Primary School classroom Essay Example for Free

primary feather School classroom EssayThese Poets write Honestly close their Experiences. Explore the Memories Expressed in their Poems and consider what Views they are sharing just about Growing UpCarol Ann Duffy expresses her views and gives her true experiences to do with childhood and growing up. She uses a range of techniques in her poetrys, like similes to emphasize her feelings and emotions and imagery, where she uses metaphors to help create the examine and mood of the atmosphere of each poem. For example, the Primary School classroom. Simon Armitage also writes about everyday experiences, childhood, growing up, changes and regrets. He uses less imagery than Carol Ann Duffy, but in one particular poem Kid, he uses a great more rhyme. They both include experiences towards school life, where Carol Ann Duffy writes about the younger years and Simon Armitage writes about the older years at school. These two poets are similar in some ways, but can be quite different in o thers. For example, in Duffys Stealing it shares the feelings of a child who steals for no reason and Duffy adds comments from her own experiences. It can make the reader feel quite depressed and sad, whereas in I am very Bothered by Simon Armitage, it is again about a child with regret for something he did at school, but instead of being sad it uses blacken humour and is more horrible stench of branded skinIn Mrs Tilschers Class, Carol Ann Duffy starts with you, which makes it personal and sets the scene travel up the Blue Nile.She identifies things like Primary School aspects very well with your finger, tracing the route This is a good reminder to what children do when they are little. She creates the picture of the blackboard chalky Pyramids rubbed into dust. This suggests break condemnation and the laugh of a bell swung by a running child creates a jolly, happy time that all the kids look forward to.This gives a proportion between home and school. This was better than home. T here are more interesting things to be found at school, like enthralling books, which is obviously what she doesnt have at home.She uses similes to describe the classroom. The classroom glowed like a sweet shop. This creates the idea of colour that a sweet shop would have.She tells of a negative memory Brady and Hindley, which faded, like the faint, nervous smudge of a mistake. School has so many good memories that it is able to make the bad ones disappear.She uses emotion Mrs Tilscher loved you, and alliteration good gold star, which makes the poem flow easier. It also sounds a bit like a childs expression.A xylophones nonsense gives the impression of tuneless playing, which kids do in Primary School, they dont care about accuracy, just about having fun. It also appeals to the senses by using sounds as well as visual images.

Curriculum revision Essay Example for Free

Curriculum fiat EssayIt is no news that many improvements create taken place in the educational arranging of the country over the last two decades. Many scientific discoveries engage become available as tools to hasten acquisition of productive education that would be useful in contributing effectively to the development of the nation. Arts and science have evolved newer and bigger methods of communication vital for excellent teacher-student relations. Indeed, all forms and work s of life have underg matchless serious transformations that have made life more compatible with the Earth. Therefore, it would obviously be a futile effort to remain overbearing and still stick to old school syllabus. Some of the contents of the curriculum ar moribund and are inconsistent with the speed of technological advancement. These would not puzzle 21st century students that can compete favorably with their colleagues from other schools in the Country. As the world progresses, the curricul um must be revised and improved. This need for revision can not be overemphasized as it can be seen in the speed of revisions of many books.Editions change rapidly ever year incorporating new pen skirls that make referencing less burdensome these also feature printing developments in the form of schema builders like colored pictures, radiological tools, digital and laser printing. either these make reading more pleasurable and books more alluring to the eyes. It is important to emphasize the major that actually need such revision writing skills have to advance tremendously. Better syntax need be incorporated this is intended to accommodate new rules of concord.With this, the knowledge of grammar of students is significantly century-compliant. Simple English would convey the reading better. Styles of writing such as the APA American Psychological Association, MLA Modern Language Association and other referencing styles such as Harvard, Oxford or Chicago should be integrated in the revision. These are indeed indispensable as they ease reading, make references more accessible, and promote further study on the subject of concern.These also encourage the learning of the language, in relation to other fields on interest. The singular most important tool that upholds education in this age is Technology. It is just inevitable for productive and antiphonary training in any field. The use of Audiovisual aids for teaching and learning, information transfer through such facilities as the Internet shrinks the world to a global village. Thus, the teacher-student distance has reduced drastically. This access as made education livelier and closer than it used to be in the old days.Better printing gadgets have also added glamour to written materials. The use of Slide shows with PowerPoint and other computer application packages have aid knowledge and research. These are extraordinary and highly welcomed. Incorporations of these into the curriculum can not be overemphasized. Teachers would be better equipped to discharge their duties and students would be more receptive to teaching. Really, It is only a fool who trek one thousand miles barefooted to deliver an urgent mail when he has been offered a car for the same trip.

Concept of freedom Essay Example for Free

Concept of liberty Essay1. Is it possible to measure if whatsoeverone is free to any degree? Can immunity be proven? Freedom can hardly be measure as freedom is a controversial abstract concept which deal strike contrasting interpretations over it. We do not have an absolute definition over the term freedom and thereby there is no absolute operationalization employ to measure freedom up to these days. Still, it is commonly agreed by the sociologists that freedom is bounded by many social forces including culture, social institutions, social positions and the like and low all these social forces, the control over choices and directions that one can enjoy is freedom. By this commonly agreed definition, it is obviously that there is no absolute freedom because of the social constraints whats more, the definition of freedom is always changing harmonize to the unceasing change of social forces. Therefore, we can never measure the extremity of freedom. Be that as it may, freed om can still be proved and measured in relative terms by comparing the indicators of political rights, economic rights, and civil liberties of incompatible societies as they shows the controls over choices and directions that one can have under social constraints.The more control one has, the more freedom one gets in general. Lets allow in China and Hong Kong as example. China has a relatively stricter norm in terms of freedom of speech when comparing to Hong Kong, hence we can say that deal in China have less freedom of expression compared to those in Hong Kong. By comparison using diverse indicators, we may measure the relative freedom of different societies. 2. Do you agree that free thought is necessary for free action?I absolutely agree with such saying. Our actions are bounded by social positions and social institutions that have long been constructed no matter whether such practices are genuine or not. These social forces have been parts of the social spin of truth whic h shape our thinking from the day we are born and control the way we act and live. However, such socially constructed reality is not always decriminalize as it seems and in occasions it limits the actions that we may enjoy.Free thoughts in such sense allow critical evaluation over the existing socially constructed reality and may bring changes to the social institutions, structures or positions to allow freer action that people previously cannot enjoy. However, we should also noted that sometimes though social forces have already been mended because of new ideas generated through free thoughts of some people, actions are still being limited because of the deeply rooted old belief in society as a whole and it is always hard for people to have free thoughts.For instance, though the caste system has been legally abolished since 1950, the lower class especially the Dalit people are still seriously discriminated against by the other classes of the society and their actions, such as rece iving education and having political rights, are greatly constrained because the thoughts of people in general are still controlled by old social position system that Dalit are outcasts and thus fail to think freely. 3. How would you define freedom? Is it different from this chapters definition?I totally agree with the definition of this chapter that freedom, which refers to the ability to control oneself, ones thinking and ones actions, are restrained by external factors mainly the society and different social forces. Rather than being imprisoned by the existing social constructed reality, free thoughts and free actions are what we should practice. Thinking out of the box and acting according to ones take in thought is the only way to truly take control of our lives. 4.Based on the piece by Weber, come up and illustrate with your own examples instances of traditional, charismatic, and rational-legal authority that your are familiar with. Explain why you classify these instances th e way you do. Traditional authority In some indigenous communities which still have a extended family structure such as the communities in walled villages of Hong Kong, the first born male child enjoy the privilege of inheritance. He is also the authority bet of the community.It is legitimated by the sanctity of tradition handed down from the past and is through heredity under patriarchy system. Charismatic authority Mother Teresa, a really well-respected Catholic religious figure who is regarded as one of the real servants of God because of her morality and contribution to charity in the third world countries. Her exemplary character, organized religion and spirit inspire Catholics around the world to live truly as a Catholic following Gods will.Her heroism of ministering the poor and needies of the third world countries impresses Catholics and greatly influence their attitudes. Rational-legal authority Any bureaucratic officials or political leaders. Their authorities are empowe red by legal rationality, legal legitimacy and bureaucracy. They implement policies without any interference of people but based on law with legitimacy to govern people.

