How to write an essay: September 2019

Monday, September 30, 2019

Ignorance to the Truth Essay

Often in tragic literature, authors infuse characters with a tragic flaw such as hubris. One work that explores an exuberant amount of pride is Oedipus Rex by Sophocles. In this play, Thebes is stricken with a plague and Oedipus, the King, will sacrifice anyone to save it. In the process of finding a solution, Oedipus realizes that he fulfills the prophecies that say he will kill his father and marry his mother. In the play, Sophocles shows OedipusÃ¢â‚¬â„¢ hubris by using irony. Characterization is also used to enhance the effects of pride on OedipusÃ¢â‚¬â„¢ ability to see logistically. Both characterization and irony play an important role in supporting the theme that excessive pride is a bad thing because it prevents people from viewing life with logic and leads to their downfalls. In the drama, Oedipus Rex, readers analyze the theme by looking at OedipusÃ¢â‚¬â„¢ tragic flaw. Sophocles describes how Oedipus changes from being a powerful and majestic king to being Ã¢â‚¬Å"the worldÃ¢â‚¬â„¢s outcastÃ¢â‚¬ (Sophocles 66). For instance, OedipusÃ¢â‚¬â„¢ hubris is shown from the beginning of the play when he steps down from the altar. He addresses the people of Thebes to discuss the deadly plague that has come to Thebes. Oedipus explains that he hears the Ã¢â‚¬Å"sound of prayer and lamentationÃ¢â‚¬ and that he himself Ã¢â‚¬Å"who bears the famous name,Ã¢â‚¬ has come to listen to his people (Sophocles 4). Oedipus shows how prideful he is when he refers to himself as being famous amongst the people of Thebes. Also, the fact that he comes forth when he hears prayers, indicates that he views himself as an equivalence to the gods because he defeated the Sphinx. OedipusÃ¢â‚¬â„¢ boasting relates to the theme because it foreshadows his tragic fate that he will kill his father and marry his mother as destined by the gods. OedipusÃ¢â‚¬â„¢ pride continues throughout the play when the messenger announces the death of King Polybos of Corinth. Specifically, Oedipus thinks that he is the son of King Polybos and that he escapes his prophecies by leaving Corinth long ago. Oedipus explains that he Ã¢â‚¬Å"never touches [Polybos],Ã¢â‚¬ so he will not Ã¢â‚¬Å"give heed to the birds that jangle above [PythianÃ¢â‚¬â„¢s] headÃ¢â‚¬ (Sophocles 50). Oedipus fails to realize that Polybos is not his real father, which relates to the theme of hubris. The overwhelming sense of pride in himself is what makes him blind to what is real. To support the theme of Oedipus Rex, Sophocles uses dramatic irony throughout the play. Creon tells Oedipus that the murderer of King Laois must die in order for Thebes to recuperate from the plague. Oedipus shows concern for the well-being of the city but also for himself. He says that he will Ã¢â‚¬Å"avenge the city and the cityÃ¢â‚¬â„¢s godÃ¢â‚¬ (Sophocles 9). He further exclaims that Ã¢â‚¬Å"for [his] own sake, [he will] get rid of evilÃ¢â‚¬ because the murderer of King Laois might Ã¢â‚¬Å"decide at any moment to kill [him]Ã¢â‚¬ (Sophocles 9). Although Oedipus shows true concern for Thebes, his pride propels him to state that he will get rid of the murderer for his own benefits. The dramatic irony is that Oedipus is unable to realize that he will not benefit because he will ultimately have to be punished. OedipusÃ¢â‚¬â„¢ misconception connects to the theme because Oedipus fails to see that he is the murderer of King Laois. Dramatic irony is also shown after Iocaste realizes that OedipusÃ¢â‚¬â„¢ prophecies have come true and Oedipus refuses to give up his search for the truth of his birthplace. Oedipus says that he Ã¢â‚¬Å"is a child of Luck; [and that he] cannot be dishonoredÃ¢â‚¬ (Sophocles 58). The irony is that the audience knows OedipusÃ¢â‚¬â„¢ tragic fate, yet Oedipus believes he is a child of luck. The irony relates to the theme because his pride blinds him to see the reality that he has fulfilled his prophecies. The overall use of dramatic irony enhances the theme of pride preventing a person from seeing things logistically. In addition to irony, Sophocles uses characterization throughout the play to enhance the theme. For instance, Tiresias, a blind prophet reveals OedipusÃ¢â‚¬â„¢ fate and Oedipus refuses to believe it. When Tiresias accuses Oedipus of weaving his own doom, Oedipus objects by exclaiming that he saves Thebes by defeating the Sphinx. He says that TiresiasÃ¢â‚¬â„¢ magic Ã¢â‚¬Å"or the gods, for the matterÃ¢â‚¬ are useless (Sophocles 22). Oedipus is indirectly characterized as very self-centered and haughty. OedipusÃ¢â‚¬â„¢ ego relates to theme because he is so cocky that he does not perceive what Tiresias is saying. Instead, he reminds everyone of the time that he defeats the Sphinx. Oedipus gloats on past victories without dealing with present problems involving Thebes. Along with being self-centered, Sophocles characterizes Oedipus by incorporating epithets into the chorusÃ¢â‚¬â„¢ lines. Oedipus summons the shepherd in search of primary proof of the murdering of King Laois. The chorus explicitly calls Oedipus a Ã¢â‚¬Å"tyrant [who is a] child of PrideÃ¢â‚¬ and that his Ã¢â‚¬Å"haughtiness and high hand of disdain/ Tempt and outrage GodÃ¢â‚¬â„¢s holy lawÃ¢â‚¬ (Sophocles 46). Oedipus is indirectly characterized as a tyrant. The chorus denounces their King, which relates to the theme because OedipusÃ¢â‚¬â„¢ pride leads him to be Ã¢â‚¬Å"caught up in a net of painÃ¢â‚¬ (Sophocles 46). By using characterization, the author shows the reader how OedipusÃ¢â‚¬â„¢ pride leads to his downfall. Hubris often leads to a tragic fall and causes people to become oblivious to the real world. Sophocles creates dramatic irony in the play Oedipus Rex to enhance the plot. The use of dramatic irony highlights how blind Oedipus is to his fate. It shows how OedipusÃ¢â‚¬â„¢ life changes from being a majestic King to an egocentric man who has given up all hope. Oedipus Rex leads the reader into analyzing his or her own life. People should be proud of their achievements as long as they avoid becoming insolent. A healthy dose of pride always does a person well, but an exuberant amount of it, makes him or her ignorant to the truth.

