing this, there is no record company that owns the copyright privileges to the newer artist and the more established artist is like a sort of venture capitalist investing in an artist they believe in. There are also services such as the one developed by Clear Channel Radio and Front Line Management called artist personal experience radio or a. P. E.This service allows individual artists to create a radio channel that features close to 1,000 ones of their choice, which are then mixed with their commentary and personal stories. This type of radio station is intended to be a marketing tool for both the artist themselves and the music that they are in a way, endorsing by putting on their personal playbills (Reuters, 2009). These types of marketing are only the beginning of what we are starting to see in attempts to get coverage of an artist.Through an interview with Rob Beauty, Product Development Coordinator in the Digital Media Department at Atlantic Records, Online presence is key in the digital age. Artist placement on the Internet is a cornerstone to heir success in the music industry. For example, blob placement is a major factor in online marketing of artists as well as the different viral placements of contests and competitions that exist online for each artist. Consumers will register for contest after contest to get entered in a chance to win free concert tickets, backstage passes, t- shirts and anything else you can imagine.Once they enter that contest, the record company or marketing department h as that individuals email address and will begin sending them email after email promoting that artist, or any other similar artists for hat matter. So labels and artists use these contests to promote their music and draw in more listeners to their fan base. The newest forefront of music in the digital age is interactive music. We have all heard of interactive media and seen the rapid growth of this form of marketing in the past few years, but music is Just now becoming a part then enjoyed by the listener.But now we are beginning to see the listener becoming involved in the actual music because of interactive technologies such as Romper. This cell phone application allows listeners to rearrange their favorite songs by taking retain parts of the song apart and then rearranging those pieces to their liking to create a whole new piece of music. Then they are able to share their new creation Ninth friends, inadvertently stirring up publicity and promotion for that band. Fans can now connect to artists music in a whole new personal way by creating their own erosion of a song and being part of the creative process(Biotech Business Wee k, 2009). Bands such as Radioed are aggressively tackling this type of interactivity and are being recognized for it throughout the media, giving them even more publicity. What Radioed did was similar to Romper in that they created a remix competition with their single Nude. They began by selling five different parts of Nude on tunes for . 99 cents, vocals, guitar, bass, strings/fix and drums. Then listeners could mix each part of that song however they wanted to create their own remix of the song via radiochemical. Com.After their personal mix was created and uploaded, other users could then listen to those remixes and vote for their favorite one, which in turn, allowed fans to be involved with their music on a whole other level. What this did was give listeners a greater appreciation for the music production process, which is thought to possibly reduce levels of piracy and encourage fans to purchase their music instead of stealing it. Radioed is also flourishing in the 118 -? The Leon Journal of Undergraduate Research in Communications ; Volvo. 1, No. ; Fall 2010 digital age because they released their most recent album on tunes with pay what you want deal, as well as allowed fans to create a music video from a song of their choice and then submit it for a competition. All of these new media approaches are things that are Just being explored by labels and artists together. But at times, the inventiveness of each new outlet is overwhelming for producers who cling to the old music business model. It is quite apparent that we live in a society that cherishes their new technology, constantly searching for and stumbling upon new and improved ways to do even the simplest things. We also are a culture that values our music and are surrounded by this medium in our everyday lives. The challenge that we now face is how to combine these two deep loves in a way that compliments one another as opposed to impairing the success of each other. This is a difficult forefront that music artists and record labels must aggressively tackle, because if they ignore these technological advances, the music industry could end up in a detrimental place. Unfortunately, our culture is one that values one thing above all else and that thing is money.Although many say that money is not the end all and be all, it cannot be argued that money plays a huge role in the decisions that corporate America as well as all other people of this nation make. Because of this, it is important to understand how technology is effecting the music world so we can continue to allow this art form to thrive the artists, there would be no music. Bottom line, there exists a constant battle between consumer a nd producer; the consumer wants their purchase to be cheap but the producer needs to make a profit. So this tug-a-war creates the very familiar cycle that we see on a daily basis, all of which goes back to the basic principle of capitalism. So what will music do next? Will we reach an age where live concerts no longer exist because we can simply watch a live feed of them on our computers while En have a discussion board open on our screen? Will CDC be the equivalent to vinyl records in that they are a collectors item because they are an item of the past? And Inhere will the bulk of an artists revenue come from five, ten years down the road?

The Hobbit Journal essays

The Hobbit Journal essays There are two reasons I decided to read The Hobbit. One was because it was recommended to me by my sister, who also read this novel when she was my age. She said that its a great book if you enjoy adventures. And adventures are my preferred sort of literature to read. The other reason was it was on the California Standard reading list as well as one of the choices on the book list. As I began to read a few pages of the novel, I have to admit I was not much interested. However as the story progressed, I started to enjoy the book. The first pages of the novel just tell you about hobbits and about Bilbo Baggins relatives. Later on Bilbo is part of an adventure to the misty mountains with Gandalf and 13 other dwarves and has a near fatal encounter with three trolls. This work is written in third person and sound as though it is a story being told aloud. In The Hobbit, the narrator often interrupts himself to make little asides. The narrator usually follows the story through the eyes of the hobbits. This serves as two purposes. One, the hobbit I generally considered to be a representative of the modern world, and two, following the story from the hobbits point of view makes the hobbits the heroes of the book. This way the author shows the importance of ordinary people and what makes them so special. At this point, my favorite character would be Bilbo Baggins because he reminds me the most of me. I, similar to Bilbo, never do anything out of the ordinary and neither am fond of adventures. However, when the opportunity shows up Ill take it. And like Bilbo, change for the better. We are plain and quiet folk and have no use for adventures. Nasty disturbing uncomfortable things make you late for dinner. I cant see what anyone sees in them. I believe this passage is ironic because Bilbo says he hates adventures and he ends up joining Gandalf in an ...

