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A swot and BCG matrix of Morrisons retailer

Marketing strategy is a method of focusing an organization’s capabilities and resources toward a defined task which leads the organisation toward sale promotion and target marketing place. Marketing strategies are the combination of product promotion, distribution, pricing, relationship management and other elements; identifies the firm’s marketing goals, and explains how they will be achieved, ideally within a stated timeframe. Marketing strategies are concluding the target market segments, positioning, marketing mix, and allocation of resources. In recent years, several conceptual frameworks have been developed to better understand the processes of strategy formulation, and for such processes, the term “strategic marketing” is used to describe the decisions taken to develop long-run strategies for survival and growth About Morrisons We are the UK’s fourth largest food retailer with 403 stores. Our business is mainly food and grocery – the weekly shop. Uniquely we source and process most of the fresh food that we sell though our own manufacturing facilities, giving us close control over provenance and quality; and we have more people preparing more food in store than any other retailer. Every week nine million customers pass through our doors and 124,000 colleagues across the business work hard each day to deliver great service to them. With competitive prices and hundreds of special offers, we are proud to save our customers money every day. Definition of Strategic Marketing Marketing Strategy is a process that can allow an organization to concentrate its limited resources on the greatest opportunities to increase sales and achieve a sustainable competitive advantage. (Baker
It should be noted that both “Trifles” by Susan Glaspell and “Naked Lunch” by Michael Hollinger are one act plays. Despite the fact that these writings are rather short in length, their core is rather in-depth and carries a significant message. The purpose of this paper is to compare the two readings and analyze their symbolism. Comparison of Themes The play written by Glaspell covers several important topics. First, it dwells upon the gender differences that existed at the time of the play. The environment of that time implied that women were treated wrongly. That is to say, their main occupation was taking care of household chores, and their actual opinions were regarded as insignificant, irrelevant, and many men believed that only banal things bothered women. Second, the other topic, which the play intended to consider, was the issue of isolation. The women in the play were united by the feeling of isolation and alienation from other women and from society in general. Mrs. Wright was a lonely woman who felt isolated living on the farm with her husband. Mrs. Peters and Mrs. Hale understood her feelings precisely and many people of that time could share this sentiment. Third, violence is another topic of this play. Despite the fact, that, as a rule, people and the law condemned murderers, this text made it possible to justify killing since it was the only way to set the woman free. The work by Hollinger covers the themes that are close to the ones considered in “Trifles”. However, “Naked Lunch” dwells upon the other manifestations of gender differences. In particular, the major theme is the idea that women had to be submissive to their husbands or partners. Vernon considered that he had the right to force Lucy into eating the steak he made because he regarded his personal opinion more objective and truthful. Therefore, he believed that he could make his ex-girlfriend quit her views and it would not be disrespectful or humiliating. The other topic that is addressed throughout the play is psychological violence endured by many women of that time. Violence can take many forms, and psychological harassment is one of the trickiest ones. Both main characters were not able to recognize the presence of violence in which the man was forcing the woman intellectually and emotionally to submit to him. Thus, it can be assumed that the two plays cover the similar topics, which are gender difference and violence; however, each of the readings considers them from the different sides. Symbolism The symbolic significance of the steak dinner in “Naked Lunch” lied in the fact that it was very difficult for women to comprehend that they did not have an obligation to obey to what men used to say. Despite the condition that Vernon was no longer Lucy’s partner, it was easier for her to agree to do what she was reluctant to rather than stand out for her views. Nevertheless, there is another side to this issue. Having agreed that the steak was juicy, the woman understood that it was her ex-partner who used to poison her life but not her personal views or behavior. The symbolic meaning of the birdcage and the dead bird is also quite intense. Importantly, it was not a simple act of rebellion. This occurrence manifested the presence and criticality of emotional and political violence experienced by females and their intention to fight it. Get your 100% original paper on any topic done in as little as 3 hours Learn More Conclusion Thus, it can be concluded that the two readings carry a similar meaning. Both of them addressed the existing gender difference and its ugly manifestations. Each text considered this issue differently; nevertheless, the plays stressed that women in the world endured it and it was irreconcilable.

