Standardization And Adaptation In Television Advertising

Standardization And Adaptation In Television Advertising Still in this 21st century television continues to be a prevailing media. Due to the increase in the globalization this world is shrinking at a rapid rate, companies doing business overseas must find new and innovative ways to communicate their brands to the market. Thus, the decision of standardization or adaptation of the advertisements between various nations is of much importance to these companies competing in the international market. The purpose of this paper is to develop a better understanding as to how the multi-national companies standardize and adapt their television advertising. For reaching the conclusion, questions based on the elements of television ads, along with the factors affecting the decision whether to standardize or adapt were identified. On the basis of these questions, analysis of related literature was conducted to form a conceptual framework, which was further utilized to guide this papers data collection. Qualitative case study approach was rendered to c ollect the data, based on the interviews and observing the television commercials of multi-national brands. The conclusion derived shows that there are various appeals that are efficient. For e.g. Emotional appeals are more efficient on young target market, whereas the rational appeals work more efficiently on the older target market. Cost is the key factor which influences the companys decision to adapt a commercial. Whereas regarding the standardization of a television commercial the companys main focus should be the non-geographical elements such as the family culture and humour. Contents 1 Introduction The following chapter will be providing the reader with some background of the area being researched. Problem statement regarding the standardization and adaptation in television ads will be followed by the research. The overall purpose and the related research questions will be concluding this chapter. 1.1 Background Marketing communication is based solely on the method of sharing of the perceptions. The intended message can be successfully communicated only if the senders perceptual field or what we can define as his experience of that brand is in congruence with the perceptual field of the intended market. Thus a message which lands outside the receivers perceptual field has no effect on the receiver. According to Root (1994) the perceptual gaps as well as the encoding and decoding gaps resulting arising due to the cultural differences between the sender and the receiver hinders the communication. Moreover, as a reason of the unawareness of cultures regarding the existence of such gaps the level of communication hindrance increases additionally. In the below figure 1.1, it has been demonstrated by Czinkota and Ronkainen (2004) that efficient communication depends on three main factors: the sender, the receiver and the message. These three factors are interconnected with a message channel. Figure 1: Marketing Communication Process It was also stated by Root (1994) that communication process between the people of the same culture derives an advantage from a high level of congruence in their perceptual fields as well as the similarity between their communication codes. The communication process can be therefore be affected by the cultural hindrance which is justified by Root (1994) saying that many times the sender as well as the receiver of the same culture believe that the message has been clearly understood by them even though it is not the case. Advertising has been defined by Root (1994) as a process of non-personal communication which is sponsored in monetary form to promote a product, a brand or even a company. Advertising has also been recognized as a tool for mass promotion (ibid). According to Laroche and Teng (2006) cultural values are vital for any ad message and it is also a deciding factor for the success of any ad. They have also stated that the people are finding commonalities between then and the ads when their cultural values are embodied in those ads. The vice versa happens when their values are not matching the ad. The assignment of delivering the message to the people is given to the advertising media. Radio, print, television, cinema, hoardings and other outdoors are the leading media considerable for this task. The advertisers are able to demonstrate the service or the product in motion using a number of choices of elements available for this task. The right combination of these elements during the making of the television ad so as to give the message a strong probability of catching the attention of the consumer and getting the message to him is vital to achieve the desired impression on the mind of the consumer. 1.2 Problem Discussion Television ads can also be used to boost the image of the product by showing the product in motion along with the ability to use colour and sound for constructing a desirable environment surrounding the product. The centre of this paper will be television commercials, due to the various factors of television such as vision, colour, sound and motion which are very crucial in presenting the message. Moreover, the study of Brassington and Pettitt (2000) showing that motion ads are considered superior for the generation of emotional appeals also is a factor for the concentration of this paper towards television commercials. The decision of the standardization or adoption of television ad at an international level resides mainly to the manager and his manipulations towards the promotional mix elements. People who support standardization argue by saying that the current trend in the marketing world is of creating the products and marketing them in the same way in all the nations without considering the differences in the various cultures. But when manager sees much higher level of differences in the lifestyles as well as economies of the target market population he renders a higher level of adaption instead of going for the standardization. On the other hand supporters of standardization justifies themselves by saying that using same ads in the overseas markets would help them to achieve lower costs as well as establish a corporate image on a global level. Again the people in support of adaptation say that this wont help them in entrenching themselves into the local markets. According to Root (1994) nations vary widely in quality, availability, cost of marketing, etc. Thus, marketers should thoroughly embody the various cultural variables into their ads as it seems to have a great impact on influencing the consumer as well his buying decision. The research conducted by Chandra (2002) shows that various adaptations in an ads slogan, jingle, theme as well as idiomatic symbols, expressions and colours make the adaption in an ad mandatory. He also stated that it is vital for firm to adapt their marketing campaigns to the regional market targeted in order to realize the profits. Bottom lining this standardization vs. adaptation debate are the factors of economic savings in case of using standardized marketing strategies and the maximum realization of profits in case of adaptation of the strategies so to fit into the local target market. Bradley and Sousa (2005) concluded in their studies non-regional population is likely to be less reactive to the ads which dont match to their cultures. Thus it is mandatory for successful marketing in other nations that the marketers to understand the target populations cultural traits. According to Melewar and Vemmervik (2004) products and brands can, for a time, sustain the cultural difference and homogenization, but this is not the case with ads as they are much more dependent on influencing the consumers through the marketing elements which are closely tied to the culture of those consumers. Due to the use of such verbal and visual factors such as the scenes, regional language and models the ad tends to be effective and hence deriving profits. 