Sunday, September 29, 2019

Marketing Plan of Ffm

BTEC EDEXCEL HND DIPLOM IN BUSINESS (MANAGEMENT & HUMAN RESOURCES) OFFERD BY INTERNATIONAL COLLEGE OF BUSINESS AND TECHNOLOGY MARKETING PLAN UNIT 4: MARKETING PRINCIPLES ADHUHAM RASHEED BM 41 CITY CAMPUS SUBMITED TO: MS. INOKA GUNARATHNE DATE OF SUBMISSION MARKETING PRINCIPLES Acknowledgement INDIVIDUAL It is an honor to thank Mr. Mohamed Waheed [Managing Director of Felivaru Fisheries Company], whoÃ¢â‚¬â„¢s encouragement, guidance and support from the initial to the final level enabled to develop an understanding of the current situation about the company and market. Adhuham Rasheed BM/C/41/22 Page IMARKETING PRINCIPLES Executive Summary INDIVIDUAL Felivaru Fisheries Company (FFC), a fish exporting company located in Maldives, has been in business for 39 years exporting canned tuna for all over the world. During the time the company has built strong image in both international market and domestic market. However recently the company has been separated from the mother company (MIFCO) and established as a new company. With this change the company has diversified its production line by introducing fast food items. For the upcoming 40th Anniversary Felivaru is planning to launch a new product to domestic market. Felivaru Lobster BisqueÃ¢â‚¬ which is a soup of French origin as the original founders of the company was French. The soup has been modified to the taste of Maldives by replacing the whine with a new secret formula found by Felivaru researchers. Felivaru believes that this new product would increase the market share of the company and would be a Ã¢â‚¬Å"HITÃ¢â‚¬ in domestic market. BM/C/41/22 Page II MARKETING PRINCIPLES 1 2 Contents INDIVIDUAL Introduction Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 1 2. 1 2. Vision Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 1 Mission Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 1 Product Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢ â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 1 Price Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Canned fish Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 3 Ras AinuÃ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 4 Fertilizers Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 5 Place Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. PromotionÃ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 7 3 Current market position of Felivaru Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 1 3. 1 3. 2 3. 2. 1 3. 2. 2 3. 2. 3 3. 3 3. 4 4 5 Market overview Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 7 SWOT Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 5. 1 5. 2 5. 3 5. 4 5. 5 Strength Ã¢â‚¬ ¦Ã¢ â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 7 Weakness Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 7 OpportunitiesÃ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 8 ThreatsÃ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Key issues and opportunitiesÃ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 8 Issues Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 8 OpportunitiesÃ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 8 Political and legal factors Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. Economic factors Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 9 Social and Cultural factors Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 9 Technological factors Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 9 PorterÃ¢â‚¬â„¢s five forces model Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 0 Competitor Rivalry [High] Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 10 Potential entrant (Threat of new entrance) [low] Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 10 Suppliers [low] Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 10 Buyers [high] Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 10 Page III 5. 5. 1 5. 5. 2 6PEST Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 9 6. 1 6. 2 6. 3 6. 4 7 Competitors Analysis Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 10 7. 1 7. 1. 1 7. 1. 2 7. 1. 3 7. 1. 4 BM/C/41/22 MARKETING PRINCIPLES 7. 1. 5 8 9 10 10. 1 10. 2 10. 3 10. 4 10. 5 10. 6 10. 7 10. 8 The treat to substitute [high] Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 10 INDIVIDUALAssumptionsÃ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 10 Objective Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 10 Strategy Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 11 Brief description about strategy Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 1 Target market Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 11 Positioning statement Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 11 Branding Strategy Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 11 Product Strategy Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 2 Pricing Strategy Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 12 Distribution Strategy Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 12 Promotional strategy Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 12 Sponsorship Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 2 Conclusion Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 13 References Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 14 Appendix Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 15 10. 8. 1 11 12 13 FIGURES Figure 1 Product mix of felivaru Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Figure 2 current distribution roots in domestic market Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã ¢â‚¬ ¦Ã¢â‚¬ ¦ 6 Figure 3 International Distribution network Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 6 TABLES Table 1 Price list of Felivaru and competitor (MIFCO) Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 3 Table 2 discount price on bulk buying from Felivaru Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. Table 3 Price list of Felivaru and competitor (ARI Maldives) Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦ 4 Table 4 pricelist of Felivaru and competitor (THAI FISH, THILAND) Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 5 BM/C/41/22 Page IV MARKETING PRINCIPLES 2 Introduction INDIVIDUAL Felivaru Fisheries Maldives Ltd (FFM) was in the business of manufacturing and exporting canned fish (fishing industry) for the past 39 years in different brand names. However the company, was re-branded as Felivaru Fisheries Maldives in June 2009 after separating from the Ã¢â‚¬Å"Mother companyÃ¢â‚¬ MIFCO.Science then the company has diversified its production line by introducing fast food items, specially Ã¢â‚¬Å"Ras AinuÃ¢â‚¬ products. The 100% government owned company has the capacity of processing more than 40 mega tons of canning and cooked frozen lions with the help of a cannery which has the capacity of canning 30 tons of raw fish in 8 hours shift (operate in 3 shift daily) and a fish plant which could produce 40 Mega tons of meat daily. At present 7 vessels are been used to collect fish from all over the Maldives and been stored in fish storage capable of storing total 650 tones (Felivaru, 2010). 