Tuesday, May 26, 2020

Evaluation Essay Topics - What Is Your Target?

Evaluation Essay Topics - What Is Your Target?Evaluation essay topics are what allow you to find your self in the writing world. This is often the last step before an application. To be able to apply for a job, you need to write the best application you can.There are many different college professors who can give you the best ideas for evaluation essay topics. These topics come from their own experience or their field of knowledge. By researching on the topics that will fit your major field of study, you will get the best understanding of what you need to accomplish. Here are some topics that you may want to consider for your evaluation essay.In today's society, individuals are always faced with long and strenuous tasks. Writing a good essay requires more than one person to write the piece. You need to produce content for this essay that has some great ideas in it. Writing is about the writer, so it is important that you are able to produce the content needed.In addition to writing t he essay yourself, there are lots of writing services online that can help with the essay. These writing services can be hired by just yourself or with someone else. The writer will complete the essay and submit it back. This can make the job a lot easier as you do not have to worry about reading or writing.Evaluation essay topics are a valuable tool for you to use in your own life and future. It is important that you are able to write the essay that will not only help you get your dream job, but also allow you to provide something of value to employers. Knowing that the entire process is over with your application can help to keep the stress off of you, which is important.Even though you are able to write your own essay, there are other services that will help with the writing. This is where some research should be done. You can get assistance from online companies that can help you complete your assignments, including essay topics. These online companies offer essays to students, from different majors, subjects, and areas of study.Evaluation essay topics are a tool you should have, and have at your disposal. If you know where to look, you can find what you need to provide the best essay possible. Evaluate your skills, and get to the next step of getting an application accepted. Good luck!

Saturday, May 16, 2020

Apple and Their Strategy Essay - 15522 Words

Contents Introduction 4-5 Introduction Reference List 6 Stakeholder Mapping 7-10 Reference List 11 Ansoff’s 12-16 Reference List 17-18 Bowman’s Strategy Clock 19-22 Reference List†¦show more content†¦(Apple Inc . 2012) Apple now stands with a value of almost $200billion for their market brand, leading above competitors IBM and Microsoft. It has been named as the â€Å"most admired† company by Fortune magazine in 2012 with their iPhone sales rising 81% following the release of the â€Å"iPhone4S†. (Fortune Magazine, 2012) Their tactical business decisions will have been aided by the following five strategic models: Ansoff Matrix, Boston Consulting Group (BCG), Bowmans Strategy Clock, Value Chain Analysis and Stakeholder Mapping. Through a value chain analysis Apple will attempt to break down the activities which contribute to the creation of their product or service and place them into groups. Firstly into primary activities which are directly concerned with the production of the product or service, such as the production process itself. Secondly into support groups which aid or support the primary activities such as human resources. The reason Apple will carry out this analysis to understand which activities are especially important in creating value and which are not and develop a strategy to increase the value at each stage in order to create and or obtain a competitive advantage. One of the models we are going to address Apple through is the BCG Matrix. The BCG Matrix is a tool used by the corporate parent to aid theShow MoreRelatedStrategy of Apple Brand1077 Words   |  5 PagesINTERNATIONAL BUSINESS STRATEGY OF PARENT COMPANY When a firm decides to go international with their business they must face many competitive decisions. Two of the most important decisions a company will face are the pressures for cost reduction and pressures for local responsiveness. 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The planning component constitutes the strategy formulation aspect, while the organizing, leading and controlling aspects constitute the strategy implementation aspect. The organizational strategy of Apple, which is a manifestation of its mission and vision statement, is anchored on innovativeness andRead MoreApple Branding Strategy1466 Words   |  6 PagesTHE ANALYSIS OF APPLE’S BRANDING STRATEGIES by Anna Glenn The Apple brand strategy is all about the experience. According to Wired.com, â€Å"Apple’s emotional branding, a brand that is felt in the heart and mind of the consumer† [2], is the key to its survival. Apple’s brand is reflected through their core beliefs about innovation, imagination and design. It is promoted through their products, advertisement and customer experience. This paper will give an introduction on understanding what a brandRead MoreApple - Marketing Strategy2600 Words   |  11 Pagesvery important and the deciding phase which is the marketing phase. It is very essential for a company to have a marketing strategy and a marketing plan to implement the strategy for a product or a service to be a commercial success. The following is the marketing strategy for a new product that Apple. Inc is going to launch. The product is a mobile device named iPhone-S. Apple has always aimed at producing the best devices not giving too much thought on the cost factor. All its target customersRead MoreApple Pricing Strategy9004 Words   |  37 PagesCASE STUDY: APPLE Chapter 7: Pricing Contents A. Understanding Pricing 4 1. Internal and External Considerations Affecting Price Decisions 5 1.1. Internal factors 5 1.2. External Factors 9 2. Setting The Price 10 B. Introduction to Apple 13 1. Product 14 2. Promotion 15 3. Place 16 4. Price 17 C. IPHONE 19 1. Introduction to iPhone 19 1.1 Main Features 19 1.2 Market share 20 2. Pricing Strategy of Apple’s IPhone 21 2.1 High Reference Pricing 21 2Read MoreApple Marketing Strategy2907 Words   |  12 Pagescompetition from Nokia and others Jennifer L.Schenker the iPhone in Europe: Lost in Translation, The plummeting economy persuaded Apple to decrease the price of its product as global recession was hitting its peak by the time Apple launched its product in the European market. The market although dense amp; vast still couldnt afford the price of the product so Apple had to work on the problem enumerate the decision factors and the best alternative it had according to the situation was loweringRead MoreApple Price Strategy1837 Words   |  8 PagesChapter 2: Analysis of marketing strategy 2.2 Pricing Strategy 2.2.1 Factor affecting pricing decisions (type of market) iPhone4s is a product from Apple which sells in oligopoly competition market. 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Wednesday, May 6, 2020