1.3 Purpose and Research Question Based on the discussion in the previous section, the purpose of this seminar paper is to provide a better understanding of how the companies standardize or adapt their television commercials in the international markets. Two problem questions are formulated for the reason of helping us to acquire the knowledge required to accomplish the stated purpose. PQ 1. How the elements of television ads that are standardized or adapted can be described? PQ 2. How the factors influencing the decision to standardize or adapt be described? 2 Literature Review This chapter presents an overview of the researches related to the questions stated. This chapter will be starting with studying the elements of television ads. Then studies relating to the factors influencing the choice of standardize or to adapt will be discussed. In the end, a conceptual framework for this paper will be presented. 2.1 Elements In Television Advertising It is concluded in the research of Melewar and Vemmervik (2004) that particularly the Visual and Verbal elements embedded in the ads are more dependent on the differences among cultures. They further stated that the dependence of the effectiveness of the ad is directly proportional to the use of local scenes, models as well as the regional language. Another element Appeal was added by Laroche and Teng (2006). APPEALS Ad Appeals can be defined as a message communicated to the consumers so as to motivate them to buy the related product/service. The choice of the Appeal is the key factor associated with the ads. Kelley and Turley classified them into two categories: Rational Appeal and Emotional Appeal. Rational ads rise from the traditional communication model where the recipient is assumed to make reasonable rational decision. Such ads show the benefits of the product by demonstrating its quality, value, performance and economy and generate self-interest in the mind of the target customer. In contrast to Rational Appeal, Emotional Appeals rely on the emotional perceptions of the consumer. These ads, generally being experimental, generally tend to make the recipient feel good about the relevant product/service generating a likeliness or friendliness towards the brand. Emotional Appeals tend to bring up the negative and positive emotions in the mind of the recipient in order to motivate them for a buying. The negative emotions may include fear, shame or guilt appeals making people do things they should or stopping them for doing things they shouldnt. Whereas, positive emotions include appeals like love, humour, pride or joy. (Albers-Miller and Stafford, 1999) Laroche and Teng (2006) in their recent study have stated that there exists different appeals among different cultures which are able to impact the target consumer in the most efficient manner. And the ad wont be able to achieve the desired result if the target consumer fails to find similarities between themselves and the ads characteristics. Furthermore it is also observed that these variances in the Appeals between the West and the East date back to the ancient times. The reason behind this is thought to be the influence of the Greek philosophers on the culture of the west, emphasizing on Verbal communication. (Muller, 1992) The experimentation on marketing campaigns using violence and shocking appeals were reviewed by Anderson, Hedelin and Nilsson (2004). During the review they concluded that the use of sex as well as violence produced negative impacts on both male as well as the female recipients making it difficult for them to interpret the same message that was tried to be conveyed through that ad. They also found out that there exists a difference among the sexes in the interpretation of the messages. The females were able to relate themselves with the commercials when children are displayed. VERBAL ELEMENTS It has been stated by Nelson and Paek (2007) that the language used in the ad is of much more importance than most marketers realize. Stewart (1994) also supported this thesis by saying that the importance of the use of the regional language becomes a vital factor when the ad is using a dramatized plot approach. The only thing that should be taken care of is that the use of dialects and vernaculars may be interpreted as stereotyping which may not be consumed positively by the local population. Chart : Ducan and Ramprasads (1995) survey illustrating majority of brands opting for adoption of regional language in their ads VISUAL ELEMENTS According to Hewett, Madden and Roth (1999) colour being and significant part of the products, their logos and their packaging is a powerful tool in positioning the brand into the minds of the consumer. It has been stated in the studies conducted by Greenberg and Solomon (1993) it requires a great effort on the part of the directors as well as set creators and many others to choose a scenery and location and numerous other factors like the tone as well as the nuance of the print on which the ad is supposed to be executed. These experts in their respective fields strive to create a compelling environment that will be executed on the ad agencys vision of a way to reinforce the targeted products intended brand image into the mind of the recipient. An influential and persuasive message can be delivered by the product if the ad is well-crafted and presented in a manner which is sensible to the recipient and reinforce the intended message in his mind. OTHERS Cho (1999) argues that a message conveyed by an ad should be in congruence with the values of the local culture. He also supported this statement by saying that the cultural values embodied in the ads are the core of these ads. Most of the time ads endorse, embellish as well as reinforce the cultural values. Moreover, it has been shown with the help of empirical studies that ads which reflect regional cultural values are more persuasive than the ads which dont incorporate them. 2.2 Influencing Factors This part will be analysing various factors that impact the decision to standardize or adapt based on various researches conducted. These will be stated along with explanation through this whole chapter. COST It is stated by Darmon (1999) that one of the reason leading to standardization is cost considerations. Ducan and Ramprasad (1995) also stated that economic gains along with convenience being a key factor leading to standardization. However, they were much amazed when the data of their survey stated cost savings as one of the least priority item. THE ROLE OF HEADQUATERS AND SUBSIDARIES SALE LEVEL In their research Ducan and Ramprasad (1995) that the marketing strategy as well as the follow up are more probable to be changed in the more well-off markets where the holdings of the firm as well as the profit margins are comparatively higher. Still the power of making important decisions of the regional offices depends completely on the level of freedom offered by its parent company. MACRO FACTORS According