Using Acronyms in Academic Writing - Proofeds Writing Tips

Using Acronyms in Academic Writing - Proofeds Writing Tips Using Acronyms in Academic Writing With the limited characters available on platforms like Twitter, we’re used to using acronyms and abbreviations in everyday communication. After all, â€Å"IMO ppl uz 2 mNE lng wrds† is much more concise than â€Å"In my opinion, people use too many long words.† However, in academic writing, improper use of acronyms can detract from the clarity of your writing. Thus, in this post, we cover how to use acronyms in a college paper. What are Acronyms and Abbreviations? Acronyms and abbreviations are both shortened forms of long terms or phrases. However, while all acronyms are abbreviations, there is an important difference: Abbreviations are shortened versions of words (e.g., when â€Å"Jan† is used in place of â€Å"January†). Acronyms are abbreviations where the first letters from each word in a phrase spell out a new word (e.g., when National Aeronautics and Space Administration is shortened to â€Å"NASA†). In addition, there is technically a difference between an â€Å"acronym† and an â€Å"initialism†. Acronyms are pronounced as a single word (e.g., NASA). But each letter in an initialism is pronounced separately (e.g., FBI). Since â€Å"acronym† is commonly used for both of these, we will continue using this term below. However, its worth remember that there is a difference! When to Use Acronyms The main consideration is clarity. To be specific, we shorten long technical terms to make our work easier to read, especially if theyre used repeatedly. For instance, writing â€Å"MRI† instead of â€Å"magnetic resonance imaging† is a good idea if use this term a lot since it’s easier to read. Apparently, this isnt suitable for a passport photo. If a term is only used once or twice, there’s usually no need to use an acronym. You should also avoid using too many abbreviations, since text dense with acronyms and technical jargon can be difficult to read. Introducing Acronyms If using an acronym, you must introduce it with full terminology in the first instance so your reader knows what it means. You can do this by giving the full term first and the shortened version in parentheses: The North Atlantic Treaty Organization (NATO) has existed since 1949. Once introduced, you can use the shortened version in place of the full terminology: The idea of NATO is to ensure security via a system of collective defense. To ensure clarity, make sure to use the acronym consistently throughout your document. This means you should not switch between the full and abbreviated versions of the same term. Introducing an acronym isn’t necessary if the term is in common use, such as with â€Å"laser† (originally short for â€Å"light amplification by stimulated emission of radiation†). However, even with well-known terms, providing a definition can be helpful, since many acronyms have more than one meaning. One example is the long-running battle for use of â€Å"WWF†, in which the conservation group grappled (pun fully intended) with the professional wrestling organization now known as the â€Å"WWE.† Although â€Å"WWF† is a recognizable term, defining it on the first use would remove ambiguity. It would then be clear that you’re discussing the â€Å"World Wildlife Fund† and not the former employers of Stone Cold Steve Austin. I will open a can of whoop-ass on any panda that gets in my way. An important distinction, were sure youll agree.

Death penalty Term Paper Example | Topics and Well Written Essays - 1000 words - 2

Death penalty - Term Paper Example g at sea and crucifixion (Melusky & Pesto 8).Unlike in the present where many people do not witness such punishments, in the past death penalties were done in public. Apart from explaining on various forms of death penalties, the essay will also relay more information on its effects to the society. In the US, before the rise of legal institutions, cases of death penalties were quite rampant in all states. Since there were no modern legal institutions, many crimes ranked as capital whose punishment was death. For instance, in the US, crimes such as rape, kidnapping, arson and forgery were punishable by death (Walker 19). Most of these crimes were punishable by hanging and the process normally took place in public places where everybody would see. In the past, such events were quite common and usually attracted a large number of spectators some of whom came to do business during the occasion (Melusky & Pesto 2). Tens of thousands normally showed up in such events with the intension of viewing the hanging. This changed as from the 1960s when a modern legal institution was set up. To date, there have been numerous debates on the whether sentencing a person to death is justice as claimed. Most legal firms claim that a death penalty is justice only if one has committed a capital crime such as killing another person. Legal officers claim that one ought to receive punishment that is equal to the crime he or she has committed. According to Guernsey (9), even Biblically, an offender was to receive an eye for an eye; this implied that punishment was to fit the crime committed. Studies show that death penalties began in the US around the 1600 when the first English colonialists landed in the US (Guernsey 10). Captain George Kendall went down on record as the first person to die because of a death sentence. According to Melusky and Pesto (7), Captain Kendall was sentenced to death by the firing squad method. This was after an accusation of spying for the Spanish nation

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

Operations Management - Essay Example Business operations are geared towards achievement of profit targets and commanding wider market segment. However, relationship with competitors is healthy to avoid misunderstanding, which leads to disputes. Nonetheless, successful entities allow employees contribute to decision making and planning of future activities. It is the prerogative of the management and stakeholders to ensure there is a clear channel of communication and distribution of resources among all departments to avoid blame shifting thus to enhance quick supervision. Societies expect Carphone company to adhere to forces of mindset in order to build confidence within employees’ fraternity thus make work efficient and effective. Therefore, business prosperity largely relies on operations management (Abrams 2013). Employees and owners of Carphone Warehouse need to be educated on how to run operations, and manage activities of the business. Employees nonetheless, are required to posses’ technical knowledge of serving customers with etiquette, kindness, and without discrimination. Employers however need management, accounting, planning, and organization training. Therefore, training strategies for instance, customers’ markets, Workforce development, Employee’s behavior, Leadership training, peer training, benchmarking, pricing, mentoring, networking and budgeting uplift economic growth in the society(Butler 2012). The expansion of Carphone company was contributed by participating in community activities that increased the number of customer turn-over notably, The x factor, Big brother, Get connected, and Appys awards. Decision making is always fast-tracked from parent country but always protects the interests of customers in competitive markets. Company data protection mechanism has enabled the company flourish because this sealed loop-holes that competitors and employees could leak critical

The Underlying Benefits of a College Degree Essay Example for Free

The Underlying Benefits of a College Degree Essay We can all recognize the obvious benefits of obtaining a college degree job opportunities and higher earning potential. But oftentimes we overlook or under appreciate the underlying benefits of earning a college degree. However, if you take a closer look at the hidden benefits, you will likely realize that earning a college degree is not completely about financial enrichment. Earning a degree could potentially boost your self-esteem, allow you to make healthier choices, and create a better quality of life for your children. You know the feeling you get when you finally reach your lifelong goal? Priceless, right? Thats exactly what earning a college degree can do for you. It gives you a sense of accomplishment and self confidence that everyone strives for. Not only that, but you have accomplished something that will always be yours and that you will always be able to fall back on in tough economic times. In addition to the boost of confidence, you will likely be able to make more healthy choices than you would without a degree. Generally, this is due to an increase in income which then leads to an overall greater access to healthy food options and health care. Plus, with higher education comes the desire and ability to make healthier choices such as whether or not to smoke. Finally, the greatest benefit of getting a degree is knowing that your children will have a better quality of life and may even follow in their parents footsteps and choose to further their education as well. Even if your children don’t wish to go to college, they will be more motivated to reach for their goals just as you have. In a sense, you have set the standards for them by achieving your dream of obtaining a college degree. You have given them an example to follow by setting a goal and achieving it. Although financial stability is one of the main reasons people choose to obtain a degree, there are many other benefits. You better yourself through boosted self-esteem and improved decision-making ability, which also enhances the lives of your children.

