freeaw Not Ready for Freedom in Kate Chopins The Awakening Essay

Not Ready for Freedom in The Awakening  Ã‚  Ã‚   In Kate Chopin’s The Awakening, the main character, Edna Pontellier makes a very long, painful journey into her inner self. At the end of this journey she discovers that she is not strong enough to adopt a life in which a woman is her own woman and lives for herself. This forces her to choose the only other option available to her. I think the propriety with which Edna struggles (and most often gives in to) as she begins to discover who she is and what she wants creates a thick, almost suffocating atmosphere of tension. So much so that I was relieved that she decided to take her own life, as it had evolved into a torturous existence. I thought it unfair that Edna was portrayed as a somewhat neglectful mother. It was clear that she adored her children, albeit a fondness that was in â€Å"...an uneven, impulsive way.† (p. 59) It is important to focus on the time this story was written---the choices available to women in 1899 (the year The Awakening was printed) were extremely limited, and Edna Pontellier, all things considered, actually made a good life for herself, on the surface by making a marriage with Leonce. The material trappings in life that Leonce provided were comfortable, extravagant, actually, and the luxurious life of servants (quadroons), and more than one home appeared to be a life of perfection. Buried within the text are a multitude of â€Å"hints,† â€Å"suggestions,† and in some cases blatant statements concerning the state of mind of Edna Pontellier. The reader is introduced to the possibility that Edna may have a healthy curiosity of the â€Å"absence of prudery† due to her fascination with the lives of Creole women. These women of French descent have far les... ...se population. Edna Pontellier was a lady of ladies, yet she had a will stronger than any iron-clad vessel that plowed the Mississippi River. Her â€Å"awakening† was at once liberating and devastating. Her anger (throwing the vase and her wedding band) was a manifestation of her confusion and inability to comprehend the society that insisted she receive guests on Tuesday (her husband Leonce was appalled that she left one day and did her own thing), be a wife and mother first, and love only one man. Although her demise was indeed tragic, the point is that Edna was not entirely ready to absolutely adopt the Creole way of life---the life in which a woman is her own woman and lives for herself, stands up to the world and insists on having life on her terms. In the end, Edna could not reconcile herself to a life that stepped outside the boundaries of propriety.   