to Chandra (2002), these factors vary considerably from nation to nation and affect the decision making process very much based on the nations legal, political and economic factors along with the marketing scenarios. For e.g. in south Korea, only the nations models are allowed to be featured in the ads. SINGLE BRAND IMAGE Ducan and Ramprasad (1995) concluded in their studies that the single brand image is the most influencing reason for standardization. It is also suggested by Vrontis (2003) that through the use of single brand image a company can significantly establish its global brand image. And due to the global broadcasting by the media as well as consumer mobility standardization is much favoured as compared to earlier times. PRODUCT CATEGORY As compared to the products/services which are likely to be purchased on the basis of the regional cultures, products/services which show uniform consumer buying habits are more likely to employ a standardized marketing strategy. For e.g. electronic goods are used the same way across different cultures in contrast to food items which are more likely to be consumed in the traditional fashion. DEMOGRAPHIC, PSYCHORGAPHIC AND CULTURAL CHARACTERISTICS It is stated by Chandra (2003) that the use of standardization depends on the existence of the homogeneous market segments. If such market exists than the consumers are more likely to behave in the same manner across the markets and share a common buying habit. EXPLOITING A SUCCESSFUL IDEA Ducan and Ramprasad (1995) stated that when an effective idea or strategy have taken a great time in its development and is successfully producing positive results, the firms are very keen on using this idea across different markets so as to reap the costs incurred in the production of that strategy. NOT INVENTED HERE When the multinational agencies are trying to use standardization, their regional subsidies are often uncomfortable with the imposition of their ideas and often defend their reasoning by tagging it as not invented here and hence lacking creativity. 2.3 Conceptual Framework The conceptual framework is defined by Miles and Huberman (1994) as a visual, graphical or audible description of a study explaining it. They can be constructs, factors, elements or variables and the relationship links between them. They also state that if the research questions have been stated first than it is much easy to form the conceptual framework. Thus for answering the research questions we have to first state on what basis we have collected the data. First, the relevant theories for the first question will be stated followed by the relevant for the second question. 2.3 Conceptualization Elements of Television Advertising Laroche and Teng (2006) found out the various appeal elements of ads, whereas Melewar and Vemmervik (2004) have classified them into visual and verbal elements. Appeals Rational Culture Emotional Speech elements Sound National Language Visual elements Scenery Models 2.3.2 Conceptualization Influencing Factors There are various different factors influencing the decision of going for standardization or adaptation for the television ads. The related theories will be analysed and equated with data collected: Cost Demographic, psychographic and cultural characteristics Macro factors Single brand image Product category 3. Methodology In this chapter the methodology used in the research will be presented. This chapter begins with the purpose, approach and Strategy used in the research followed by data collection and selection of sample. This chapter will be concluding with the problems faced during the methodology study. 3.1 Purpose of Research List of references dAstous, A. Chartier, F. (2000, Fall). A Study of Factors Affecting Consumer Evaluations and Memory of Product Placement in Movies. Journal of Current Issues and Research in Advertising, 22, 31-40. dAstous, A. Sà ©guin, N. (1999). Consumer Reactions to Product Placement Strategies in Television Sponsorship. European Journal of Marketing, 33, 896-910. Avery, R. J. Ferraro, R. (2000). Verisimilitude or Advertising? Brand Appearance on Prime-Time Television. The Journal of Consumer Affairs, 34, 217-244. Bloor, M., Frankland, J., Thomas, M., Robson, K. (2001). Focus Groups in Social Research. London: Sage Publication Ltd. Denscombe, M. (2000). Forskningshandboken. Lund: Studentlitteratur. Eriksson, L. T. Wiedersheim-Paul, F. (2001). Att Utreda Forska och Rapportera. Malmà ¶: Liber Ekonomi. Graser, M. (2006, February). TVs Savior? Advertising Age, 77, ps1-S2. Gupta, P. B., Balasubramanian, S. K. Klassen, M. L. (2000, Fall). Viewers Evaluations of Product Placements in Movies: Public Policy Issues and Managerial Implications. Journal of Current Issues and Research in Advertising, 22, 41-52. Paying to Avoid Ads. (2004, 7 August). Economist, 372. Russell, C. A. (2002, December). Investigating the Effectiveness of Product Placements in Television Shows: The Role of Modality and Plot Connection Congruence on Brand Memory and Attitude. Journal of Consumer Research. 29, 306-318. http://www.tv.com/american-idol/show/11307/summary.html?full_summary=1 [2006, May 21]. Wenner, L. A. (2004). On the Ethics of Product Placement in Media Entertainment. Journal of Promotion Management, 10, 101-132. You be the Judge. (2004, 17 May). Brandweek, 45, pSR40-SR42.

Character Analysis Of Kino From the Pearl :: essays research papers

Kino, a character from the story "The Pearl," is a prime example of a developing character. From the start through to the end, he develops drastically. At the beginning, he was thought out to be a good loyal husband but as time went on he became a selfish, greedy person who would do anything for money.When the story began Kino seemed to be a good husband who wanted nothing more than to be able to support his family. After a scorpion had stung Coyotito, Kino prayed that he would find a pearl not to become a rich man but so that he could pay the doctor to heal the baby, as he would not work free.After Kino had spent long hard hours searching the ocean floor, he finally found the pearl he had worked for. At first when he found it, he only wanted to pay the doctor to cure Coyotito. However as time passed he began to think of all the things that he could acquire with the money form the pearl and began to develop greed and selfishness. When people asked him what he would buy now that he was a rich man, he was quick to list several items that came to his mind. One of these items was a rifle. Kino wanted a rifle because he wanted to show power over the rest of his village.When Kino took the pearl to the pearl buyers to sell, he was offered one thousand pesos. Kino declined that offer claiming that his pearl was "The Pearl of the World." By reacting in such a manner he yet again demonstrates his greed. It is not about saving Coyotito anymore, for he is already feeling well, it is now about the money. Although one thousand pesos was more money than Kino had ever seen he demanded that he would get fifty thousand pesos.Later in the text, Kino discovers Juana trying to destroy the pearl, causing Kino to become very angry, and resulted in him beating her. Although Juana was in very much pain she accepted the beating as if it were a punishment and stayed with Kino. A while later Kino was attacked by another man who wanted the pearl for himself and defended his pearl by killing the man. It is around this point in the story where Kino displays his greatest point of greed and selfishness.