Shakespeares Hamlet Essay: Observations on Gertrude -- GCSE Coursewor

And What of Gertrude in Hamlet?      Ã‚  Ã‚   To what extent does evil reign in the heart of Queen Gertrude in Shakespeare’s Hamlet? This essay will delve into her character, and into the deposit of literary criticism regarding her, in order to analyze her character in depth.    Philip Edwards’ â€Å"The Ghost: Messenger from a Higher Court of Values?† expresses the necessity of the Ghost leaving the guilt of Gertrude to the afterlife:    The final injunction, ‘Leave her to heaven’, must temper our feeling of the Ghost’s personal vindictiveness. It is more important, however, in giving a religious context to the punishment of Claudius and Gertrude. Gertrude’s earthly punishment is to be her conscience: ‘those thorns that in her bosom lodge / To prick and sting her’. Whatever further punishment or exoneration is hers to receive belongs to an after-life. With Claudius it is different. By his words ‘Leave her to heaven’, the Ghost must imply that a higher justice requires the exemplary punishment of Claudius on earth, by the hand of an appointed human being. (67)    At the outset of the tragedy Hamlet appears dressed in solemn black. His mother, Gertrude, is apparently disturbed by this and requests of him:      Ã‚  Ã‚  Ã‚   Good Hamlet, cast thy nighted colour off,   Ã‚  Ã‚  Ã‚   And let thine eye look like a friend on Denmark.   Ã‚  Ã‚  Ã‚   Do not for ever with thy vailed lids   Ã‚  Ã‚  Ã‚   Seek for thy noble father in the dust:   Ã‚  Ã‚  Ã‚   Thou know'st 'tis common; all that lives must die,   Ã‚  Ã‚  Ã‚   Passing through nature to eternity. (1.2)    The queen obviously considers her son’s dejection to result from his father’s demise. Angela Pitt considers Gertrude â€Å"a kindly, slow-witted, rather self-indulgent woman. . . .† (47). She join... ...is Into' Kenneth Branagh's Hamlet." Early Modern Literary Studies 6.1 (May, 2000): 2.1-24   http://purl.oclc.org/emls/06-1/lehmhaml.htm    Pitt, Angela. â€Å"Women in Shakespeare’s Tragedies.† Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Rpt. from Shakespeare’s Women. N.p.: n.p., 1981.    Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html    Smith, Rebecca. â€Å"Gertrude: Scheming Adulteress or Loving Mother?† Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. from â€Å"Hamlet†: A User’s Guide. New York: Limelight Editions, 1996.    Wilkie, Brian and James Hurt. â€Å"Shakespeare.† Literature of the Western World. Ed. Brian Wilkie and James Hurt. New York: Macmillan Publishing Co., 1992.

Adrienne Rich’s 21 Love Poems Essay

In â€Å"Twenty-One Love Poems† by Adrienne Rich, each poem helps us understand her life. We as the readers get a â€Å"sneak peak† at the struggles she faces due to an almost ‘doomed’ love affair she has with another woman. The settings of her poems take place in Manhattan which she refers to as the â€Å"island of Manhattan† many times. There is a transitioning from beginning to end of this short collection of poems. Rich begins her collection with a jolly almost exuberant tone of passion and romance she shares with her lover. In poem IV she states â€Å"I open the mail, drinking delicious coffee, delicious music, my body still both light and heavy with you† (10-12). The speaker here is having physical contact with her lover, juxtaposed to the later poems where the lover is only a memory. The solitude she finds herself in is seen in poem XVIII: â€Å"Close between grief and anger, a space opens where I am Adrienne alone. And growing colderà ¢â‚¬  (13-14). This is the exact point where we find out her sadness and loss she has experienced. I will focus on this side of the spectrum, Adrienne Rich’s transition into solitude. Poem XVIII starts off with rain in the city, and the speaker is at a red light at Riverside. It can be interpreted that the rain is in correlation with her sadness and/or tears as to finding herself at a stop in her life, which is in correlation with the red light she is currently waiting on. This assertion can be made by the lines that follow: â€Å"the more I live, the more I think/ two people together is a miracle† (3-4). She is clearly being judgmental about relationships in general based on her experiences in love. Two people together don’t necessarily have to be viewed as a miracle like she puts it. Two women however, in her time, had to have a hidden love, completely unknown to the outside world. The end result would be that their love for each other would have to always stay hidden, as to why she writes: â€Å"The story of our lives becomes our lives† (7). She continues by telling her lover that she knows her response already, and that it most likely will sound like something some Victorian poet would say. â€Å"†¦ salt estranging sea† is what she pulls from Matthew Arnold’s â€Å"To Marguerite† which is mostly stating that we are all alone no matter the millions of people around us. Rich ends the poem by stating that she is in a state of â€Å"estrangement.† Estrangement is separation resulting from hostility, but in this case the estrangement can possibly be synonymous for a fresh start. What can be very  hard to understand about the ending of this poem is that although â€Å"a clef of light† is visible, Adrienne feels more alone than ever. Although the start of something new can be both, good and frightening for someone, th e start of this new day for Adrienne makes her feel colder than she ever has felt. Rich continues in poem XIX to show the darker side of the â€Å"island of Manhattan.† The poem starts off with a question â€Å"Can it be growing colder when I begin to touch myself again, adhesion pull away?† (1-2) The tone here is grief and an uprising anger. It is interesting to observe that although the speaker is engaging in masturbation, she still feels the coldness that overcame her in poem XVIII. It is bizarre because someone wouldn’t normally associate the act of masturbation with coldness, unless, this event brings up a memory, a memory which gives her an unhappy feeling. She continues by stating that a naked face turns from looking backwards and is now looking to the past for comfort, she is ready to take on what is in front of her: † the eye of winter, city, anger, poverty and death† (5). This new present she is currently facing maybe too much for her to digest. This is why she contemplates if her life is worth living in the following line. She shifts the poem to address her lover by asking her a question. She asks her if she is speaking in a cold manner if she says love isn’t miraculous. This is a transitioning in her state of mind, new profound wisdom enters her and she shares it with us and her lover. She realizes that a relationship consisting of two women â€Å"is a work† just like any other relationship. Thos who are able to be in a healthy relationship can view their efforts as â€Å"heroic in its ordinariness.† The poem ends by Rich telling her love to â€Å"look at the faces of those who have chosen to be in love, that although it takes a lot of hard work, they are in the end happy. Poem XX starts off very ambiguously, with the speaker stating that the conversation she and her lover were supposed to have keeps on replaying in her head. The Fact that it never happened haunts her till this day. She continues the poem by stating that she can distinguish a woman she once loved, the very woman who holds many secrets that built an immense amount of fear. She has tried to speak to this woman on many occasions but her â€Å"expressive head† is a â€Å"dragging down deeper† into a place where she is  unable to make contact with her. The woman she is trying to speak to the entire time is herself. She comes into a self realization that she misses the woman she used to be. In twenty- one love poems, Adrienne Rich gives us a peek into her changing thoughts about love and life. She uses contradictions to parallel the thinking process all of us have with love. There is a change of mind happening throughout all of the poems and this makes the poems and poet appear more â€Å"human-like.† What I mean is that in everyday life people have contradictions about many things and this is how Adrienne Rich does a great idea in humanizing thoughts. Her life is hard to live and she realizes that and so do we. I feel safe to say that she knows its tough but this is a life she has chosen. We experience her hardships in her life through her poetry and we see her transition into solitude. Works Cited Rich, Adrienne. 21 Love Poems http://www.sabrinaaiellophotography.com/files/Complete_21_Love_Poems_by_Adrienne_Rich.htm

