Strategy for Entering and Developing International Markets Mokate Poland free essay sample

She changed both the company name to MOKATE (from the first letters- MOkrysz KAzimierz, TEresa) and the main activity of her company which from that moment was manufacturing of powder coffee creamers. The mile stone for the company turned out in 1992 when Mokate launched on a market innovative at that time product: Mokate Cappuccino Coffee. Two years later Mokate Cappuccino became a leader on the market of cappuccino instant coffees and nowadays has 80% market share on this market in Poland. 1. Mokate Cappuccino Source: http://rynekfmcg. om. pl/nowa-linia-mokate-cappuccino/ In 1994 Mokate begun exporting of its products to neighbor countries. The growing demand on local and foreign markets forced company to build new headquarter with bigger plant, more warehouses and offices. After opening new manufacture the production increased twice and in Mokate product portfolio there were already more than 10 items. In the course of time there appeared again a need to extend product line. We will write a custom essay sample on Strategy for Entering and Developing International Markets Mokate Poland or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page New one, more modern and technical advanced manufacture enabled Mokate to produce more and faster. Mokate product range had 200 items which were selling in 30 countries. The next very important moment for Mokate was in 2000 when it decided to build a 12-floor â€Å"tower† to product powdered cream by oneself. MOKATE didn’t have to buy imported whiteners and frothers anymore. What’s more Mokate begun to be supplier of these products both in Poland and abroad. The company was still fast-growing and gaining more market share. In 2002 Mokate acquired one of the biggest tee producers in Poland: Consumer. After this transaction Mokate was controlling 18% of the polish tee market. The total sales increased to 80 Million Euro and the number of employees to more than 1000. In 2005 Mokate made another one acquisition. This time it bought Czech well-known producer of tee DUKATA from Zilin which was also the owner of very strong brand Dukata. Later in 2006 Mokate took over TIMEX, the leader on Czech instant products market what consequently gave Mokate a position of a leader in Czech Republic as well. In 2009 Mokate became the owner of one additional Czech company: MERILLA- producer of ground coffee, beans coffee and sweets. In 2007 export has reached a 40% of total sales which was 100 Million Euros in the end of a year. Mokate was selling its whiteners and frothers in 60 countries all over the world, and the amount of employees raised to 1200 people. Nowadays Mokate Group is created by 9 companies within 6 are located abroad. Mokate is still a leader on an instant cappuccino market in Poland and the second player on the tee domestic market. 7% of total sales comes from export and the turnover of the group has crossed half one billion zlotys. In 9 out of 10 shops in Poland there is sold at least one product of Mokate. Since 2011 Mokate is also exclusive distributor of Lavazza coffee on domestic market. 2. Mokate Group structure [pic] Product portfolio Mokate has a wide product range. Within we can find: †¢ coffees †¢ tees †¢ creamers †¢ cocoa †¢ drinking c hocolate †¢ intermediates (for B2B clients) 3. Mokate coffees | | |Mokate cappuccino |Coffee mixes | | | | |[pic] |[pic] | | | | |Natural coffees |Instant coffee | | | | |[pic] |[pic] | | | | |Chicory coffee | | | | | |[pic] | | 4. Mokate tees | | | |Minutka |Loyd Tea | | | |[pic] |[pic] | | | | |Grandma Jagoda |Loyd Tea Mulled | |[pic] | | | |[pic] | | | | |Dieta Fit |Other | |[pic] |[pic] | 5. Mokate creamers | | |Carmen Classic |Carmen Fit with Fibre | |[pic] |[pic] | | | | |Carmen Light | | |[pic] | | 6. Mokate cocoa | | | |Dutch cocoa |Tigo cocoa | |[pic] |[pic] | 7. Mokate drinking chocolate | | |Mokate Delicious Dark |Mokate Delicious Milk | | | | |[pic] |[pic] | Most of the products is sold below manufacturer’s Brand (e. g. Mokate, Tigo, Minutka) but the company sells also its product using private branding (e. g. Herbal Time for Biedronka markets in Poland). 8. Herbal Time as an example of Mokate private branding [pic] In the company responsibility for export has Mokate Export Department and Food Ingriedients Business Unit is in charge of exporting rough products. All products are manufactured using new technologies and saving high standards. Because of this fact Mokate received following certificates: †¢ HACCP- Hazard analysis and critical control points †¢ IQNet Certificate †¢ Quality Certificate ISO 9001 †¢ Products safety Certificate ISO 22000 3 Internationalization of internal value chain Activities of Mokate Company on a domestic and foreign markets: †¢ Acquiring of raw materials †¢ Product design †¢ Manufacturing †¢ B2B sales (raw materials) Marketing activities aimed at corporate clients (trade fairs, product catalogues, promotion on website) †¢ Marketing activities aimed to consumers (advertisement in mass media, direct marketing) †¢ Transportation †¢ Storing †¢ Marketing research †¢ After sale service Activities which Mokate outsources on a domestic and foreign markets: †¢ Design and production of packages (only on domestic market) †¢ Acquiring of raw materials †¢ Sales to end users †¢ Transport and storing †¢ Advertising campaigns 4 Internationalization According Mokate Company there were a number of favorable factors of internationalization. Internal factors: †¢ Growth and profit goals †¢ Economies of scale †¢ Willingness to use experience of managers gained on foreign markets External factors: Limited possibility of development on a domestic market †¢ Access to resources which are unavailable on a domestic market In Mokate the internationalization occurred in 1994 when the company started to export its products first to neighbor countries (Czech Republic, Slovakia) and later to another 10 countries. In 1998 Mokate products were available in more than 30 foreign markets and from 2001 the producer was exporting its items to all continents all over the world . The next step in the Mokate internationalization process has started in 2001 with opening sales subsidiaries Mokate International in Czech Republic, Slovakia and Hungary. In 2006 Mokate decided to make brownfield acquisition of Timex company located in Czech Republic and after 3 years bought another one Czech company- Merilla which is sole production subsidiary cooperating abroad. There are also two subsidiaries cooperating in Ukraine and in Hungary. Meanwhile Mokate sold the license to manufacture its products to the company Alba from Zagreb in Croatia. Thanks this business agreement Mokate products became available on Balkan market and also in Arabic countries. Currently Mokate is selling its products in 55 countries i. e. in Germany, Russia, Sweden, Great Britain, Italy, China and countries of the Near East. Mokate is also a big importer of raw materials especially because of the fact that has extended its products lines. Now Mokate imports tea (from Ceylon, Kenya, Argentina), beans coffee (purchased on commodity exchange), coconut oil and glucose syrup (selection of distributors depends on actual prices). Imported products are 80% of total purchases of Mokate which means that the company buys only 20% on domestic market. 9. Forms of internationalization in Mokate [pic] 10. Structure of sales of Mokate products (in value) [pic] 5 Ataptation Mokate adopts its products and marketing activities to local markets, needs and tastes of consumer. These are the most important factors influencing adaptation decisions. Others are local regulations and different requirements regarding use of language and obligatory information which have to be written on package. Mokate adopt all marketing mix activities to particular markets: †¢ Product features e. g. Czech consumer prefer more sweet coffee taste so Mokate changed the recipe of coffee mixes †¢ Assortment e. g. In Czech Republic there are more varies of fruit tees. In Poland consumer drink mostly black tee †¢ Distribution system e. g. In Czech Republic Mokate uses more modern and advanced canals of distribution then in Poland, Slovakia and Hungary †¢ Package †¢ Price diversification †¢ Advertisement campaigns 11. Product adaptation in Poland and Czech Republic |COUNTRY |PRODUCT |PRICE | |POLAND |Babcia Jagoda | | | | |2,9 PLN | | | |(0,7 â‚ ¬) | |CZECH |Babicka Ruzenka | | |REPUBLIC | |10 Kc | | | |(0,4 â‚ ¬) | 6 Summary Mokate is an example of a company which successfully entered foreign markets and consistently realizes its strategy of development and building strong market position. Mokate begun from simple forms of internationalization (import, export) and in the course of time, gaining more experience and needed resources was utilizing more advanced forms of expansion. Adam Mokrysz, the member of executive board says that the company is still focused on international cooperation. Currently Mokate ries to gain new distributors and partners on African and Asian markets because in general countries in these regions grow very fast (as well as demand) and create big opportunities to export and reach high profits. Also the situation on a domestic market is very prospective. According Exp ort Credit Insurance Corporation Joint Stock Company the value of polish export in 2011 generated 137,8 billiard Euro and was 10,2% higher than last year. An average polish consumer buys approximately 3 kilos of coffee per year and this number is still growing (in 1996 average Pole drunk 280 cups per year. In 2006 drunk 580). Every year people in Poland consume also more fruit, green and herbal tee what creates additional possibility of development for Mokate in this sector. Sources: Marzanna Witek-Hajduk, Strategie internacjonalizacji polskich przedsiebiorstw w warunkach akcesji polski do Unii Europejskiej, SGH, Warszawa 2010 †¢ Jan Rymarczyk, Internacjonalizacja i globalizacja przedsiebiorstwa, PWE, Warszawa 2004 †¢ Nelly Daszkiewicz, Internacjonalizacja malych i srednich przedsiebiorstw we wspolczesnej gospodarce, Scientific Publishing Group, Gdansk 2004 †¢ www. mokate. com. pl †¢ http://www. egospodarka. pl/40931,Rosnie-rynek-kawy-w-Polsce,1,39,1. html †¢ http://www. fcmarket. pl/sezam/172021. pdf †¢ http://przegladhandlowy. pl/933/mokate-wiceliderem-w-kategorii-miksy-kawowe/ MOKATE GROUP POLAND FOREIGN MARKETS Mokate Sp. z. o. o. in Zory Mokate S. A. in Ustron [pic]DHSUcdvâ‚ ¬? †°S ®? eOA ¬e ¤Ã¢â‚¬ ? ncXcMgt;/h[5=h

Joy Luck Club2 essays

Joy Luck Club2 essays The Joy Luck Club, Amy Tan, 1989, Chinese A. Jing-Mei (June) Woo. June is rebellious in nature, always swimming against her mothers dreams for her, not because they were harmful dreams but because she felt she could never live up to them, and she didnt because she thought she couldnt. Her mothers death has brought her face to face with questions about herself, her mother, and both their identities. B. Suyuan Woo. Like any mother Suyuan wanted her daughter to be the best she could be. She pushed her, to make her proud of herself, to give that one child what the two that were swallowed by her past could not. A. An-Mei Hsu. She is a strong woman, whose strength came form her mothers sacrifice. She wishes her daughter to be strong as well, to break with the Chinese role of swallowing ones own tears, and sorrows. B. Rose Hsu Jordan. A character drowned in vacillation, Rose has given her life to a dominating husband, until that husband leaves her. This is when after all the confusion in her heart clears and she finds the strength, the voice her mother intended her to have. C. Lindo Jong. Lindo is a brave cunning woman who found a way to change her fate, tied to an undesired husband. As a mother she is controlling if not somewhat possessive, she only wishes the best of both worlds for her daughter, American and Chinese. D. Waverly Place Jong. Waverlys character is intelligent, calculating yet fragile. She could outsmart any chess opponent and stubbornly believed it was all her merit yet the instant her mother no longer demonstrated how proud she made her, she became weak. Independence from her mothers feelings and actions seems to be her largest desire but she cant, and maybe she shouldnt fight so hard and realize her mother is not her opponent. E. Ying-Yin St. Clair. Ying-Yin is a dismal character. Scared from her first marriage, empty because her spirit, her joy has fled her b...