Indigenous Health Case Study Essay example -- Healthcare Culture

Introduction Health is known as a state where an individual is socially, mentally and emotionally stable without the presence of any illness, disease or infirmity (Carson, 2007). Jenny, an indigenous woman is 34 weeks pregnant, she has been complaining about her abdominal pains and after seeing the flying doctor, she was asked to fly back with him as she might be in an early labour. Jenny is concerned about her family; she wonders how they will manage without her. Her mother-in-law lives with her sister-in-law and she wonders if she will be able to come and help as her mother has a diabetic leg ulcer and needs treatment so cannot travel. This essay will discuss about the health issues before colonization and after colonization, Jenny’s situation and how she faces the culture clash and dispossession, it will also look at the models of health and theories and how that affects Jenny’s life. Culture clash and indigenous dispossession at the time of colonization. Culture clash is how people behave, whether or not people recognise each other as human beings and if they share what they believe, have similar values and beliefs (Eckermann, Dowd, Chong, Nixon, Gray, & Johnson, 2006). The process of colonization is when a nation imposes itself economically, politically and socially upon another nation (Germov, 2009). People belong to different cultures; every culture has its own customs and beliefs that everyone has to follow. Culture clash can occur when people look at different cultures as not to be a part of their culture and different people as not their people (Eckermann et al., 2006). Cultural customs and beliefs are influenced by the socio-economic status, political and natural environment (Crisp & Taylor, 2009). Modern medicati... ...udy. Rheumatology , 42 (11), 1287-1294. Crisp, J., & Taylor, C. (2009). Potter & Perry's fundamentals of nursing (3rd ed.). NSW: Elsevier. Davis, B. M. (2006). How to teach students who don't lool like you; culturally relevant teaching strategies. In Culturally relevant teaching strategies (p. p.3). London: Sage publication, LTD. Eckermann, A.-K., Dowd, T., Chong, E., Nixon, L., Gray, R., & Johnson, S. (2006). Binan Goonj: Bridging cultures in Aboriginal Health (3rd ed.). NSW: Churchill Livingstone. Germov, J. (2009). Second opinion: An introduction to health sociology (4th ed.). Victoria: Oxford university. Gustafson, D. L. (2005). Transcultural nursing theory from a critical cultural perspective. Advances in Nursing Science , 28 (1), 2-16. Keleher, H., & MacDougall, C. (2009). Understanding health;A determinants approach (2nd ed.). Sydney: Oxford university.

Free Essays - Great Expectations :: Great Expectations Essays

There were several themes associated with the novel Great Expectations. One of the most fascinating themes dealt with "infatuation and how it compares to and relates to love" ("Infatuation"). Infatuation is basically an obsession, or extravagant affection towards a person (Webster, 667). There is really no definite reason behind their passion, therefore this feeling is often short in duration and indicative of faulty judgement (Webster, 667). The person doesn't know what these feelings mean, this is normally why they mistake it for love. Love, on the other hand, is an intense affectionate concern for another person (Webster, 772). It is a more selfless and settled feeling. You can compare the difference between love and infatuation with the cliche "All that glitters is not gold", the glitter illusion being infatuation and the gold being love, the real thing. As a person grows and experiences their feelings with many other people, the distinction between love and infatuation b ecomes more clear. This is because the person can compare feelings they have experienced in the past, with their present feelings. In Great Expectations we see how Pip's infatuation for Estella is "short in duration" (Webster, 667), as most infatuations are. Despite the fact that Estella is arrogant and rude, Pip is not only infatuated with her beauty and wealth, but also almost envies it. In fact the humiliation Estella puts Pip through, causes Pip to feel very lowly of himself and the way he has been brought up. This causes Pip's expectations to change from expecting to be Joe's blacksmith apprentice, to studying to become a gentlemen noticed and admired by Estella. As years pass, Estella 2 continues to play with Pip's heart, and Pip continues to unconditionally have feelings for her. Later, Estella marries a man named Bently Drummle, only causing Pip to, yet again, confess his love to Estella. Estella tells Pip "I know what you mean as form of words, but nothing more." (Dickens, 892) This basically means that Estella can hear what Pip is telling her, but she doesn't see how he could love her. Regardless of that, and the fact that Estella is to be married, Pip still continues to fantasize about Estella. Soon, Pip starts to learn more about her, and her past, through Miss Havisham. These talks with Pip helps make Miss Havisham into a kinder and happier person. Feeling that he cannot have Estella, and that the world around him has changed, Pip decides to propose to Biddy.

History of Fiber Optics

HISTORY OF FIBER OPTICS * In 1840, Daniel Colladon and Jacques Babinet demonstrated the principle of guiding light by refraction. * It was followed by a public demonstration by John Tyndal in 1852. In 1870, Tyndal wrote about the property of total internal reflection in his book about the nature of light. * In 1880, Alexander Graham Bell and Sumner Tainter invented the Photophone, a device capable of transmitting sound waves over beam of light.This is considered as mankind’s first attempt to to use light for carrying information. * In 1930, Clarence Hansel and John Logie Baird demonstrated independently image transmission using fiber. * In 1940’s, Heinrich Lamm successfully transmitted images through a single glass fiber used for internal medical examinations. * In 1951, Harold Hopkins and Narinder Singh Kapany experimented with light transmission through bundles of fiber.Their study led to the development of the flexible fiberscope, which is used in the medical field. It was also Kapany who coined the term fiber optics in 1956. * In 1953, Charles Townes and two of his graduate students developed the MASER (Microwave Amplification by Stimulated Emission of Radiation), and in 1960, Theodore Maiman developed the first LASER ( Light Amplification by Stimulated Emission of Radiation). In 1967, Charles Kao and George Bockham of the Standard Telecommunications Laboratory proposed the cladded fiber cables. * In 1970, Robert Maurer, Donalk Keck and Kapron of Corning Glass developed the first fiber optics with losses less than 2dB/Km. * In 1980’s, losses in fiber optics were reduced to as low as 0. 16 dB/Km. This is due to the development of high-quality light sources and detectors. * In 1990’s, the photonic crystal fiber was developed that can carry high power than the conventional silica based fibers.