2. Vision To become the leading fish processing and Distribution Company in Maldives, for both local and international markets, through maintaining high quality and achieving total customer satisfaction. (Felivaru, 2010) 2. 2 Mission We are committed to quality fish products, produced from sustainability caught fish, which will enhance customer satisfaction, through our constant ISO- certified and HACCP complaint system. We are also dedicated to becoming the most profitable leading global provider of a variety of healthy fresh and frozen fish products. (Felivaru 2010) 3 Current market position of Felivaru 3. Product The products of Felivaru can be divided in to 3 different product lines named as Ras Ainu, canned fish and fertilizers. The details of these lines are being show in a figure 1 on ne xt page as the product mix of Felivaru. BM/C/41/22 Page 1 MARKETING PRINCIPLES Figure 1 Product mix of felivaru Felivaru INDIVIDUAL Ras Ainu Canned Fish Fertilizers Thera fana Rihaakuru (fish paste) Valhoo mas (Dried fish) Foni ma gulha Disku Roshi MasÃ¢â‚¬â„¢ mirus (chili paste) Foni kaaja Foni roshi Theluli banÃ¢â‚¬â„¢bnukeyo Kulhi uvaali Kulhi kaaja Athu jeheli Havaadhu (curry powder) Kukulhu (chicken) Mas (fish) LonuÃ¢â‚¬â„¢mirus (chilies)Tuna steaks In oil In olive oil In sunflower oil In spring water In brine Tuna chucks In oil In olive oil In sunflower oil In spring water In brine Fish meal BM/C/41/22 Page 2 MARKETING PRINCIPLES By analyzing the market share of products in the Ras Ainu product line Rihaakuru, INDIVIDUAL Foni kaaja, Theluli BanÃ¢â‚¬â„¢bukeyo, Kulhi kaaja, Athu jeheli and Havaadhu can be considered as a Ã¢â‚¬Å"HitÃ¢â‚¬ each capturing more than 60% of market share becoming the leaders in the market.Although this both Thera fana and Foni ma gulha were just able to gain enough market share to be the market challenger by obtaining a market share of 25% to 30% each while Disku, Roshi and Kulhi uvaali can be considered as a Ã¢â‚¬Å"FlopÃ¢â‚¬ unable to secure more than 10%. Moving on to canned fish product line Tuna steaks in brain can be considered as the Ã¢â‚¬Å"KingÃ¢â‚¬ of European market gaining solid 39% market share. Simultaneously other steaks products also became market competitors by acquiring a market share of more than 19%. In domestic market tuna chucks in brain has ruled counting the number to a superb 60%.Other chunks products also have a market share of more than 30% except tuna chunks in olive oil, which only could capture a market share of 7%. Felivaru is the one and only producer of fish meal in the domestic market. Due to the fact of its preemptive advantage they were able to gain a perfect 100% in domestic market. However in international market Felivaru fish meal could only gain 16% of market share. 3. 2 Price Canned fi sh 3. 2. 1 For the products exciting in canned fish product line, there are numerous competitors competing in the market.Due to the fact of this economy pricing policy has been applied to the products in this product line. NAME Canned Tuna Chunk in Oil 48can/Case Canned Tuna Chunk in Brine 48can/Case Canned Tuna Chunk in spring water 48can/Case Canned Tuna Chunk in olive Oil, 48can/Case Canned Tuna Chunks in sunflower oil 48can/Case Canned Tuna Steak in Spring water 24Can/Case Canned Tuna Steak in Olive Oil 24Can/Case Canned Tuna Steak in Oil 24Can/Case Canned Tuna Steak in Brine 24Can/Case Canned Tuna Steak in sun flower oil 24Can/Case Felivaru price 817 756 864 912 888 435 456 423 393 444 Competitors price 817 756 864 912 888 435 456 423 393 444Table 1 Price list of Felivaru and competitor (MIFCO) BM/C/41/22 Page 3 MARKETING PRINCIPLES Table 1 shows the prices of Felivaru and MIFCO (the major competitor) in the market. Their re no such difference in the prices of products in canne d fish product line. However it is companyÃ¢â‚¬â„¢s policy to give discounts on bulk buyers. The discounted price is shown in table 2 below. NAME Canned Tuna Chunk in Oil 48can/Case Canned Tuna Chunk in Brine 48can/Case Canned Tuna Chunk in spring water 48can/Case Canned Tuna Chunk in olive Oil, 48can/Cs Case Canned Tuna Chunks in sunflower oil 48can/Case 100-249 cases 813. 20/751. 49/860. 37/910. 19/885. 1/250-499 cases 809. 21/747. 80/856. 70/908. 89/883/11/500-999 cases 808. 22/744. 12/854. 10/905. 67/880. 78/- INDIVIDUAL 1000&>cases 797. 25/736. 75/852. 60/903. 98/878. 18/- Table 2 discount price on bulk buying from Felivaru 3. 2. 2 of competitors. NAME Felivaru price Competitors price Ras Ainu To the products in the Ras Ainu product line currently prices are been charged quite high due to lack Thera fana Rihaakuru (fish paste) Valhoo mas( semi dried fish) Foni ma gulha Disku Roshi MasÃ¢â‚¬â„¢ mirus (chili paste) Foni kaaja Foni roshi Theluli banÃ¢â‚¬â„¢bnukeyo Kulhi uvaali Kulh i kaaja Athu jeheli Kukulhu (chicken) Mas (fish) LonuÃ¢â‚¬â„¢mirus (chilies) 0 GRM 400 GRM kg 75 GRM 5 PCS/PKT 10 PCS/PKT 82 GRM 180 GRM 120 GRM 75 GRM 200 GRM 200 GRM 220 GRM 115 GRM 115 GRM 115 GRM 10. 50/250/127. 50/14/9/6/22. 50/17/12. 50/14. 82/21. 50/25/23/23. 50/23. 50/23. 50/- 9/250/120/15/9/5/20/15/12/13. 50/21. 50/23. 50/22/23/23/23/- Table 3 Price list of Felivaru and competitor (ARI Maldives) Table 3 shows that most of the prices of Felivaru product are grater then competitors. However as mentioned early in 3. 1 Felivaru is the market leader. The reason for this is competitors do not have BM/C/41/22 Page 4 MARKETING PRINCIPLES enough production capacity to supply.However when MIFCO comes to the market on second quarter with their mass production capacity the supply would be increased forcing Felivaru to reduce the price in order to remain as a market leader INDIVIDUAL 3. 2. 3 Fertilizers A different pricing policy named penetration pricing strategy is been castoff on fer tilizers. In 2010 the prices has been set relatively low in order to attract new customers and gain more market share. The minute this goal was achieved the price has been increased in different phases. NAME Fishmeal 25? KG/BAG Felivaru price 250 Competitors price 280Table 4 pricelist of Felivaru and competitor (THAI FISH, THILAND) 3. 3 Place At the present only tuna chunks products and fertilizers are being exported. The main markets for those products are there in Asia and Europe while all other product excluding chucks product are been sold in domestic market. Currently in international market products are been available on selective areas according to demand. Though this in domestic market, Felivaru products can be purchased from almost each and every retailer outlet near consumer residence. Therefore it can be concluded that intensive distribution is being used in domestic market.In domestic market three distribution routs are being used as distribution network which has been s hown next page in figure 2 BM/C/41/22 Page 5 Figure 2 current distribution roots in domestic market MARKETING PRINCIPLES INDIVIDUAL COMPANY OWN SHOP (FELIVARU MAS FIHAARA) COMPANY (FELIVARU) COMPANY (FELIVARU) WHOLESAILERS (STO) RETAILERS Concumer RETAILERS CONCUMERS CONCUMERS However a different distribution network is been used to distribute products to international market which is been shown below in figure 3 Figure 3 International Distribution networkCOMPANY (FELIVARU) AGENTS WHOLESAILERS RETAILERS CONCUMERS Distribution network used both by Felivaru and MIFCO (Major competitors) is almost same. BM/C/41/22 Page 6 MARKETING PRINCIPLES 3. 