Jazz Music between World Wars Essay

The jazz craze in music during the 1920s reflected a general spirit of the times for many commentators like Seldes that this decade became known as the Jazz Age. Following World War I, jazz music certainly captured the popular imagination. The rapid popularity of jazz music led to its equally rapid spread among musicians. No other style up to this time in American popular music so quickly came to dominate popular performance. The American vernacular, which had already made significant inroads into the commercial popular music market, had captured popular tastes at an unprecedented level, seemingly sweeping aside the old â€Å"standards. † And just as ragtime and syncopated dance music became part of earlier commercial popular music, the dominance of jazz in the 1920s also represented a major triumph of the black vernacular in American popular music. The jazz craze began through the influence of non-professional musicians. While still marginal to most legitimate venues, non-professional musicians performing the jazz vernacular were attracting audiences to clubs, theaters, restaurants, and were popular in the speakeasies of the 1920s. They also had opportunities for their music to reach a broader audience in a booming record market following World War I. Professional musicians, however, quickly adopted jazz music in their orchestras and smaller bands. They co-opted the jazz fever while simultaneously distancing themselves from non-professionals. (Charters, 39-43) By occupying the most lucrative jobs in theaters, dance halls, hotels, and other venues, professional musicians positioned themselves as the premier interpreters of this new vernacular idiom in commercial popular music. The common defense of jazz as good music during the Jazz Age embraced the professional musicians and professional composers who performed and created jazz music, not the non-professional musicians who first introduced it. In adopting jazz idioms, professional musicians were simply continuing the process of cultivating the American vernacular. Black professional musicians were already adopting black vernacular idioms in their music making in earlier syncopated society orchestras and simply adopted jazz idioms as well as the name in their â€Å"jazz† orchestras. (Bushell, 72-75) White professional musicians had performed rags as part of their repertoire in the past, but with the jazz craze, many were quick to adopt syncopated dance and jazz practices in some form as the defining style of their profession. White professional musicians also quickly followed black professional musicians in transforming their bands into jazz orchestras, and just as quickly claimed to be the modern proponents of this new American popular music. Black and white professional jazz orchestras in the 1920s established the basic instrumentation, arrangement, and techniques of the big band dance orchestras that dominated American popular music until the 1950s. In the 1920s, an emerging new ideal of good music involved a balancing of the previous cultivated practices and cultivated music of professional musicians with popular vernacular idioms. The proper balance, however, was hotly debated. Professional musicians would constantly distance themselves from the pure vernacular of non-professional musicians. In defending their balance of the cultivated and the vernacular in popular performance, popular tastes, however, were demanding jazz music and a professional musician would be remiss to ignore his patrons in the popular music market as much as stodgy critics and some professional musicians would rail against the pernicious influence of jazz. Professional musicians in mediating the popular music market had to continue to navigate the moral, aesthetic, class, and racial construction of good music in America. While popular tastes in musical entertainment promoted the black vernacular in commercial popular music, the plight of the African American community in the United States continued to be dire. Some leaders in the black community had hoped that African Americans’ participation during World War I in both the military and in industry, and the Great Migration out of the Jim Crow South, would change their fortunes as segregated and oppressed second class citizens. The post-war years, however, dashed most hopes of any immediate positive change. (DeVeaux, 6-29) Race relations went in the opposite direction. Race riots sprung up across the nation while lynching continued to be a regular occurrence. Efforts continued to secure the legal segregation of black communities, and the labor movement continued to exclude blacks. The Ku Klux Klan reached its peak membership and popularity during the 1920s. The segregation and denigration of the black community was also reflected in the social organization of American music. (Hansen, 493-97) Besides the segregation of audiences and most venues, black professional musicians also remained outside the artistic community of white professional musicians in terms of unions, band organizations, and this community’s vision of a professional class of artist in America. The balance of the cultivated and the vernacular among professional musicians also continued to run against elitist conceptions of popular music and popular musicians as less legitimate than the music, musicians, and composers of the European cultivated tradition of classical and opera music. Black professional musicians also continued to strive to break through the barriers erected against them in the world of European cultivated music. This continuing tension in the implied lower status of professional musicians who performed American popular music erupted during the Jazz Age into an open rebellion against the European cultivated tradition. Professional musicians in jazz orchestras attempted to counter the singular role claimed by the European cultivated tradition. These musicians asserted that jazz was a true American or African American school of fine art music in contrast to cultivated European music – a populist appeal for high art legitimacy. This high art turn in American popular music, however, ultimately failed when the depression wreaked havoc on the popular music market. With the introduction of a new popular music market of live performances, records, broadcasts, and films, the quest for legitimacy among professional popular musicians would have to take another route. It was a period where professional popular musicians in adopting the jazz vernacular went against the reigning cultural hierarchy in America. (Peretti, 234-40) The period following World War I was a crucial turning point in American popular music. The American vernacular in general was storming the ramparts of the old edifice of good music as Tin Pan Alley song and dance dominated popular performance. Both professional and nonprofessional musicians also were benefiting from more affluent times and the growing importance of entertainment in the lives of most urban Americans. To the chagrin of elite and moral defenders of nineteenth century cultural idealism, most urban Americans were readily joining a Cultural Revolution in commercial popular entertainment. And at the center of this revolution was the national craze for jazz music and jazz dance. The jazz craze made syncopated rhythms and other black vernacular idioms central elements of American popular music making. While many small jazz bands performed a black vernacular style of music from the Delta Region of New Orleans, jazz music in the 1920s encompassed not only this style but syncopated dance music, blues music, piano rags, and virtually any tune jazzed up by musicians. The jazz craze in essence was the craze for the black vernacular among popular audiences and the performance of this vernacular in some form by popular musicians and popular singers both professional