Fool Chapter 23

TWENTY-THREE DEEP IN THE DUNGEON â€Å"My fool,† said Lear, as the guards dragged me into the dungeon. â€Å"Bring him here, and unhand him.† The old man looked stronger, more alert, aware. Barking orders again. But with the command he commenced a coughing fit that ended with a spot of blood on his white beard. Drool held a water skin for the old man while he drank. â€Å"We've a beating to deliver, first,† said one of the guards. â€Å"Then you'll have your fool, well striped as well as checkered.† â€Å"Not if you want any of these buns and ale,† said Bubble. She'd come down another stairway and was carrying a basket covered with cloth and steaming the most delectable aroma of freshly baked bread. A flask of ale was slung over her shoulder and a bundle of clothes tucked under her free arm. â€Å"Or we'll beat the fool and take your buns as well,† said the younger of the two guards, one of Edmund's men and obviously not aware of the pecking order at the White Tower. Bugger God, St. George, and the white-bearded king if you must, but woe unto you if you crossed the cantankerous cook called Bubble, for there'd be grit and grubs baked into all you'd ever eat until the poison finally took you. â€Å"You'll not want to press that bargain, mate,† said I. â€Å"The fool's wearing the kit of one of my servers,† said Bubble, â€Å"and the boy's shivering naked in my kitchen.† Bubble threw a bundle of black clothing through the bars into the cell with Drool and Lear. â€Å"Here's the fool's motley. Now strip, you rascal, and let me get back to my business.† The guards were laughing now. â€Å"Well, go on, little one, get your kit off,† said the older guard. â€Å"We've hot buns and ale waiting.† I undressed in front of the lot of them, old Lear protesting from time to time, like anyone gave a hot bootful of piss what he had to say anymore. When I was radiant naked, the guards unlocked the door and I crept over to the bundle. Yes! My knives where there, secreted in with the rest. With a bit of sleight o' hand and a distraction from Bubble handing out buns and ale, I was able to secure them inside my jerkin when I dressed. Two other guards joined the two outside of our cell and shared the bread and ale. Bubble waddled back up the stairs, shooting me a wink as she went. â€Å"The king are melancholy, Pocket,† said Drool. â€Å"We should sing him a song and cheer him up.† â€Å"Sod the sodding king,† said I, looking directly into Lear's hawk eye. â€Å"Watch yourself, boy,† said Lear. â€Å"Or what? You'll hold my mother down while she's raped, then throw her in the river? Have my father killed later, then? Oh, wait. Those threats are no longer valid, are they, uncle? You've carried them out already.† â€Å"What are you on about, boy?† The old man looked fearsome, as if he'd forgotten he'd been treated like so much chattel and thrown in a cage full of clowns, but instead faced a fresh affront. â€Å"You. Lear. Do you remember? A stone bridge in Yorkshire, some twenty-seven years ago? You called a farm girl up from the riverbank, a pretty little thing, and held her down while you commanded your brother to rape her. Do you remember, Lear, or have you done so much evil that it all blends into a great black swath in your memory?† His eyes went wide then, I could tell he remembered. â€Å"Canus – â€Å" â€Å"Aye, your poxy brother sired me then, Lear. And when no one would believe my mother that her son was the bastard of a prince, she drowned herself in that same river where you threw her that day. All this time I have called you nuncle – who would have thought it true?† â€Å"It is not true,† he said, his voice quivering. â€Å"It is true! And you know it, you decrepit old poke[44] of bones. A warp of villainy and a woof of greed are all that hold you together, thou desiccated dragon.† The four guards had gathered at the bars and peered in as if they were the ones who were imprisoned. â€Å"Blimey,† said one of the guards. â€Å"Cheeky little tosser,† said another. â€Å"No song, then?† asked Drool. Lear shook his finger at me then, so angry was he that I could see blood moving in the veins of his forehead. â€Å"You shall not speak to me in this way. You are less than nothing. I plucked you from the gutter, and your blood will run in the gutter on my word before sundown.† â€Å"Will it, nuncle? My blood may run but it will not be on your word. On your word your brother may have died. On your word your father may have died. On your word your queens may have died. But not this princely bastard, Lear. Your word is but wind to me.† â€Å"My daughters will – â€Å" â€Å"Your daughters are upstairs, fighting over the bones of your kingdom. They are your captors, you ancient nutter.† â€Å"No, they – â€Å" â€Å"You sealed this cell when you killed their mother. They've both just told me as much.† â€Å"You've seen them?† He seemed strangely hopeful, as if I might have forgotten to bring the good news from his traitorous daughters. â€Å"Seen them? I've shagged them.† Silly, really, that it should matter, after all his dark deeds, all his slights and cruelties, that a fool should shag his daughters, but it did matter, and it was a way to unleash a little of the fury I felt toward him. â€Å"You have not,† said Lear. â€Å"You have?† asked one of the guards. I stood then, and strutted a bit for my audience, plus it was a better position for grinding my heel into Lear's soul. All I could see was the water closing over my mother's head, all I could hear was her screams as Lear held her. â€Å"I shagged them both, repeatedly, and with relish. Until they screamed, and begged and whimpered. I shagged them on the parapets overlooking the Thames, in the towers, under the table in the great hall, and once, I shagged Regan on a platter of pork in front of Muslims. I shagged Goneril in your own bed, in the chapel, and on your throne – which was her idea, by the way. I shagged them while servants watched and in case you were wondering, because they asked, and as any princess should be shagged, for the pure sweet nasty of it. And they – they did it because they hate you.