Becoming Original: Truth and Death in Hawthorne’s The Minister’s Black Veil Research Paper

Truth and Death in Hawthorne’s The Minister’s Black Veil Sarah Margaret Fuller’s American Literature explores the fledgling identity of the United States of America at a time when the national identity, not to mention the American literary canon, was in its nascent stage. Fuller depicts a particular quality that a quintessentially American literary work must possess: truth. “Before we can have poets”, Fuller writes, truth “needs to penetrate beneath the springs of action, to stir and remake the soil as by the action of fire…This is the one great means by which alone progress can be essentially furthered. Truth is the nursing mother of genius. No man can be absolutely true to himself, eschewing cant, compromise, servile imitation, and complaisance, without becoming original, for there is in every creature a fountain of life which, if not choked back by stones and other dead rubbish, will create a fresh atmosphere, and bring to life fresh beauty. And it is the same with the nation as with the individual man” (Lauter 1843). What does Fuller mean by this statement? And what does it have to do with literature? In a time when a national literature is under construction, Fuller asserts, “the only safe position is to lead” (Lauter 1844). A staunch commitment to truth, in Nathaniel Hawthorne’s The Minister’s Black Veil, becomes the undoing of its protagonist, Father Hooper. Yet, adherence to truth, at all costs, in Fuller’s reckoning, is what makes The Minister’s Black Veil a genuine work of American Literature. Critical thought, both historical and contemporary, plumbs Hooper’s motivation for donning the veil in the first place. The emphasis seems to be on uncovering the secret. While the consensus appears to be that Father Hooper’s secret is sexual in nature, no one appears clear on the details of Hooper’s sexual transgression. Richard Fogle contends “Hawthorne holds out the suggestion that the veil is a penance for an actual and serious crime, while at the same time permitting no real grounds for it” (Fogle 36). Paul J. Emmett suggests that Hooper puts on the veil to become a woman. He writes, “we’re never told why Hooper seeks feminization, or even if feminization is part of his motivation…but to deal with Hooper’s motivations for wearing the veil, we must, of course, ask what he wants, and in Hawthorne’s tale, what the minister wants is insinuated the same way as what the minister’s done. Repetitions. With both the young lady and Elizabeth, it’s not exactly that Hooper wants to be female, it’s that he needs to be the lost woman. He needs to become, to incorporate, to take the place of the very woman whom he has separated himself from” (Emmett 104). Get your 100% original paper on any topic done in as little as 3 hours Learn More Carl Ostrowski defends a somewhat radical thesis. He understands the veil to be a means of camouflaging the ravages of syphilis on Father Hooper’s face. Ostrowski maintains the “diagnosis of Hooper [that he has syphilis] takes on added meaning in light of the problematic relationship between the minister and the young woman whose funeral he presides over, significantly, on the day he first wears the veil” (Ostrowski 203). Ostrowski goes on to point to the old woman who witnesses Hooper, and “who is immediately discredited by the narrator as a “superstitious old woman” (which only calls greater attention to her observation), [and ]avers that the corpse “had slightly shuddered” at the instant when the clergyman’s face would have been visible to her” (Ostrowski 203). The veil then becomes the symbol of Hooper’s fall from sexual purity, and the syphilis becomes the punishment. Criticism also explores the veil from the standpoint of religion. Timothy Montbriand offers a religious explanation for the veil when he states that “Hooper is struggling with doubts about his own salvation, and the beginning of that struggle is marked by the moment he first dons the veil. Forever after that, he must, necessarily, see the world in a different way, for his preoccupation with his eternal destiny cuts him off from fully participating in the joys of the world around him. The veil represents his isolation; it does not cause it” (Montbriand 1). Still other critics read the veil as a form of psychological separation that Hooper adopts. J. Miller asserts that “[Hooper’s veil] interrupts a universal process absolutely necessary to all human society, community, family life, and face-to-face “interpersonal” relations – the process whereby we interpret faces as the signs of selfhood. Hooper’s veil leaves no way to read his soul, his thoughts and feeling, from his face, no way to tell whether the person is happy or whether he has a secret sorrow or sin. In fact, there is no way to be sure that the minister, or anyone at all, is behind the veil” (Miller 44). Lastly, Clark Davis says that Hooper’s veil “implies some limitation within the relationship with otherness, a permeable barrier that re-resents a heightened awareness of distance” (Davis 14). For the purposes of this essay, let us look instead on Hooper not as a man, not as a sexual being, but as living symbol of truth, a truth that none want to face: death. All that lives, dies. Father Hooper adopts the veil to personify the truth of human mortality, and this truth relates to