Tiffany & Co Marketing Plan

MARKETING PLAN I. Executive summary†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦3 A. History of Tiffany & Co†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 3 II. Current marketing situation †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦7 A. Market overview†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 7 i. Market demographics and needs†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 6 ii. Market t rends and target market growth†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 10 B. SWOT analysis†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦11 i. Strengths †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 11 ii. Weaknesses†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 2 iii. Opportunities†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 12 iv. Threats†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦13 C. Competitive and industry analysis †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦14 D. Product overview†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 17 E. Keys to success and critical issues†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦20. III. Environmental analysis †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦23 A. Macroenvironmental factors †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦23 B. Microenvironmental factors †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 24 C. Competitive strategy †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 24 IV. Marketing Strategy†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦25 A. Mission†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦25 B. Marketing objectives†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦25 C. Financial objectives†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦26 D. Target market†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 27 E. Positioning†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦27 V. Marketing Mix†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 28 A. Product †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 28 B. Pricing †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 30 C. Promotion †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 1 D. Channel †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦32 E. Service †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦34 VI. Marketing research †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦35 VII. Financials †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦37 A. Sales/revenue forecast†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 37 B. Expense budget†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦39 C. Break-even analysis†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦40 D. Profit and loss analysis†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 41 VIII. References†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 42 I. Executive summary A. History of the company The 1830s in New York City were a time of dynamic growth, extravagant tastes and golden opportunity for anyone with a little capital and an abundance of imagination. In 1837, New York became the proving ground for twenty-five-year-old Charles Lewis Tiffany and John B. Young, who opened a â€Å"stationery and fancy goods† store with a $1,000 advance from Tiffany's father. On their way to the new emporium at 259 Broadway, fashionable ladies in silks, satins, and beribboned bonnets faced a gauntlet of narrow streets teeming with horses and carriages and the hurly-burly of city life. At Tiffany & Co. they discovered a newly emerging â€Å"American style† that departed from the European design aesthetic, which was rooted in religious and ceremonial patterns and the Victorian era’s mannered opulence. The young entrepreneurs were inspired by the natural world, which they interpreted in exquisite patterns of simplicity, harmony and clarity. These became the hallmarks of Tiffany design, first in silver hollowware and flatware, and later in jewelry. Tiffany first achieved international recognition at the Paris Exposition Universelle in 1867. The company was awarded the grand prize for silver craftsmanship, the first time that an American design house had been so honored by a foreign jury. Tiffany was the first American company to employ the 925/1000 standard of silver purity. Largely through the efforts of Charles Lewis Tiffany, this ratio was adopted by the United States Congress as the American sterling silver standard. The silver studio of Tiffany & Co. was the first American school of design and, as one observer remarked, â€Å"a teacher of art progress. Apprentices were encouraged to observe and sketch nature, and to explore the vast collections of sketches and artwork assembled by Edward C. Moore, the head of the studio. By 1870 Tiffany & Co. had become America's premier purveyor of jewels and timepieces as well as luxury table, personal, and household accessories. At the turn of the 20th century the company had more than one thousand employees and branches in London, Paris, and Geneva. In 1878 Tiffany acquired on e of the world's largest and finest fancy yellow diamonds from the Kimberley diamond mines in South Africa. Under the guidance of Tiffany's eminent gemologist, Dr. George Frederick Kunz, the diamond was cut from 287. 42 carats to 128. 54 carats with 82 facets (most brilliant-cut diamonds have only 58), which gave the stone its legendary fire and brilliance. Designated the Tiffany Diamond, the stone became an exemplar of Tiffany craftsmanship. In 1886 Tiffany introduced the engagement ring as we know it today—the Tiffany ® Setting— an innovation that lifts the diamond above the band with six platinum prongs, allowing a more complete return of light from the stone and maximizing its brilliance. Today the Tiffany Setting continues as one of the most popular engagement ring styles and shining symbol of the jeweler’s diamond authority. During New York’s Gilded Age, Tiffany was prospering as never before. At the same time, the world had embarked on the Age of Expositions, the era of show-stopping extravaganzas that took place in the last decades of the 19th century and into the 20th in Paris, Chicago, Buffalo and St. Louis. At every venue, Tiffany won the highest honors and recognition as the undisputed leader in the world of jewels. The company’s exhibit at the 1889 Paris fair was heralded as â€Å"the most extraordinary collection of jewels ever produced by an American jewelry house. † Tiffany produced an equally praiseworthy collection for the 1900 Paris fair, along with magnificent silver pieces based on Native American pottery and basket designs. The unprecedented commendation and number of awards bestowed on the jeweler led to Tiffany’s appointment as Imperial Jeweler and Royal Jeweler to the crowned heads of Europe, as well as the Ottoman Emperor and the Czar and Czarina of Russia. With the death of Charles Lewis Tiffany in 1902, Louis Comfort Tiffany, the