† Lear had been wailing while I ranted, trying to drown me out. Now he growled, â€Å"They do not. They love me all. They have said.† â€Å"You murdered their mother, you decrepit loony! They've put you in a cell in your own dungeon. What do you need, a written decree? I tried to shag the hate out of them, nuncle, but some cures lie beyond a jester's talents.† â€Å"I wanted a son. Their mother would give me none.† â€Å"I'm sure if they had known that they wouldn't have despised you so deeply and done me so well.† â€Å"My daughters wouldn't have you. You didn't have them.† â€Å"Oh, I did, on my black heart's blood, I did. And when it first started, each of them would shout Father when she came. I wonder why. Oh yes, nuncle, I did indeed. And they wanted you to know – that's why they accused me before you. Oh yes, I bonked them both.† â€Å"No,† wailed Lear. â€Å"Me, too,† said Drool, with a great juicy grin. â€Å"Beggin' your pardon,† he quickly added. â€Å"But not today?† asked one of the guards. â€Å"Right?† â€Å"No, not today, you bloody nitwit. Today I killed them.† The French marched overland from the southeast and sailed ships up the Thames from the east. The lords of Surrey on the south showed no resistance and since Dover lay in the County of Kent, the forces of the banished earl not only offered no resistance, but joined the French in the assault on London. They'd marched and sailed across England without firing a single bolt or losing a single man. From the White Tower the guards could see the fires of the French drawing a great orange crescent in the night that illuminated the sky to the east and south. When the captain made the call to arms at the castle, one of Lear's old knights or squires, under the command of Captain Curan, put a blade to the throat of any of Edmund's or Regan's men, demanding they yield or die. The personal guard forces within the castle had all been drugged by the kitchen staff with some mysterious non-lethal poison that mimicked the symptoms of death. Captain Curan sent a message to the Duke of Albany from the French queen that if he stood down, in fact, stood with her, that he could return to Albany with his forces, his lands, and his title intact. Goneril's forces from Cornwall, and Edmund's from Gloucester, camped on the west side of the Tower, found they were flanked on the south and east by the French, and on the north by Albany. Archers and crossbowmen were dispatched to the Tower walls above the Cornwall army and a herald fought his way through the panicked forces to a commander, carrying the message that the forces of Cornwall were to lay down their weapons on the spot or death would rain down upon them such as they could not imagine. No one was willing to die for the cause of Edmund, bastard of Gloucester, or the dead Duke of Cornwall. They laid down their weapons and marched three leagues to the west as instructed. In two hours it was all over. Out of nearly thirty thousand men who took the field at the White Tower, barely a dozen were killed – all of those, Edmund's castle guards who refused to yield. The four guards lay spread about the dungeon in various awkward positions, looking quite dead. â€Å"Dodgy sodding poison,† said I. â€Å"Drool, see if you can reach the one with the keys.† The Natural stretched through the bars, but the guard was too far away. â€Å"I hope Curan knows we're down here.† Lear looked around wild-eyed again, as if his madness had returned. â€Å"What is this? Captain Curan is here? My knights?† â€Å"Of course Curan is here. From the sound of the trumpets I'd say he's taken the castle, as was the plan.† â€Å"All your theater was misdirection, then?† said the king. â€Å"You're not angry?† â€Å"Burning, you old twat, but I was growing weary with keeping the tirade up while the bloody poison took hold. You're no less a turd in the milk of human kindness than I have said.† â€Å"No,† said the old man, as if my anger actually mattered to him. He began coughing again and caught a handful of blood for his effort. Drool propped him up and wiped his face. â€Å"I am king. I will not be judged by you, fool.† â€Å"Not just a fool, nuncle. Your brother's son. Did you have Kent murder him? The only decent bloke in your service and you turned him into an assassin, eh?† â€Å"No, not Kent. It was another, not even a knight. A cutpurse who had come before the magistrate. It was he who Kent killed. I sent Kent after the assassin.† â€Å"He is vexed by it still, Lear. Did you have a cutpurse kill your father as well?† â€Å"My father was a leper and necromancer. I could not bear his misshapen form ruling Britain.† â€Å"In your place, you mean?† â€Å"Yes, in my place. Yes. But I did not send an assassin. He was in a cell at the temple at Bath. Out of the way, where no one might ever see him. But I could not take the throne until his death. I did not kill him, though. The priests there simply walled him up. Was time that killed my father.† â€Å"You walled him up? Alive?† I was shaking now, I thought I might have forgiven the old man, seeing him suffer, but now I could hear my blood in my ears. The sound of boots on stone echoed in the dungeon and I looked up to see the bastard Edmund walk into the torchlight. He kicked one of the unconscious guards and looked at them like he'd just discovered monkey come in his Weetabix.[45] â€Å"Well, that's a spot of bother, isn't it?† he said. â€Å"I suppose I'll have to kill you myself, then.† He stooped and took a crossbow from one of the guards' back, fit his foot in the stirrup, and cocked the string. INTERMISSION (Backstage with the Players) â€Å"Pocket, you rascal, you've trapped me in a comedy.† â€Å"Well, for some, it is, yes.† â€Å"When I saw the ghost I thought tragedy was assured.† â€Å"Aye, there's always a bloody ghost in a tragedy.† â€Å"But the mistaken identity, the vulgarity, the lightness of theme and paucity of ideas, surely it's a comedy. I'm not dressed for comedy, I'm all in black.† â€Å"As am I, yet here we are.† â€Å"So it is a comedy.† â€Å"A black comedy – â€Å" â€Å"I knew it.† â€Å"For me, anyway.† â€Å"Tragedy, then?