every facet of life that any civilization built on religion strives to suppress: the tenuous grasp all of us have on life. Hawthorne’s veiled minister is a simple, brutal symbolic representation of death. This is why he quickly becomes unbearable for the townspeople to witness. We will write a custom Research Paper on Becoming Original: Truth and Death in Hawthorne’s The Minister’s Black Veil specifically for you! Get your first paper with 15% OFF Learn More Hawthorne’s The Minister’s Black Veil embodies American Literature, by Fuller’s definition, because he creates in Hooper a protagonist that refuses to “bow to the will of the multitude” (Lauter 1844). Father Hooper indeed finds “the ostracism of democracy far more dangerous than the worse censure of a tyranny could be” (Lauter 1844). In the creation and presentation of the true inevitability of death via Hooper’s veil, Hawthorne fulfills Fuller’s definition of the American writer as in possession of the “noble fearlessness [that] can give wings to the mind, with which to soar beyond the common ken, and learn what may be of use to the crowd below. Writers have nothing to do but to love truth fervently, seek justice according to their ability, and then express what is in the mind; they have nothing to do with consequences. God will take care of those. The want of such noble courage, such faith in the power of truth and good desire, paralyze mind greatly in this country” (Lauter 1844). Author Ernest Becker wrote, “man has a symbolic identity that brings him sharply out of nature. He is a symbolic self, a creature with a name, a life history. He is a creator with a mind that soars out to speculate about atoms and infinity, who can place himself imaginatively at a point in space and contemplate bemusedly his own planet…this self-consciousness gives to man literally the status of a small god in nature” (Becker 26). Yet, as Hawthorne’s protagonist Hooper knows full well, and as Becker delineates, “man is a worm and food for worms. This is the paradox: he is out of nature and hopelessly in it; he is dual, up in the stars and yet housed in a heart-pumping, flesh-gasping body…a material fleshy casing that is alien to him in many ways – the strangest and most repugnant way being that it aches and bleeds and will decay and die” (Becker 26). In The Minister’s Black Veil, Hooper sets about to rouse his parishioners from their collective delusion concerning their own mortality. The trigger for Hooper to adopt this role is the “funeral of a young lady,” which has affected him deeply, for reasons unknown (Lauter 2431). When Hooper arrives at the home of the deceased woman, he wears the veil. The “relatives and friends were assembled in the house, and the more distant acquaintances stood about the door, speaking of the good qualities of the deceased, when their talk was interrupted by the appearance of Mr. Hooper, still covered with his black veil. It was now an appropriate emblem” (Lauter 2431). The irony of Hawthorne’s passage is not lost. In the eyes of the townspeople, Hooper’s funereal shroud only maintains its appropriateness in the context of the young woman’s death. “The clergyman stepped into the room where the corpse was laid, and bent over the coffin, to take a last farewell of his deceased parishioner. Not sure if you can write a paper on Becoming Original: Truth and Death in Hawthorne’s The Minister’s Black Veil by yourself? We can help you for only $16.05 $11/page Learn More As he stooped, the veil hung straight down from his forehead, so that, if her eyelids had not been closed forever, the dead maiden might have seen his face…A person who watched the interview between the dead and living, scrupled not to affirm, that, at the instant when the clergyman’s features were disclosed, the corpse had slightly shuddered, rustling the shroud and muslin cap, though the countenance retained the composure of death” (Lauter 2431). Critics attribute this passage to Father Hooper’s relationship with the dead woman. Instead, let us reads this passage as the details of Father Hooper’s communion with death. Once Hooper leaves the dead woman, he passes “into the chamber of the mourners, and thence to the head of the staircase, to make the funeral prayer. It was a tender and heart-dissolving prayer, full of sorrow, yet so imbued with celestial hopes, that the music of a heavenly harp, swept by the fingers of the dead, seemed faintly to be heard among the saddest accents of the minister. The people trembled, though they but darkly understood him when he prayed that they, and himself, and all of mortal race, might be ready, as he trusted this young maiden had been, for the dreadful hour that should snatch the veil from their faces” (Lauter 2431). We see Hooper press his face close to death, and in so doing, he provides a visual representation of the story’s theme: life and death are always side-by-side. When Hawthorne notes the reaction of the townspeople to Hooper’s prayer, we see that they have understood his meaning. However, they choose to ignore it. Hooper’s congregation reserves a time and a place for death: the funeral. Only in a death context can death exist, in their minds. Outside of the funeral, only life exists: weddings, engagements, church sermons, and gossip. However, through the experience of losing the young woman, Hooper has become intimately acquainted with the reality