founder’s son, became Tiffany’s first Director of Design. An entire floor of Tiffany & Co. was devoted to merchandise crafted in the Tiffany Studios, Louis Comfort Tiffany’s atelier. His position as America’s leading designer was well established by 1882, when President Chester Arthur invited him to redecorate the White House. By 1900 the younger Tiffany was a world leader in the Art Nouveau and Arts and Crafts movements. The famed artist created a remarkable range of designs, from technically brilliant leaded lass to colorful Tiffany favrile glass, and enameled and painterly jewels based on American plants and flowers. Throughout the jeweler’s history, the most prominent members of American society were frequent Tiffany customers. Vanderbilts, Astors, Whitneys and Havemeyers, as well as J. P. Morgan, F. Scott Fitzgerald and Paul Mellon, commissioned Tiffany to produce gold and silver services. Admirers of Lillian Russell ordered a sterling silver bicycle. President Lincoln purchased a seed pearl necklace for his wife, Mary Todd Lincoln. And a young Franklin Roosevelt purchased a Tiffany engagement ring in 1904. As the twentieth century progressed, Tiffany designs captured the spirit of the times, from the extravagance of the 1920s to the modernism of the 1930s and the aerodynamic age of the 1940s and 1950s. Tiffany china set the stage for White House dinners and Tiffany jewels accented the elegant clothes of the world’s most glamorous women, including Jacqueline Kennedy Onassis, Babe Paley and Diana Vreeland. Very often world-renowned jeweler Jean Schlumberger created their jewelry. Hired in 1956 by then Tiffany chairman Walter Hoving, Schlumberger’s lavish, nature-inspired jewels remain the pride of Tiffany & Co. Throughout Tiffany’s history, the United States and foreign governments have called upon the company to create special commissions. Among them are the Congressional Medal of Honor, the United States’ highest military award; and the 1885 redesign of the Great Seal of the United States, which can be seen on official government documents as well as on the one-dollar bill. Business and professional organizations have also called on Tiffany design expertise through Tiffany Business Sales. The most famous of these commissions is the Vince Lombardi Trophy for the National Football League Super Bowl Championship. Tiffany has had the distinction of creating this original and well-known design since the first Super Bowl in 1967. The legendary style of Tiffany design is perhaps best represented by the annual Blue Book Collection, featuring Tiffany’s and the world’s most spectacular and glamorous jewels. Initially published in 1845, the Tiffany Blue Book was the first such catalogue to be distributed in the U. S. Today’s version showcases the elite of diamonds and colored gemstones in custom-designed settings, crafted with time-honored jewelry techniques and inspired by jewels in the Tiffany & Co. Archives. Over the past two centuries, Tiffany has built an international reputation as a premier jeweler and the ultimate source of gifts for life's most cherished occasions. Whether it's a milestone in the life of a company or a family, or an individual's crowning achievement, Tiffany gifts wrapped in the signature Tiffany Blue Box ® symbolize the rich heritage and unparalleled reputation Tiffany & Co. has enjoyed as one of America's great institutions. II. Current marketing situation A. Market overview i. Market demographics and needs Official estimates put the population of Kazakhstan at 15. million as of 1 July 2008, of which 47% is rural and 53% urban population. The 2008 population estimate is 4. 8% higher than the population reported in the last census from January 1999 (slightly less than 15 million). Kazakhstan underwent significant urbanization during the first 50 years of the Soviet era, as the share of rural population declined from more than 90% in the 1920s to less than 50% si nce the 1970s [pic] Next table summarizes information about Kazakhstani market and gives more detailed understanding of current market situation. Year (January)  Ã‚   |Population (‘000)  Ã‚   | |Opportunities |Threats | |Currently isn’t widely presented |Logistics problems | |Integration in lower priced segments |Threat of fakes | | |Luxury niche is under threat of crisis | | |Low brand awareness | | | | Strengths 1. Customer service. Operating by its mission statement to be the world’s most respected retailer, Tiffany focuses heavily on customer service. New employees complete six to eight weeks of training in knowledge, skills, and product training. They must also pass a written test before they are allowed to meet with customers. Once in the field, sales representatives work for two years to complete a rigorous certification process. According to John Peterson, senior vice president of corporate sales, the process helps the company uphold its unique tradi tion and culture. 2. Unique quality. Tiffany also places extreme value on the quality of its products, paying attention to every detail of the Tiffany experience. Charles Lewis Tiffany began this practice with his original selection of the blue color for Tiffany boxes, shopping bags, and catalogs. Tiffany focused on the final, and often neglected, step in brand positioning: giving customers something symbolizing Tiffany quality, commitment, consistency, respect, and reputation long after they have walked out of the store. According to Denise Meyer, creative director of Frenchman Marketing, an advertising agency that specializes in jewelry marketing, â€Å"Tiffany wants you to forget the product and remember where it came from†. 3. Recognition. As one of the world’s most recognizable brand symbols, Tiffany takes all of its blue box’s components, from the quality of the blue paper to the way the ribbon is tied, very seriously. Because the blue box represents the Tiffany experience, the company even sends their employees to a class to perfect the art of tying the white satin ribbon so the box lays flat. According to James Mansur, principal of Mansur Design, a retail branding consultancy in New York, â€Å"[The blue box] represents refinement, luxury, elegance, good taste, quality, and it confers status on both the person who gives it and the person who receives it†. Weaknesses 1. Brand positioning problem Tiffany & co is positioned as luxury brand, for people with high income. However tiffany introduces middle cost items, which is part of company strategy. But people can’t realize that tiffany’s jewellery becomes more affordable and think that starting price for tiffany rings is 3000$, while really it is only 900$. The same positioning problem can occur in Kazakhstan. In order to prevent this company should inform Kazakhstan populating about their prices by means of advertizing, PR and other activities. Opportunities 1. Currently isn’t widely presented All over the Kazakhstan there is only one Tiffany store, located in Almaty. This store is a franchise. Assortment is not great, and silver products care absolutely not presented. Also very poor assortment of yellow gold. . Integration in lower priced segments Tiffany adopts new strategy, in order to attract new customers. Appearance of 100$ and below items in tiffany products lit will attract new customers, for whom brand name is important. So in strong competition with well-known brands like Bvldary, Cartier and Chopard Tiffany offers luxury goods for affordable prices. Threats 1. Logistics problems Tiffany & Co is American company and jewelers should be transported from US. Almaty franchise transports goods from US. However, because of big distance orders may come not in time, or breakage rate may be high. Also during transportation goods may be stolen. 