Violence and its types and history

forcefulness and its compositors cases and history hysteria is the expression of sensual or verbal force against self or other, compelling action against ones will on pain of being hurt. The word ferocity covers a broad spectrum. It trick vary from a physical altercation between twain beings, where a slight injury may be the outcome, to war and genocide, where millions may die as a result.1 2In ground of our everyday lives, madness has become an important aspect of the way the events around us take placeThe global personnel of war and militarism is intimately linked with the rage people experience in their personal daily lives. Violence becomes normalised when we constantly receive information from the media near crimes and atrocities which rule around the world.3The vehemence against women at the domestic front and in other forms is another worrying influence of violence on the beau monde. Mostly in the short strata of the society this aspect of domestic violence has been very prevalent.Violence among the youth has been another major c formerlyrn in the recent past. Official crime statistics spread abroad juicy rates of offense among young people. These offenses include rape, assault, and theft. About 34 percent of only offenders arrested for criminal offenses in 2006 were under the age of twenty-one (Federal government agency of Investigations 2007b). People exposed to violence from a young age become highly sensitive to violence and might even resort to such shipway later in life.Religious and political conflicts have in addition often resulted in violence leading to the monolithicgest riots causing large scale harm to the society and taking many lives in the process. There have been various such incidents like the partition riots, the Godhra riots and the likes in India and the likes of anti-Semitic riots of Frankfurt, ancient blood libel against Jews etc on the international stage.Hence violence is something that breeds throughout the society in various garbs acting as a serious threat to a peaceful creative activity of mankind, be it on a personal level or on a larger international level. Throughout history, most religions and individuals like Mahatma Gandhi have preached that military personnel ar capable of eliminating individual violence and organizing societies through purely nonviolent means. Gandhi himself once wrote A society organized and run on the basis of achieve non-violence would be the purest anarchy. This clearly shows that violence has always been a major concern since historic times and continues to be one in todays world.Conceptual FrameworkViolence is a broad term that ass be defined in different ways depending on the perception of the individual and the context. Some widely certain definitions of violence can be summarized.The problem of violence as defined in the World report on violence and health (WRVH)4 isthe intentional employ of physical force or power, threatened or actual, aga inst oneself, another person, or against a group or community, that either results in or has a high likelihood of resulting in injury, death, psychological harm, maldevelopment, or deprivation.It4 further divides the general definition of violence into three sub-types according to the victim-perpetrator relationship.Self-directed violence refers to violence in which the perpetrator and the victim are the same individual and is subdivided into self-abuse and suicide.Interpersonal violence refers to violence between individuals, and is subdivided into family and intimate partner violence and community violence. The former year includes child maltreatment intimate partner violence and elder abuse, while the latter is broken down into acquaintance and stranger violence and includes youth violence assault by strangers violence related to property crimes and violence in workplaces and other institutions.Collective violence refers to violence committed by larger groups of individuals and can be subdivided into social, political and economic violence.Hence the above definition of the concept of violence and its implications on the individual/group or the whole society encircles all the various effects that violence may have on the society in any form of it.Review of LiteratureThere have been working of literature discussing the behaviour of violence and its implications. These works are mostly in the forms of articles and books on violence. The major works that need a mention in this tenderness would be1. A History of Violence5 by Steven PinkerThis is an essay/article in which the author Steven Pinker, Johnstone Family Professor in the Department of Psychology at Harvard University, talks about how the current era is probably the most peaceful moment of our species time on earth. Although this seems to be a hard-to-accept fact, notwithstanding Pinker talks about violence in mans history and compares it to today and systematically shows how violence was prevalent to the extent of being even a source of entertainment in those times.2. Two Concepts of Violence by Vittorio Bufacchi6The aim of this review article is to explore some theoretical issues regarding the nature and scope of violence. There are two ways of thinking about violence in terms of an act of force, or in terms of a violation. Those who define violence as an intentional act of excessive or deadly force endorse a narrow conception of violence (the Minimalist Conception of Violence or MCV), while those who see violence in terms of a violation of rights champion a broader conception of violence (the Comprehensive Conception of Violence or CCV). The strengths and weaknesses of both approaches will be assessed.3. Critique of Violence by Walter BenjaminThis is a critique written by Walter Benjamin in which he criticizes the behaviour of violence and talks about how violence is not acceptable in any form and cannot be justified with any possible explanation.Empirical involve And Gen eralizationCase 1Case interpretationA minor road accident takes place between an autorikshaw and a maruti 800 car. The driver of the autorikshaw ( pass on 1) is a 45 year old man. The driver of the Maruti car ( font 2) is a 20 year old college student.The autorikshaw driver is forced to apply brakes because of stray cattle ahead and the maruti 800 behind is unable to react soon overflowing and hits the autorikshaw which causes a minor damage to both the autorickshaw and the car. Because of it being a minor accident, subject 1 keeps driving considering the moving traffic on the road but subject 2 keeps following him and eventually makes him confirmation. grammatical case 2 starts arguing with subject 1 rudely. quash 1 tries to explain the unavoidability of the accident calmly but the youth i.e. subject 2 pushes him. Subject 1 still tries to reason out but subject 2 slaps subject 1 and uses physical force. At this stage subject 1 has to defend himself and hence hits subject 2 ba ck which results in subject 2 getting overpowered and falling down.This smash catches attention of the people in the vicinity. After sometime a group of labourers working on the construction of a flyover nearby come and need the matter from subject 1. Soon they start threatening subject 2 to either compensate subject 1 or leave the scene peacefully. When subject 2 refuses to fulfil any of their demands and asks for compensation for himself instead, the labourers attack him physically. After many attempts from subject 1s side to peace out the situation and pleading from subject 2 the labourers finally stop.Subject 1 then calmly lends subject 2 a hand and advises him to encounter his rage and violent instincts and then makes a agree on the sharing of expenses of damage.Role of Violence in the CaseAs is apparent, subject 2 was more violent and cannot control his rage initially and resorts to violence to solve a problem or a situation. The use of violence led to worsening of the sit uation and resulted in the older and wiser subject 1 in like manner using violence to tackle the means used by subject 2. Not only did it cause harm to subject 1 but also to subject 2.The situation worsened when the spectators also got involved in the fight even though the method they used to resolve everything was contemptible and uncivic.Hence violence led to a chain of events leading to more violence and harm or damage to people/society. Also violence originally used as a means to solve the problem further worsened the situation instead of improving it.Case 24 high school students impact at one of the students place to play a video game which they are addicted to and on which they spend plenty of time daily. They divide themselves into two teams and start playing. The game basically resembles a war scene where the players are supposed to gun down their opponents to proceed further.Team A(consisting of subject 1 and subject 2) is leading Team 2(consisting of subject 3 and subje ct 4). After sometime subject 3 starts getting frustrated and blames subject 4 for their poor performance. Subject 4 gets offended and shouts back on subject 3 denying his blame. Meanwhile subject 1 and 2 already quite ahead in the game mock their opponents and take diversion in their argument. Verbal abusing converts to a physical fight when subject 4 hits subject 3s head with the video game remote. Subject 3, physically and egotistically hurt, picks up a cricket bat in his sight and begins bashing subject 4 uncontrollably. Subject 1 and 2 try to stop him but subject 3 pushes them away.After a few minutes, subject 1s father arrives and gains control of the whole situation. Subject 4 is rushed to the nearby hospital. Doctors lamentably announce that he has lost his left ears hearing power due to repeated blows near the ear.Role of Violence-As it is clearly seen this is an example of teenage violence. plethoric in urban India today, such incidents are said to arise because of high ly aggressive nature of todays adolescents who lose control over their tolerance and sensibility once someone hurts their ego.Also it is noteworthy to mention the role of video games containing any sort of violent actions in deteriorating the psychology of teenagers who have started taking pride and pleasure in using violence to resolve any matter rather than discussing or ignoring it.Violence proved to be nearly fatal here, though the victim was saved his life would never be the same. Also, subject 3 would live a life of shame and guilt owing to his one juvenile action.Findings of the Study and GeneralizationAs it can be deduced from the above mentioned examples, violence can be circumstantial, politically driven or can arise from the way a persons mind has been moulded.Usually road rage and petty issues that are blown out of proportion are examples of circumstantial violence incidents. A persons loss of control over his anger or frustration has severe consequences. This can also b e associated with the increasing stress levels of the working class especially in big cities who tend to lose their patience and tolerance easily owing to mental stress and hypertension.On the domestic front it is often observed that actions performed by adults are replicated by their children. If a boy has seen his father hitting his mother, his siblings or has experienced it himself he is likely to have a similar demeanour in his future. As childrens minds are tender and sensitive, they tend to get influenced easily.Intolerance and violence occurring due religious and caste divide is mostly politically driven to fill a candidates vote banks. People who supposedly fight to protect their religion often forget that no religion teaches violence.Teenage violence is evidently linked to teenagers lifestyles, the type of T.V. programs and online games they are subject to, the kind of places they visit and the people they meet during their re-creation time and the type of living their pare nts exemplify for them.