A comparison between Jean Rhys and Una Marson Essay Example for Free

A comparison between Jean Rhys and Una Marson Essay Poetry (1289) , The Tempest (71) , Prospero (66) , Caliban (36) , Jean Rhys (6) ? Exile in the Works of Jean Rhys and Una Marson. In Jonathan Miller’s 1970 production of Shakespeare’s â€Å"The Tempest† the character of Caliban was cast as black, therefore reigniting the link between the Prospero/Caliban paradigm as the colonizer/colonized. It was not a new idea, indeed Shakespeare himself envisaged the play set on an island in the Antilles and the play would have had great appeal at the time when new territories were being discovered, conquered, plundered and providing seemingly inexhaustible revenue for the colonisers. What is particularly interesting, however, is how powerful the play later becomes for discourse on colonialism. This trope of Caliban is used by George Lamming in â€Å"The Pleasures of Exile† where he likens Prospero in his relationship with Caliban, to the first slave-traders who used physical force and then their culture to subjugate the African and the Carib, overcoming any rebellion with a self righteous determinism. In â€Å"The Pleasures of Exile† Lamming sees Caliban as: â€Å"Man and other than man. Caliban is his convert, colonized by language, and excluded by language. It is precisely this gift of language, this attempt at transformation which has brought about the pleasure and the paradox of Caliban’s exile. Exiled from his gods, exiled from his nature, exiled from his own name! Yet Prospero is afraid of Caliban. He is afraid because he knows that his encounter with Caliban is, largely, his encounter with himself.† 1 The Prospero/Caliban paradigm is a very relevant symbol for the colonizer/colonized situation of the West Indies but it nevertheless remains a paternalistic position. Where does that leave women of the Caribbean? It could be argued that the Caribbean woman has been even further marginalized. That in making Caliban the model of the Caribbean man it is therefore providing him with a voice. Yet nowhere in the Tempest is there a female counterpart, rendering the Caribbean woman invisible as well as silent and ignoring an essential part of their historical culture. Another issue raised here, is that Caribbean literature has for many years been male dominated. Just as the colonizer sought to ignore and marginalize their savage ‘Other’ so the Caribbean male has ignored their female counterpart. Opal Palmer Adisa, in exploring this issue, believes that it is â€Å"out of this patriarchal structure, designed to make her an object, part of the landscape to be used and discarded as seen fit by the colonizer, that the Caribbean woman has emerged.†2 It was out of such a ‘patriarchal structure’ that Jean Rhys and Una Marson emerged. The writing of both women revise and expand theme and personae, subverting a colonial and patriarchal culture. Both women â€Å"may exist in different ethnological and ontological realms but they both exist in worlds which have, at one time or another, attempted to censure, silence or ignore the ideals and interests of women†3 Like many of their male Caribbean counterparts to succeed them, their writing was greatly influenced by voyaging into the colonial metropolis and living in exile. In this essay I will discuss the importance of that journey in seeking to find a voice, an identity, and even a language to challenge established notions of Self, gender and race within the colonial structure. But essential to their experience is their struggle. Naipaul recognised, in Rhys, the themes of â€Å"isolation, an absence of society or community, the sense of things falling apart, depende nce, loss†.4 This could also be said of Marson. Jean Rhys was born Ella Gwendoline Rees Williams on 24th August 1890, in Roseau, Dominica to a Creole mother of Scottish descent and a Welsh father who was a doctor. Rhys left Dominica in 1907, aged sixteen and continued her education in a Cambridge girls’ school and then at the Academy of Dramatic Art which she left after two terms. Rhys experienced feelings of alienation and isolation at both these institutions and these feelings were to stay with her for much of her life. Upon pursuing a career as a chorus girl under a variety of names Rhys embarked on an affair with a man twenty years older than herself and which lasted two years. It is broadly accepted that this early period of her London life formed the structure for Voyage In The Dark, and like all of Rhys’s novels, explores homelessness, dislocation, the marginal and the migrant. The character of Anna, like most of her female protagonists exists in the demimonde of city life, living on the wrong side of respecta bility. What Rhys does effectively in this novel is to centralize the marginalized, those subjects â€Å"who belong nowhere, between cultures, between histories.†5 Una Marson was born in rural Jamaica in 1905. Her father was a well respected Baptist minister and as a result of his standing within the community Marson had the opportunity to be educated on a scholarship at Hampton High School, a boarding school for mainly white, middle class girls. After finding employment as a stenographer, Marson went on to edit the ‘Jamaican Critic’, an established literary publication, and from 1928-1921, her own magazine ‘The Cosmopolitan’. Having established herself as a poet, playwright and women’s activist Marson made the decision to travel to Britain. Her achievements in London were impressive; a social activist within the League of Coloured Peoples which led to her taking a post as secretary to the deposed Emperor Haile Selassie and later she was appointed as a BBC commentator. In reality, however, Marson, like Rhys found the voyage into the Metropolis very difficult. Facing blatant racial discrimination like ‘so many West Indian women migrants of the 1950s, Una found herself blocked at every turn. She complained and cried; she felt lonely and humiliated,’. 6 In spite of many literary and social connections she remained an isolated and marginal figure. Her poetry displays the uncertainty of cultural belonging where her language ties her to colonialism yet also provides her with a powerful tool with which to challenge it. In placing Rhys alongside Marson as pioneering female writers, it is important to explore the notion of nationality, of being Caribbean and to question the grounds upon which such ideas are constructed. Both women were writing at the same time, having been born and educated in the British colonies. Both these writers, whose lives span the twentieth century, are situated at the crossroads of the colonial and post-colonial, the modern and post modern, where the threat of fascism and war result in anti colonial struggles and eventual decolonisation across the world. Their voyages from the colonies into the metropolitan centre generate similar experiences. What is clear with both is that by journeying into the metropolis, as women, they occupy a double marginal position within an already marginalized community. Their journey can be seen as an exploration of displacement where, according to Edward W. Said, the intellectual exile exists ‘in a median state, neither completely at one with the new setting nor fully disencumbered of the old, beset with half involvements and half attachments, nostalgic and sentimental at one level, an adept mimic or a secret outcast on the other.’7 Rhys and Marson, having left the Caribbean are asking us to consider what it means to write from the margins. Within their work, both women challenge notions of women’s place within society and women’s place as a colonized subject in the metropolitan centre. The protagonist, Anna Morgan, in Voyage in the Dark, reflects Rhys’s own multi indeterminate, multi conflicted identity. Anna, like Rhys is a white descendent of British colonists and slave traders who occupy a precarious position of being â€Å"inbetween†. Hated by the Blacks for their part in oppressing the slaves and continuing to cling on to that superior social position, they are also regarded by the ‘mother country’ as the last vestiges of a degenerate part of their own history best forgotten. Moreover, 1930s England, still under the shadow of Victorian moral dicta, continued to judge harshly a young woman without wealth, family, social position and with an odd accent. Throughout the novel Anna is identified with characters who are â€Å"usually objectified and silenced in canonical works: the chorus girl, the mannequin, the demimondaine.†8 Much has been made of her reading of Zola’s Nana and indeed there are many parallels between the two characters. Anna, like Nana becomes a prostitute and in the first version of Voyage in the Dark Anna like Nana dies very young. There is of course the obvious anagram of her name but, as Elaine Savory highlights, some interesting revisions by Rhys. Whereas Zola, in Nana, creates a character who brings about the downfall of upper class men not through power but â€Å"with only the unsophisticated currency of youth and raw female sexuality†9 Rhys, in Anna, creates a character who is herself destroyed by men. â€Å"In Rhys’s version the men who use her youth and beauty are for the most part evidently cowardly or downright disreputable: Anna herself begins as naively trusting, passes through a stage of self destructive hopelessness and passivity and ends, in Rhys’s preferred, unpublished version, by dying from a botched abortion.†10 If we are to see Walter Jeffries as the original European, existing in a world viewed certainly by himself as principally ordered and reasonable then Rhys is, through this character, highlighting the degenerate aspect of using power to commodify and even destroy, thereby subverting the colonizer’s position in relation to the colonized. Through the character of Anna, Rhys explores those oppositions of â€Å"Self† and â€Å"Other†, male and female, black and white. Even though she outwardly resembles the white European, enabling her, unlike Marson, to blend visually within London, her association with the Caribbean sets her apart as between black and white cultures and as an exotic â€Å"Other†. This ambiguity of Anna’s position results in â€Å"slippage†. Anna and her family would have been regarded in the West Indies as the white colonizers. In England and in her relationship with Jeffries she becomes the colonized â€Å"Other†. In being read as the colonized subject Anna is continually having to adapt her world view and sense of identity to the perspective being imposed on her. A good example of this is the chorus girls’s renaming her as the â€Å"Hottentot† aligning her more with the black African and demonstrating the homogenizing of the colonized peoples b y the colonizers. This is similar to Spivak’s belief that ‘so intimate a thing as personal and human identity might be determined by the politics of imperialism.’11 Interestingly, â€Å"Hottentot† is the former name for the Nama, a nomadic tribe of Southern Africa. A somewhat apt comparison which reflects Anna’s own nomadic existence as she moves from town to town as a chorus girl and from one bed sit to another. The term â€Å"Hottentot† developed into a derogatory term during the Victorian era and became synonymous firstly with wide hipped, big bottomed African women with oversized genitals and then with the sexuality of a prostitute. Jeffries is fully aware of the implications of the name â€Å"Hottentot†. In response to hearing Anna’s renaming he says, â€Å"I hope you call them something worse back.†12 Elaine Savory makes a strong connection between Anna’s renaming and her relationship with Jeffries, her eventual seducer. Whilst â€Å"not looking at Anna’s body in an obvious way, eventually the transaction between them is understood fully on his side to be a promise of sexual excitement from a white woman whom he perceives as having an extra thrill presumably from association with racist constructions of black females in his culture.