2. Threat of fakes In Kazakhstan patents and copyrights are almost not important, so in case of good promotion and increased brand awareness faces from China could be easily broad to the market and brand reputation will be damaged 3. Luxury niche is under threat of crisis Nowadays financial crisis is on the peak and people suffer from lack of money , so they will rather prefer to save money than to spend them on luxury goods 4. Low brand awareness Besides Tiffany & Co is extremely popular in the west in Kazakhstan brand awareness is very low, and a lot of funds should be spend for advertizing B. Competitive and industry analysis Competitors: Signet Group (SIG) is the world's largest specialty jewelry retailer in terms of sales, with $3. 3 billion of revenue in 2008; the company is based in the United Kingdom and operates 1,959 stores in the U. K. and the U. S. , including Kay Jewelers and Jared The Galleria of Jewelry chains in the United States. Signet Group exceeds Tiffany's in revenu e and size; however the company currently lacks a presence in Asia. Tiffany, on the other hand, is in a good position to take advantage of new wealth developing in Asia due to the fact it already has stores in that region. †¢ Zale (ZLC) specializes in diamond jewelry and operates mostly mall-based stores as well as mall kiosks only in North America. It lacks an international presence, however makes up for it through volume in North America: The company has 2,135 locations throughout the United States, Canada and Puerto Rico. Both Zale and Tiffany sell low-priced jewelry, but Zale only extends to moderately-priced pieces while Tiffany seeks to maintain a â€Å"high-low† approach by selling $200 pieces next to $50,000 ones. †¢ Blue Nile (NILE) is the largest online-only retailer of certified diamonds and fine jewelry. The company's 2008 sales were much smaller than Tiffany's. The fact that the company sells its goods exclusively online makes it available to a wider audience than Tiffany's, whose goods must be purchased through its own stores. Company |Net Sales (mm) | |Increase in store sales |9-10% | |Increase in Direct Marketing Sales |10% | |Expense growth |13% | |Advertising expense |6% | In terms of financial objectives for the full year 2009, Tiffany &Co are now projecting sales growth of approximately 15% which includes comparable store sales increasing 9-10% in the US and in the high single digits internationally on a constant exchange rate basis. For the fourth quarter, that implies a mid single digit comp increase in the US, strong comp growth in the European and Asia/Pacific regions and a modest increase in total Japan sales. Tiffany now half way through the all important November/December holiday selling season, although the vast majority of sales activity is still ahead of company in the next several weeks. C. Target Markets: 1) Women Aged 34- 54 years old 2). Middle-High income, upper class in KZ –$2000 and more 3). Status-oriented- Business women 4). Discerning customers who appreciate the finer things in life and the emotional pleasure of owning the best there is. ). Women, knowing that mostly men will be making the purchases. Rings start at relativ ely affordable level ($1000) and go up to over a million dollars. It is known that about 39% of sales are outside the United States. There are stores in Brazil, Europe, Australia and Asia. Stores are located in larger cities while the catalog and internet cater to non-urban customers. D. Positioning People who pay much attention to the fashion world may know that Tiffany& Co is one of top three jewelry producers in the world. Among those fashionable and exquisite ornaments, tiffany rings are undoubtedly the one that gains more attention than any other ones. When divided by function and occasion, tiffany rings can be divided into three major categories that are tiffany celebration rings, engagement rings and wedding rings. Each kind of them has its own unique and irreplaceable functions. All the tiffany rings are beautifully crafted pieces of remarkable elegance. Tiffany & Co rings are unequaled in quality, with close attention to detail. I. Marketing Mix A. Product. Tiffany and Co. ’s offerings include diamonds, gemstones, necklaces, pendants, rings, bracelets, charms, brooches and earrings. In addition to the classic items, Tiffany and Co. collection reflects unique items like their elegant decorative keys, jeweled boxes, heart-shaped lockets, letters of the alphabet and crosses. Also for men, Tiffany and Co. has a range of rings, watches, necklaces and money clips. Among those fashionable ornaments, tiffany rings are undoubtedly the one that gains more attention than any other ones. When divided by function and occasion, tiffany rings can be divided into three major categories that are tiffany celebration rings, engagement rings and wedding rings. Each kind of them has its own unique and irreplaceable functions. To take celebration rings as an example, there are so many important occasions and moments in one's life to celebrate. To capture and keep down these rare and important moments and occasions is so important for every person. Therefore, Tiffany celebration rings are just specially designed and prepared for you these people to come. [pic] Tiffany engagement rings are perfect for those young lovers who are to be engaged. Also it will make the whole ceremony full of joy and happiness and give off the flavor of luxuriance and magnificence. [pic]Tiffany wedding rings are the necessity for every bride and groom who are dreaming of a grand and luxurious wedding ceremony. Tiffany wedding rings are particularly distinctive, with designs ranging from classic solitaires to elaborate multi-stone arrangements. Each ring is accompanied by detailed certification as proof of its superior quality. It is true that tiffany rings are perfect for every occasion. It is prized for its quality, sophistication, and beauty. The four Cs of diamond quality have the greatest effect on the stone’s price: Carat: The weight of a diamond is measured in carats. The more carats, the heavier the stone, and the more expensive it is. Color . A diamond’s color grade is a key quality evaluation, but often misleading. This is because the ideal engagement diamond is characterized by