A Marketing Plan For The Company Apple

A Marketing Plan For The Company orchard apple tree apple Inc has been in truth successful especially when it revolutionized its business and customer-focus by providing an operational system which was specifically innovationed with graphical user interface, even when it has been experiencing rigorous competition in twain package and hardwargon commercialiseing. Out of orchard apple trees major visions are its marketing strategies such as differentiation, unique invention, hold-store sell, complete solution and brand loyalty that in turn over thrust helped the company achieve sustain adequate to(p)-bodied militant advantage and create its very own market with long-term profitability. apple has been amazingly impacting the technology, society and the field at large and it continues to innovate to the date. Computer and digital music machines suck up long been presumed to be high-tech devices reserved for scientists, mathematician, intellectuals and professional musicia ns, but apple, with its technology and innovation, has turn them into an essential tool of everyones daily lives.Framing of the search IssueThe main issue being discussed in this paper is the sell store marketing system adopted by Apple Inc and its impact on Apples overall business. This piece of seek work is an attempt to explore and answer what is Apples retail-marketing and why Apple Inc has chosen this strategy? The paper will interpret the advantages of implementing the own store retail strategy to Apple Inc and analyze how this has contributed to its business success.Apple Inc is one of the large international companies of today and its marketing strategies, that bewilder helped it achieve this success, have gained increased popularity and pull ined economic aid of academic and business experts. Companies use different strategies at different times. Some of them may turn to be exceedingly useful while others may not be so. Due to a number of factors worry globa lization, fierce competition mingled with firms, technological advances and changing consumer behaviour, business contexts have turn increasingly complex (Grover and Kettinger 1995, p. 58 ) and companies therefore require adopting effective strategies to survive these challenges and complexities. Apples sell strategy has been so an effective ideology it used to survive competition and other marketing challenges.As Pearce and Robinson (2004, p. 6) stressed, strategic issues usually have multi-functional and multi-business consequences. Decisions regarding strategies standardized customer mix, competitive emphasis, organisational structure and customer focus necessarily involve a number of firms strategic business units, divisions and programs. These strategies will yield positive outcome when they are easily structured and effectively managed. When it comes to Apple Inc, a number of marketing strategies it adopted has been represent to be exceedingly beneficial to the compan ys success. This research paper relates to one of its strategies- own store retailing.Research Contexts, Scope and LimitationsNo area of marketing and economic development has perhaps been more(prenominal) popular than retailing. Retailing has long been a particular pillar of a strong economy (Findlay, Paddison and Dawson 1990, p. 21). Similarly, retailing has been install to be a properly marketing element that contributes much to the economic and financial offbeat of a company as well. Many large multinationals operate retail stores, may be as part of its Supply Chain strategy or to promote direct marketing of their goods or services to the customers, with an aim to seize enormous opportunities of retailing.Large scale retailers handle Wal-Mart, Sainsbury, TESCO and others have been studied extensively to prize their effectiveness and find the secrets behind their success. Their marketing techniques and how their retailing helps them maintain long-term profitability have be en studied by a number of researchers. But, the signifi plantationce of retailing as a strategy being implemented by a particular large-scale company is seldom explored, except that some of the researchers have indentified retailing or own store retailing only as a strategy with no extensive research on its importance and contributions to the company. Rather than by and large discourseing rough the importance and benefits of retailing strategy adopted by Apple Inc, this paper aims to explore publicationss regarding the same and articulate specific factors that develop why it is important to adopt retailing strategy to a company like Apple Inc and what are the major benefits of it.The researcher would like to learn different aspects of exploitation retail marketing to a large-scale business, Apple Inc, and for this purpose, researcher would review and evaluate the literatures and examine how customers respond to this marketing facility, what consequences of such retail marketi ng can have on the reputation and customer gladness of the business. The researcher will review literatures to find relations between retail marketing of Apple Inc with a number of marketing variables like customer satisfaction, brand building, brand loyalty, customer relationship, value proposition and so onBy reviewing the literature about Apples Retail-marketing, the researcher would ease up the importance of using retail-marketing as a marketing strategy to enhance greater long-term profitability and gain sustainable competitive advantages. This research is notwithstanding about Apples retail-marketing and therefore the findings and certaintys of this research may not be directly applicable or closely comparable with other businesses or manufacturing firms.Statement of Research aims and objectivesThis research paper aims to illustrate the benefits of retail-marketing to Apple Inc and find out how retail-marketing has contributed to Apples unique success stories in recent ye ars. The main objectives of the study areTo define and explain retail-marketing with relation to its implementation by Apple Inc.To study and interpret the literature review of the importance and benefits of using retail-marketing as a business strategy,To ascertain what literatures talk about Apples retail-marketing strategy and how this has helped the company achieve its organizational goals like gaining sustainable competitive advantages,To examine how retail-marketing is closely related with various other marketing variables like customer focus, customer satisfaction, better servicing, direct marketing, brand loyalty, brand equity and customer relationship marketing etc,To suggest some successful measures and techniques that can be used along with retail-marketing strategy in order to help the company achieve its business goals.To embed what results can bring a retail-marketing on the competitive advantages of a firm, from the case of how Apple has successfully used it.Structur e of the dissertationThe introductory chapter provides a brief overview of the structure of the research paper and an introduction in to the main issue being discussed in this paper- retail marketing of Apple Inc. The framing of the research issue, the scope and limitations of researching retail-marketing in relation to Apple inc, and statement of objectives of the research are detailed in the introduction.In order the research to be clearer, it is highly important to have an outlook into Apples business and its various marketing strategies. foster chapter will briefly examine Apples business overview, market-share, market strategies, competition rivalry and value propositions it delivers to its customers. The researcher considers various literatures to be reviewed in chapter 3 and discusses previous deeds and studies in retail marketing of Apple Inc. Chapter 4 provides an overview in to the theoretical framework and methodology that this research uses for studying retail marketin g of Apple Inc. The findings and results of literature review will be discussed in chapter 5. The researcher will summarize and list out major findings, results, suggestions and recommendations, based on the research in the conclusion chapter.Chapter 2APPLE INC MARKET OVERVIEWIn todays highly rigorous competitive market landscape, Apples hot selling of iPod, iPhone, 3G phone, and digital music players, directly or through with(predicate) its own-store retailing, promises to revolutionize the market opportunities of digital entertainments as well as to meet varying customer needs for advanced technology. Brand loyalty, unique hardware and software package design, differentiation and own store retailing have been some of its strategies that helped the company gain greater competitive advantages.Porter (1998a, p. 29) emphasized that an effective marketing strategy take either an offensive or a defensive action in order to create a defendable position against major competitive tycoon s. Apples marketing strategies, especially its retail-marketing and unique hardware design were more or less capable of establishing strong defense against major competitive forces like Acer, Dell, Fujitsu, Microsoft etc. Walker (2003, p. 4) found that Apples management has guided the company to create a focal point for effective decision making which in turn has been extremely useful for the company in certain ambiguous and uncertain situations. Basically, a strong marketing vision, with support of certain effective strategies has helped Apple Inc maintain a very strong profitability and ever-increasing sales figures, as accounted to be $42,905 one million million million in financial year ending of 2009 (Datamonitor 2010).Company ProfileApple Inc is a multinational company, headquartered in Cupertino, California, that is engaged in designing, developing and marketing of personal computers, severs, communication devices, pelfwork solutions, man-portable music digital players an d relate price of admissionories (Datamonitor 2010). It delivers its hardware and software products and services through its own-retail stores, online stores, sales force and terce fellowship sellers (Sander and Slatter 2009, p. 81).Apple Inc has al counselings been prospering on innovation. It has ignited the personal computer revolution in early 1990s with the development of Apple-II, reinvented the personal computer within the next decade by the development of mackintosh and gained a very successful and profoundly routed brand loyalty with its iMac by 1990s (Kerin, et al, 2005, p. 395). Finally, it identified vast opportunities for very new technologies that the market until then was less aware of them and developed new markets with iPod, Apple i-phone, and 3G i-Phone in very recent years.Apple Inc, through out its plants, offices and retail stores, employs 34,300 employees around the world and offers a wide range of products and services including iPods line of portable dig ital music and video players, iPhone handsets, iPad portable multimedia and computer machines and software like Mac OS, iLife, iTune, iWork, and internet applications such as Safari, Quick time etc (Datamonitor, 2010). The companys unmitigated efforts on ease of use, utility, customer value, simplicity, efficiency and fun have helped Apple Inc imbibe iPhone, 3G iPhone, and other products seem to be a very different species from that of the adversarys. These newer products have recently turned to be more approachable