†13 Franz Fanon, in his book Black Skin, White Masks perceives these complex colonial relations as being in a state of flux rather than fixed or static. In his introduction to Fanon’s text, Homi Bhabha highlights this point, stating that the ‘familiar alignment of colonial subjects†¦Black/White, Self/Other†¦is disturbed†¦and the traditional grounds of racial identity are dispersed.’14 So it is in the relationship between Jeffries and Anna. In transposing the colonizer’s stereotypical images of a black woman onto Anna he is disrupting and dispersing those ‘traditional grounds of racial identity’. Moreover, Anna is subconsciously enacting a mediated performance, aware of her impact upon him and the implications of her actions, in an attempt to adhere to his preconceptions of her. The relationship cannot be sustained on these fundamentally unstable preconceptions. Anna, both as a female and racial â€Å"Other† is penetrated by Jeffries and with the exchange of money is commodified. Without independent means Anna becomes that purchasable girl who is at the mercy of and eventually becomes dependent upon the upper middle class Jeffries. The relationship between these two characters reflects Rhys’s own location in the world where the West Indies was at the time still a commodity of the British Empire. In another analysis of the colonial stereotype, Homi Bhabha challenges the ‘limiting and traditional reliance of the stereotype as offering, at any one time, a secure point of identification on the part of the individual,’15 in this case Jeffries and Hester. Bhabha does not argue that the colonizer’s stereotyping of the colonized ‘Other’ is as a result of his security in his own identity or conception of himself but more to do with the colonizer’s own identity and authority which is in fact destabilized by contradictory responses to the Other. In order to maintain a powerful position it is important, according to Bhabha, for the colonizer to identify the colonized with the image he has already fixed in his mind. This image can be ambiguous as the colonized subject can be simultaneously familiar under the penetrable gaze of the all seeing, all powerful colonial gaze and be incomprehensible like the ‘inscrutable Oriental’. The coloni zed can be â€Å"both savage†¦and yet the most obedient and dignified of servants†¦; he is the embodiment of rampant sexuality and yet innocent as a child; he is mystical, primitive, simpleminded and yet the most worldly and accomplished liar , and the manipulator of social forces.†16 In short, for Bhabha, the relationship between the colonizer and the colonized is riddled with contradictions and inconsistencies which, when imposed upon the colonized ‘Other’, cause a crisis of identity. So it is with Anna. Jeffries upon first meeting with the very young Anna can see that she is as ‘innocent as a child’ and is ‘most obedient’ sexually, but by her association with the Caribbean and the Hottentot as I have previously explored, she is subsequently attributed with being ‘the embodiment of rampant sexuality’ resulting in his taking of her virginity, abandoning her to prostitution but also leading to as Veronica Clegg observes ‘a loss of temporal referents’17 Anna’s stepmother, Hester, also attempts to impose an identity upon Anna which not only conflicts with Anna’s own sense of identity but is also based around stereotypical perceptions. . Hester, whose ‘voice represents a repressive English colonial law’18 believes that Anna’s father’s troubles resulted from his having lost ‘touch with everybody in England’19 and that these severing of ties with the Imperial motherland is a signal to her that ‘he was failing’,20 losing his identity, reduced to the level of the black inhabitants of the island. This idea of contamination and racial reduction is explored by Paul B. Rich who explains that there was a belief in the early twentieth century that white people in the tropics risked ‘in the absence of continual cultural contacts with their temperate northern culture, being reduced to the level of those black races with whom they had made their â€Å"unnatural home†Ã¢ €˜.21 In Hester’s eyes this apparent loss of identity is also experienced by Anna. She continually criticizes her speech, her relationship with Francine the black servant, and also insinuates degenerative behaviour on the part of her family, particularly Uncle Bo. Hester’s views reflect the growing disapproval in England at that time, of relationships between white people and the black population in the West Indies. Inter-racial relationships were discouraged for fear of contamination of the white ‘Self’. In voicing her disapproval of Anna’s friendship with Francine along with her continual use of the racist and derogatory term â€Å"nigger†, Hester is alluding to the fact that, in her opinion, Anna, especially through her speech, has indeed been contaminated and reduced racially and that Anna’s association with Francine thwarts her attempts to reconnect her with the colonizer’s ‘cultural contacts’. Hester rails that she finds it ‘impossible to get you [Anna] away from the servants. That awful sing-song voice you had! Exactly like a nigger you talked†¦and still do. Exactly like that dreadful girl Francine. When you were jabbering away together in the pantry I never could tell which of you was speaking.’22 Hester’s constant criticism only serves to undermine Anna’s real identity and dislocate her further from the Caribbean world she once inhabited and the alienating London world she is now experiencing. Her accent sets her apart, drifting between two worlds. Anna’s difficulties in negotiating these two worlds is a result of the ‘return of the diasporic’ to the metropolitan centre where ‘the perplexity of the living is most acutely experienced.’23 This can certainly be seen in her response to the weather which, according to Bhabha, invokes ‘the most changeable and imminent signs of national difference’24 The novel opens with; â€Å"It was as if a curtain had fallen, hiding everything I had ever known. It was almost like being born again. The colours were different, the smells different, the feeling things gave you right down inside yourself was different. Not just the difference between heat and cold; light, darkness; purple, grey. But a difference in the way I was frightened and the way I was happy. I didn’t like London at first. I couldn’t get used to the cold.†25 And later upon arriving in England with Hester she describes it as being ‘divided into squares like pocket-handkerchiefs; a small tidy look it had, everywhere fenced off from everywhere else’ 26and then in London where the ‘dark houses all alike frowning down one after another’27 Throughout the novel Anna continually experiences feelings of being enclosed. Many of the bedsits are restricting and box-like. On one occasion she remarks that ‘this damned room’s getting smaller and smaller†¦And about the rows of houses outside gimcrack, rotten-looking and all exactly alike’.28 The many small rooms between which Anna moves emphasize her disempowerment through enclosed spaces. These spaces, in turn, serve as metaphors for the consequences in voyaging into the metropolitan centre. She is at once shut inside these small monotonous rooms and shut out from that world which has sought to colonize her. It is perhaps ironic that the further she mo ves into the centre of the city, ending up as she does on Bird Street, just off Oxford Street , the more she is shut out and marginalized by that imperialist society. Her memories of the West Indies are in sharp contrast to her impressions of England. The images of home are always warm, vivid and exotic, ‘Thinking of the walls of the Old Estate House, still standing, with moss on them. That was the garden. One ruined room for roses, one for orchids, one for ferns. And the honeysuckle all along the steep flight of steps’.29 When comparing the two worlds she remarks to herself that ‘the colours are red, purple, blue , gold, all shades of green. The colours here are black, grey, dim-green, pale blue, the white of people’s faces – like woodlice’. 30 Her memory of home is experienced sensuously as she recalls the sights and smells: â€Å"Market Street smelt of the wind but the narrow street smelt of niggers and wood smoke and salt fishcakes fried in lard’ and the sound of the black women as they call out, â€Å"salt fishcakes, all sweet an’ charmin’, all sweet an’ charmin’.'†31 Anna attempts to convey this richness to Jeffries. His failure to appreciate the beauty she describes merely underlines the differences between the two. He expresses a preference for cold places remarking that ‘The tropics would be altogether too lush’.32 Jeffries’s reaction to the West Indies in fact reflects the colonizer’s view that the ‘ruined room for roses’ and ‘orchids’ portray a disorder, a garden of Eden complete with its implications of moral decay and as Bhabha states, a ‘tropical chaos that was deemed despotic and ungovernable and therefore worthy of the civilizing mission.’33 Anna’s association with this world sets her up, in Walter’s eyes, as a figure representing a secret depravity promising forbidden desires. Anna, like the West Indies is something to be overpowered, enslaved and colonized, where the colonizer seeks to strip their identity and impose their own beliefs and desires. It is significant, therefore, that following this scene Anna loses her virginity to Jeffries and recalls the memory of the mulatto slave girl, Maillotte Boyd, aged 18, whose record Anna once found on ‘an old slave list at Constance’.34 Like Maillotte Boyd, Anna is now merely a commodity and Jeffries has no intention of ever seeing her as an equal. Her purity, in his eyes isn’t worth preserving as he already considers her the contaminated ‘Other’. By his actions he succeeds in maintaining that patriarchal imperialism which relies on institutional forms of racial and national separateness. Anna, as a twentieth century white Creole, is no freer than the nineteenth century mulatto slave. Just as Maillotte Boyd is, as racially mixed, suspended between two races, so Anna as a white Creole is suspended between two cultures, leaving her dislocated. Anna’s voyage into the imperialist metropolis leads to boundaries and codes of behaviour, language and dress being constantly imposed upon her. She is aware for example of the importance of clothes as a means of controlling her social standing and also her standing as a woman. Through her dress Anna almost becomes that elegant white lady, mimicking London’s female high society. For Jeffries, Anna represents the ‘menace of mimicry’, which , according to Bhabha is ‘a difference which is almost nothing but not quite’ and which turns ‘to menace- a difference that is total but not quite.’35 This mimicry serves to empower Anna as it ultimately destabilises the essentialism of colonialist ideology, resulting in Jeffries imposing upon Anna the identity of the West Indian ‘Other’ This in turn leads to feelings of loss, alienation and dislocation, a rejection of being white and a desire to be black. ‘I always wanted to be black. I was happy because Francine was there†¦.Being black is warm and gay, being white is cold and sad.’36 Anna’s association with Hester meant that she ‘hated being white. Being white and getting like Hester, †¦old and sad and everything.’37 Yet the warmth she expresses in her memories of Francine are always tempered by her realisation that Francine disliked her ‘because I [Anna] was white.’38 Her feelings of being between cultures and feeling dislocated are never fully resolved. Anna’s voyage in the dark, reflects Rhys’s own sense of exile and marginality as a white West Indian woman. Teresa O’Connor remarks that ‘Rhys, herself caught between places, cultures, classes and races, never able to identify clearly with one or the other, gives the same marginality to her heroines, so that they reflect the unique experience of dislocation of the white Creole woman.’39 The language used to express feelings of exile and loneliness, destitution and dislocation is both sparse and economic. It is neither decorative nor contrived, devoid of sentiment or without seeking sympathy. In commenting upon an essay written by Rhys discussing gender politics, Gregg writes that ‘It is important to note her [Rhys’s] belief that writing has a subversive potential. Resistance†¦can be carried out through writing that exposes and opposes the political and social arrangements.’40 Helen Carr, in her exploration of Rhys’s language believes that: â€Å"Rhys in her fictions unpicks and mocks the language by which the powerful keep control, while at the same time shifting, bending, re-inventing ways of using language to open up fresh possibilities of being.