Rhetorical Analysis- Snuggie - 715 Words

The Snuggie Commercial tied to Monroe’s Motivated Sequence xxxxxxxxxxxxx Governors State University Abstract This paper focuses on an analysis of the Snuggie commercial. The author will cover the five steps that make up the Monroe’s Motivated Sequence and illuminate how the commercial is organized according to these steps. The Snuggie Commercial tied to Monroe’s Motivated Sequence The Snuggie is a soft, cozy, one piece blanket with sleeves that is available in 3 different colors. Awareness of this product is now worldwide due to its widely spread television commercials and advertisements. The Snuggie commercial is not one of the favored commercials in television today. It does not contain much to gain the†¦show more content†¦Following Satisfaction is Visualization in the Monroe’s Motivated Sequence. The commercial uses Visualization to allow the viewer to see how the snuggie is used in a situation that may be relate to themselves. It shows all members of a family using the Snuggie. It shows an older lady knitting, a mother reading to her daughter, a man watching television, a lady making coffee, a child

Tuesday, May 5, 2020

Negro Spirituals Essay Example For Students

Negro Spirituals Essay Negro SpiritualsSpirituals, a religious folk song of American origin, particularly associated with African-American Protestants of the southern United States. The African-American spiritual, characterized by syncopation, polyrhythmic structure, and the pentatonic scale of five whole tones, is, above all, a deeply emotional song. Spirituals are really the most characteristic product of the race genius as yet in America. But the very elements which make them uniquely expressive of the Negro make them at the same time deeply representative of the soil that produced them. Spirituals were long thought to be the only original folk music of the United States, and research into its origin centered mainly on the nature and extent of its African ancestry. Because slaves were brought to the United States from many parts of Africa, no single African musical source is clear. Elements that African music and American black spirituals have in common include syncopation, polyrhythmic structure, the p entatonic scale, and a responsive rendition of text. Almost all the first Africans who arrived in the New World were slaves. They came from several regions of the African West Coast. Their ways of living were described by slaves themselves, in some narratives. They had to work either in plantations or in town. Slavery was an important issue facing churches, as slaves were allowed to meet for Christian services. Some Christian ministers wrote against on slavery. Rural slaves used to stay after the regular worship services, in churches or in plantation praise houses, for singing and dancing. But, slaveholders did not allow dancing and playing drums, as usual in Africa. They also had meetings at secret places (camp meetings, bush meetings), because they needed to meet one another and share their joys, pains and hopes. In rural meetings, thousands slaves were gathered and listened to itinerant preachers, and sang spirituals, for hours. In the late 1700s, they sang the precursors of spirituals, which were called corn ditties.So, in rural ar eas, spirituals were sung, mainly outside of churches. In cities, about 1850, the Protestant City-Revival Movement created a new song genre, which was popular; for revival meetings organized by this movement, temporary tents were erected in stadiums, where the attendants could sing. At church, hymns and psalms were sung during services. Some of them were transformed into songs of a typical African American form: they are Dr Watts. The lyrics of negro spirituals were tightly linked with the lives of their authors: slaves. While work songs dealt only with their daily life, spirituals were inspired by the message of Jesus Christ and his Good News (Gospel) of the Bible, You can be saved. They are different from hymns and psalms, because they were a way of sharing the hard condition of being a slave. Many slaves in town and in plantations tried to run to a free country, that they called my home or Sweet Canaan, the Promised Land. This country