† â€Å"Bloody ghost is foreshadowing, innit?† â€Å"But all the gratuitous shagging and tossing?† â€Å"Brilliant misdirection.† â€Å"You're having me on.† â€Å"Sorry, no, it's pikeman's surprise for you in the next scene.† â€Å"I'm slain then?† â€Å"To the great satisfaction of the audience.† â€Å"Oh bugger!† â€Å"But there's good news, too.† â€Å"Yes?† â€Å"It remains a comedy for me.† â€Å"God, you're an annoying little git.† â€Å"Hate the play, not the player, mate. Here, let me hold the curtain for you. Do you have any plans for that silver dagger? After you're gone, I mean.† â€Å"A bloody comedy – â€Å" â€Å"Tragedies always end with tragedy, Edmund, but life goes on, doesn't it? The winter of our discontent turns inevitably to the spring of a new adventure. Again, not for you.† â€Å"I've never killed a king,† said Edmund. â€Å"Do you think I'll be famous because of it?† â€Å"You'll not garner favor with your duchesses by killing their father,† said I. â€Å"Oh, those two. Like these guards, quite dead, I'm afraid. They were sharing some wine over maps as they planned strategy for the battle and fell down foaming. Pity.† â€Å"These guards aren't dead. Merely drugged. They'll come around in a day or so.† He lowered the crossbow. â€Å"Then my ladies are only sleeping?† â€Å"Oh no, they're quite dead. I gave them each two vials. One with poison, the other with brandy. Bubble used the knockout poison on the guards, so brandy was our non-lethal substitute. If either of them had decided to show mercy for the other, at least one would be alive. But, as you said, pity.† â€Å"Oh, well played, fool. But, that said, I'll have to throw myself on Queen Cordelia's mercy, let her know that I was brought into this horrid conspiracy against my will. Perhaps I'll retain the Gloucester title and lands.† â€Å"My daughters? Dead?† said Lear. â€Å"Oh shut up, old man,† said Edmund. â€Å"They was fit,† said Drool sadly. â€Å"But when Cordelia hears of what you've really done?† I asked. â€Å"Which brings us to our apex, doesn't it? You won't be able to tell Cordelia what has transpired.† â€Å"Cordelia, my one true daughter,† wailed Lear. â€Å"Shut the fuck up,† said Edmund. He raised the crossbow, sighted through the bars at Lear, then stepped back and seemed to lose his aim, as one of my throwing daggers sprouted out of his chest with a thud. He lowered the crossbow and looked at the hilt of the knife. â€Å"But you said pikeman's surprise?† â€Å"Surprise,† said I. â€Å"Bastard!† snarled the bastard. He pulled the crossbow up to fire, this time at me, and I sent the second dagger into his right eye. The crossbow twanged and the heavy bolt rattled off the stone ceiling as Edmund spun and fell onto the pile of guards. â€Å"That were smashing,† said Drool. â€Å"You'll be rewarded, fool,† said Lear, his voice rattling with blood. He coughed. â€Å"Nothing, Lear,† said I. â€Å"Nothing.† Then there was a woman's voice in the chamber: â€Å"Ravens cry pork from the battlements, there's dead Edmund on the wind and bird beaks water at his scoundrel scent!† The ghost. She stood over Edmund's body outside our cell, rather more ethereal and less solid than she'd been when last I'd seen her. She looked up from the dead bastard and grinned. Drool whimpered and tried to hide his head behind Lear's white mane. Lear tried to wave her away, but the ghost floated to the bars in front of him. â€Å"Ah, Lear, walled up your father, did you? And?† â€Å"Go away, spirit, do not vex me.† â€Å"Walled up your daughter's mother, didn't you?† said the ghost. â€Å"She was unfaithful!† cried the old man. â€Å"No,† said the ghost. â€Å"She was not.† I sat down on the cell floor, feeling light-headed now. Killing Edmund had made me queasy, but this. â€Å"The anchoress at Dog Snogging was your queen?† I asked, my voice sounding faraway in my own ears. â€Å"She was a sorceress,† said Lear. â€Å"And she consorted with my brother. I did not kill her. I could not bear it. I had her imprisoned at the abbey in Yorkshire.† â€Å"Well you damn well killed her when you had her walled up!† I shouted. Lear cowered at my veracity. â€Å"She was unfaithful, having dalliance with one of the local boys. I could not bear the thought of her with another.† â€Å"So you ordered her walled up.† â€Å"Yes! Yes! And the boy was hanged. Yes!† â€Å"You heinous monster!† â€Å"She did not give me a son, either. I wanted a son.† â€Å"She gave you Cordelia, your favorite.† â€Å"And she was true to you,† said the ghost. â€Å"Up to the time you sent her away.† â€Å"No!† The old king tried to wave the ghost away again. â€Å"Oh yes. And you had your son, Lear. For years you had your son.† â€Å"I had no son.† â€Å"Another farm girl you took near another battlefield, this one in Iberia.† â€Å"A bastard? I have a bastard son?† I saw hope rise in Lear's cold hawk eye and I wanted to strike it out the way that Regan had taken Gloucester's. I unsheathed the last of my throwing daggers. â€Å"Yes,† said the ghost. â€Å"You had a son, these many years, and you lie in his arms now.† â€Å"What?† â€Å"The Natural is your son,† said the ghost. â€Å"Drool?† said I. â€Å"Drool?† said Lear. â€Å"Drool,† said the ghost. â€Å"Da!† said Drool. And he gave his newfound father a great, arm-rippling hug. â€Å"Oh Da!† There was a cracking of bones and the sickly sound of air escaping wet, crushed lungs. Lear's eyes bulged out of his head and his parchment-dry skin began to go blue as Drool gave him a lifetime of son's love all in a moment. When the whistling sounds stopped coming out of the old man I went to Drool and pried his arms off, then lowered Lear's head to the floor. â€Å"Let loose, lad. Let him go.† â€Å"Da?† said Drool. I closed the old man's crystal-blue eyes. â€Å"He's dead, Drool.† â€Å"Tosser!† said the ghost. She spat, a tiny gob of ghost spit that came out as a moth and fluttered away. I stood then and spun on the ghost. â€Å"Who are you? What injustice has been done that can be undone so your spirit may rest, or will at least make you go away, thou ether-limbed irritation?† â€Å"The injustice has been undone,† said the ghost. â€Å"At last.