4 Promotion INDIVIDUAL At the moment Felivaru use advertising as the primary method of promotion. However sales promotion are also been done to attract consumers. The main mean of advertising currently used is television advertisement. In domestic market the advertisement are currently aired from four different TV station (TVM, VTV, Dhi TV, and Raaje TV) for at least 6 times a day.Also Felivaru is the main sponsors of TVM news program which is on air for 5 times a day and a show which is considered as a hit. 4 Market overview Except Disku, Roshi, and Kulhi uvaali all other product mix is likely to provide opportunities, however those products [Disku, Roshi and Kulhi uvaali] has already considered as flops. Therefore itÃ¢â‚¬â„¢s better to stop the production of those products and concentrate on new product to replace it. 5 SWOT 5. 1 Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ 5. 2 Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Strength 44 years of experience in producing and exporting canned fish (Felivaru, 2010). Heavily known in domestic market.The quality of the product match EU standard and many other international standards. Existing plant can be used for production of fast food items in export quality. Enjoys free trade inside EU zone. There is a huge brand loyalty for our canned fish (Tuna chunks) in domestic market. Th e one and only manufacture of Fish meal in domestic market. Weakness Huge competition with competitors in both international and domestic market. Recently separated from the Ã¢â‚¬Å"mother companyÃ¢â‚¬ MIFCO and has been formed as a new company, due to the fact the company has not yet been well structured.Felivaru has little or no experience at all in international market for selling fast food. Existing 7 vessels are not enough to collect fish from atolls of Maldives. BM/C/41/22 Page 7 MARKETING PRINCIPLES Ã¢â‚¬ ¢ line. 5. 3 Ã¢â‚¬ ¢ Opportunities The supply network of Ã¢â‚¬Å"oil and waterÃ¢â‚¬ often gets delay, causing a halt in production INDIVIDUAL The 8 countries of SAARC nation are going to establish a free trade ring in between SAARC. Felivaru has an advantage of dominating the market of canned fish in this free trade ring. Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Printing the labels in their same factory instead of out sourcing it to local printing presses.Increase the number of fish collecting ves sel, which could lead an increase in supply of raw-fish, 5. 4 Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ 5. 5 Threats The number of fish caught all over the Maldives has been dropping over the past years science 2007 ( please refer appendix 2) The price of Diesel continues to raise, which had a direct effect on the price of rawfish (please refer appendix 3) The price of Euro (Ã¢â€š ¬) continues to depreciate against Maldivian currency science 2008, reducing the revenue generated in (RF) rufiyaa (please refer appendix 4) Fake product in the name of Felivaru Key issues and opportunities Issues . 5. 1 Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Needs to go under a restructuring program to find a solution of not being well structured The companyÃ¢â‚¬â„¢s existing 7 vessels are not enough to collect fish from atolls of Maldives which is spread over 90,000 Square Km. Therefore either more vessels re needed collect fish or could bullied some collection stations in few areas with a storage facility and the existing vessels can b e used to transport the collected fish from station to factory in Felivaru. 5. 5. 2 Opportunities Legal action can be taken against sellers who sells fake product in their out let under both international law and new copy right law established early this year. Also awareness program through necessary mean could be done to consumer how to BM/C/41/22 Page 8 MARKETING PRINCIPLES Ã¢â‚¬ ¢ identify the fake product. This way could stop the selling and buying of fake products in the name of Ã¢â‚¬Å"FelivaruÃ¢â‚¬ . INDIVIDUAL Could find new suppliers without depending on one. 6 6. 1 PESTPolitical and legal factors Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Frequent increase on the Percentage of GST Exporting lobster meat is prohibited (Visahq, 2012) Foreign vessels doing fishing in Maldives is banned under EPA Fishing law number 87/5 #Article 5 (A) (EPA, 2011) Catching pregnant lobsters and young lobsters ( less than 25 CM) banned (EPA 2011) Frequent changes in Government Only pole and line fishing can be used to catch fish outside the reef of island Economic factors Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ The economy is dependent on tourism All most all the products consume in Maldives are been imported from other countries . 2 6. 3 Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ 6. 4 Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Social and Cultural factors Growing number of people who believe womenÃ¢â‚¬â„¢s should not go for work People donÃ¢â‚¬â„¢t like to work in labor industries Most of the people are educated and more than 95% of people know how to read and write. Majority of people like western food and their life style Technological factors There is not much growth or change in the industry Internet is becoming popular BM/C/41/22 Page 9 MARKETING PRINCIPLES 7 Competitors Analysis 7. 1 PorterÃ¢â‚¬â„¢s five forces model 7. 1. 1 Competitor Rivalry [High] INDIVIDUALExisting companies in the canned fish industry is facing competition from both domestic and international brands which lead to increase promotional cost. 7. 1. 2 Pot ential entrant (Threat of new entrance) [low] The threat of new entrant is low as huge investment is needed to set up a fish canning factory and run it. 7. 1. 3 Suppliers [low] Bargaining power of Suppliers will be low as there are many suppliers in the market who could supply the water and oil used in the production. Also there are thousands of fishing vessels in the country. 7. 1. 4 Buyers [high]The bargaining power of suppliers would be high as there are many substitutes available in the market. 7. 1. 5 The treat to substitute [high] There are substitutes from other companies like MIFCO which has little or no difference. 