and ultimately very desirable that many or almost all brands in the market (Newsweek, 2007).Apples major competitors are Acer, Dell, Fujitsu, Hewlett-Packard company, IBM, Lenovo group limited, Microsoft Corp, Motorola Corp, Nokia Corp, Oracle Corp, Samsung, Sony and Toshiba (Datamonitor, 2010). Apple designed a number of marketing strategies to compete with these large companies and grab a better slice of the highly competitive market pie.Market-Share AnalysisLatest reports show that Apples share in the worldwide PC market is constantly surging, as more and more customers have continuously been preferring Mac PCs even when there were rumors of iPad and iPhone that have grabbed news-headlines. According to Gartners report, Apple has become the fifth largest PC seller in the US market for the prototypical three months quarter in 2010. Around 1.398 million Mac computers were shipped by Apple inc and thus it stands just behind HP, Dell, Acer and Toshiba (Tilmann, 2010).Apple sold 1.4 million Macs in the early quarter of 2010 which remains to be highly impressive and has been recorded to be a very healthy 34% year on year growth. With 8% market share, Apple stays to be fifth largest in worldwide PC market (Kahney, 2010).The company has recorded a score revenue of 42,905 million US Dollars during the financial year ended in September 2009, showing an increase of 14.4 % over 2008 figures. The increase in sales has been chiefly overdue to the grow th in sales of iPhones handsets and trine party digital contents and other utilities, through its online as well as own-stores. iTune stores too compete an important role in its increased revenues in 2009. The operating profit of the company during 2009 has been accounted as $11,740 million, showing an increase of 41% over the same of 2008. The net profit also has been recorded to be $8,235 million, with an increase of 34.6% over 2008 figures (Datamonitor, 2010).Gartners (2010) research reported that Apple is the third largest Smartphone marketer in the world just afterwards Symbian and Research in motion. In worldwide cell-phone marketing, Apple holds 2.7 % market share, being the seventh largest worldwide cell-phone marketer. It is observed that Apples share in worldwide cell-phone market has been ontogenesis with a 112.2% increase in mobile device sales. iPhone OS release and Apples focus for the new communication service providers in UK markets increase its opportunities and to gain greater competency in its markets (Gartner, 2010).Chapter- 3LITERATURE REVIEWCompany-Owned retail marketingLarge-scale companies implement a number of different marketing strategies like its-own retailing, franchising, nuclear fusion and acquisition and so on. Company-owned retailing is not a new marketing strategy, but has first been used by IBM in early 1980s. Mohr, Sengupta and Slater (2009, p. 326) found that IBM clear its first product centre and own-store retailing for the personal computer in New York City in April 1982. By 1986, the number of IBMs own stores had cock-a-hoop to 84. penetration expanded aggressively in to its own stores retailing during the PC industry boom, but it had to shut all 188 stores in 2004. Sony also launched its own-stores retailing in United States to showcase its products to the customers and expanded them in 1996, and reached 57 stores by June 2008 (Mohr, Sengupta and Slater 2009, p. 326). Manufacturers own retailing thus has long bee n considered to be a strategically powerful tool to enhance better marketing. Many of firms adopted own-store retailing has found success where as many other failed to continue retail-operation. Gateway and IBM failed and others like Apple Inc succeeded with this direct retail channel strategy. Companies found it successful were able to cut middlemen costs and middle men profits and thus to make its products quite cheaper to the customers, to establish closer relationship with customers, to deliver quality services directly to the customers and create brand loyalty to enhance long-term profitability.Marketing mix and Companys own retailingCompany-owned retail marketing strategy is closely related to the place element of the Marketing-mix concepts. Out of the four Marketing-mix Ps, namely product, price, place and promotion, place or dissemination is a very critical element that determines the extent of businesss success. The channels a marketer chooses for marketing its products al ways largely influences its marketing effectiveness.The higher up depiction illustrates how theoretically and strategically Apple designed its marketing-distribution strategy through its own-store retailing. As Hill, OSullivan and OSullivan (2003, p. 243) emphasized, distribution addresses the issue of how to establish an appropriate and more profitable relationship with the maximum number of relevant customers at the minimum cost to the organization. A well-designed and developed distribution strategy can lead to coverage of a wider audience, accessing more numbers of customers and enabling subsisting customers to have a more satisfactory expedience. When it comes to Apples case of retail-marketing, there are three factors to be highlighted, a) profitable relationship, b) with maximum number of potential customers and c) at the to the lowest degree costs being possible by eliminating all middle-men involvement. It thus not only attracts wider audience but also delivers all those that can increase satisfaction of the existing customers.For a manufacturer, choosing own-stores for retailing is generally justified on the ground that it eliminates middle-men costs, reduces risks of handling inventories, enables closer relationship with consumers and delivers maximum satisfaction to them. But, Raysman (2002, 4- 4) argued that the most effective take a shit of retail distribution is likely to be through third party distributors who are well-established in the market place and have a strong distribution infrastructure, though it is possible for technology product producers to sell directly to their own retail outlets. He justified his argument that selling through third party established firms can help the producer relieve from significant logistical concerns, and third party distributor will give the producer easy access to markets which may otherwise have been time-consuming and helps reduce the producers overhead expenses (Raysman 2002, 4- 4).Apple has virtual ly been integrating different distribution channels. It not only used third parties for sale, but also online stores and its own retailing stores in order to grab the maximum potential opportunities from the existing market. Third part sellers helped Apple spread of its of import information over regions and countries, its won store retailing helped it maintain closer relationship with customers and deliver direct services to them.Retail marketing / Own-store marketing strategy of Apple IncApple Inc used a number of different distribution channels including own store retailing or retail marketing, online store, sales force and third party sellers. Among these channels, retail marketing remains to be a very specific and unique marketing strategy that helped the company overcome difficulties associated with big-box sellers and their staffers who are ill-informed of Apples products. More over, this marketing strategy helped the company establish stronger relationship marketing in orde r to create customer loyalty and customer satisfaction.Apple exposed its first own-store retail-marketing in McLean, Virginia in 2001. By June 2008, with phenomenal records of greater success throughout its stores, Apple operated 215 retail stores in six countries, they are USA, Australia, UK, Japan, Canada and Italy. By 2008, these 215 stores were able to contribute nearly 20 % or more as growing of Apples total revenues (Mohr, Sengupta and Slater 2009, p. 326).Kerin, Hartley and Berkowitz (2005, p. 395) found that Apple has been thriving on innovation from Apple- II to Macintosh, to Apples PCs and iMac, but its step forward to starting its own store retailing in 2001 was merely a better promise to revolutionize its market landscape. As Kerin, Hartley and Berkowitz (2005, p. 395) noted, beginning with one or two stores in 2001, Apple Inc has been able to launch more than 25 stores per year. By 2004, about half of the US world were residing within 15 miles of an Apple store. These stores created an atmosphere where consumers were able to experience the thrill of owning and using Apples complete line of Macintosh computers, wide range of entertainment equipments and utilities like digital cameras, camcorders, and the entire iPod family devices.Apples retail-stores were selling its products and services exclusively, targeting tech-savvy customers within its store-products presentation and work buy at. These stores facilitated displaying of a full lines of its products, software and accessories and Genius Bar staffed by an Apple specialist (Kotler and Keller 2006, p. 485). These stores were companionable places where all of its customers, especially Mac and PC users are freely allowed to play with and explore Apples technology-lines and get software or useful utilities (insidecrm.com, 2011).RationaleLamb, Hair and McDaniel (2009, p. 339) found that Apples management has been dissatisfied with how third part distributors were selling the computers and others pr oducts of the company and this has been the main reason behind Apples thought of starting own-store retailing. Apple observed that some third party distributors buried Macintosh displays inside major retail stores, surrounded by PCs running the more popular Windows operating system by Microsoft. This brought their attention to hire a retail executive to develop a retail strategy.Mainly due to the disappointment regarding Apples resellers, the company announced that it would begin opening and operating its own Apple stores. Steve Jobs conveyed his major concern that most resellers had been unsuccessful in making the products of Apple stylish and more appealing at customers level (Gitman and McDaniel 2008, p. 345). nearly of the literatures, apart from the two mentioned above, stressed that Apples thought to start retail marketing has been mainly driven by its findings that third party resellers didnt deal with its customers in a way Apple anticipate how it should be. The retail sto res not only must be able to sell the products to the final customers, but also, these stores must be able to deliver quality services, valuable information and facilitate customers entertainment etc. Apples stores were designed by considering all such important factors.What was predicted about Apple-stores?When Apple Inc first opened its retail-store in May 19, 2001, there were rumors and many experts and media predicted the failure of its specialty stores. They argued that Apples users already knew where to buy Apples products and therefore Apples investment in establishing retail-stores would bring nothing more that higher fixed costs (Gitman and McDaniel 2008, p. 345). Such specialty stores might increase Apples expenses and its products will be more expensive to the customers, as Apple might like to cover its costs by increasing the prices and this ultimately cause less-appeal to the mass consumer.Knowing Apples attempt to launch of retail stores in 2001, Business Week wrote s our Steve, Here is Why Apple Stores