a lack of color. Diamonds can be laboratory treated to reduce their color. At the Tiffany Gemological Laboratory, the color of each diamond is determined by comparing it to authenticated â€Å"master diamonds. Clarity: A diamond’s clarity rating has a direct effect on a diamond’s beauty and price. The clearer a diamond is, the more expensive it will be. Cut: The cut and shape of the diamond affects its price depending on the difficulty involved. Emerald and princess cuts are among the least expensive because they follow the crystalline shape of the stone, while heart-shaped, pear, and oval cuts are more expensive. Tiffany diamonds are always cut for beauty, not size. Other Factors in Engagement Ring Cost: Metal: Yellow gold is the most common choice for engagement rings, and it is in the mid-range for prices. Silver is less expensive, while high-grade karats of yellow and white gold are pricier. Platinum, titanium and tungsten are generally more expensive. Design: Simple solitaires are often the least expensive design because they lack elaborate side stones or other embellishments. More intricate rings, such as Celtic patterns, bridal sets, or three stone rings are more costly. B. Pricing. Today, tiffany settings are one of the most popular choices for ring settings. Company offers different ring designs, including channel set bands and minimal setting diamond bands that emphasize the stones.. Three stone engagement rings are increasingly popular, and Tiffany engagement rings often use fancy shapes such as ovals, hearts, pears, and tapered baguettes for exquisite arrangements. Rings | Price ranges | |Sterling silver rings | $100 -$1000 | |Gold rings |$250 – over $ 5000 | |Platinum rings |$250 – over $ 5000 | |One carat diamond ring |$95,00-$35,000 | |White gold rings |$500 –over $5000 | Every ring is unique, each with its own precise gemological cha racteristics, pricing will vary. All rings meet Tiffany’s strict quality requirements and Tiffany engagement ring prices are offered: C. [Promotion. Tiffany & Co periodically conducts product promotional events and regularly advertises, primarily in newspapers and magazines.. In Fiscal 2007, 2006 and 2005, company spent approximately $174 million, $162  million and $137  million, respectively, on worldwide advertising, which includes costs for media, production, catalogs, promotional events and other related items. Public Relations (promotional)  activity is a significant aspect of Registrant’s business. Management believes that Tiffany’s image is enhanced by a program of charity sponsorships, grants and merchandise donations. For example, Tiffany & Co. serves as the Awards Sponsor of the inaugural Pasadena Marathon organization presented by Kaiser Permanente. The organization's mission is to promote an enhanced quality of life for those who work, live, or attend school in the Pasadena area. Thus, company offers financial and logistical support to local civic and charitable agencies. In addition ,in support of its mission to preserve the natural heritage that distinguishes great urban centers, The Tiffany & Co. Foundation announced grants on September 25, 2008 to three organizations—Hermann Park Conservancy in Houston, Parkways Foundation in Chicago, and The Vizcayans in Miami—for the restoration of parks and gardens in their individual cities, totaling $2,750,000. These grants expand the Foundation’s urban parks program that originated with support for New York City’s parks Donations are also made to The Tiffany & Co. Foundation, a private foundation organized to support the charitable organizations with efforts concentrated in environmental conservation and support for the decorative arts. Tiffany also engages in a program of retail promotions and media activities to maintain consumer awareness of the Company and its products. Each year, Tiffany publishes its well-known Blue Book which showcases jewelry and other merchandise. Registrant considers these and other promotional efforts important in maintaining Tiffany’s image. D. Channel of distribution. The Company operates in three segments: Americas, Asia-Pacific and Europe. Americas includes sales in TIFFANY & CO. stores in the United States, Canada and Latin/South America. Tiffany distributes a selection of its products in the United States and Canada through its Websites at www. tiffany. com and www. tiffany. ca. Tiffany also distributes catalogs of selected merchandise to its list of customers in the United States and to mailing lists rented from third parties. In addition, Business account holders may make gift purchases through the Company’s website at http://business. tiffany. com . Price allowances are given to eligible business account holders for certain purchases on the Tiffany for Business website. Moreover, products and services are marketed through a sales organization, through advertising in newspapers and business periodicals and through the publication of special catalogs. The retail sales in Asia-Pacific region consists of sales transacted in TIFFANY & CO. locations in Japan, China, Korea, Hong Kong, Taiwan, Australia, Singapore, Macau and Malaysia. The Company does business in Japan through its wholly-owned subsidiary, Tiffany & Co. Japan, Inc. The Company offers a selection of TIFFANY & CO. erchandise for purchase in Japan and Australia through its Websites at www. tiffany. co. jp and www. tiffany. com/au. Selected TIFFANY & CO. merchandise is sold to independent distributors for resale in Asia-Pacific markets, predom inantly in the Middle Eastern region. As for Europe , retail sales consists of sales transacted in TIFFANY & CO. stores in the United Kingdom, Germany, Italy, France, Austria, Switzerland, Belgium, Spain and Ireland. The Company offers a selection of TIFFANY & CO. merchandise for purchase in England, Wales, Northern Ireland and Scotland through its Website at www. tiffany. com/uk International Retail The following tables set locations operated by Tiffany & Co | | | |  | |Europe |  |  |   |  | |   | |Austria: Vienna |  | |Italy: Milan |  |  | |France: Paris, Galeries Lafayette |  |  |Italy: Rome |  | | |France: Paris, Printemps Department Store |  |  |Switzerland: Zurich |  | | |France: Paris, Rue de la Paix |  |  |United Kingdom: London, Harrods |  | | |Germany: Frankfurt   |  |United Kingdom: London, Old Bond Street |  | | |Germany: Hamburg |  |  |United Kingdom: London, Royal Exchange |  | | |Germany: Munich |  |  |United Kingd om: London, Selfridges |  | | |Italy: Bologna |  |  |United Kingdom: London, Sloane Street |  | | |Italy: Florence |  |  | | | | |   | | | | | |  | |Canada and Central/South America |  |  |   |  | |   | |Canada: Toronto |  |  |Mexico: Mexico City, Palacio Store, Perisur |  | |Canada: Vancouver |  |  |Mexico: Mexico City, Palacio Store, Polanco |  | |Brazil: Sao Paulo, Jardins |  |  |Mexico: Monterrey, Palacio Store |  | |Brazil: Sao Paulo, Iguatemi Shopping Center |  |  |Mexico: Puebla, Palacio Store |  | |Mexico: Mexico City, Masaryk |  |  |Mexico: Santa