8 Assumptions Felivaru expects to increase the collection of fish from the new boats or fish collecting station which would increase the production by 10% to 20%. With the help of this increase in production it is expected to increase the export of chunks by 15%. The prices of oil and water used in canned fish production are expected to be same however the price of fish is expected to raise 4% during the year. Objective The purpose of this marketing plane is to launch Ã¢â‚¬Å"Felivaru Lobster BisqueÃ¢â‚¬ to Maldivian Market on the 40 Anniversary (7th November). BM/C/41/22 Page 10 MARKETING PRINCIPLES 10 Strategy 10. 1 Brief description about strategy INDIVIDUAL Lobster bisque is a creamy and smooth soup of French Origin. It contains Milk, Lobster, Wheat, and Clam. The product is designed in such a way that it only requires to be heated in high temperature for 3 minutes in microwave oven (time very on temperature and also can be heated in a normal cooking store). 0. 2 Target market The target market of Ã¢â‚¬Å"Felivaru Lobster BisqueÃ¢â‚¬ can be segmented to 4 main different segments Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Ã¢â‚¬ ¢ Sea food loverÃ¢â‚¬â„¢s People who live a busy life People who profferÃ¢â‚¬â„¢s western life style Age between 15 to 45 However more than 95% of the population who fits to the above criteria lives in maleÃ¢â‚¬â„¢. Therefore it c ould be concluded that the target market for the product is maleÃ¢â‚¬â„¢. 10. 3 Positioning statement Similar to all other Felivaru products the slogan would be Ã¢â‚¬Å"GENUIN MALDIVESÃ¢â‚¬ .Felivaru lobster bisque is the one and only fast food soap in the market and also the first product made from lobster in Maldives. Therefore the product will be marketed in such a way to get the loyalty of lobster lovers and soup lovers. Also a unique formula has been used to replace the wine in the soap designing it a way as a Ã¢â‚¬Å"HalalÃ¢â‚¬ product. 10. 4 Branding Strategy The brand name for this product is Ã¢â‚¬Å"Felivaru Lobster BisqueÃ¢â‚¬ . As the Bisque is made by Felivaru from lobster the name Ã¢â‚¬Å"Felivaru Lobster BisqueÃ¢â‚¬ gives a simple and easy understanding of what the product is to its customers.The reason behind choosing an English name is almost all people in the target market would understand English and also by changing the name of the product Felivaru do not want b ring any difference to the dish name converting it in to Dhivehi. Correspondingly France is a growing market in Maldivian BM/C/41/22 Page 11 MARKETING PRINCIPLES 10. 5 Product Strategy tourism industry and the English name would attract them to this French origin soup and would help them to identify the product. INDIVIDUALFelivaru Lobster Bisque is a sweet and creamy soup of French origin re-designed by replacing the whine in it with a unique and secret formula to make the product Halal certified to 100% Muslim society of Maldives. The main advantage of Felivaru Lobster Bisque is its easiness and fastness in preparing. Just a 3 minute heating in microwave and the bisque is ready to eat. The bisque is packed in a plastic cup which is 9 inch long and has a diameter of 6 inch. The plastic cup is covered with a paper label which gives information about the bisque.In order to make it easy to distribute 24 cups are been packed in a box as a case. 10. 6 Pricing Strategy The price of Feliva ru lobster bisque is set on per cup basis. Factors such as taxation, cost marketing and cost of production will be considered during the pricing of the product. The total price of a single cup of lobster bisque is MRF 20/- adding only 2% of profit margin as the pricing strategy set by Felivaru for the product is penetration pricing. This is due to the fact that the product is a totally new kind of product for Maldivian market.Due to the fact of law pricing strategy at the present Felivaru do not provide any discount, however when the market share is gained and price of product increases discount will be given to bulk buyers. 10. 7 Distribution Strategy The distribution strategy for Felivaru lobster bisque would be selective as the product is the one and only product of its kind in the market. The product would be placed in the areas where middle and high class people live. The distribution rout would be same as other Felivaru products discussed in 2. 3 shown in figure 2. 10. 8 Promo tional strategy 10. . 1 Sponsorship The sponsorship one of the most popular shows among youth Ã¢â‚¬Å"Voice of MaldivesÃ¢â‚¬ a song competition aired on TVM. It is expected to cost MRF 75000 to 100000. During the show of 1 hour 15 minutes is allocated to Felivaru as a main sponsor for BM/C/41/22 Page 12 MARKETING PRINCIPLES bisque voice of MaldivesÃ¢â‚¬ advertising the product. Also the name of the show would be rebranded to Ã¢â‚¬Å"Felivaru lobster INDIVIDUAL 11 Conclusion During the 39 years in the market Felivaru has gained experience in production of products that suits the mouth of Maldivians.It is expected that Felivaru Lobster Bisque in the future goanna be a major product that generates a huge proportion of profit. Also with this experience Felivaru Plans to launch different flavors of bisque to the market. BM/C/41/22 Page 13 MARKETING PRINCIPLES 12 References INDIVIDUAL PA, 2011, Law of fishing in Maldives [online] Available at; http://www. epa. gov. mv/images/stories/law s%20and%20Regulations/2011/Fisheries%20%20 Law%20. pdf EPA, 2011, Protected Marine life [online] Available at; http://www. epa. gov. mv/images/stories/laws%20and%20Regulations/2011/Protected%20Mar ine%20Life. df Felivaru, 2010, Capacity and Infrastructure, [online] Available at; http://www. felivaru. com/? page_id=35 Felivaru, 2010, Felivaru, [online] Available at; http://www. felivaru. com/? page_id=14 Visahq, 2012, Maldives Customs, [online] Available at; http://maldives. visahq. com/customs/ BM/C/41/22 Page 14 MARKETING PRINCIPLES 13 Appendix Ã¢â‚¬ ¢ Appendix 1 (detail of products on Ã¢â‚¬Å"Ras AinuÃ¢â‚¬ product line) Thera fana INDIVIDUAL Thera fana is a traditional sweet short eat, made for the special occasions. The product is made from rice flour, sugar, and adding colour to decorate.The rice flour is mixed with sugar and colour adding hot water in to it. After mixing it is separated in to very small portion and each turned in to a circular shape by using hand. After finish ing this product will be sun dried to make it crunch. Ã¢â‚¬ ¢ Rihaakuru (Fish paste) Rihaakuru is obtained through following a simple but timeconsuming procedure. The extract is the result of hours of cooking of tuna in water (rain water most preferable) and salt (to taste), while carefully removing the scum (filleyo) that keeps forming.Once the tuna pieces are cooked and ready to eat or store, they will be removed from the water, as well as the bones, heads and fish guts. The pieces of Tuna, so cooked, get eventually processed into Maldives fish. The remaining Ã¢â‚¬Å"fish-soupÃ¢â‚¬ is left with Ã¢â‚¬ËœBondi'(balls of tuna scraps scraped off the bones), and is kept boiling in low fire until most water evaporates. The resulting concentrated fish soup becomes a thick paste which is known in Dhivehi as Rihaakuru. The colour of the paste varies from light brown (the lighter the quality is high) to dark brown. Ã¢â‚¬ ¢