Wont Work. The street.com opined Its desperation time in Cupertino, Calif. Well known retail-consultant David Goldstein predicted I give (Apple) two years before theyre round out the lights on a very painful and expensive mistake (Jerry, 2007). A number of business experts and media were looking Apples retail stores quite surprisingly as an attempt for no use. They found nothing more than just add costs to the company and to the customers. But, the story was surprising to them that its design, outlook, services offered in-store and amenities being provided to the customers were extremely appealing to them and it finally added greater share of its total revenue.Those who predicted failure of Apples store might have generalized what was known about CompuAdd, IBM, Gateway and Microsoft. Dvorak (2010) stated that the retail-marketing has been well-tried by a few computer companies before Apple tried it out and they all except Apple failed for obviou s reasons. CompuAdd, once a head-on-head competitor with Dell and IBM, rolled out a number of stores which in turn bankrupted the company. IBM opened few stores, even before CompuAdds stores. IBM aimed at more professional market and therefore had to shutter them all at once. Gateway opened many stores called Country Stores, but stores themselves were boring and ominous and they too created almost same story. Microsofts stores opened in 1999 were not up to the mark due to that there were no buzz or energy in the place.Apples experience of unique success with Retail-marketingSteve Jobs and Steve Wozniak didnt accredit that they were establishing one of the most multibillion-dollar PC industry of all times when they invented the Apple-I in a garage on April 1976 (Kerin, Hartley and Berkowitz, 2005, p. 247). The same story repeated for its retail-marketing as well. Apples retail-marketing, contempt predictions of experts and media about it to be failure, has become one of its greater achievements to be unparalleled as a wise move. These stores achieved $1 billion revenues faster than any retail business in history, just taking three years to reach that success-point. Around 40 % of the people purchasing items from Apple stores are new customers (Kerin, Hartley and Berkowitz, 2005, p. 395).Gitman and McDaniel (2008, p. 345) found that Apple Inc, just three years after opening its retail stores, was attaining around one-seventh of its total revenues from its stores alone. More interestingly, customers attracted to these stores were not just current Mac or other Apples products users, but rather, half-of the Mac sold in these stores were to first time Mac buyers.Though Apples launch of a line of new retail stores in 2001 was met with major skepticism around the US, Apple has been able to turn its retail-stores to be one of the crowning achievements of the resurgence (OGrady 2008, p. 14) that many other large retailers failed to achieve. When Gateway announced clos ure of its line of retail-outlets in April 2004, Apple reached its retail-market growth by opening its 53rd store.OGrady (2008, p. 14) identified that this great success has been the result of effective strategic planning. Apple built a prototype store in one of its warehouse near the Apple campus to test the concept and possibilities and it arranged a combination of photos, videos, music and kids. By October 2007, it announced completion of 200 retail-stores throughout USA and other five countries. The Fifth Avenue view in New York was able to attract more than 50,000 customers per week. Apples store sales has become the top in the industry, with an average earning of $4032 per its square foot (OGrady 2008, p. 14).Twice (October, 2008, p. 28) reported that, TWICE was awarding Apples retail-stores the Award of excellency in Retailing in the Best Vendor Retailer category in 2008. It opined that Apples retail stores, from just one in 2001 to reach 200 by 2008 is an excellent and rath er a very unique success in retailing history itself. Twice (2008) found that Apple has been providing consumers a hands-on way to experience its products which are displayed in a variety of specific-categorized areas that encouraged customers to test and play with Apples products. These stores have also carried third-partys accessories and software titles that are compatible with Apple products. Twices (2008) observations about Apples stores designs, customer attraction, revenue-generating capacity and customer feedback have led it decide to give its award to Apples stores. As Twice (2008) observed, The Genius bar facilitated in Apples retail stores and yet its sales growth of 40.5% in 2007 from the sales of 2006 have been some other very significant factors that are highly impressive about Apples stores.Most amazingly, Apple stores have won Twices Excellence in Retailing Award four times from 2006 to 2010. Olenick (2010, p. 30) reported that Apple continued to pipe up TWICE retai l awards as Apple took home the Best Vendor Retailer trophy, which was the fourth time it gained since 2006. As Olenick (2010) opined, Apple was able to take this award home due to its ongoing ability to operate unique destination stores and because of its merchandising excellence, store designs, customer service and retail innovation etc (p. 30).Apples retail-store designApple always thrived on innovation. When it comes to its products, unique design created the brand Apple. When it comes to its retail-stores, design played pivotal roles in its success, even when many large-manufacturers own retail stores created failure-stories. For no doubt, Apples innovative store design has been one of the very powerful tool it strategically used to make its retail-stores winning.As Davis (2009a, p. 340) evaluated, Apple-owned retail stores have been designed and facilitated in a way that it has become a cultural phenomenon, with their bright lighting, clean layout, easy access to products and almost museum-like zeal for captivating its products-displays. Customers are automatically encouraged to play with its products and all of its stores have arranged an in-store Genius Bar which offers customers a place to ask questions and get answers for their doubts and troubleshoots.Jones, Comfort and Clarke-Hill (2009, p. 243) found that Apples stores, for instance one of its store opened in 2004 on Londons Regent Street, offer a variety of programs for customers. the 24,000 square feet store offers free basic getting started workshops, including showing customers how to set up a new Mac, connecting to the internet, direct e-mails, downloading or uploading photos and transferring music and television shows to an iPod etc. Apple stores have facilitated a Personal Shopping program which the company claims as new way to shop which is intended to give customers attention and allow them to take all the time they need to test drive the products they are interested in.As Danziger (2006 , p. 12) noted, Apples retail-stores are clearly revolutionary in todays increasingly cluttered retailing environment and its very specific layout is the key to a unique shopping experience. the sparkling contemporary design showcases each computer and piece of peripheral devices, with minimum of products on displays. Customers are always welcome to get hands-on with computer machines, check their e-mail, use networking, and make test drive of the computer machines. This very different store design and layout is intended to guide the intellectual and emotional experience of the customers through the store (Danziger 2006, p. 12).Apple consistently listens to its network and customers at large. One of the very significant point in its store is Genius Bar, a tech-support station, which answers customers questions and deal with their troubleshooting and thus serves as Apples committal to superior customer service. Superior customer service comes to life in the form of problem solving and helping build bigger loyalists out of Apples customer base (Davis, 2009b, p. 98).There are many strategic elements that the company planed carefully about the effectiveness of its retail store in any new location and carefully considered how each floor space can be converted in to long-term profitability. Floor (2006, p. 206) stressed that Apple opened its stores only when it expected them to be profitable within a short period of time itself. As Apple believed, using a computer is as simple as buying one would be. The store layout was so simple and logical and its design and fixtures are kept as simple as possible. Apples stores were white box with a lot of lighting, being equipped with materials like stone, metal, glass, transparent synthetic and beech-wood. Large pictures and glasses are used to differentiate departments within its stores.As the image above illustrates, Apple has designed its store in a way it can maximize net profit per square foot of the available space. Cu stomers enter or exit the store from cashwrap area and all varieties of Mac and iPods are located in the

Cultural Policy in the UK

pagan insurance policy in the UKCULTURAL POLICY IN THE UK Mid-1960s to late 1980sCultural Policy in the UK Critical overview of the lastly 30 yearsMARCH 2010In the last three decades (approximately 1980 to 2010), pagan constitution in the UK has taken a cosmopolitanly questionable direction. boilersuit, heathen constitution and practices of the past 30 years have been overwhelmed by parvenue neo-liberal discourses and ideologies, namely scotch rationalism, monetarism, neo-conservatism, commodification of cultivation, managerialism and performativity. Examining each of these in turn, it becomes apparent that a merchandise-driven, neo-liberal approach to UK ethnic constitution has largely failed in each of its aroused aims scotch growth, contrivanceistic excellence, increased access to the humanistic discipline, and social justice.The mid-1970s were a real turning point in toll of heathen form _or_ system of government, with wide-eyed policy changes occurring fr om this time on both inside and without the ethnic sector. In more than ship mode, the earlier 1970s epitomised cultural and semipolitical concerns with the habitual welfare of the public, and round support of the liberal humanistic discipline for their own sake rather than as an instrument of broader political and social change. The early 1970s saw, in many ways, a political mood of idealism. Cultural policy of the time reflected this atmosphere. However, there were drastic political, cultural, and ideological changes made afterward in the 1970s which have, to a degree, proceed to shape the cultural policy discourse of the next cardinal years and up to the present day (Gray, 2007). In the cultural sector as a whole, Gray describes the ripening of what he calls instrumental policies (Gray, 2007, p.5) since the mid-1970s. By this term Gray describes the shift in cultural policy from an arms-length, distanced governmental approach to the stratagems and assimilation to a political interest in using the cultural sector as an instrument, or instruments, of social, scotchal, and political change. In the first decades of state patronage of the arts, the humanistic discipline Council saw itself non as a source of direction, not as a source of workmanic policy, but as a kind of change body (Stevens, 1998 10, quoted in Caust, 2003, p.52). By the late 1970s, however, this attitude on the part of the state had