†41 Una Marson, another Caribbean to voyage into the metropolis, also experienced loneliness, isolation and a struggle with the complexity of identity. Like Rhys, Marson fought with these feelings throughout her life, resulting in long periods of depression. Her belief in women’s need for pride in their cultural heritage established Marson as ‘the earliest female poet of significance to emerge in West Indian literature’.42 She not only ‘challenged received notions of women’s place in society’ but also raised questions about ‘the relationship of the colonized subject to â€Å"the mother country†Ã¢â‚¬â„¢43 There was a considerable amount of poetry emerging out of the West Indies around this time but most of it was dismissed as being ‘not truly West Indian’,44 the reason for this being partly because many of the writers were English but also because many of the styles used by these writers mimicked colonial forms. Many of Marson’s early poetry reflects this mimicry showing a reliance upon the Romantics of the English poetic tradition, particularly Shelley, Wordsworth and Byron. The poem Spring in England reveals this indebtedness to the Romantics, including as it does a stanza where, having observed the arrival of Spring in London, the poet asks: Daffodils that Wordsworth praised?’ Wait for the Spring,’ the birds replied. I waited for Spring, and lo they came, Clearly there are echoes of Wordsworth’s Daffodils throughout the stanza, reflecting the drive by colonialism through education to eradicate the West Indian selfhood. Yet for Marson this harnessing of English culture not only posed few problems but indeed was, I would argue, a necessary step in her voyage of self discovery. As seen with Rhys, mimicry was a subversive threat to colonial ideology, especially through language. Homi Bhabha’s notion of mimicry seeks to explore those ambivalences of such destabilizing colonial and post-colonial exchanges. â€Å"The menace of mimicry is its double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority. †¦The ambivalence of colonial authority repeatedly turns from mimicry – a difference which is almost nothing but not quite – to menace – a difference that is almost total but not quite. And in that other scene of colonial power, where history turns to farce and presence to a ‘part’ can be seen the twin figures of narcissism and paranoia that repeat furiously, uncontrollably.†46 Bhabha’s essay in recognising the power, the play and the dynamics between the colonizer and the colonized offers an alternative to the pessimistic view held by V.S. Naipaul who believed that West Indian culture was doomed to mimicry, unable to create anything ‘original’. Marson’s mimicry of the Romantics could be seen as a preparation to enter the colonizer’s metropolis, and to attempt to assimilate into the colonizer’s world. In making that voyage to the metropolis, Una Marson succeeds in taking that step from ‘the copy’ to the ‘original’. By remaining in Jamaica Marson risked remaining in an environment too rigidly ingrained by colonial prescriptions. Una Marson’s voyage into ‘the heart of the Empire’, however, resulted in intense disappointment. For the first time, Marson experienced open racism and according to Jarrett-McCauley ‘The truth was that Una dreaded going out because people stared at her, men were curious but their gaze insulted her, even small children with short dimpled legs called her â€Å"Nigger†Ã¢â‚¬ ¦She was a black foreigner seen only as strange and unwanted. This was the ‘Fact of Blackness’ which Fanon was to analyse in Black Skins, White Masks(1952), that inescapable, heightening level of consciousness which comes from â€Å"being dissected by white eyes†.’ 47 Unlike Rhys, Marson was finding it impossible to blend visually within London. Consciousness of her colour made Marson conscious of her marginality. This consciousness led her seriously to question the values of the ‘mother country’. Marson’s work moved from mimicry to anti-patriarchal discourse, seen in her poem Politeness where she responds to the William Blake poem Little Black Boy with: The poem demonstrates Marson’s growing resentment at being alienated by the colonial power. There is an uncertainty in her desire to both belong and to challenge, echoing Rhys in her sense of cultural unbelonging. Those anti-patriarchal feelings are present once more in her poem Nigger where she communicates the anger she feels at being abused and marginalized as the racial ‘Other’. She retorts to this abuse furiously with: My people’s flesh and now you still Add fierce insult to vilest injury.48 In its repetition of the shocking term ‘Nigger’, Marson is confronting the white colonialist’s use of the word to exert power over and oppress the colonized. The violence of its use reflects the violence of their shared history where ‘Of those who drove the Negroes / To their death in days of slavery,’ regard ‘Coloured folk as†¦low and base.’49 In highlighting this history of violence, oppression and slavery, Marson is attempting to invert this oppression and dislodge the notion of white supremacy, whilst attempting to negotiate a position from West Indian to African and in doing so, fashion an identity. By writing the poem in the first person singular and moving from ‘They’ to ‘You’ when addressing the white colonizers, Marson succeeds in centralizing herself and reversing the binary system of ‘Self’ and ‘Other’. Nigger marks Marson’s sharpened perspective on issues such as racism and identity. Her voyage into the metropolitan centre triggers those ’emergent identifications and new social movements†¦[being]†¦played out’.50 It was a time in Marson’s life where she was made to feel inadequate, lonely and humiliated but it also roused her to ‘resist the corrosive force of her oppressive world.’51 Nigger reveals this sense of belonging and not belonging felt by Marson, of being part of the empire but never part of the Motherland, yet it simultaneously challenges the very essentialism in which the colonial Self is rooted. Moreover, the hostility she experiences in many ways acknowledges the success of Marson’s performance as a hybrid. Marson’s frustration and anger was compounded by the fact that in being middle class and educated she possibly saw herself as ‘a notch above the poor, black working class women from the old communities in Cardiff, Liverpool and London’52 Marson explores this question of how middle class West Indians negotiate being educated and yet marginalized and even considered inferior in her play London Calling. The play, based on the experiences of colonial students in London charts the story of a group of expatriates who, upon being invited to the house of an aristocratic English family, dress up in outlandish native costume and speak in ‘broken’ English. The play, a comedy, takes a light hearted look at the stereotypical images held by the British, at the same time countering the myth of black inferiority. There is, in the play, a curious twist as the students from Novoko are presented as black versions of the British in their dress and behaviour, ‘mimic men’ and yet they themselves attempt to ‘mimic’ their own folk culture. They are eventually discovered by one of the family, Larkspur, who then proposes marriage to Rita, one of the Novokans. The play ends with Rita declining Larkspur’s proposal in favour of Alton, another Novokan. This rejection of Larkspur places Rita in a powerful position. Rita is no longer the undesirable ‘Other’, she has resisted the oppressive world of the colonialists and placed herself as the centralised ‘Self’. Rita is Marson’s fantasy where the black woman is recognised as beautiful and an equal. Marson’s activities in the League of Coloured Nations gave her purpose, direction and the opportunity to advance her political education whilst introducing her to the Pan – African movement ‘a sort of boomerang from the horrors of slavery and colonialism, to which Una, like many of her generation, was being steadily drawn.’53 Marson’s work around this time reflects a desire to reclaim and restore that ‘Other’ cultural tradition, a difficult task as the Caribbean was not an homogeneous agency and it was not easy to establish a pre-colonial culture. The ethnic mix was large and hybrid making the notion of ‘Caribbeanness’ less easy to define. The Pan-African movement provided links with an alternative body to European colonialism and offered Marson a platform to renegotiate and redefine her idea of ‘Caribbeaness’ and race, an option not offered to Rhys. Having established a sense of being a black person in a white imperialist centre, she now needed to make sense of being a black woman within this paternalistic centre. The poem Little Brown Girl attempts just this, constructing a dialogue of sorts between a white Londoner, whose gender is unclear, and a little brown girl. The poem begins with a series of questions put to the child: The questioning of the little brown girl’s presence in London suggests a linguistic imperialism. It may be construed as the speaker challenging her right to be in the city, establishing her as the nameless, black ‘Other’. Her feeling of difference is emphasized in the repetition of the word ‘white’ on the final line of the second stanza. The third stanza plays out an interesting reversal in notions of blackness. The speaker asks why she has left the ‘little sunlit land / where we sometimes go / to rest and get brown’54 alluding to the desire of white skinned people to tan which for the white colonialist signifies wealth, for the black ‘Other’ being inferior and uneducated. From here there is a subtle shift of speaker and London is seen through the eyes of the little brown girl. Her perception of the city is distinctly unattractive where ‘There are no laughing faces, / people frown if one really laughs’ and: If the poem began with the strangeness of the brown girl to the white gaze, here it teases out those feelings of alienation felt by the little brown girl at being in such a cold, drab place, so different from her own home. Once more Marson creates a reversal in the stereotype as she seeks to objectify white people observing that ‘the folks are all white -/ White, white, white, / And they all seem the same.’55 In homogenizing the colonizers, the hybridity of the West Indians are then celebrated in the many varied skin tones of ‘black and bronze and brown’ which are themselves homogenized by the label ‘Black’. The vibrancy, colour and friendliness of ‘back home’ where the folks are ‘Parading the city’ wearing ‘Bright attractive bandanas’ contrasts with the previous stanza of the dour images of London. The dialogue is handed back to the white speaker who attempts to establish the origins of the little black girl but succeeds in once more re-establishing the homogeneic white gaze indicated in the speaker’s inability to distinguish between many distinct nations : More than anything the poem conveys that sense of isolation felt by the little brown girl in the city. She never answers the white speaker directly and is positioned in the middle of the poem, again centralizing the colonized. In asking the question ‘Would you like to be white/Little brown girl?’ there is a sense of the colonizer attempting to manipulate and dominate the colonized, to Europeanise, ultimately leading to mimicry. Yet the questioner responds himself with ‘I don’t think you would / For you toss your head / As though you are proud / To be brown’. 