and non-professional. The extent to which musicians and singers actually adopted the black vernacular rather than a superficial imitation – critique later jazz critics would make of certain sweet jazz during the 1920s – is less important than the fact that jazz entered the consciousness of the nation and musicians as the reigning popular music. The word Jazz seems to have found a permanent place in the vocabulary of popular music. It was used originally as an adjective describing a band that in playing for dancing were so infected with their own rhythm that they themselves executed as much, if not more, contortions than the dancers. The popularity of the raggy music has created a demand for music with exaggerated syncopation, an attempt as it were to produce the wonderful broken rhythms of the primitive African jungle orchestra. The jazz craze also coincided with the growth of black entertainment. During the 1920s, black entertainment districts like the South Side in Chicago and Harlem in New York City witnessed a major boom. Besides entertaining the large black populations of The Great Migration, black musicians and singers were entertaining white audiences who went uptown for their entertainment. The boom in the 1920s in black entertainment, as Kenny (1993, 89-92) and Shaw (1987, 122-30) show, was driven by the demand for the black vernacular. In musical theater, musical revues, vaudeville, dance, and speakeasies, the black vernacular and black artists were in demand. This demand was met not only in black entertainment districts, but also outside these districts as black artists performed for white audiences in musical revues, dance halls, and clubs in white entertainment districts. The popularity of the black vernacular also increased when record producers discovered a race market in black music. Most members of the New England School of cultivated music like Mason, and other defenders of the old ideal of good music, were stridently against the influence of jazz in both popular music and classical music. Repeating the moral, aesthetic, class, and racial epithets used to condemn the popularization of vernacular jazz, the guardians of the old ideal ridiculed any idea of jazz meriting the status of high art or even having an influence on serious music composition and performance. As David Stanley Smith, Professor of Music at Yale University, argued in The Musician of August 1926, jazz music’s â€Å"monotonous rhythm, as unvaried as the chug-chug of a steam engine, enslaves its practitioners within a formula, and induces in composer, performer, and listener a stupor of mind and emotion. † On the other hand, many of those individuals who embraced â€Å"modernism† in cultivated music were sympathetic to jazz music. These modernists emphasized jazz as the legitimate expression of the times and a nation. (Stewart, 102-109) The debate within the cultivated tradition between old idealists and modernists on the influence of jazz revolved mainly around the influence of popular jazz on serious music composition and performance. That the question would be posed in such a manner spoke to how, by the 1920s, the European cultivated tradition had organizationally and ideologically broken from the world of commercial popular music. Crossover between popular music and cultivated music occurred during the 1920s, but organizational and ideological barriers left little chance that jazz musicians would transform the cultivated tradition. The very formation of a separate world of cultivated music in the United States was predicated on its distinction from commercial popular music, popular musicians, and popular tastes – a distinction further exacerbated by jazz music being an expression of the black vernacular. The influence of jazz within the cultivated tradition, however, was debated during the 1920s as professional musicians laid claim to a truly American art form and modernists promoted the incorporation of jazz in serious music composition and performance. (Badger, 48-67) Traditionalists, of course, had reason to be optimistic as the economic depression following the 1929 stock market crash wreaked havoc on the commercial market of popular jazz music. Defenders of the European cultivated tradition also had reason to celebrate as the confident proclamations of professional musicians on jazz as America’s first authentic art receded to the background as these musicians adjusted to changed economic circumstances and a new popular music market. Professional musicians’ struggle for legitimacy during the Jazz Age, however, laid the ideological and musical foundation upon which the next generation of professional musicians would construct a modern jazz paradigm. In their quest for legitimacy as professional artists, they were the first popular artists to attempt to transform the moral, aesthetic, class, and racial constructions of the old ideal of good music in America. While their efforts contained their own complicity in manners of distinction, the contradictions of an elite populism embedded in a racist culture, they did struggle to create an alternative understanding of art and society in America. As the self-appointed mediators of the American vernacular, professional musicians and composers ardently worked to construct an alternative form of good music to that of the European cultivated music tradition – a music reflecting in some fashion the world of popular audiences and popular tastes. ( DeVeaux, 525-40) In this process of syncretism, the reinvention and reinterpretation of musical idioms and practices, these artists created the American big band dance orchestra and the Tin Pan Alley song that dominated American popular music until the middle of the twentieth century. While jazz did not become a universally recognized American high art form during the Jazz Age, professional musicians and composers transformed it into legitimate popular art music, although at the expense of those non-professional vernacular musicians who did not assimilate into their profession. The need for professional musicians to legitimate popular dance orchestras disappeared after the 1920s, and the old ideal of good music no longer occupied this professional class of musician. (Gioia, 213-20) The emergence of an alternative ideal of good music among professional musicians signaled a final separation between popular music making and the cultivated tradition in American music. This break was both ideological and practical; a reflection of both a new professional ethos among professional musicians and the culmination of the division in the social organization of American music between the world of popular music and the world of European cultivated music. (Lopes, 25-36) The previous crisscrossing professionally between the cultivated tradition and popular music making was no longer part of this profession. The future big band leaders and musicians of the Swing Era began their professional careers not in symphonies, but in the small jazz ensembles and jazz orchestras of the Jazz Age. The fate of jazz was seemed threatened by the power over popular music of a new mass media industry of broadcasts, recordings, and film. Just when the fortunes of jazz seemed dead and buried, however, the swing craze reignited popular interest in the cultivated jazz vernacular. (Hennessey, 156-60) The promotion of sweet music and the subsequent swing craze, however, set in motion a new distinction within the profession of musician. No longer than singularly obsessed with the world of European cultivated music, professional musicians who assimilated the black jazz vernacular now viewed sweet music as their more direct nemesis. The race and class boundaries articulated in the old ideal of good music were now articulated more directly for professional musicians in the distinction between the popular music cultures of sweet and swing.