Fe | | Asia-Pacific Excluding Japan |   |  |  | |Australia: Brisbane |  |  | |Australia: Melbourne |  |  | |Australia: Sydney |  |  | |China: Beijing, The Peninsula Palace Hotel |  |  | |China: Beijing, Oriental Plaza   |  | |China: Shanghai, Jiu Guang City Plaza |  |  | |China: Shanghai, Plaza 66 |  |  | |China: Tianjin |  |  | |Hon g Kong: Elements |  |  | |Hong Kong: Hong Kong International Airport |  |  | |Hong Kong: International Finance Center |  |  | |Hong Kong: The Landmark Center |  |  | |Hong Kong: Pacific Place |  |  | |Hong Kong: The Peninsula Hotel |  |  | |Hong Kong: Sogo Department Store |  |  | |Korea: Busan, Lotte Department Store |  |  | |Korea: Seoul, Galleria Luxury Hall East Dept. Store |  |  | |   |  |  | |Korea: Seoul, Hyundai Department Store |  |  | |Korea: Seoul, Hyundai Coex Department Store |  |  | |Korea: Seoul, Lotte Downtown Department Store |  |  | |Korea: Seoul, Lotte World |  |  | |Korea: Seoul, Shinsegae Main |  |  | |Macau: The Venetian Resort |  |  | |Macau: Wynn Resort |  |  | |Malaysia: Kuala Lumpur, KLCC |  |  | |Malaysia: Kuala Lumpur, Pavillion |  |  | |Singapore: Changi Airport |  |  | |Singapore: Ngee Ann City |  |  | |Singapore: Raffles Hotel |  |  | |Taiwan: Kaohsiung, Hanshin Department Store |  |  | |Taiwan: Taichung, Sogo Department Store |  |  | |Taiwan: Taipei, The Regent Hotel |  |  | |Taiwan: Taipei, Sogo Department Store |  |  | |Taiwan: Taipei, Taipei Financial Center | | | E. Service [pic] Customer service is a company's most effective tool, therefore, they strive to keep customers happy. Tiffany representatives are available for telephone and email support twenty-four hours a day. There are numerous informative FAQs and articles on their website. Email customer service. Any customer who has question or assistance can complete the special form. They can find this form in the web site of company. Jewelry care. Professional cleanings are recommended as often as once a year. For this reason company encourage customers to bring their Tiffany & Co. jewelry back to us for professional servicing. Company staff is knowledgeable and experienced in all aspects of jewelry care: cleaning gemstones, restringing pearls and repairing clasps and earring backs. Due to the fact that our items are bought over the Internet, cannot be tried on ahead of time and are bought site unseen, company have developed the following return and exchange policy for customer service purposes. For Returns: All returns must be postmarked within 7 days of delivery and must be in resalable conditions. Buyer is responsible for the shipping charges to return. The $9. 99 shipping fee and a 15% restocking fee will be deducted from the refund amount For Exchanges: Exchanges are only allowed for the items which are defective or damaged upon receipt or the items do not fit and are not subject to a restocking fee. Items must be returned within 15 days of delivery and the customer is responsible for shipping charges to return. All items can only exchange for equal price replacement Tiffany also arranges to have items resized. All purchases through Tiffany& Co. s website include a 30 day, full refund, satisfaction guarantee. II. Marketing Research Going into Kazakhstany market is a market development for company Tiffany, so managers of Tiffany need information in order to introduce products and services that create value in the mind of the customer. But the perception of value is a subjective one, and what customers value this year may be quite different from what they value next year. As such, the attributes that create value cannot simply be deducted from common knowledge. Rather, data must be collected and analyzed. The goal of marketing research is to provide the facts and direction that managers need to make their more important marketing decisions. In order to screen the market, our group made a standard test research, we created the questionnaire, that helps to identify if the population of Kazakhstan is ready to buy Tiffany products, sum of money, that people want to pay and finally the product mix, that will be appropriate in this country. The questionnaire has the following form: ? ! 1. . ( ) 2. ?) 18-24 b) 25-32 ?) 33-39 d) 40-46 e) 46 3. : ?) $1000 b) $1000 $2,500 ?) $2,500 ? 4. ? Tiffany? . , 5. ? 6. ?) $100-$250 b) $250-$500 ?) $1,000-$5,000 d) ? 7. - . , , 8. Tiffany? , , 9. a) ? b) ? c) ? d) ? 10. Tiffany? ?) b) c) ? 11. Tiffany? a) , b) , c) d) , ? , ! Our group made a research, 50 random respondents have answered questionnaire, and after the survey we received following results: 27% of respondents doesn’t know anything about Tiffany 48% are ready to buy Tiffany products, bu t have never done it before 18% know about Tiffany and already have use its production % are not interested in Tiffany products III. Financials A. Sales/revenue forecast(s): By territory: |   |  |Years Ended January  31, |  | |(in thousands) |  | |   | | |Net sales: |  |   | |   |  |   | |   |  |$ | By Products:    |  |   |  | |(in thousands) |  | |   | | |Net sales: |  |   | |   |  |   | |   |  |$ |  | | | | |2| | | | |,| | | | |8| | | | |5| | | | 9| | | | |,| | | | |9| | | | |9| | | | |7| |(in thousands) |  | |   | | |Expenses: |   |   |  |  |  | |   |   | | |(in thousands, except per share amounts) | |   | | |Net sales |   |$ | |   |   |   | |   |   |   | |   |   |   | |   |   |   | |   |   |   |   |   |   |   |   |   |   |   |   |   |   | |Net Income |   |$ |220,022 |   |   |$ |323,478 |   |   |$ |272,897 |   |   |   | | References: 1. Kotler P. (2003) Marketing Management. 11th edition. New Jersey, Pearson education Inc. 2. www. Gazeta. kz, (02. 01. 09),  «  ». [Online]. Available from: http://www. gazeta. kz/art. asp? aid=124611 [Accessed June 21  209] 3. , (03. 02. 09),  «  ». [Online] Available from: http://www. rosbalt. u/2009/02/03/614987. html [Accessed June 21 2009] 4. Tiffany , â€Å"Shareholder information† [Online] Available from: http://investor. tiffany. com/faq. cfm? SH_No_JavaScript=yes [Accessed June 21 2009] 5. www. Murman. ru,(05. 02. 09)  «  » [Online] Available from: http://business. murman. ru/research/33/473/? id=108 [Accessed June 21 2009] 6. Export. by,  «  », [Online] Available from: http://export. by/? act=s_docs=view=1615=by_country=58=archive=64 [Accessed June 21 2009] 7. http://www. tiffanyandcofoundation. org/news/article/08%20Urban%20Parks%20Program. spx – Tiffany & CO foundation 8. http://sec. edgar-online. com/tiffany œco/10-k-annual-report/2006/03/31/Section3. aspx -Annual report of Tiffany & Co 9. http://www. tiffany. com/ – the main website 10. http://online-jewelry-review. toptenreviews. com/tiffany-amp-co-review. html – Online Jewelry Review ———————– [pic] [pic] [pic] [pic] World Wide Scale Increase the number of loyal users Attract new customers Different loyalty programs Make the products more affordable The price range starts from $100 Discounts, Coupons Tiffany’s lamp Charles Lewis Tiffany First Tiffany Store Tiffany Store in Tokio Wedding Rings Bvlgari rings Cartier rings