was on the Northern side of Ohio River, that they called Jordan. Some negro spirituals refer to the Underground Railroad, an organization for helping slaves to run away. The Spirituals are spiritual. Conscious artistry and popular conception alike should never rob them of this heritage, untrue to their tradition and to the folk genius to give them another tone. That they are vulnerable of both crude and refined secularization is no excuse. Even though their own makers worked them up from the shout and the rhythmic elements of the sensuous dance, in their finished form and basic emotional effect all of these elements were completely sublimated in the sincere intensities of religious seriousness. To call them Spirituals and treat them otherwise is a travesty. Emotionally, African slave songs were far from simple. They are not only spread over the whole length of human moods, with the traditional religious overtone skillfully insinuated in each instance, but there is further a sudden change of mood in the single song, baffling to formal classification. Emotional themes relate these songs to the folk activities that they motivated, classifying them by th eir respective song-types. From this point of view we have essentially four classes, the almost ritualistic prayer songs or pure Spirituals, the freer and more unrestrained evangelical shouts or camp-meeting songs, the folk ballads so overlaid with the tradition of the Spirituals proper that their distinctive type quality has almost been unnoticed until lately, and the work and labor songs of strictly significant character. Indeed, in the pure Spirituals one can trace the broken fragments of an evangelical folk liturgy, with confession, exhortation, mourning, conversion and love-feast rejoicing as the general stages of a Protestant folk-mass. It is not a question of religious content or allusion, for the great majority of the Negro songs have this more delicate question of caliber of feeling and type of folk use. The distinctiveness of the Spirituals after all and their finest meaning resides in their musical elements. The characteristic beauty of the folk song is harmonic, in disti nction to the more purely rhythmic stress in the secular music of the Negro, which is the basis of ragtime and jazz; while regarding the one as the African component in them, and the other as the modifying influence of the religious hymn. In the United States the rhythmic element, though still dominant, has ceded measurably to the melodic, the dance having given way to religious worship, sensual bodily movement to emotional expression. The actual mechanics of the native singing, with its syllabic quavers, the off-tones and tone glides, the improvised interpolations and, above all, the subtle rhythmic phrase balance, has much to do with the preservation of the vital qualities of these songs. In the process of the art development of this material the Negro musician has not only a peculiar advantage but a particular function and duty. Maintaining spiritual kinship with the best traditions of this great folk art, he must make himself the recognized vehicle of both its transmission and i ts further development. Negro folk song is not midway its artistic career as yet, and while the preservation of the original folk forms is for the moment the most pressing necessity, an inevitable art development awaits them, as in the past it has awaited all other great folk music. The complaint to be made is not against the art development of the Spirituals, but against the somewhat hybrid treatment characteristic of the older school of musicians. One of the worst features of this period has been the predominance of solo treatment and the loss of the vital sustained background of accompanying voices. In spite of the effectiveness of the solo versions, especially when competently sung by Negro singers, it must be realized more and more that the proper idiom of Negro folk song calls for choral treatment. The young Negro musicians, Nathaniel Dett, Carl Diton, Ballanta Taylor, Edward Boatner, Hall Johnson, Lawrence Brown and others, while they are doing effective solo settings, are tu rning back gradually to the choral form. Musically speaking, only the superficial resources