56 Marson, here, signals a move away from being a ‘mimic man’ seeking to challenge that whole Eurocentric paternalistic world and centralise the black women, the most marginalized figure in society. The themes central to Little Brown Girl’s themes echo Rhys’s own negative reactions to London seen in the opening page of Voyage in the Dark. Like Rhys, Marson succeeds in capturing that colour and warmth of the West Indies contrasting greatly with the misery of London, experienced by both and which reinforce that racial and national separateness. Those differences prove for both to be irreconcilable, making it impossible for both Rhys and Marson to integrate, leaving both women dislocated from the metropolis. Little Black Girl serves as a useful reminder that many immigrants were women. This encounter between the city and a woman (in Marson’s case, a black woman) echoes Anna’s encounter in Voyage in the Dark albeit as a prostitute. Both walk the streets of the city and as women-as-walkers encounter the metropolis, negotiating its spaces. Denise deCaires Narian suggests that certainly Marson could be considered as a flaneuse.57 Neither Rhys nor Marson, however have the confident panache of the flaneuse and neither fulfil the requirements of flanerie originally set out by Baudelaire. The flaneur, he asserted, saw the ‘crowd as his domain, †¦ His passion and his profession is to merge with the crowd’.58 The flaneur and therefore the flaneuse is engaged in strolling and looking but most importantly merging ‘with the crowd’. For Marson this is impossible as she is a black woman in a white city. Moreover, Baudelaire expands upon the idea of the flaneur as having ‘the ability to be away from home and yet to feel at home anywhere, to be at the centre of the world, and yet to be unseen of the world’.59 Again this is problematic for both Marson and Rhys as their wanderings around the metropolis seek only to reinforce those feelings of ‘Otherness’, isolation and marginality. For Marson these feelings of alienation gained her the reputation of being a ‘true loner who didn’t exactly seek out company’60 leading to a ‘heightened level of bodily consciousness’ which comes from ‘being dissected by white eyes’.61 In her struggle with being marginalized as a black women always at the mercy of the white metropolitan gaze, Marson was always aware of that Europeanised sense of beauty being white. This idea of beauty was so entrenched, even within the black community that they themselves set beauty against the paleness of their own skin. The importance of popularly disseminated images is tackled in Cinema Eyes where a black mother in addressing her daughter attempts to challenge the idea that ‘Europeans still provide the aesthetic reference point’.62 The speaker urges her eighteen year old daughter to avoid the cinema fearing that it might reinforce the idea that white is beautiful causing the girl to lose sight of her own beauty: By growing up with a ‘cinema mind’ the mother has allowed herself to be at the mercy of those tools used by the colonizer to marginalize and indoctrinate, promoting their own superiority. Once again the ‘mimic man’ re-emerges when black women reject their own in seeking an ‘ideal man’. ‘No kinky haired man for me, / No black face, no black children for me.’63 This rather melodramatic narrative within the poem tells of the mother’s ‘fair’ husband shooting her first suitor whom she had initially rejected for being too dark, and then committing suicide. The shooting scene, a re enactment of a gun fight in a western, presents the cinema as a racist and degenerate institution. By the end of the poem, the speaker acknowledges her mistake in rejecting the first lover and finds a sense of self, previously denied by the saturation of cinematic images. In shaking off the colonizer’s indoctrination, which seeks to marginalize her, she addresses the question posed by Franz Fanon which is ‘to what extent authentic love will remain unattainable before one has purged oneself of that feeling of inferiority?’64 Black invisibility in the cinema results in white ideology being forced upon a black body and essentially commodifying it and it is this which Marson seeks to deconstruct. Another poem which tackles the reconstruction of female identity is Black is Fancy, where the speaker compares her reflection in the mirror with a picture ‘Of a beautiful white lady’.65 The mirror serves to reclaim the idea of black as being beautiful and a rediscovery of self: The speaker eventually removes the picture of the white woman suggesting that black worth and beauty can only really exist in the absence of white colonialism. The poem ends in a victory of sorts as she declares that John, her lover has rejected the pale skin in favour of ‘His black ivory girl’.66 Kinky Haired Blues represents Marson’s quest for a more effective and authentic poetic voice in its use of African American speech.. The poem explores the rhythms and musical influences found in Harlem and gathering momentum about this time. Kinky Haired Blues like Cinema Eyes and Black is Fancy criticizes the oppressive beauty regime of white colonialism which seeks to disfigure and marginalize the black woman. The poem opens with the speaker attempting to find a beauty shop: The speaker seeks to Europeanise her black features in an attempt to make herself more attractive. Male indifference experienced in the metropolis forces the speaker to see herself as an aberration, thrusting her onto the margins of a society which is continually projecting the idea that ‘white ‘is ‘right’. The beauty shop contains all the trappings of the colonizer’s idea of beauty, ‘ironed hair’ and ‘bleached skin’. Yet she is caught between being left to ‘die on de shelf’ 67 if she doesn’t change herself, or eradicating her ethnic features and therefore her inner self if she does. By using blues within the poetry she is able to communicate this misery felt within her, that male perceptions of beauty projected by the colonizers dictate that she must distort her own natural beauty in order to fit in and conform. The poem highlights the struggle Marson experiences in trying to preserve her selfhood against such oppressive cultural forces. Marson defiantly attempts to stand against this patriarchal order. She proudly announces that ‘I like me black face / And me kinky hair.’ Inspite of this brave stand Marson eventually succumbs and admits that she is ‘gwine press me hair / And bleach me skin.’ She, like Rhys can only resist internally to the colonialist’s ideals imposed on them. As writers voyaging into the metropolis both Rhys and Marson share in their writing a pervasive sense of isolation where, from the location of London, their particular voices and concerns are, at the time, not recognised. Both writers, from this isolated position on the periphery of the centre. explore issues of womanhood, race and identity,. Marson’s experiences bring about an acute awareness of her difference and ‘Otherness’ as a Black woman. Her work is a defiant voice against this marginalisation and isolation. She was, as Jarrett MaCauley claims ‘the first Black feminist to speak out against racism and sexism in Britain.’68 She was a pioneer in a growing literary culture which was to become the new postcolonial order. Rhys, by contrast, a white West Indian from Dominica was experiencing a declining white minority status against a growing black population, itself an isolating factor both at home and within the metropolis. Kenneth Ramchard suggests that the work of white West Indian writers is characterized by a sense of embattlement: â€Å"Adapted from Fanon we might use the phrase ‘terrified consciousness’ to suggest the White minority’s sensations of shock and disorientation as a smouldering Black population is released into an awareness of power.†69 It is this ‘terrified consciousness’ which contributes to the struggle experienced by Anna in Voyage in the Dark . Located simultaneously both inside and outside West Indian socio cultural history, her journey to the ‘mother country’ seeks only to exacerbate these feelings of ‘in-betweenness’ and to suffer feelings of dislocation and alienation. Both writers, therefore, in their voyage into the metropolis endure different kinds of anxieties in their sense of ‘unbelonging’ to either or both cultural worlds. Both use their writing to speak for the marginal, the hegemonic, the dispossessed, the colonized silenced female voice situated as they were within the cold, oppressive, hierarchical colonial metropolis attempting to impose an oppressive identity upon the exiled women. 1 George Lamming The Pleasures of Exile (London: Alison, 1960) p15 2 Palmer Adisa De Language Reflect Dem Ethos† in ‘The Winds of Change: The Transforming Voices of Caribbean Women Writers and Scholars’ ed. By Adele S. Newson and Linda Strong Leek. (New York: Peter Lang 1998 p23) 3 ‘The Winds of Change: The Transforming Voices of Caribbean Women Writers and Scholars’ ed By Adele S. Newson and Linda Strong-Leek. (New York: Peter Lang 1998 p6) 4 V.S. Naipaul New York Review of Books 1992. Quoted in Helen Carr Jean Rhys (Plymouth: Northcote House Publishers Ltd., 1996) p15 5 Helen Carr Jean Rhys (Plymouth: Northcote House Publishers Ltd., 1996) p. xiv 6 Delia Jarrett-MaCauley The Life of Una Marson (Manchester: Manchester University Press, 1998) p51 7 Edward W. Said Representations of the Intellectual (London: Vintage 1994) p49 8 Molly Hite The Other Side of the Story: Structures and Strategies of Contemporary Feminist Narrative Quoted in Joy Castro ‘Jean Rhys’ in The Review of Contemporary Fiction Vol. 20, 2000. www.highbeam.com/library/doc.3.asp p6.Accessed 1 December 2005. 11 Gayatri Spivak ‘Three Women’s Text and a Critique of Imperialism’ in Henry Louis Jr. Gates Race, Writing and Difference (Chicago: University of Chicago Press, 1987) p269 12Jean Rhys Voyage in the Dark (London: Penguin Books 1969) 13 Elaine Savoury Jean Rhys (Cambridge: Cambridge University Press 1998) p 95 14 Homi Bhabha ‘Remembering Fanon’, forward to Franz Fanon ‘s Black Skin, White Masks (London: Pluto, 1986) p ix 15 Homi Bhabha ‘The Other Question’ Location of Culture (London: Routledge 1994)p69 17 Veronica Marie Gregg Jean Rhys’s Historical Imagination: Reading and Writing the Creole (North Carolina: The University of North Carolina Press, 1995) p115 18 Sue Thomas The Worlding of Jean Rhys ( Westport: Greenwood Press 1999) p106 19 Jean Rhys Voyage in the Dark p53 21 Paul B. Rich Race and Empire in British Politics (Cambridge: Cambridge University Press, 1986) p19 24 Homi Bhabha â€Å"DissemInation: Time, Narrative and the margins of the Modern Nation† The Location of Culture p319 33 Homi Bhabha The Location of Culture p319 35 Homi Bhabha Location of Culture p85 39 Teresa O’Connor The Meaning of the West Indian Experience for Jean Rhys (PhD dissertation, New York University, 1985)cited in Caribbean Woman Writers; Essays from the first International Conference. p19 40 Taken from Rhys’s non fictional analysis of Gender Politics. Veronica Gregg, Jean Rhys’s Historical Imagination p47 41 Helen Carr Jean Rhys, (Plymouth: Northcote House Publishers Ltd, 1996) p 77 42 Lloyd W. Brown, West Indian Poetry (London: Heineman, 1978) p 38 43 Denise deCaires Contemporary Caribbean Women’s Poetry: Making style (London: Routledge, 2002) p 2 45 Una Marson The Moth and the Star, (Kingston, Jamaica: Published by the Author, 1937) p24 46 Homi Bhabha The Location of Culture, (London: Routledge, 1994) pp85-92 47 Delia Jarrett-MaCauley The Life of Una Marson pp 49, 50 48 The Routledge Reader in Caribbean Literature ed. Alison Donnell and Sarah Lawson Welsh (London: Routledge, 1996) p140-141 50 Homi Bhabha Location of Culture p 320 51 Jarrett-MaCauley The Life of Una Marson p51 54 Una Marson ‘Little Brown Girl’, The Moth and the Star. (Jamaica: The Gleaner. 1937) p11 57 deCaires Narain puts forward an interesting link between Marson and Sam Selvon’s The Lonely Londoners highlighting external identity in her book Contemporary Caribbean Women’s Poetry p 21 58 Baudelaire The Painter and the Modern Life cited in Keith Tester The Flaneur (New York: Routledge, 1994), p 2 62 Laurence A. Brainer An Introduction to West Indian Poetry (Cambridge: CUP, 1998), p154 63 Una Marson ‘Cinema Eyes’ The Moth and the Star. (Jamaica: The Gleaner.1937) p87 64 Franz Fanon Black Skins, White Masks (London: Pluto, 1986), p4 65 Una Marson ‘Black is Fancy’ The Moth and the Star p75 67 Una Marson ‘Kinky Hair Blues’ The Moth and the Star p91 69 Kenneth Ramchard The West Indian Novel and its Background (London: Faber, 1870), p225 A comparison between Jean Rhys and Una Marson. (2017, Oct 17).