changed dramatically. Instead of standing back and simply allowing the arts to develop and din via generous state subsidy and support, many Western governments including that of the unite body politic developed the ideology that they could and should instead expect outcomes for their investments (Caust, 2003, p. 52). The overwhelming shift to a market-based, market-driven ideology in terms of cultural policy has had many negative ensnares upon the arts themselves, and several tangentially-related areas of the social and political landsc ape. In the last thirty years, it is sparing change which appears to have been the states prime concern in terms of cultural policy, despite public assertions to the contrary. Gray states that the ideological and organisational changes toward instrumental policy-making have had an effect upon what the state does, how it does it, and the justifications and reasons that have been put forward to explain them (Gray, 2007, p.5). The reforms that have taken place in the neighborhood of cultural policy in the United Kingdom have been summarised by scholars as variously representing a mode of privatisation (Alexander and Rueschemeyer, 2005, pp. 71-4), or one of commodification (Gray, 2000). Privatisation concerns, variously, a heightened level of interventionism in the worry and administration of public assets (Gray, 2007, p.5) by private entities or actors or the sale of previously-nationalised state industries and assets to the private sphere. Commodification is a term employ to descr ibe wider changes in political actions and ideology, concerning the replacement of cultural tax derived from its usefulness, to value derived from its exchangeability (Gray, 2007, p.5). Commodification results from an ideological shift deep down the state, and this outhouse be seen as a driving force in cultural policy developments within the last thirty years. Despite government assertions that fastidious excellence and broadened public access to the arts are prime concerns of the state, economic concerns are also a lot of perhaps overriding concern to the Thatcher, Major, Blair and Brown administrations which governed Britain between 1980 and 2010. Tony Blairs opening statement in the government publication Culture and Creativity The Next Ten years (____) makes the economic preoccupation of the government in relation to cultural policy quite explicit. Blair acknowledges a connection between creativity and production and then makes an economic justification for his government s investment in supporting creativity in its broadest sense (Caust, 2007, p. 55). With reference to both culture and creativity, Blair states they also matter because germinal talent give be crucial to our individual and national economic advantage in the economy of the future (Smith, 2001 3 quoted in Caust, 2007, p.55). Economic RationalismEconomic rationalism is a term first coined in Australia with regards to economic policies and ideologies which favour privatisation of state industries, a free-market economy, economic deregulation, reduction of the welfare state, increased indirect taxation and deject direct taxation (Pusey, 1991). Such policies were particularly widespread in a global context during the 1980s and 1990s. The policies of Thatcherism provide an example of economic rationalism in action. The origins of the term economic rationalism were actually favourable, in describing market-oriented policies of various administrations in Australia, the UK and the US in the 1970s and 1980s (Pusey, 1991). In the 1990s, the term come forthed to be used with an unfavourable tone, toward the Third Way policies of both the Australian beat back Party and the UK New motor party of the 1990s. Both these parties initiated market-driven reforms within their political ideologies, which placed them impendent to Thatcherite economic rationalism via increased stress upon the private sector in economic, political, and cultural arenas (Pusey, 1991). These were parties which had not traditionally placed a relatively great emphasis upon the free-market economy, and therefore the term economic rationalism has been used somewhat disparagingly to indicate that these parties have, to a degree, abandoned their historically leftist roots, when social justice and elaborateness of the welfare state took precedence over sheer capitalism. In terms of cultural policy, economic rationalism is evident throughout the 1980s and 1990s in the United Kingdom. Thatcherist policies i n the 1980s placed unprecedented ideological and practical emphasis upon the free market, and in terms of cultural policy this translated to cuts in arts and education budgets, and the development of private-public partnership in cultural funding. The logical effect of such policies was that the arts, in particular, became increasingly monetised and reliant upon market and mass appeal in order to survive economically. The UK governments of the 1980s and 1990s placed great ideological and political emphasis upon the economic electric potential of the countrys cultural sector. Bennett (1995) views such economic potential as universe used as a prime justification for state action and interventions within the cultural sector (p. 205-7). However, as Gray (2007) points out, this is not necessarily the same as seeing culture as a mechanism for economic regeneration (p. 16). The governments of the 1980s and 1990s appear to have seek to use various pretexts, including economic arguments , in order to justify their interventions in the sphere of cultural policy, however their true intentions most of the time were to stimulate broader economic growth through such cultural policies. As we shall see later, attempts at stimulating economic growth through cultural policy have, by and large, failed overall.Caust (2007) asserts that more recent government policy debates have been dominated by an economic paradigm (p.52). Arguments which focus upon the economic value of the arts have developed, and thus a political atmosphere is created in which the intrinsic value or worth that society may place upon the arts is trumped by the arts purely economic value. Economic rationalism, through its emphasis on the free market and upon the private sector, speeds the development of such an atmosphere, which permeated the UK cultural policy sector throughout the 1980s and 1990s. Although Causts intervention (2007) focuses on cultural policy in the Australian context, there are many par allels with UK cultural policy during the same time period. Caust describes a changing climate in which less emphasis came to be placed on the definition of art itself and upon value judgments of a particular art piece or art form by hold experts. Instead, market theory is emphasised, and increased magnificence is placed upon those art forms which can achieve the greatest commercial success. In the realm of cultural policy, such a change in the mode of arts valuation by the state leads to the desire to support arts activity which was commercial, exportable and cost-efficient (Caust, 2007, p.52). In the realm of cultural production, the natural result of such cultural policies is the emergence of mass cultural products which satisfy the market. Simon Cowell, and the massive, global toss off ne plus ultra and X Factor talent-show franchises he created, epitomises the result of two decades of economic rationalism. These programs, in which amateur singers compete in a televised, vie wer-voted series, are vastly commercially lucky and have been licensed in the US and many European and Latin American countries. Cowell has made a fortune, and it is typically a given that the winner of Pop Idol or The X Factor will have the Christmas number-one single in the UK (2009/2010 was an exception to this rule, when a social-media campaign deliberately pushed a reissued single by agit-rock group Rage Against The Machine to the top of the UK charts in a display of protest against the blandness and ubiquity of Cowells cover-song artists). While a huge success in economical terms Cowells franchises combine all the government-desired traits of exportability and mass-market appeal, temporary hookup stimulating sales of music media in addition to generating significant revenue via paid telephone ballot and merchandise it could hardly be argued that the format of these shows stimulates artistic originality, experimentation, or musical development in any significant way. The e xample above demonstrates that to give the market what it wants often leads to a lowest-common-denominator approach to cultural production and a bland stifling of the development of new and exciting art forms. Such effects of economic rationalism on cultural policy and therefore upon culture itself reflect Causts discussion of economic concerns and their effects on culture. As Caust states, such market-oriented cultural policy creates a compromising role for artists since serving the state as aneconomic generator is very different from taking risks artistically, or being innovative and creative generally. It could be argued this objective is little different from the expectations of a totalitarian state, in which its artists serve the states political aims. (Caust, 2007, p.54)ManagerialismPrior to the late 1970s and early 1980s, governments had on the whole aimed to effect an arms-length approach in terms of arts management. One of the founding principles of the Arts Council itself was that it should be relatively independent of the government itself, and not directly below government control. Gray (2007) noted the general tendency of governments to adopt relatively indirect forms of involvement (p.11). Gray states that this role can be advantageous for governments, as they are not especially held accountable for the results of such policies implemented at arms-length they can have some effect on the sector by producing general policies but, at the same time, they can avoid being held directly responsible or accountable for the specific policy choices that are then made on their behalf. (Gray, 2007, p.11)However, with the political, ideological, social and economic changes which took place when Thatcher was elected, the governments of the 1980s onwards adopted an increasingly managerialistic approach to the arts and cultural policy. Increasingly, the arts management implemented by ordered administrations over the last three decades has been moved towards a n ew style of management that has been influenced by private sector models (in the form of mission statements and marketing, for example) (Gray, 2000, p. 112). It certainly follows logically that governments which prioritise capitalism and the free market would be attracted to the idea of imposing private-sector management models upon spheres they were hoping would become economically productive. Hence, successive governments have attempted to run the arts and cultural spheres, to some degree, as if they were private commercial enterprises. In many cases, this is a misunderstanding or misrepresentation of the inherent nature of many areas of the arts.Generally, the start of managerialism in UK cultural policy can be seen during the reforms taking place under the label the New Public Management (NPM) (Gray, 2007, p.6). NPM emphasised several centerfield concepts, which were put into action via UK state intervention in the cultural sphere. Under NPM, managers in the