Domains of Knowledge about Human Nature by Larsen and Buss

Domains of Knowledge about Human Nature by Larsen and Buss The book Personality Psychology: Domains of Knowledge about Human Nature by Larsen and Buss covers wide range of research topics on personality psychology.Advertising We will write a custom essay sample on Domains of Knowledge about Human Nature by Larsen and Buss specifically for you for only $16.05 $11/page Learn More In this case, the authors have largely focused on research studies done by other scholars that cover numerous domains which shape personality in human beings. This paper will narrow down on the cognitive domain that is also referred to as experimental domain. It is worth noting that the researchers came up with a personality theory in order to understand how cognitive performance of Individuals influences their personalities. In addition, researchers in the book conducted a survey to examine how people with different cognitive abilities differ in their personalities. As a result, the researchers found out that different individuals have dissi milar level of cognitive performance (Larsen and Buss 34). Consequently, this influences their altitude and level of motivation, a factor that is likely to influence their personalities either positively or negatively. Needless to say, research on personality domain revealed that the experiences which an individual goes through in life also influence personality. In addition to this, the study revealed that aspects such as gender, emotion and evolution affect personality. Needless to say, emotion as well as physical and mental health have also been proved to cause personality variation among individuals.Advertising Looking for essay on psychology? Let's see if we can help you! Get your first paper with 15% OFF Learn More Having a close look at the analysis in the book, it is evident that the research study derived its conclusions from traditional spheres through questionnaires (Larsen and Buss 317). Despite the outcomes of the research, it is imperative to no te that there were a few limitations. As a matter of fact, there is lack of appropriate benchmarks to measure cognitive abilities among individuals since different environmental conditions expose individuals to dissimilar experiences. Moreover, some individuals who could have been perceived to have poor cognitive ability were misquoted due to lack of motivation in their environment. In this case, cognitive performance was not the best benchmark to determine personality of an individual. Moreover, another potential limitation of the study is the fact that researchers also derived their conclusions by reviewing previous researches which could obviously be biased (Larsen and Buss 412). However, the study on personality domain is essential to students who pursue personality psychology. This is due to the fact that they get exposed to the numerous aspects that influence personality development. Moreover, they also get to understand how other domains such as culture, intra-physic, biologi cal and dispositional factors influence personality (Larsen and Buss 12). Needless to say, it is definite that learners will benefit from this book and especially be informed on how to apply numerous personality theories. Additionally, there are certain concepts that are related to personality theories in the book which can be useful to learners pursuing psychological courses.Advertising We will write a custom essay sample on Domains of Knowledge about Human Nature by Larsen and Buss specifically for you for only $16.05 $11/page Learn More Therefore, it is reasonably beyond doubt that students can derive adequate knowledge from the book to construct a solid foundation on their scientific quest to understand human nature. On applying the numerous theories in the study, the researcher study conducted on personality at an individual or group level is influenced by diverse factors within the environment (Larsen and Buss 103). Basically, the research findings re vealed that some of the major landmarks that influence personality include culture and biological dispositions. The research also demonstrated that human personality is a product of both nature and nurture (Larsen and Buss 280). Therefore, one can argue that personal attributes such as behavior, values and attitude are also influenced by experiences that an individual goes through right from childhood to adulthood. Larsen, Randy and Buss, Davis. Personality Psychology: Domains of  Knowledge about Human Nature. New York: McGraw-Hill Higher Education, 2009. Print.