Media Relations Research Proposal Example | Topics and Well Written Essays - 250 words

Media Relations - Research Proposal Example The Program will provide an adequate environment for a healthy upbringing of the orphans. It will also develop an emotional bond between the kid and the adoptive parents. Volunteer couples are invited in this program to satisfy the emotional needs of the orphans. Money is not the only requirement of orphans. The volunteers will have to donate their time and emotions for the children. Each volunteer couple will perform the role of parents in the Virtual Family Program and pay regular visits on a weekly basis, according to their own convenience, to their proposed child, for his care and emotional satisfaction. After the completion of 09 months of regular visits the couple will be eligible to take the kid for any recreational visit they like for mutual acquaintance. The program will generate events to develop social interaction with the kid, like birthday celebrations etc. The Virtual Family Program will prove a social incubator to produce normal and civilized member of our society. The volunteer couples can adopt the child if he accepts them as parents. To become the adoptive parent they will have to satisfy the psychiatrist. The adoptive kids may continue their stay at the Sweet Home Orphanage as boarder as long as they wish. Volunteer couple s will be tested for interpersonal and parenting skills. In this regard, the first interview session is being conducted on February 21, 2012 between 09:00 hrs to 15:00 hrs at â€Å"Hotel Stanford, 43 West 32nd Street, New York City, NY 10001†. For further inquiry and information: Email: info@shorphanage.org, Telephone: Toll Free (800)

Grassroots Activism Project Essay Example | Topics and Well Written Essays - 500 words

Grassroots Activism Project - Essay Example This gender mainstreaming is one of the best and very convenient to pursue. It involves looking at the way organization functions in terms of policy development and governance, agenda setting, the administrative function and the overall system as whole. According to Tiessen (2010) gender, mainstreaming is able to accommodate any institutional structure. Institutional gender mainstreaming policy should and must be equipped with channels that enables programmatic gender mainstreaming. Additionally, it is the line of action that ensure functionality of the organization that does not reinforce or conceal patterns of gender inequality in its staffing, functions and governance. In pursuing this line of action, gender inequality will come to be history in the society because it takes a multi-pronged dimension in redressing the social problem of gender inequality In the spirit of programmatic gender mainstreaming a number of action are taken to ensure that the issue of gender inequality is solved. It is one of the means that if its action are fully implemented then the myth of masculinity will be broken, it encourage inter gender competition that is healthy, it will enable women to be respected especially in areas where gender based violence is endemic. The issue or rather concern that is of priority to solve is the inequality that is being experienced because of the myth of masculinity, which is strongly held by a number of people in the society. It’s a myth that has crippled most of the institution that has led to a number social issues that is a concern that is related with imbalanced staffing in term of gender, administrative roles are biased toward one gender because of myth of masculinity (Inglehart, 2009). In order to break this myth of masculinity there is a number of actions that were taken. First and foremost was coming up with the policies that will regulate recruitment a cross the gender. This will ensure that

The Mask of Benevolence Essay Example for Free

The Mask of Benevolence Essay The Mask of Benevolence BY sarniJ010 The Mask of Benevolence was honestly shocking to me and made me rethink a lot. I thought it was interesting and intriguing that it discussed the views of most hearing people and talked about why they arent necessarily right. Many of the facts, opinions, and details of how things had been dealt with in the past completely surprised me. One of the most surprising things for me was how each culture viewed one another; which was almost all negative. Of course, not all people in each category have those thoughts. The book was an amazing read for me because I was able to see nd understand some things as the deaf culture does because the author, Harlan Lane, was so specific and explained things through the thoughts she heard from people within the deaf community. In the beginning of the book, Lane discusses how the deaf culture views cochlear implants and the oral communication of deaf people. And though I was unsure why there was there was such a strong dislike of these things, it soon made sense to me. Deaf children that are forced to get an implant or to rely on oral communication get lost in an in between world of deaf and hearing. Lane stated, the implanted child will not move easily in the hearing world, it is unlikely that he will learn American Sign Language (ASL) fluently and make his own fundamental values of that community. So there is a real danger that he will grow up without any substantive communication, spoken or signed. (p4). This was extremely eye opening because although I had never thought negatively in any way about the deaf community I did have the impression that medical advancements and such implants would be viewed incredibly highly to the deaf. As most hearing people are, I uppose I was simply uneducated on the facts of cochlear implants. Lane claims that the result of the discrepancies between the implant and the natural mechanism of hearing is a sound that many formerly hearing adults have trouble interpreting and sometimes even localizing. (p219). On page 20, Lane tells a story about a woman from a large deaf family and hoped dearly that her daughter, too, would be deaf. Deaf people do not wish to hear, they simply wish for people to be more aware of their culture. They are not impaired, they were simply born into a small culture; like eing Hispanic or Jewish, why would you wish to wake up and be white one day? That is not who you are. Lane discusses so many negative things of how the hearing think of the deaf that not only completely blew me away but also made me feel disgusted toward the majority of hearing people that do look down on the deaf community. I was astonished. I honestly never knew there were that many naive people out there that saw hearing people as that much better and higher than the deaf; simply because I have never known anyone who thought that way and I never even considered that! I was in shock when I saw Lane quoting an American psychiatric publication from 1985 that stated, Profound deafness that occurs prior to the acquisition of verbal language is socially and psychiatrically devastating. (p35). Devastating?! The view of the deaf from so many hearing is outrageous! After quoting the publication, Lane went on the list several characteristics that the hearing culture has labeled to all deaf people. These characteristics included aggressive, irritable, egocentric, and even shy. How would a nearing person know it a deat person is sny or isolated? Hearing people see that the deaf person is not communicating with them and automatically assumed these things. However, how do you expect someone who does not share the same language as you chat and visit with you? That is extremely egotistically of all hearing people that think that way. And that Just goes back to hearing people expecting the deaf to learn our language. How unbelievably naive! Its not like the Hispanic culture moving here that have the ability and resources to learn English yet refuse to. The deaf have the most unique language in the world and are imply unable to learn any other language fluently. How can you learn to speak a language fluently when you are unable to hear it? As I Just stated, sign language, which I will refer to as ASL from now on even though sign is not exclusive to America, is simply the most unique language in the world. And those that deny it as a language are simply Just incredibly uneducated. Something I found interesting was when Lane discussed storytelling in the deaf community on page 16. She explained how deaf children learn the importance of storytelling and they practice at a very young age. Lane states that clear communication is highly valued; stories should be rich in detail, start at the beginning and end at the end, and contain plain talk; hinting and vague talk in an effort to be polite are inappropriate and even often offensive (p16). How is that not talking about a culture with a rich language? In fact, I feel as though the deaf can actually communicate more than the hearing. Because not only do they have the language like we do, their facial expressions and attention to detail are way beyond the average hearing person. Another point from early on in he book that I wanted to discuss was a something that I could relate to. The chapter entitled The Paternalism Indictment discusses the flaw with the teachings for deaf children. That market is completely controlled by hearing people who hardly understand the deaf and their culture and so it is all basically based of stereotypes. On page 49 Lane states, It is said to be conducted in the interest of deaf people, but the profits go almost exclusively to hearing people. And I got to see this first hand when I was a sophomore in high school. My long time best friend, Rachel, was born rofoundly deaf in one ear. She can hear fine and is in no way deaf or a part of that culture. She never once required any special treatment in school. However she did use a hearing aid or speaker box in elementary from time to time. All throughout middle school and our first year of high school she maintained a pretty high GPA. One day while we were sophomores, she randomly received a new schedule from the office. Following the new schedule, she went to her first class and discovered that they had put her in all special education classes. Obviously she was confused and pset, so she called her mother and they went to the office to sort out what was clearly a mistake. The office stated that it was not a mistake. Apparently, the school had been claiming Rachel as profoundly deaf, which she was in one ear, and requiring the special attention of any other child with a severe impairment. And of course, the school was getting large additional funds because of Rachels impairment; Shame on the school for knowing that they would receive additional benefits for claiming Rachel. And shame on the state for that matter for giving the chool extra funds because the poor school was Just so kind as to deal with all of Rachels special needs due to hearing impairment. Lane stated there are paternalistic universals and parallax in the attributions, and a claim to a civilizing burden that fails to mask the benefactors economic interest (p49).

Plato :: essays research papers

Plato was a philosopher who was born in Athens (470- 390 BCE), and was also a student of Socrates. He felt that intelligence and one’s perception belonged to completely independent realms or realties. He believed that general concepts of knowledge were predestined, or placed in the soul before birth even occurred in living things. Plato believed that the cosmos was intelligible, and that the universe was mathematically understandable. He believed that mathematical objects could be seen as perfect forms. Forms, a doctoral of Plato, can be understood as an everyday object or idea, which does not exist in the everyday realm, but merely are existent in the hypothetical realm or reality. Plato believed that truths existed outside the boundaries of our realm, interestingly enough. He was highly influenced by Socrates, and inherited the idea of absolute truths and standards of knowledge. Geometric shapes correspond to the mental world, a universe that exists co-temporarily with the material universe. Material objects are copies of mathematical knowledge and our mind gives us knowledge of ideas. In addition, our sensory gives us knowledge of the material world, what we can feel see or smell. Regarding the sensible world, one that is perceptible by the senses or by the mind, is in direct relation with his doctoral of dualism. Dualism can be seen as the view that the world consists of as two fundamental entities, such as mind and matter, physics and nature. In the intelligible world, things fundamentally consist of as being apprehended by the intellect alone. Regarding sensory objects, he believed that they were in constant change and furthermore were a phenomenon of the physical world; hence they cannot be identified with knowledge.