† â€Å"Who are you?† â€Å"Who am I? Who am I? Your answer is in a knock, good Pocket. Knock upon your coxcomb, and ask that trifling machine of thought wherefrom comes his art. Knock upon your cod, and ask the small occupant who wakes him in the night. Knock upon your heart, and ask the spirit there who woke it to the warmth of its home fire – ask that tender ghost who is this ghost before you.† â€Å"Thalia,† said I, for I could, at last see her. I fell to my knees before her. â€Å"Aye, lad. Aye.† She put her hand on my head. â€Å"Arise, Sir Pocket of Dog Snogging.† â€Å"But, why? Why did you never say you were a queen? Why?† â€Å"He had my daughter, my sweet Cordelia.† â€Å"And you always knew of my mother?† â€Å"I heard stories, but I didn't know who your father was, not while I lived.† â€Å"Why didn't you tell me of my mother?† â€Å"You were a little boy. That's not the sort of story for a little boy.† â€Å"Not so little you wouldn't have me off through an arrow loop.† â€Å"That was later. I was going to tell you, but he had me walled up.† â€Å"Because we were caught?† The ghost nodded. â€Å"He always had a problem with the purity of others. Never his own.† â€Å"Was it horrible?† I had tried not to think of her, alone in the dark, dying of hunger and thirst. â€Å"It was lonely. I was always lonely, except for you, Pocket.† â€Å"I'm sorry.† â€Å"You're a love, Pocket. Good-bye.† She reached through the bars and touched my cheek, like the slightest brush of silk it was. â€Å"Care for her.† â€Å"What?† She started to float toward the far wall where the body of Edmund lay. She said: â€Å"After grave offense to daughters three, Soon the king a fool shall be.† â€Å"Nooooooo,† wailed Drool. â€Å"My old da is dead.† â€Å"No he isn't,† said Thalia. â€Å"Lear wasn't your father. I was having you on.† She faded away and I started to laugh and she was gone. â€Å"Don't laugh, Pocket,† said Drool. â€Å"I are an orphan.† â€Å"And she didn't even hand us the bloody keys,† said I. Heavy footsteps fell on the stairs and Captain Curan appeared in the passage with two knights. â€Å"Pocket! We've been looking for you. The day is ours and Queen Cordelia approaches from the south. What of the king?† â€Å"Dead,† said I. â€Å"The king is dead.†

Competitors Essay

Introduction Section 1: Tesco core competencies come from its strong customer focused strategy which is made very clear on their website home page were it states, â€Å"We are a team of over 530,000 people in 12 markets dedicated to bringing the best value, choice and service to our millions of customers each week†.Hamel and Prahalad (1990) suggested that a core competency must meet the following criteria: †¢Customers should benefit †¢Competitors should find it difficult to imitate †¢Core competence can be transferred to many products and markets. In more recent years we have been able to utilize the use of the Tesco club card to reward the customer but most importantly at the same time we have been able to collect vital information which has enabled us to analyze and understand the customer so much better. A USP which Tesco have been able to gain from the use of the Club card is their ability to almost predict what each individual is going to put into their baskets and this subsequently allows them to adapt each of their from their services to their stock. This all contributes to Tesco adding value to the overall customer experience. In a large complex company like Tesco it can become important for the organization to define the company as a set of strategic business units (SBUs). The reason behind this is mainly because when businesses become large they generally are slow, awkward and unmanageable and so SBUs are put in place to prevent/reduce this. The SBU I am going to be focusing on throughout my report is Core UK, its he adquarters are in the UK and it takes care of the UK grocery operations. The grocery industry is still Tesco’s most important part of the business and is operating in a fiercely competitive market. Section 2 Tesco currently hold the largest share in the grocery market which is one of the most fiercely contested markets in the UK. The term marketing  environment is used to describe all of the elements that have some impact on the actual performance of a market, these elements can occur both in and outside of the market itself, they can be called the macro environment and the microenvironment. The marketing environment enables us to understand the different forces that have a certain influence on the marketplace and how the market will react to different forces in different ways. For Tesco the marketing environment has a huge influence on how well the business is doing annually, for example the macro environment is always changing which affects Tesco The table below shows what channels make up the UK grocery market in for 2013: ChannelShare in billions Hypermarkets and superstores £74.1 Small super markets £34.9 Convenience stores £35.6 Discounters £9.5 Online £6.5 Other retailers £9.2 The market environment is a term that is used to collectively identify all the elements that have some impact on the actual performance of a market. This includes events and factors that occur within the context of the market itself and also any elements that are based outside the market. The idea behind defining the market environment is to understand what forces are exerting some amount of influence in the marketplace and understand why and how a market reacts to those forces in certain ways. Importance of environmental analysis (Debate & Evaluate) -How can the marketing environment be defined? How can the marketing environment be defined to your company? -Can you summarise / synthesise information creatively in the form of tables / figures. -What are best practice approaches to environmental analysis? Here it may be tempting to go overboard and write very generically about environmental analysis but it is important to evaluate from the perspective of your chosen company: What is important in defining and approaching environmental analysis from the context of your company?