20 Topics on African American Literature for Literary Analysis

20 Topics on African American Literature for Literary Analysis If you are tasked with conducting a literary analysis on African American literature, you may need a topic to help you get things started. This type of writing is the one which may require you to focus on a single piece of literature or a single African American author. In any case, you can turn your gaze a few of the topics below to help guide you in selecting yours: Contemporary Themes and Issues in Literature Written by an Author of Your Choosing The Effectiveness of a Biography in Retelling the Major Lifetime Events for a Person of Your Choosing How Stories by an African American Author of Your Choosing Analyze Aspects of Society How History is Taught in Literature Written by an African American Author of Your Choosing The Links between Themes of an Autobiography and the Literature Written by an African American Author of Your Choosing The Way an African American Author of Your Choosing Uses Sequence to Communicate Emotions How an Author of Your Choosing Uses Locations and Sensory Details in Their Work The Impact of Gestures and Movements in Portraying a Scene The Use of Interior Monologues by an African American Author of Your Choosing to Depict Feelings Changing Pace to Accommodate Changes in Mood/Time by an Author of Your Choosing Atmospheric and Descriptive Details to Convey Scenes by an African American Author of Your Choosing How an African American Author of Your Choosing Uses Shifting Perspectives to Portray Historical Events How an Author of Your Choosing Uses Descriptions of Appearance to Convey Social Inequalities The Impact of Responsive Writing in Literature by an Author of Your Choosing How Student Comprehensive Results from an African American Author Success in Conveying a Point How Works by African American Authors Relate to One Another in Different Periods How Contemporary Society Influences African American Writers in Specific Genres The Influence of Archetypal Models in Writings by an Author of Your Choosing Political versus Religious Influences of Historical Periods Which Shaped Plots Toni Morrison’s Nobel Prize Acceptance Speech and Ethos Sample Literary Analysis: Toni Morrison’s Nobel Prize Acceptance Speech and Ethos Achebe’s Language and the Destiny of Man, as well as Tony Morrison’s Nobel Prize acceptance speech both appeal to emotions and reason. Achebe’s piece appeals more strongly to reason, and every so often to emotion, while Morrison’s appeals primarily to emotion with a bit of reason interlaced. In Language and the Destiny of Man, the author speaks about the relationship that goes between language and society. He explores how human society would not exist were it not for speech. Achebe speaks of the fact that humans overlook how precious language is, and what a gift it is. It is argued that people forget it because language is something learned now from birth, so that it becomes something very natural with age and development. People do not question the origins of languages or how things might have been prior to language, something which is not intrinsic to humans. Achebe claims that violence would escalate severely were it not for language. This level of violence would be so severe that it would lead to human extinction. The author provided the example of two cavemen, one who walks into a cave at night seeking shelter, only to find that another caveman already dwells inside the cave. Because they are unable to communicate, the first man throws a rock at the head of the second to inform him of his presence. But this incident is one which would provoke a violent retaliation, and then a retaliation for that, something which would inevitably result in a great deal of violence. This is an example of pathos, an emotional appeal to the halting of violence, the identification of language as a mean of combatting it at least in some situations. It is quite successful in gaining the attention of the audience and causing people to reflect upon the aforementioned origin of language that to date had gone overlooked by many. Verbal communication still plays a role in disagreements and it lacks the power to abolish all violence, and today, it can be used for something far beyond its intent, something malicious and abusive. This is another successful argument, one that draws attention to how leaders, individuals, and groups can abuse others through language, and that each person must take it upon themselves to be cognizant of this potential and to work toward using words for good. The author stresses the importance of language and the ability to communicate with one another. Historically, a speaker has been able to use language to effectively communicate with others and to gain respect from fellow humans. This holds true even today. People who are able to effectively communicate with their audience, and to persuade their audience, can become leaders. The ability to communicate effectively and exploit all that language has to offer is what draws respect from others and what provides the opportunity for increased success in life. The speech presented by Tony Morrison as she accepted her Nobel Prize was one full of repetition, alliteration, juxtaposition, and idioms intended to appeal to the emotions of the audience. The emphasis was that words can serve as weapons used by the strong against weak but that if they are treated with respect, this will not be commonplace. Morrison conveyed how important it was for society to be considerate and respectful of language. She initially used ethos by differentiating herself as the speaker, not the character, in an attempt to establish her credibility, while simultaneously choosing language that was appropriate for her audience in a successful manner. In her speech she used the first person singular in phrases such as â€Å"the version I know† by which she separates herself as one single storyteller among many, creating distance between herself and the nature of her story.   She incorporates second person when she says â€Å"I don’t know†¦ it is in your hands†¦ it is your responsibility†. The use of â€Å"you† here refers directly to both Morrison’s critics and the younger people contained within her story. As she continues with her discourse, the term â€Å"you† is also applied to the world as a whole, wherein all of the people in the world are held responsible for language and keeping it alive.   She also incorporates third person in phrases such as â€Å"the blind woman† or â€Å"the old woman†, meaning to separate herself from the characters in her tale and solidify the role she plays as the storyteller. â€Å"They† is used once, as a slip into idioma tic speech, wherein she refers to younger people from the city who disapprove of Morrison and are â€Å"showing her up for the fraud they believe she is†. This part of the speech reveals a bit of hostility and takes on an accusatory tone, while still maintaining pathos and ethos. Overall she molds rhetorical devices and utilizes point of view to inspire a love of language. While the rhetorical devices used were persuasive, it was the collective use of rhetorical devices and presentation that Tony Morrison displayed which appealed to emotions or reason on a more profound manner. References: Gery, John, and Aldon Lynn Nielsen. Black Chant: Languages Of African-American Postmodernism. American Literature  70.4 (1998): 915. Web. Gilyard, Keith, and Anissa Janine Wardi.  African American Literature. New York: Pearson Longman, 2004. Print. Povey, John F. African Literature And American Universities.  African Studies Bulletin  9.2 (1966): 13. Web. Scruggs, Charles, and Madelyn Jablon. Black Metafiction: Self-Consciousness In African American Literature.  American Literature  70.1 (1998): 201. Web. Selisker, Scott. What Was African American Literature?.  African American Review  44.4 (2011): 717-719. Web. Smith, Valerie, Lea Baechler, and A. Walton Litz.  African American Writers. New York: C. Scribners Sons, 1991. Print. Warren, Kenneth W.  What Was African American Literature?. Cambridge, Mass.: Harvard University Press, 2011. Print.