Western Media on Pussy Riot

The Pussy Riot case has received much attention around the world based on the ethics of the court’s decision and freedom of expression. The Western media covers the news with facts with truth and consistency, however the information presented shows a favourite towards the side of the Russian band Pussy Riot and against the Putin government. Canadian news such as CTV, CBC and music news like Much Music covered the story with facts of Canadian citizens protesting against Pussy Riot’s two-year sentence to jail. The news has covered people protesting with signs on the street and using bias language against the Russian government.The United States’ news has also played a big role in supporting the band’s fight for freedom. News networks such as CNN, The Wall Street Journal and MTV have covered the news with favoured sided facts for the band. Stories of protest and government officials’ disapproval of the band’s sentence have all been published to the western public resulting in citizens fighting for the Russian band. Social networks such as Twitter played a big role in support of the band’s freedom. Celebrities such as Madonna and Jesse McCartney have also played a role in supporting for the Band.Western world views the court sentencing as a violation of freedom of speech. Western news cover stories with the question what, where, when rather to why. The western news reveals all the facts, however does not stress on the why and the reasons for the Russian court’s decisions. The readers receive a sense of injustice and wrong when reading news about the Pussy Riot’s case. The western world stresses on freedom and democracy and the Russian court imposed a strict and intolerance towards some sorts of behaviour of expression. The western news had made a positive outcome for the punk band, Pussy Riot.CTV, CBC and Much Music have covered news of Canadian citizens showing support for the Band. News about the band ’s arrest initiated as an arrest for freedom of speech against the Russian government. The news has escalated when the band got sentenced for two years for â€Å"hooliganism† and religious hatred. News headlines such as â€Å" Imprisoned Pussy Riot face tough life in penal colony† by CTV, â€Å"Pussy Riot supporters protest outside consulate in Toronto† and â€Å"Pussy Riot protest: Conviction of anti-Putin Pussy Riot band sparks worldwide protests† by CBC implies a dissent on the Russian court’s decision.Canadian news reports that the band faces charges for expressing their political views in a democratic country and North America have expressed disapproval to this action. Fans and Canadian supporters of freedom of expression have expressed their disapproval to the world by protesting on the streets, reported by news reports, and using social networks such as Twitter. Much Music has posted pictures of people protesting with signs that decla re, â€Å"Punk Rock is not a crime†, â€Å"Protect freedom of expression† and â€Å"free Pussy Riot†. These declarations exhibit a definite support for the band and disapproval for the Russian court’s decision.An example of Canadian news support of the band is CTV’s news report when the band was sentenced to jail Outside the Russian consulate on Bloor Street, about 100 people carried placards and musical instruments, The Canadian Press reported. â€Å"I felt it was so wrong on so many levels I felt I had to do something,† Toronto organizer Lynn Flatley told CTV’s Canada AM Friday morning, before the protest began. â€Å"I had never done anything like this but it was a tipping point for me. † Another protest got underway outside the Russian embassy in Ottawa around 1 p. m. hile another was scheduled to start at 6 p. m. in Montreal. The three band members, two of whom have young children, have been in jail since March when they b urst into a cathedral during services and recited a ‘punk prayer’ calling on the Virgin Mary to protect Russian citizens from Vladimir Putin, who was set to win a new term as president at the time. (CTV news: Pussy Riot supporters protest conviction outside consulate in Toronto) CTV has published the protester’s passion about their objection of the band’s sentence by quoting one of the protesters and describing the event.Also CTV has also mentioned that the band members have young children and describe they have been in jail since March, which implies an unfavourable and detest for the decision of the Court. CTV has insinuated questions of ethics such as â€Å"How can they sentence mothers to jail? † and â€Å" Why is the government against freedom of expression? † Western News also criticised the Russian government since Pussy Riot’s actions was a protest against the Putin government. Much Music has informed Canadian music fans with b ias information â€Å"Today Russian punks Pussy Riot received a two-year sentence for â€Å"hooliganism. That, of course, is in the eyes of their country’s authorities, but what the band were charged with was simply speaking out against a ruthless government. Knowing they weren’t likely to get off, they prepared a new single to help spread the message about the importance of free speech, with the song â€Å"Putin Light Up The Flames. † (Much Music News) Much Music has claimed the Russian government to be â€Å"ruthless† because they sentence a band for simply â€Å"speaking out†. Much Music, and other Canadian news, described the actions of Pussy Riot to be innocent.Pussy Riot has an opinion and their actions have made a controversy against the Russian government. Canada is known to be a democratic and free society and the actions of the Russian government have proven to have strict rules for freedom of expression. Canadian media is playing a big role in getting Canada rallied up against the Russian court. According to the rules of media ethics it is considered unethical for the media’s invention of the state, however Canadians are protesting for what they believe is right and that is the right of freedom of expression.The United States’ media reports on facts of the event. Similar to Canadian news, the media reports on facts that undermine the Russian court’s decisions. America’s news covered the story about Pussy Riot’s sentencing using words such as â€Å"lack of freedom of speech in Russia† and â€Å"restricting the freedom of expression and association† (CNN news). CNN covered news with quotations of the people involved on the case. Amnesty International and the UN have gotten involved of the Pussy Riot case with disapproval of the court’s decision.America’s government officials have also gotten involved by declaring protest against the court. CNN had repor ted all negative quotes and comments of the decision of the court, John Dalhuisen, director of Amnesty International's Europe and Central Asia Program, urged Russian authorities to overturn the sentence and release the trio unconditionally. He also highlighted recent measures â€Å"restricting the freedom of expression and association† introduced after a wave of popular protests that accompanied elections earlier this year. This trial is another example of the Kremlin's attempts to discourage and delegitimize dissent. It is likely to backfire,† he said. Human Rights Watch also said the women should never have been prosecuted for a hate crime. â€Å"The charges and verdict against the Pussy Riot band members distort both the facts and the law,† Hugh Williamson, the rights group's Europe and Central Asia director, said in a statement. This paragraph demonstrates that the Russian court’s decision on sentencing Pussy Riot in jail is absolutely unethical.The ba nd sentenced for â€Å"hooliganism† and religious hate crime by the Russian court have turned to violation of freedom of expression that violates rules of Human Rights. The Wall Street Journal has reported that the Prime Minister of Russia, Dmitry Medvedev, thought the jail sentencing was â€Å"too harsh† and the US Embassy in Moscow has claimed the sentence to be â€Å"disproportionate†. The US’s media reports their facts with quotes to support and strengthen the authenticity of story and therefore reinforce their disapproval of the Russian court.MTV have reported celebrities’ protest for the band. Madonna recently performed a riot-styled show wearing a mask, like what Pussy Riot did during their protest, during one of her shows in Moscow. Jesse McCartney had showed support for the band by using Twitter for expression. Celebrities have a huge influence on the world and it is another type of media that shows support towards Pussy Riot. America has a huge influence on the world and that influence may or may not help the band’s fight for freedom, however America’s media definitely implies strong condemnation for Russia’s government.Western media has shown strong evidence of support for Pussy Riot. The media hasn’t necessarily agreed with the band’s actions but they definitely do not agree the band’s sentence to jail for expressing their opinion. North Americans have shown support with protests on the streets and expressing their dissent by using social networks like Twitter. Canadian news reports show pictures and videos of people protests and American news like to use a lot of quotes that express dissent from important world figures.These obviously show a bias support for the band. The Western media fails to cover the side of the Russian’s court and the Church’s views and to why Pussy Riot was sentenced for 2 years. The band has protested against Putin’s government in a very important orthodox church in Russia that may have led to emotional undertakings. Whether or not the Pussy Riot’s sentence was too harsh or not, the Western media only portrayed a negative effect on the Russian court and a favour for the band’s freedom of expression.The protest from the Western citizens could have been influence by the Western news or may be influence by people’s justice to right of expression since Canada and America embrace the notion of freedom and expression. Current situation The three band members Nadezhda Tolokonnikova, Maria Alyokhina, and Yekaterina Samustevich were arrested and threatened with seven years’ imprisonment. Their pretrial detention were extended for month, and finally on August 17, 2012, the three members were convicted of hooliganism, and each was sentenced to two years imprisonment.On the appeal hearing on October 1, 2012, Samustevich terminated the representation of her defense attorney because of the c onflict of their position. On October 10, Samustevich’s new attorney filed another appeal for Samustevich and argued that Samustevich did not committed hooliganism in the church, because â€Å"cathedral guards had stopped Samutsevich before she had time to get her guitar out of its case†. The appeal was accepted and the court released Samutsevich with two years in probation. The court upholds the conviction and sentences for the other two band members.The release of the Pussy Riot video had a significant impact on Russian society and the public debate. Since Russia is a regime that believes imprisonment can repress people’s political objection, the Pussy Riot’s case start the public debate of the involvement of the Catholic Church in politics, women’s right and freedom of expression. However, one of the outstanding factors of the Pussy Riot case was the numerous coverage over social media. According to the media monitor News Effector, 86% of the wo rld mass media had covered the Pussy Riot case.Compare to the Iraq, news reporters had limited and censored information from the government. However, regarding to the Pussy Riot case, the media’s establishment had been pushed to a higher lever. Right and left wings, celebrities, and supporters were all engaged in the debate o the Pussy Riot trial. Due to the massive media coverage, Pussy Riot was treated more like a positive propaganda. Western media coverage tend to became more subjective and assertive, they â€Å"failed to mention† several crucial points in order to get more supportive comments. ?