of life. He now understands that death and life co-exist; they are partners in experience, and separation through social ritual defies that reality. There is no way to separate the two. The veil then becomes a visual depiction of this truth. Later, when Hooper arrives at a wedding wearing the shroud, the townspeople no longer approve. “When Mr. Hooper came, the first thing that their eyes rested on was the same horrible black veil, which had added deeper gloom to the funeral, and could portend nothing but evil to the wedding. Such was its immediate effect on the guests that a cloud seemed to have rolled duskily from beneath the black crape, and dimmed the light of the candles. The bridal pair stood up before the minister. But the bride’s cold fingers quivered in the tremulous hand of the bridegroom, and her deathlike paleness caused a whisper that the maiden who had been buried a few hours before was come from her grave to be married” (Lauter 2431). In actuality, the funereal shroud is always appropriate, even during a wedding, since death can happen at any time. Death, in fact, always remains as close to us as our own lives. Freud alludes to this in a passage from Reflections on War and Death that asks, “Is it not for us to confess that in our civilized attitude towards death we are once more living psychologically beyond our means, and must reform and give truth its due? Would it not be better to give death the place in actuality and in our thoughts which properly belongs to it, and to yield a little more prominence to that unconscious attitude towards death which we have hitherto so carefully suppressed?” (Freud 34). Father Hooper attempts to share the wisdom of this idea with his parishioners, to free them from their denial of death. As a result, he makes himself a pariah. When Hooper attempts to share his understanding with the woman whom he believes loves him, he learns the limits of their relationship in a heart wrenching and poignant exchange. Elizabeth does see the truth, as evidenced herein: “her eyes were fixed insensibly on the black veil, when, like a sudden twilight in the air, its terrors fell around her. She arose, and stood trembling before him. “And do you feel it then, at last?” said he mournfully. She made no reply, but covered her eyes with her hand, and turned to leave the room” (Lauter 2431). Elizabeth chooses delusion over truth, even though Hooper implores her to recognize the veracity of the veil, and the truth of their mortality, when he begs, “”Have patience with me, Elizabeth!” cried he, passionately. “Do not desert me, though this veil must be between us here on earth. Be mine, and hereafter there shall be no veil over my face, no darkness between our souls! It is but a mortal veil – it is not for eternity! O! You know not how lonely I am, and how frightened, to be alone behind my black veil. Do not leave me in this miserable obscurity forever!” (Lauter 2431). Elizabeth, when she asks Hooper to remove the veil, shows that even though she understands the symbol that Hooper’s veil represents, she prefers to remain in denial. This marks the end of their love affair, and sets Hooper on his lonely course as the sole voice of truth in a landscape of lies. Sarah Margaret Fuller believed that a truly American Literature denoted fearlessness, and that its purpose was to create an environment wherein “talent shall be left at leisure to turn its energies upon the higher department of man’s existence” (Lauter 1843). Truly American writers, in her mind, did not shrink from speaking and writing the truth, despite that the fact that it is “not half so dangerous to a man to be immured in a dungeon alone with God and his own clear conscience, as to walk the streets fearing the scrutiny of a thousand eyes, ready to veil, with anxious care, whatever may not suit the many-headed monster in its momentary mood” (Lauter 1844). Hawthorne knew that the appetite for truth, particularly in regards to the close relationship between death and life, was nonexistent in his time. In actuality, it has not grown much since. Yet, Hawthorne created a protagonist, Father Hooper, who sacrificed his personal happiness, suffered public censure, social ostracization, and the loss of a woman he loved, all in an effort to bring his congregation to the light of truth – that life and death exist side by side, and that the simple acknowledgment of death as part of life brings a sense of unparalleled freedom. Unfortunately, but not surprising, Father Hooper failed to impart his message, and so endured the rest of his days as a curiosity, until, on his death bed, his last words struck at the heart of the townspeople and the reality that they all face as mortal beings: “I look around me and lo! On every visage a Black Veil!” (Lauter 2431). Works Cited Becker, Ernest. The Denial of Death. New York: Simon and Schuster, 1973. Print. Davis, Clark. “Facing the Veil: Hawthorne, Hooper and Ethics.” The Arizona Quarterly 55 (1999): 1-19. Print. Emmett, Paul J. “Narrative Suppression: Sin, Secrecy and Subjectivity in The Minister’s Black Veil.” Journal of Evolutionary Psychology 25.1-2 (2004): 101-119. 19 November 2010. Web. Fogle, Richard Hatter. Hawthorne’s Fiction: The Light and Dark. Norman, OK: UP Oklahoma, 1952. Print. Freud, Sigmund. Reflections on War and Death. Trans. by A. A. Brill and Alfred B. Kuttner. New York: Moffat, Yard