Review of The Ryan Boot Company Financical Statement Essay

Review of The Ryan Boot Company Financical Statement - Essay Example This ratio is to be analyzed in comparison with the profit margin. Since Ryan is putting more assets for generating lesser profit margin this ratio is very less as compared to that of the industry. Ryan would be able to increase the profit margin by lowering the total assets or increasing the profit margin. This area needs immediate attention. It is observed that this ratio is slightly higher than that of the industry. When the ROE is higher and ROA is lower, it implies that the company is trading mainly on debt funds. This implies that the debt ratio for the company is high. This is observed from the balance sheet of the company. It is seen from the balance sheet that while the long term debt of the company stands at 2,500,000 the current liabilities are 2,750,000. Although there is no harm in carrying larger current liabilities since they are non-interest bearing, it is important that the company maintains proper short term liquidity position to meet these liabilities as and when they become due. On one side although this is an advantageous position for the company from another angle this points towards a weakness for the company. This ratio is lower than that of the industry and shows a weakness for the company. This implies that either the company is too liberal in its credit policies to augment its credit sales or the company is following inefficient collection policies. If Ryan is in the habit of offering higher credit periods to its customers the company has to have a close look into the products as to the necessity for offering such higher credit terms. On the other hand if the collection policies of the company are inefficient and weak they need to be tightened so that this ratio improves. Otherwise the company will incur losses on account of more bad debts. This ratio is found to be lower than that of the industry and therefore represents a weakness for the company. It is for the company to reduce its total assets base