Case Study Analysis: Jive Software

During the years 2001 to 2004 of gradual development of Jive Systems, the company solidified its status as the fastest growing SBS Company in the industry, doubling the size of its workforce since 2008 and increasing full year revenue 85% from 2008 to 2009. Throughout this period of rapid growth and expansion, Jive relied on a variety of technologies to handle their sales forecasting process. Till they realized that their structure of business changing almost daily, Jive’s eccentric system struggled to keep up. The structure was done in a haphazard manor. They were doing quota management in Excel, bookings and sales in Sales force and pipeline analysis in Cloud9 Analytics, which resulted in lack of all the information into one central system. Jive’s multi-tool approach was the source of several serious issues: The executive team had poor visibility into the sales opportunity pipeline; all data updates involved a tedious and cumbersome transfer process from salesforce. om to Excel pivot tables; and, when changes of any kind needed to be made, instead of conducting research and having an all team/ department meeting for synchronisation they just made ridiculous plans and moved to creating new products. 1. Put yourself in Wilson's shoes when he is first hired. You have to formalize Jive's sales functions. What are the core building blocks of the sales function you need to put in place? The core building blocks of the sales function that one needs to put in place are as follows – The ability to understand and analyse business issues and develop solutions around the core building blocks of sales process which are tools, skills, competencies and attitudes. Based on the company’s revenue hire sales reps that are capable of using the latest techniques to engage individuals in their development and understanding coaches and mentors (VP’s) who help individuals to become aware and responsible for their opportunities. With ref to the Sales Learning curve article and adding to the above one should start out with very low assumptions about expected revenue per salesperson, and increase these expectations gradually, quarter by quarter. Anticipate that during the initiation phase, reps will not generate enough revenue to cover their total costs. Instead of hiring new sales reps the VP should track the productivity of existing reps approaching the point where they cover their total costs. Post that if necessary one should consider expanding the sales force. . Evaluate the strategy of using team vs. individual coverage/quota models. What are the pros and cons of each approach? Suggest an alternative coverage/quota mode In the Jive case study we see that when Dennis Deveny and Sarah Denman worked as a team, the sales strategy was going on the right track till the VP introduced more sales players. But however using a team is more effective as they can split up responsibilities and cover areas that they ar e capable also making it less time consuming. With respect to team coverage quota models – Depends on if they are the same job role or not – if it's two of the same role (i. e. two Field Reps vs. one Field Rep paired with an Inside Rep), then the following applies: Pros: Obvious alignment and cooperation in rep activity and reduction in rep conflict on deals resulting in no commission and credit fights. Cons: Diluted responsibility, much easier to overpay for sales influence per $ of revenue, much easier to overpay for lower levels of performance, if quota relief is ever given it can reward the wrong person, etc. However an individual sales quota might work in the initial stage (testing stage) when the company is just starting out as a small firm, with minimum expenses and quota. The pros would be awarded for one’s own credit/work, examine the reps progress and the cons would be few areas covered compared to a pair, work overload, stress/ depression and time consuming. Alternative coverage/quota mode – Have a marketer look after introductions, qualification and generation of opportunities, then bringing in the salesperson to discuss commercials and close the deal, you can create an effective pairing. But the company must make sure that these pairs look after different territories, which could be geographic, vertical etc. The most important thing is to ensure there is no crossover, one can split by verticals, and we need to make sure to draw the lines and that no one company can sit in two verticals. 3. What are the merits of a quarterly vs. annual quota systems? What is the ideal length of a quota period? What are the adverse effects if the period is too long or short? Which quota period length is most appropriate for Jive? Quarterly annual quota is effective as sales reps can measure their performances per quarter and rectify the problems in the next quarter thus avoiding a big blunder towards the end of the financial year. One can keep track, learn from the changing business environment and their targeted territories. Also if compensation is included in each quarter it can boost the competition of the sales rep. On the other hand long term quotas can be less stressful and the sales reps have enough time and space to learn their territories well. The ideal length of a quota period depends on each company and different factors such as Corporate revenue goals, Historic revenue performances, Current sales coverage model, Planned increases in sales headcount, Introduction of new products and services, Current market share, Stretch targets. Adverse effects if the period is too long – sales reps would start with their quota with great gusto in the beginning of the year and loose interest towards the end of the year. The company tends to solve the situation when the year ends because they learn about the problem too late and at that stage the issue can be unsolvable. As for too short a period it can lead to a lot of stress, incorrect methods of achieving sales quotas as the competition level is too high which results in Sales reps not contracting the right information and failure in understanding the customer needs. As the case study shows that quarterly quotas were a big disaster I would recommend Half yearly sales quotas because sales reps will have enough time to understand their target territories, half yearly sales quota will be less stressful and plus allow them to gather accurate data keep their strategies current with the business. Also the company must be willing to adjust the leverage down to anticipate some reduction in quota accuracy and manage compensation costs to reasonable levels and avoid revamping the sales for at every quarter. 4. How does the enterprise sales learning curve (ESLC) apply to this situation? The sales rep will have time to understand the consumer needs by allowing the beta to be tested by the consumers. By reduction of quotas, it will result in a less stressful situation giving the sales reps the opportunity to gather information on the pros and cons of the product and creating a correct report for the company. On doing this the engineers, product developers, marketers and sales can work on a half yearly plan according to the results of the report. 5. Jive Software has announced plans to bring on John McCracken as the new VP of Sales in Q109. What steps should McCracken take to mitigate the problems in sales? With ref to the Sales Learning Curve – Adjust the sales strategy he learns by using the sales learning process that unfolds in three phases—each requiring a different size sales force with different skills: Initiation: Once the products are beta-tested and have few potential customers. Should hire three to four salespeople to learn how customers will use the product and to support other parts of the company in refining the offering as well as marketing and selling strategies. Look for salespeople who: Communicate well with teams from other functions, Tolerate ambiguity, Have a deep interest in product technology, Can bring customers together with various functional teams in your firm, Can develop their own sales models and collateral material. Transition: Once acquired a critical mass of customers and sales are accelerating. Keep initial sales team focused on learning. Add sales reps who can operate effectively within an evolving sales model but who don’t necessarily have the analytical and communication skills the initial team required. Execution: Once developed the formula for success and put the sales force’s support requirements in place, bring in traditional salespeople—and arm them with a territory, sales plan, price book, and marketing materials to take orders. Sources: The Sales Learning Curve Article by Mark Leslie and Charles A Holloway.

Bondo, An Autobody Marval

Bondo, An Autobody Marval Free Online Research Papers Ever wonder what Bondo is, and how it works? Bondo is a complex mixture of tiny little shards of fiberglass or polyester, resin, and talcum powder. The fiberglass shards keep the compound as strong as OEM (original equipment manufacture) specification, the resin helps assure that the bond to the vehicle being repaired is as strong as it can be. The talcum powder keeps the material flowing smooth. Talcum unfortunately though, absorbs moisture and that is why the fillers absorb water. Which is why its so important that the bondo be completely dried before its exposed to the elements. The main solvent in the filler is styrene, which is supposed to vaporize as the mixture cures. Body fillers are thermal-set plastics. That is, they cure with heat, created by the chemical reaction between the filler and the catalyst, and become hard and stable, usually within a few minutes. Too much hardener will cause the cured material to become brittle and crack, and also create bubbles that trap the styrene gas. While too little delays a cure almost indefinitely, and usually needs ground out and reapplied. Temperature is very critical to exothermic (the fancy, scientific name for catalyst-induced heat. =) reactions. In fact, curing is dramatically slowed below a 64-degree temperature, to the point that it can easily take several days to become fully hardened. The best temperature to use filler is between 70-80 degrees, and that includes the metal that you are applying the filler too. If the metal is cold, the mixture will cure from the outside in, trapping moisture against the cold metal surface, creating rust pits. It can also trap unvaporized solvent, which could come back later to haunt you if you paint over it too soon, because you will end up getting fish eyes in the paint. Mixing the filler on cardboard is not a great idea, since the paper itself will absorb some of the styrene solvent and upset the chemistry. Also, the styrene will release any trapped chemicals in the cardboard, so unless you know precisely where the material came from and how it was handled, use a clean sheet of plexy-glass or plastic or freezer paper on a wooden board. The smoother the metal, the less perfect the adhesion will be, which is why the instructions always tell you to rough-sand the metal surface. Those scratches allow the Bondo to stick very well and for a very long time, assuming there is no rust layer. If there is a layer of rust, the bondo, or whatever kind of filler you use will separate and end up falling off. To help prevent this from happening, it is always best to completely grind or cut out and replace any rusted parts where the bondo is to be applied. Since fillers stick best to metal, it makes sense that spreading them over metal with primer already applied probably will lead to separation later. That is true, but if the surface is still scratched and rough, the filler will tend to stick extremely well. If you use an etching primer you must make sure it is properly cured before using filler. Otherwise, the phosphoric acid vapors left over from the application of paint can slow down the cure of the filler resin. Making sure the damaged area is clean of solvents of any kind, such as degreaser or tar remover to promote a good strong bond. The recommended depth for perfect bonding is 1/8th inch deep, but it varies, if applied right it can be layered up to 1/4 inch thick and not crack or separate for years, yet if its not applied right, even 1/8th inch skim coat can crack after the first few months. After the first rough coat is applied, let it dry for approximately thirty to forty minutes before sanding. Keep in mind that the first coat is only to shape the project back to its original form, and that you will need at the very least one more skim coat to make it perfect. Once the first coat has been sanded to the desired level, clean the area with an air powered blowgun with a psi rating of no more than 110. Wipe paper towels with 320 type paint reducer or a tack cloth, you should never use lacquer thinner over bondo because the talcum powder will absorb the harsh liquid ruining the paint. Unlike lacquer thinner, 320-type paint reducer vaporizes almost instantly making it safe to use on bondo or other surfaces that are ready for paint. Now that it is clean, you are ready to apply the final skim coat. Skim coats are only to help fade in the bondo to the paint and are never supposed to be thicker than 1/8 in. max. Okay sanding for the last time with 400 grit sand paper usually doe s the trick, any sand scratches left from 400 grit will be filled in with the first coat of primmer. Time to paint; if you did it, right nobody will ever even know that there is bondo on the car. There is one way to test for bondo but the only way it works is if the bondo is thicker than it should be, try taking a magnet and running it over a car, (be careful not to scratch the paint) and if the magnet wont stick, then theres probably bondo there. If done right, bondo can save you hundreds of dollars because you wont have to buy a brand new fender just to fix a dent you got at your local Wal-Mart. Research Papers on Bondo, An Autobody MarvalRiordan Manufacturing Production PlanThe Spring and AutumnThe Hockey GameMind TravelGenetic EngineeringHip-Hop is ArtQuebec and CanadaBionic Assembly System: A New Concept of SelfAnalysis Of A Cosmetics AdvertisementOpen Architechture a white paper