Saturday, September 28, 2019

Assessment of the Role of Jimmy Corrigan As Depicted By Chris Ware in the Smartest Kid on Earth

Assessment of the Role of Jimmy Corrigan As Depicted By Chris Ware in the Smartest Kid on Earth Jimmy Corrigan, The Smartest Kid On Earth, by Chris Ware, is about a meek and lonely man in his mid-thirties who meets his father for the first time in a Michigan town over Thanksgiving weekend. Jimmy is an awkward and cheerless character with an overbearing mother and a very limited social life. Jimmy attempts to escape his unhappiness via an active imagination that sometimes gets him into awkward situations. The book deals with loneliness, familial dysfunction, inadequacy, bullying, generational conflict, masculinity, sexual frustration, social embarrassment and depression. Ware wrote and illustrated the book. He is best known for a series of comics called the Acme Novelty Library, and incidentally, this graphic novel.First and foremost, Jimmy Corrigan has a very unique style. The first thing you notice is the thick line weight, the very geometric design of the illustrations, and the thick, opaque colors used. The illustrations do not contain any fine detail. What Ware uses is subtle shifts in line weight. What Ware also does well is capturing the different shapes of the figures as they walk, talk, move their head, turn around, etc. This, along with adding slight blocks of color for shadows, really gives the illustrations depth and distance when there seemingly couldnt be. People, objects, buildings, the sky, the weather, etc. are all drawn in a very minimalist nature. Everything is given the simplest shape possible yet you know exactly what you are looking at, just by where certain lines bend and curve. The colors used for illustrations are relatively drab. Every color is a sort of soft, pastel like color, which gives the illustrations a very unobtrusive feel. This color palette fits the story nicely considering the story is rather drab and depressing. The colors do a good job of setting the mood and bringing you into Jimmy Corrigans life as well as mind state. With that said, what I foun d rather interesting was how Ware used the color red. Unlike the other colors, red was bright and strong, and at times really jumped off the page. For the most part it was used for sound effects, which although sounds like a relatively simple idea, I thought was a really good representation of them. Red was also used for narration as well, such as words. They were used almost as a guide at times, to really keep the story going,Another technical aspect of the work is the integration of various kinds of text. You have your typical cartoon for the dialogue and thoughts of the characters. You also have your typical sound-effects text as well. There are a few unique uses of text: one is use of cursive lettering in parts of the story. These scenes arent really Jimmys daydreams nor are they his full fledge dreams. They are much more like whimsical, fantasy like thoughts. They are also used at times as narration as well as representing Jimmys thoughts. Another unique use of text is his use of early-20th century lettering. Ware applies this to the poster/flyer like images entitled Ãƒ ¢Ã¢â€š ¬Ã…â€œJimmy Corrigan, Smartest Kid on Earth, which are sprinkled throughout the book. Another instance of this is when he is talking about the past, more specifically Jimmys grandfathers childhood. The text is both technically and beautifully done. Although they are necessary to the style and the story, it is interesting to note that Ware is an ardent ragtime enthusiast who publishes a journal on ragtime music, collects ragtime paraphernalia, and has even designed album art and posters for ragtime performers (jackhanley.com). This is all pretty apparent and really comes out in Jimmy Corrigan.Several images reoccur throughout the book and tie together the plotlines: superheroes, birds, broken limbs, guns, peaches, redheads, the Fair, and Jimmy Corrigan. The images bind the story together and reiterate the similarities between the Jimmies of each generation (findarticles.com). For example, the Chicago Worlds Fair of 1 893 represents the imaginary world that the Corrigans inhabit. A world thrown together, that looked great for the two weeks of the fair and then collapsed into sudden ruin. Each character has a very brief childhood where everything looks fine until the harsh reality crashes through the illusion, ending childhood (i-reports.info). None of the Corrigans seem able to break the bonds of their past. Jimmy tries to make a connection to his father, but cannot seem to make any human connection.The superhero image is the one reoccurring image that really stands out throughout the book. Jimmy himself wears a Superman shirt. Jimmy imagines himself a bird flying outside of the clinic like Superman, and when a bird crashes into the window, we are back with Jimmy in the clinic, back to reality. In Jimmy Corrigan, superheroes are not invincible. A superhero jumps from the rooftop across from Jimmys office building and dies. A toy Superman that a child plays with at a diner dives to the floor. Jimmys dad picks it up to give back to the child, commenting how we would not want Superman to get hurt (findarticles.com). And in the first couple pages of the book you have a young Jimmy meeting a Ãƒ ¢Ã¢â€š ¬Ã…â€œsuperhero at a comic book convention. The superhero then goes home with Jimmy and his mom and subsequently sleeps with his mom, and then sneaks out in the morning. Not exactly something Superman would do, maybe Batman, but not Superman.Ware does a great job of connecting the past with the present. One example is how the book spans the time from Jimmys great-grandfather in 1863 to the present; the different time changes are illustrated through a particular visual sequence of a bird gathering nest materials by various hospitals (findarticles.com). This bird is seen first collecting a flowered twig around a war-zone tent-hospital, then by a hospital building in the 1890s, next at Lincoln Hospital in the 1930s, then at St. Marys in the 1950s, and finally placing the twig in a nest on the windowsill of a present-day doc-in-a-box where Jimmy wa its with a bloody nose (findarticles.com). You have a sense that it is the same bird reflecting on times gone by, as well as different birds from different times.Ware uses a variety of narrative techniques. These techniques vary from panel to panel. Ware uses one of the more basic panel-to-panel transitions called simply Ã…â€œmoment to moment; the same subject is displayed in adjacent instants, like a movie running jerkily on a slow computer (McCloud chapt. 3). This is basically used to animate the story and give it some fluidity. Ware also uses transitions very similar to moment to moment, one being action to action, in which the focus remains on a single subject, but this time, two separate, consecutive actions are displayed (for example, the first panel might contain a car speeding along, the 2nd the car smashing into a tree, or in this case Jimmy) (McCloud chapt. 3). The other transition Ware uses similar to this is Ãƒ ¢Ã¢â€š ¬Ã…â€œsubject to subject, in which both panels are within the same scene or idea, but each portrays a different subject (McCloud chapt. 3). The three of these techniques are the basis for how the story is told. Another interesting narrative feature of the story is when he uses the transition called Ãƒ ¢ Ã¢â€š ¬Ã…â€œaspect to aspect, which is when the author Bypasses time for the most part and sets a wandering eye on different aspects of a place, mood, or idea (McCloud chapt. 