Costing and Pricing of Transport, economics homework help

i need help writing an essay Costing and Pricing of Transport, economics homework help.

The financial management of each and every transport operation is crucial to its future sustainability. For a transport organisation of your choice: a) Describe the cost elements which exist in a transport operation and how these can be successfully controlled whilst maintaining or improving customer satisfaction. b) Evaluate the various methods used to build costs into a pricing policy. c) Compare and contrast the different pricing arrangements of transport in an operation that has to meet a regular peak in demand for its services and how these can be used to control demand.
Costing and Pricing of Transport, economics homework help

Organizational Development and Acquisitions

Organizational Development and Acquisitions.

Primary Task Response:write 200–300 words that respond to the following questions with
your thoughts, ideas, and comments.Be substantive and clear, and use
examples to reinforce your ideas.Additional Information:Leroy Banks is the Director of Change Management for Red Carpet, a
national hospitality and entertainment company. He has contracted you to
be an OD Consultant because Red Carpet has recently acquired a movie
theater company and needs to create a new division. Leroy realized that
this acquisition has provided an opportunity to restructure some other
parts of the Red Carpet as well so it can streamline its operations.
Leroy has asked you to begin by assessing Red Carpet’s organizational
environment.Review the Red Carpet scenario for this course and with your
classmates; discuss the following questions that will help you become
familiar with Red Carpet:Identify and describe 3 examples of external forces affecting Red Carpet.
Identify and describe 3 examples of internal forces affecting Red Carpet
What challenges have these forces created at Red Carpet?
Organizational Development and Acquisitions

Recommending an Evidence-Based Practice change

Recommending an Evidence-Based Practice change. I’m stuck on a Nursing question and need an explanation.

To Prepare:

Reflect on the four peer-reviewed articles you critically appraised in Module 4.
Reflect on your current healthcare organization and think about potential opportunities for evidence-based change.

The Assignment: (Evidence-Based Project)
Part 5: Recommending an Evidence-Based Practice Change
Create an 8- to 9-slide PowerPoint presentation in which you do the following:

Briefly describe your healthcare organization, including its culture and readiness for change. (You may opt to keep various elements of this anonymous, such as your company name.)
Describe the current problem or opportunity for change. Include in this description the circumstances surrounding the need for change, the scope of the issue, the stakeholders involved, and the risks associated with change implementation in general.
Propose an evidence-based idea for a change in practice using an EBP approach to decision making. Note that you may find further research needs to be conducted if sufficient evidence is not discovered.
Describe your plan for knowledge transfer of this change, including knowledge creation, dissemination, and organizational adoption and implementation.
Describe the measurable outcomes you hope to achieve with the implementation of this evidence-based change.
Be sure to provide APA citations of the supporting evidence-based peer reviewed articles you selected to support your thinking.
Add a lessons learned section that includes the following:

A summary of the critical appraisal of the peer-reviewed articles you previously submitted
An explanation about what you learned from completing the evaluation table (1 slide)
An explanation about what you learned from completing the levels of evidence table (1 slide)
An explanation about what you learned from completing the outcomes synthesis table (1 slide)

Recommending an Evidence-Based Practice change

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