arts realm were emp owered to make more decisions relating to their sphere of management results were prioritised, and valued, over processes managerial control was more generally decentralised competition in terms of public service provision was actively encouraged new emphasis was placed upon performance measurement and management appointments now tended to be made through contracts rather than through seniority or hierarchy within the sector (Osborne and McLaughlin, 2002, p. 9 Pollitt, 2003a, pp. 27-8 Gray, 2007, p.6). Following the 1988 Ibbs Report, new managerial bodies were created by the government for example, the Executive Agencies (or, more formally, Non-Departmental Public Bodies) (Gray, 2007, p. 8). This led to a general decentralisation of government arts management, but also to issues regarding accountability, managerial responsibility and the relationship of elected politicians and appointed managers with the prime example being that of the clash between the then planetary house Secre tary Michael Howard and the then head of the Prison Service, Derek Lewis. (Gray, 2007, p. 8)Local Strategic Partnerships and Regional Development Agencies were newly-instigated modes of arts management, which further emphasised both the decentralisation of government cultural policy during this period. Additionally, these agencies show evidence of overall managerialism towards the arts in that they demonstrate a devolution of power to local and regional arts managers. (Gray, 2007, p. 9) In later years, a somewhat different (modernizing) model of public management (Gray, 2007, p.6) was implemented, although the more general emphasis upon the concept of managerialism with delight in to cultural policy did endure. Commodification of CultureIn keeping with governmental emphasis upon the economy and the free market within the last three decades, there has followed an increasing commodification of culture. An obvious example of such commodification is envelop within the phrases cultural industries and creative industries, which were hailed by New Labour in the 1990s and 2000s as a means of economic regeneration in the United Kingdom. Caust (2007) argues that the development of a view of cultural activity and production as an industry grew not only from the government, but also from the cultural producers themselves When it became increasingly baffling in the early eighties to successfully argue the arts to government purely on the basis of the community welfare model, bureaucrats, practitioners and academics began the shift towards using a language that described the arts as an industry and developed the economic/cultural industry model. This led to the use of the terms cultural industries in Australia or in the United Kingdom, creative industries to describe all activities connected with the arts, as well as sectors far removed (Caust, 2007, p. 54)These cultural industries had been growing throughout the latter(prenominal) part of the twentieth century, aided by technological advances and global economic factors. In the northern hemisphere, populations were enjoying increased economic prosperity leisure time was on the increase generally television allowed mass cultural consumption in unprecedented fashion and consumer electronics including audio and video equipment were becoming widely available and low-cost (Hesmondhalgh Pratt, 2005, p. 3). By the early 1980s, the state was increasingly aware of these growing cultural industries both within the UKs own economy, and on a more global level.A path of increasing commodification of public policies was followed since the mid-1970s, with resultant changes in a broad range of cultural spaces. Ideologies prior to this mass commodification of culture had identified society as a whole as the primary intended beneficiary of government cultural policy. Increased commodification led to a shift, as the intended beneficiary of cultural activity and policy was now the individual consumer (Gray, 2007, p.1 4). Whereas cultural policy had previously been judged upon a broad range of criteria including social justice, access, and excellence increasing commodification led to a narrowing of the criteria for judging cultural policy (ibid). Increased emphasis on the market value of cultural products and industries leads to an sound judgement of cultural policy in primarily, if not exclusively, economic terms. Again, this demonstrates a political preoccupation with the outcomes and outputs of cultural policy rather than the processes and inputs related to such policies, and a clear link between managerialism in cultural policy and the concomitant overall commodification of the culture produced under such a system. PerformativityJust as the language and aims of commercial private industry were adopted for the cultural policy sphere via managerialism, economic realism, and the commodification of culture, so too the cultural sphere adopted measures and concerns regarding performance during the last three decades. Again, policies were judged on their results, their output and their products, and the economic success of cultural endeavour. In the realm of education, standardised performance tests have been increasingly introduced into the state schools, with the frequency, scope and range of educational tests increasingly greatly throughout the past thirty years. Likewise, in the sphere of cultural policy, tests of performance have also been increasingly implemented. These include Comprehensive proceeding Assessments, and the Comprehensive Area Assessments replacing them in 2009, Best Value Indicators, Key Lines of Enquiry for Service Inspection, Local Area, Funding and Public Service Agreements, all of which provide explicit criteria against which service provision can be assessed (Gray, 2007, p. 8-9).The driving ideology behind such a raft of new tests to measure cultural and educational performance would appear to be a notion of accountability. The government wants to prove to an often sceptical public that its policies, whether in education or in culture, are working. Decentralisation of managerial power, and increased managerialism in cultural policy, provide a layer of accountability, or at the very least a scapegoat for failed or disappointing policies. Again, this move towards evidence-based policy-making and assessment reflects the belief of successive governments that the models that work for business can be applied to the cultural sphere. It is uncertain whether this is in fact correct.Culture does not function in the same way as manufacturing or other private business enterprises, and the outputs or achievements of the cultural industries and creative industries may be relatively intangible and at last difficult to measure with performance tests. Here, again, the inappropriateness of applying capitalist, market-driven ideals to the sphere of cultural policy is exposed. Also, the possibility is raised that such performativity in the cult ural sphere serves two, largely implicit functions for the government firstly, regular testing encourages increased cultural production, which within the confines of cultural industry could be expected to increase economic production secondly, such emphasis on performance provides a form of justification for government policy in the cultural sphere. There has always been dissent regarding state arts spending in the United Kingdom how much public money is spent, what it is spent on, and what return the British taxpayers can expect on their investment in the arts. Performance tests in the cultural sector allow the state to point to demonstrable success, progress, or productivity in the cultural sector, which can be interpret as proof of successful cultural policy implementation. InstrumentalismInstrumentalism the use of cultural institutions and cultural policy to achieve specific political aims is in many ways as old as cultural policy itself. For as long as there has been state arts patronage in the United Kingdom, the state has attempted to utilise the institutions, activities and sectors it sponsored to make political, social and economic changes to society. In the most recent three decades, the emphasis has been upon the latter, whereas earlier in the twentieth century, more importance was perhaps placed upon concepts of social change and nation-building. The roots of the Arts Council the organisation CEMA which was instituted during the Second World War were in morale-building, increased public access, softening of Britains discriminate divisions, and fostering patriotism and a sense of the unified nation. As such, state intervention in the cultural sphere has more often than not been with at least some intention of using said intervention as a political or other tool.Gray states that the museums sector, in particular, is effectively being used as a tool for the attainment of the policy objectives of actors and concerns that have traditionally been seen to lie outside of the museums sector itself (Gray, 2007, p. 3). Museums are particularly susceptible to political manipulation, as they occupy a unique cultural space in terms of creating a nations sense of history and heritage, and fostering ideas of nationhood and the future of a country. What is include or excluded in a museum, and the manner in which it is displayed and framed, has a huge effect upon its reception and the ideas it can inspire.Vestheim (1994), talking of cultural policy, defines instrumental policy as being to use cultural ventures and cultural investments as a means or instrument to attain remnants in other than cultural areas (p. 65). In broad terms, all cultural policy, and by extension all public policy, can be viewed as instrumental policy. All policy is intended to achieve something (Gray, 2007, p. 205). So, while instrumentalitsm has always been a feature of cultural policy in the United Kingdom, it is in recent decades that it has come to the forefr ont of the cultural discourse. Thatcher, Major and New Labour under Tony Blair and Gordon Brown have all emphasised cultural policy as an instrument of economic regeneration, and achievement within the market. As such, they have acknowledged that their cultural policies are more baldly instrumental in nature than those of preceding administrations which at least paid lip service to ideals of social justice, welfare, and development of the arts for their own sake. Neo-ConservatismAfter the industrial and economic woes of the 1970s in the United Kingdom, the tide was ready to turn to neo-conservatism, and this was a change mirrored in many of the Western societies. Reagan, for example, was president of the United States during the Thatcher regime in the UK, and both pursued Conservative policies within a capitalist framework. In cultural policy and artistic thinking, neo-conservatism was perhaps the ideological opposite to the Romanticism of the preceding century.In the nineteenth cen tury, cultural discourse was dominated by the ideal of the lone, genius artist who would be successful only posthumously (a striking example of this would be many of the great Romantic musical composers). Romantic ideology lauded the isolated artist-genius who was elysian to work purely because of artistic passion, rather than economic concerns. In fact, to be a poor and starving artist conveyed perhaps relatively more artistic credibility. It was believed that the true value of art is