Assignment #2 Example | Topics and Well Written Essays - 500 words - 3

#2 - Assignment Example Price adjustments- this is the lowering of the prices with the hopes to generate more sales by increasing the number of units purchased. This is one of the most used methods by businesses to enter new markets. Product improvements- this occurs when a business decides to add quality to its products as a way of attracting more customers. Thus, price improvements are better suited for creating new interests in stagnating products and to offer extra benefits when one uses the product. Creation of more distribution channels- in this method, a business enters a market through increasing its methods of making products reach the consumers and making the products more readily available in the market. For instance, a business that operates through retails may open wholesale centers for distribution of more products. It helps in determining the market penetration goal. As such, the business subtracts the effects of the limiting factors from market potential, and it enables the business to estimate its measurable goals. Makes it possible for the business to define its market. By making adjustments in the market potential and the share figures, business can define its markets in terms of industry, product, and geography or customer type. A business can identify and quantify the limiting factors. Such factors include competition, government regulation, and limited resources. Therefore, by adjusting the market potential and the share figures, the business will be in a better position to realize these factors, and quantify them. The ranking method- this is the process of comparing one’s job with others to determine whether it is higher, lower or in the same rank. This method is based on the overall judgment of the required skills, responsibility and also working conditions of the job. The prime benefit of this technique is that it is simple and is

The Global context of modern business Essay Example | Topics and Well Written Essays - 2500 words

The Global context of modern business - Essay Example In today’s fast paced business environment Companies need to be fast growing, efficient, profitable, flexible, adaptable, and future-ready and have a dominant market position because in the absence of these qualities and characteristics companies cannot pose healthy competition in the modern global economy. Hence to successfully pursue their goals and also maximize profits, it’s crucial that they be in a position to obtain entree into new markets and come up with brand new ideas. Companies frequently opt to expand their business by means of Mergers & Acquisitions more willingly than engaging their labours on their personal business activities. This kind of growth and expansion is seen as a more rapid mode of accomplishing the primary purpose. (Krishnan 2009) Particularly in technology focused industries, where development is often boomed with the aid of amplified innovations, and companies can also stay in competition by being parallel to those which companies that are developing the innovative technology in the first place. This parallelism can be attained through both Merger as well as Acquisition. (Krishnan 2009) Today in the modern world companies can gain and sustain competitive advantage by being knowledgeable. The knowledgeable employees of an organization are its asset and are well treasured by it. (Krishnan 2009) Dimensions of the Business Environment: The business environment of a company is the macro and micro environment in which a company operates but it doesn’t have a direct control over it. It influences the company`s activities and performance in various ways, proving to be positive or negative at different stages in time. (Agrawala 2009) The macro environment is the general environment of the country in which the company is operating and it affects all companies in the economy. The next environment affecting the company is the industry and this comprises of the industrial conditions in which the company is operating in step to its competitors. Next is the microenvironment which deals with its specific markets and to other organizations that contribute to its production and distribution activities. It may also include other businesses manufacturing and marketing complimentary goods and services. (Agrawala 2009) Business Opportunities in Pakistan Since 1990 when Pakistan was on the threshold of bankruptcy, it has shown a remarkable political and economical development and has overcome the negativity in the minds of the international marketers. Pakistan is one of the most prominent countries of the Islamic world with an ever increasing population of approximately 150 million; hence it is well renowned by the international community. Considering the geographical location of Pakistan, it has close political and economic relations with the Middle East, Central and South Asia as it is the main entryway to Central Asia and supplier to the Emirates. Pakistan is a member of the South Asian Association for Regio nal Co-operation (SAARC) and lately noteworthy steps have been taken by SAARC, to create a South Asian Free Trade Area (SAFTA) which will also include India. (Guitard, Khan & Bienen, p 2, no date) Since 9/11 Pakistan has received sizeable economic support from its key creditors and this has made significant room for fast export growth, a positive balance of payments, reduction of the cost of debt service, a dramatic increase in the country’s currency reserves and an all time low for domestic interest rates. Due to the reduced cost of debt as well