3). Ware does this periodically throughout the book to set the mood, describe a setting, show what a character is thinking, etc. He will have a number of consecutive panels that will show simple objects, or even small details of simple objects, along with the regular narrative features of the story. The bulk of the story obviously deals with the modern-day Jimmy. This part of the story starts off the book and continues in a relative linear fashion, flowing in and out of dreams and thoughts. We join Jimmy at work and soon follow him through a series of panels which show his simple, boring, and depressing life. What is then introduced is a rather odd dream sequence in which Jimmy imagines himself as a robot. Similar dream sequences happen throughout the course of the story, including one where a giant superhero h and picks up Jimmys house and then proceeds to drop it.Another narrative feature that happens quite frequently throughout Jimmy Corrigan is when Jimmy has his daydreams. These serve as a window into Jimmys psyche and often reveal tiny details about his persona. Some of them show Jimmy imagining himself with different women, including his co-worker Peggy, the nurse at the doctors office his father brings him to, and the girl his father adopted Amy. The daydreams do not all contain the same themes though. The one involving Peggy has Jimmy imagining her as an almost mother-like character. This is probably due to the fact that Peggy is a very domineering woman, much like Jimmys mother. The next one comes during Jimmys visit to the doctors office with his father. This daydream is purely sexual. Jimmy takes the nurses niceness and seemingly flirtatious actions and runs with it, setting off a series of images depicting the nurse coming on to Jimmy, them running away together and then ultimately getting married. This is all rather humorous and really does accurately portray what goes through a manÃƒ ¢Ã¢â€š ¬Ã¢â€ž ¢s mind when he meets an attractive woman. This similar chain of events happens when Jimmy has a daydream about Amy. Only this time a bomb or meteor demolishes everything and Jimmy and Amy are the only ones left. Yet unlike the previous two this daydream has Jimmy taking charge and taking care of someone else. It shows him chopping wood, being a real man. The daydreams are quick and to the point. The majority of the time they end rather abruptly with someone or something snapping him out of it.Although the main plot of Jimmys life and his attempt at reconnecti ng with his father is told in a relative linear fashion, it is the inclusion of flashbacks from Jimmys life, his fathers life, and his grandfathers life, that really elevates the plotline and reveals more about who the Corrigans are. They really show why these three men are who they are. Whats interesting is how Ware treats these flashbacks. There is never any notice of them. They flow in and out of the story, revealing more and more each time. Ware breaks up the flashbacks, being careful not to show too much too soon. What makes these flashback even more confusing is that it is often tough to figure out wh Ware is talking about, a prime example being that Jimmys grandfather is also named Jimmy. Ware makes no attempt at depicting any of these three men differently in the flashbacks either. Young Jimmy looks the same as modern day Jimmy and Grandfather Jimmy. The only clues are of course the backgrounds and settings. There is a reoccurring theme with the Corrigans. The interconnected stories reveal a long genealogical line of abandonment and disappointment, regret and paralyzing isolation (cnn.com).Although Jimmy Corrigan contains images, symbols, and characters pertaining to superheroes, it is easy to say that the book is not exactly of the superhero genre. Upon further research it was interesting to find out that parts of the book are indeed autobiographical. The main example being when Jimmy and his newly met Dad sit on the couch in awkward silence, with nothing to say and so much unsaid. Jimmys dad, feebly trying to make up for a lifetime of missed breakfasts, fries some bacon in a skillet, then arranges the bacon strips on Jimmys plate so they spell HI (cnn.com). The entire breakfast sequence is vividly evoked, down to the tsss, tlink, tink that Ware uses to convey the sound of a metal fork turning frying bacon in a skillet. Ware drew from his own life experience for the scene.Like Jimmy, I never knew my father. Over the years, I tried to envision him, to imagine him. Id seen photographs of him, but they were years old, I had no idea what he looked like. And then he called me up one day (cnn.com).Ware was 29 years old, and more than halfway through the writing of the book, when he first met his own father. Their meeting, too, was tentative and awkward, and tinged with anger. His father died a short time later. Many of the other scenes in the book are from Wares memory as much as his imagination. The book contains several accounts of schoolyard cruelty that will be painfully familiar to anyone who, as a child, was the butthead or the dork, the shortest or the skinniest, the last picked for kickball or the first target in dodge ball (cnn.com).This is the category where Jimmy falls into, the dork, the weirdo, the quiet guy the lovable loser. He is not your typical Ãƒ ¢Ã¢â€š ¬Ã…â€œleading man. He is no hero, he is not talented, and he really does not bring anything to the table. Yet vast amounts of people are drawn to characters and stories like this, both in the literary world, and the film and music world as well. What is it that draws people towards characters like this? What makes people interested in seeing or hearing a lonely, depressed person go through his/her lonely, depressed life? It would seem that in one way or another everyone has been there before, maybe not for long, but they have been there. Everyone has felt lonely or depressed at some point in their life, so for the most part people can relate. They know what it is like to not feel loved. Because of this, people tend to root for these types of people when they appear in book, or in movies.There have been numerous movies that contain this everyman, this lonely, somewhat depressed person who is just lacking in life. Some examples are American Splendor (the bio pic of graphic novelist Harvey Pekar), Sideways (Paul Giamattis character Miles), Taxi Driver, Welcome to the Dollhouse, and oddly en ough most movies about serial killers including Psycho, Henry and American Psycho. Of course these happen to be towards the extreme end of the spectrum. These characters, like Jimmy Corrigan, are almost always, needless to say, ugly and unkempt. They always have some sort of social issues, whether it is shyness, a speech impediment, or just all in all awkward. The characters are almost always single and have a limited amount of friends, if any at all. They are simple and plain, and basically lead ordinary, drab lives. Yet through all of this these characters find something to strive for, to keep them going, if only for a short time. Like any human being they want something more out of life, to break the cycle of loneliness and despair. For Jimmy it is trying to reconnect with his father, for Miles in Sideways it is trying find love after his painful divorce, for Dawn in Welcome to the Dollhouse it is simply trying to fit in, for Travis Bickle in Taxi Driver it is Ãƒ ¢Ã¢â€š ¬Ã‚ ¦ well Ãƒ ¢Ã¢â€š ¬Ã‚ ¦ who knows. The truth is, we root for these characters. We want them to achieve their goals or at the very least get some closure. Sometimes they do, and sometimes they dont. Jimmy Corrigan is a story of loneliness and abandonment and the struggle to break this cycle and not repeat it. Although Jimmys life is boring and depressing, and seemingly one dimensional, the way in which Chris Ware presents is not. Ware is not content with simply telling a story of a lonesome man. He delves into the depths of why people can be like this and how they try and deal with these feelings and emotions. In the words of Harvey Pekar, O rdinary life is pretty complex stuff.