transcendent and can be determined by experts, commonly accompanied by the idea that the monetary value of art is false and the market cannot decide (Hesmondhalgh Pratt, 2005, p. 5). Concomitant with this was the Romantic belief that art was for all, and that culture has the power to act as a civilising force upon society as a whole.Neo-conservatism tuned these ideas on their head. The lauded artist of the 1980s through 2000s is economically successful, creating a cultural product or commodity that appeals to, and responds to, the demands of the mass capitalist market. Ideals of the civilising powers of high culture upon society as a whole have been largely abandoned in practical terms, in favour of economic concerns (despite state assertions to the contrary, the prime goal in recent years appears to be financial rather than social).Limited positive effects of neo-conservative cultural policies and ideologies can be appreciated in some spheres. Caust argues that, in a society which is dominated by capitalist values (Caust, 2007, p.54), an economically successful artist will likely receive greater respect for their work, as well as more money. Furthermore, the market-driven, neo-conservative emphasis on the exportability of cultural product can have the positive effects of creating national pride and high spot the value of cultural production to the wider foundation (ibid, p. 54). MonetarismConclusionsIn recent times arts funding agencies have been restructured to reflect a m arket-driven agenda rather than an arts-driven agenda. (Caust, 2003, p. 51)Overall in the last thirty years, cultural policy in the UK has looked increasingly to capitalism, the free-market economy, and the so-called cultural and creative industries in terms of cultural policy direction. Models from the world of business and commerce have been applied over several decades to the cultural sector managerialism instrumentalism monetarism economic realism performativity and the overwhelming commodification of all kinds of culture. In implementing these policies, many of the more socially-just aims of prior generations of cultural policy-makers have been neglected or abandoned. In an era of increasing globalisation, successive UK governments of the past thirty years have pushed for cultural production, economic viability and profitability, and the creation of exportable cultural commodities for mass cultural consumption.Applying such concepts and organisational structures from private in dustry to the cultural sector has its drawbacks. Caust states that, when it comes down to dollars, thearts cannot in any way compete with many other components of the broad cultural industry spectrum such as the communications or IT areas. (Caust, 2007, p.55). Overall, the forces of neo-conservatism have not succeeded in making the UK cultural sector an economically productive and independently viable industry. In attempting to fit the arts and culture into a capitalist mould, UK cultural policy of the past thirty years has failed in many arenas cultural, social, economical, and political.BibliographyACGB, records 1928-1997. http//www.vam.ac.uk/vastatic/wid/ead/acgb/acgbb.html (London Victoria Albert Museum)Alexander and Rueschemeyer, 2005 _________________________________Alexander, David (1978), A Policy for the Arts Just Cut Taxes, (London Selsdon Group, 1978)Amis, Kingsley (1979). An Arts Policy? ( London Centre for Policy Studies, 1979).Barnes, T. (2001) Retheorizing economic geography from the quantitative revolution to the cultural turn. Annals of the Association of American Geographers 91, 546-65.Pusey, Michael (1991). Economic Rationalism in Canberra A Nation make State Changes its Mind. Cambridge University Press. Bennett, O (1995), Cultural Policy in the United Kingdom Collapsing Rationales and the End of a Tradition, European Journal of Cultural Policy, Vol. 1, pp. 199-216Bilton, Chris (____). Cultures of Management Cultural Policy, Cultural Management and Creative Organisations _______Caust, Jo (2003). Putting the Art back into Arts Policy Making How Arts Policy has been Captured by the Economists and the Marketers, The International Journal of Cultural Policy, 2003 Vol. 9 (1), pp. 51-63Cormack, Patrick ed., Right Turn ( London Leo Cooper, 1978)Croft, Andy (1995) Betrayed Spring The Labour Government and British Literary Culture, in Labours Promised Land? Culture and Society in Labour Britain, 1945-51, ed. Jim Fyrth (London Lawrence Wishart, 19 95)Elsom, John (1971), Theatre Outside London ( London Macmillan, 1971)Fisher, Rod (2010) United Kingdom/ 1. Historical perspective cultural policies and instruments, Compendium of Cultural Policies and Trends in Europe, eleventh edition, 2010. Council of Europe/ERICarts. Retrieved from http//www.culturalpolicies.net/web/unitedkingdom.phpFyrth, Jim (1995). Labours Promised Land? Culture and Society in Labour Britain, 1945-51, London Lawrence WishartGray, C. (1995), The Commodification of Cultural Policy in Britain, pp. 307-15 in J. Lovenduski and J. Stanyer (eds), Contemporary policy-making Studies 1995 (Belfast, Political Studies Association)Gray, Clive (2007). Instrumental Cultural Policies Causes, Consequences and Museums, Paper to the Arts and Humanities Research Council Instrumental Museum and Gallery Policy Workshop, University of Glasgow, October 2007Gray, Clive. (2000). The Politics of the Arts in Britain. Palgrave Macmillan, UK.Haines, Joe (2003) Glimmers of Twilight. Lon don, Politicos Publishers.Haney (2010). Britpop, Retrieved March 17, 2010 from http//uweb.cas.usf.edu/dslone/pathfinders/haney.htmHarris, John S. (1969), Decision-Makers in Government Programs of Arts Patronage The Arts Council of Great Britain, The Western Political Quarterly, Vol. 22, No. 2 (Jun., 1969), pp. 253-264. Western Political Science Association, University of Utah Hennessy, P. and Seldon, A. (eds.) (1987) Ruling Performance British Government from Attlee to Thatcher. Oxford Basil Blackwell.Hewison, R. (1998), New Cultural Models for Old, International Journal of Cultural Policy, vol. 5(1), 99-107.Hull, Robin (1958). Subsidised Music 1. Th

Essay --

T. S. Eliot Metaphysical Poetry, Prufrock and vacuous MenIn the essay The Metaphysical Poets, T. S. Eliot explicates and praises the anti-Romantic and intellectual qualities of metaphysical rhyme which Johnson had disapproved. Eliot writes the poet must become more and more comprehensive, more allusive, more indirect in order to force, to dislocate if necessary, language into his meaning. Eliot praised the metaphysical poets ability to find the verbal equivalent for states of mind and feeling while using clear, simple, pure language, and unexpected analogies to makes their com mentator sit up and consider a thought or sense in a completely nuanced way, such language of metaphysical poetry is translucent in Eliots poems, The Love Song of J. Alfred Prufrock, and The Hollow Men.Eliot states that the term metaphysical has been used as a term of abuse or as the denominate of a quaint and pleasant taste. Johnson himself, who employed the term metaphysical poets with the poet Donne c hiefly in mind, remarks, the most heterogeneous ideas are yoked by violence together. Johnson apprehended the metaphysical style where the effects are due to a contrast of ideas, divers(prenominal) in degree, but the same in principle. The force of Johnsons argu ment lies in his belief that the metaphysical poets could only correlate dissimilar ideas with violence, and that they could not compound their analogies into a whole. Eliot remarks that this, however, is not the case and that many of the metaphysical poets have succeeded in compounding heterogeneous ideas. Eliot quotes from Bishop King, Herbert and Cowley and other such poets to support his assertion. Thus, Eliot concludes that the fault Johnson references is not sound and the unity of heterogeneous ideas is com... ... as corrosive and cowardly. In the final lines of the poem, the prickly pear tree rhyme ends in a song about the end of the macrocosm. And this is how the world ends in the realm of the hollow men, not w ith a bang, but with a condemnable and quiet whimper.Eliot creates a desolate and alienated world where the hollow men dream of a kingdom that could release them from the constant state of nothingness. He focuses on the hollow mens inability to transcend although it is their only hope. He uses the imagery of disembodied eyes and fading stars to depict the state of the mens consciousness. Aspects of the form copy the characteristics of the hollow men, as well. The speakers desire to avoid language and his inability to complete full sentences are shown in the final lines of the poem. Eliot deploys, the hollow men represent all humankind, and their tragic existence concerns everyone. Essay -- T. S. Eliot Metaphysical Poetry, Prufrock and Hollow MenIn the essay The Metaphysical Poets, T. S. Eliot explicates and praises the anti-Romantic and intellectual qualities of metaphysical poetry which Johnson had disapproved. Eliot writes the poet must become more and more compre hensive, more allusive, more indirect in order to force, to dislocate if necessary, language into his meaning. Eliot praised the metaphysical poets ability to find the verbal equivalent for states of mind and feeling while using clear, simple, pure language, and unexpected analogies to makes their reader sit up and consider a thought or emotion in a completely nuanced way, such language of metaphysical poetry is evident in Eliots poems, The Love Song of J. Alfred Prufrock, and The Hollow Men.Eliot states that the term metaphysical has been used as a term of abuse or as the label of a quaint and pleasant taste. Johnson himself, who employed the term metaphysical poets with the poet Donne chiefly in mind, remarks, the most heterogeneous ideas are yoked by violence together. Johnson apprehended the metaphysical style where the effects are due to a contrast of ideas, different in degree, but the same in principle. The force of Johnsons argument lies in his belief that the metaphysical p oets could only correlate dissimilar ideas with violence, and that they could not fuse their analogies into a whole. Eliot remarks that this, however, is not the case and that many of the metaphysical poets have succeeded in combining heterogeneous ideas. Eliot quotes from Bishop King, Herbert and Cowley and other such poets to support his assertion. Thus, Eliot concludes that the fault Johnson references is not valid and the unity of heterogeneous ideas is com... ... as corrosive and cowardly. In the final lines of the poem, the prickly pear rhyme ends in a song about the end of the world. And this is how the world ends in the realm of the hollow men, not with a bang, but with a sad and quiet whimper.Eliot creates a desolate and alienated world where the hollow men dream of a kingdom that could release them from the constant state of nothingness. He focuses on the hollow mens inability to transcend although it is their only hope. He uses the imagery of disembodied eyes and fading stars to depict the state of the mens consciousness. Aspects of the form copy the characteristics of the hollow men, as well. The speakers desire to avoid speech and his inability to complete full sentences are shown in the final lines of the poem. Eliot deploys, the hollow men represent all humankind, and their tragic existence concerns everyone.