in this direction have been touched as yet; just as soon as the traditional conventions of four-part harmony and the oratorio style and form are broken through, we may expect a choral development of Negro folk song that may equal or even outstrip the phenomenal choral music of Russia With its harmonic versatility and interchangeable voice parts; Negro music is only conventionally in the four-part style, and with its skipped measures and interpolations it is at the very least potentially polyphonic. It can therefore undergo without breaking its own boundaries, intricate and original development in directions already the line of advance in modernistic music. Indeed one wonders why something vitally new has not already been contributed by Negro folk song to modern choral and orchestral musical development. And if it be objected that it is too far a cry from the simple folk spiritual to the large r forms and idioms of modern music, let us recall the folk song origins of the very tradition which is now classic in European music. Up to the present, the resources of Negro music have been tentatively exploited in only one direction at a time, melodically here, rhythmically there, harmonically in a third direction. A genius that would organize its distinctive elements in a formal way would be the musical giant of his age. Such a development has been hampered by a threefold tradition, each aspect of which stands in the way of the original use of the best in the Negro material. The dominance of the melodic tradition has played havoc with its more original harmonic features, and the oratorio tradition has falsely stereotyped and overlaid its more orchestral choral style, with its intricate threading in and out of the voices. Just as definitely in an- other direction has the traditional choiring of the orchestra stood against the opening up and development of the Negro and the Africa n idioms in the orchestral forms. Gradually these barriers have been broken through. Negro music very probably has a great contribution yet to make to the substance and style of contemporary music, both choral and instrumental. If so, its thematic and melodic contributions and the borrowings of rhythmical suggestions are only precluding experiments that have pro- claimed the value of the Negro musical idioms, but have not fully developed them. When a body of folk music is really taken up into musical tradition, it is apt to do more than contribute a few new themes. For when the rhythmic and harmonic basis of music is affected, it is more than a question of superstructure, the very foundations of the art are in process of being influenced. Appreciating it as music of the past, we must nurture and welcome its contribution to the music of tomorrow. .ucaa0f61019a748b612bdf8352de168e6 , .ucaa0f61019a748b612bdf8352de168e6 .postImageUrl , .ucaa0f61019a748b612bdf8352de168e6 .centered-text-area { min-height: 80px; position: relative; } .ucaa0f61019a748b612bdf8352de168e6 , .ucaa0f61019a748b612bdf8352de168e6:hover , .ucaa0f61019a748b612bdf8352de168e6:visited , .ucaa0f61019a748b612bdf8352de168e6:active { border:0!important; } .ucaa0f61019a748b612bdf8352de168e6 .clearfix:after { content: ""; display: table; clear: both; } .ucaa0f61019a748b612bdf8352de168e6 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ucaa0f61019a748b612bdf8352de168e6:active , .ucaa0f61019a748b612bdf8352de168e6:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ucaa0f61019a748b612bdf8352de168e6 .centered-text-area { width: 100%; position: relative ; } .ucaa0f61019a748b612bdf8352de168e6 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ucaa0f61019a748b612bdf8352de168e6 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ucaa0f61019a748b612bdf8352de168e6 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ucaa0f61019a748b612bdf8352de168e6:hover .ctaButton { background-color: #34495E!important; } .ucaa0f61019a748b612bdf8352de168e6 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ucaa0f61019a748b612bdf8352de168e6 .ucaa0f61019a748b612bdf8352de168e6-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ucaa0f61019a748b612bdf8352de168e6:after { content: ""; display: block; clear: both; } READ: Virgils effect on Dante EssayWords/ Pages : 1,616 / 24