Friday, September 27, 2019

Nasser Speak Assignment Example | Topics and Well Written Essays - 500 words

Nasser Speak - Assignment Example Their populations are constantly rising hence there is need to exploit their own natural resources to increase the level of production. By doing so, they can produce more units in the economy; sales more to the foreign nations and in return provide them with foreign earnings. These earnings can be invested back and provide the much needed growth. As long as they are self-independent, they will minimize the decision made to them by the foreign countries and can concentrate on their own development. Individuals however should not just own land for their selfish interest like the capitalist. But they should do so as a way of promoting the society and improving status. This formed the basis of states to provide services like irrigation so that they can maximize their output in the best interest of the society. Countries should make decisions that are centered towards industrial development to ease the pressure on the agricultural sector has been the case in Egypt. This made easy by the development of modern scientific technology. Output will increase and full exploitation of the available resources done with ease. The citizens should not fear of any unemployment due to technology but should rejoice since major sectors will be opened and give them more opportunities. But even if we have to produce, we should do so in a manner that balances between the consumer needs and the nationÃ¢â‚¬â„¢s goals. Agriculture impacts the livelihood of citizens directly as opposed to the industrial nature of countries more so in African countries. From the excess produce, the country and citizens can invest in agricultural industries. Thus we should compliment both agricultural sector and industrial for greater growth in the economy. Our production as a result of the mass resources within our nations should provide equality in all fronts. It

Thursday, September 26, 2019

Questions Essay Example | Topics and Well Written Essays - 500 words - 1

Questions - Essay Example Some of these which the Company could possibly use are (a) CPBI Ã¢â‚¬â€œ Counter Productive Behavior Index Ã¢â‚¬â€œ a tool for assessing candidate honesty and integrity (b) SELECT Associate System Ã¢â‚¬â€œ a tool that gauges a candidateÃ¢â‚¬â„¢s attitude towards honesty, integrity, dependability and honesty as well as the potential for aggressive behavior and (c) First View job fir indicator, which is a personality and cognitive screening tool (www.super-sloutions.com). 2. My Company currently makes its hiring selections on the basis of online applications, which are then screened using background checks on identity, education and work history. After this initial process of screening, the Company then selects a list of potential candidates for the interview process, which is the basis for an offer of employment. However, I feel that this process should be refined and the candidates should be made to take additional personality and integrity tests like the ones identified above, so that a good assessment can be made about how likely they are to be employees of integrity and honesty. The nature of current background checks are very preliminary and may not be adequate to identify potentially defrauding employees who could be a liability to the Company. 3. The reason for the sparse use of tuition reimbursement plans is the fact that in most organizations, tuition reimbursement plans are just bundled in with other administrative costs and no one is really responsible for them. Moreover, in most cases, the kind of degrees available under such plans are degrees at community colleges, with those who avail of it being disappointed when their Companies do not immediately recognize their new degrees in the form of promotions, etc. As a result, they are not frequently used. 4. After working as a team member, being promoted as Manager is hard because the team members are not used to viewing their peer in a superior capacity and therefore it may be difficult for the new Commander to

Critical Analysis Essay Example | Topics and Well Written Essays - 1000 words - 4

Critical Analysis - Essay Example The purpose of writing such a text was basically to open minds and indicate that times have changed and that society has moved forward. What may have been unacceptable to people in the past, may not be criticized today. The prevalence of democracy and freedom of expression allows individuals to make decisions based on their own judgment, without having restrictions placed on social activities, events, or in this case, screening of movies. The writersÃ¢â‚¬â„¢ style of writing is highly argumentative, where he presents various points in support of his idea that there should be freedom of media that should not, in any way, be restricted by control boards. The author displays confidence when he argues for his point of view. His style of writing can easily persuade readers into supporting what he has to say about this particular issue The text is written in a tone that is bridging on bringing about a revolution and is trying to broaden the horizons of the readersÃ¢â‚¬â„¢ thoughts. This tone gains strength as the text progresses towards the end. For example, in the 14th paragraph, we can see the writer speak about how control boards should extend their control beyond playhouses and theaters, if they really want to suppress an issue that they have deep reservations about. This argument is taken a step further by the author in paragraph 15 where he cautions about being careful when imposing such restrictions on society. In paragraph 16, he also goes on to state how people should not miss out on an opportunity to speak out their views about what they think is right or wrong, because freedom of speech is now a very significant part of the society, and to a greater extent, the world we live in. In order to support his argument, the author has cited the example of Ã¢â‚¬Å"God and the Naked NiggerÃ¢â‚¬ , and the audiencesÃ¢â‚¬â„¢ favorable response to the play, despite the lack

Wednesday, September 25, 2019

Modes of Persuasion in the Message of the Northrop Grumman Corporation Essay

Modes of Persuasion in the Message of the Northrop Grumman Corporation - Essay Example The company maintains that it covers the five basic areas of defense, namely aerospace, electronics, information, shipbuilding, and technical services (Northrop Grumman Corporation, 2011). By stating that it covers all the major areas of defense, the company is making use of logos, that is reasoning, in order to establish its mastery over the field, and to gain the confidence of the buyers. Similarly, it states that it has had the U.S. government as its customers for over seventy years (Northrop Grumman Corporation, 2011). Again, this is a use of logos, because if the U.S. government is an old and continuing customer, then it follows that the company must deliver what it promises, and therefore, must be the top in its area. Therefore, the customer is drawn to the company due to the use of logos in their message. The company gives its history and states its evolution into a corporation (Northrop Grumman Corporation, 2011). It traces its development through the years and points out the periods of growth in its journey (Northrop Grumman Corporation, 2011), thereby developing credibility or ethos in its customers. It also gives the statistical figure of the thousands of workers that it employs (Northrop Grumman Corporation, 2011), further strengthening the credibility of the readers of their message; if a company has a clean and developing history, and if it employs so many workers, then there could be no doubts about its credibility. The message, hence, has effectively used the technique of ethos to appeal to its customers. The statistics about the employees (Northrop Grumman Corporation, 2011) can also serve as pathos or emotional motivation. Moreover,Ã‚ it states thatÃ‚ itÃ‚ has been constantly improving inÃ‚ terms of techniquesÃ‚ and business (NorthropÃ‚ GrummanÃ‚ Corporation, 2011), furtherÃ‚ making use of pathos. It states thatÃ‚ itÃ‚ has been constantly improving in terms ofÃ‚ techniquesÃ‚ and business (NorthropÃ‚ GrummanÃ‚ Corporation, 2011), furtherÃ‚ making use of pathos.

Tuesday, September 24, 2019

Ted Bedley & Constructivism Assignment Example | Topics and Well Written Essays - 250 words

Ted Bedley & Constructivism - Assignment Example HAs the paper outlines, based on the constructivist checklist, one can conclude that Bedley is able to meet the requirements of a constructivist teacher. Multiple perspectives were achieved by grouping the students and encouraging them to discuss among themselves about reaching a consensus. Every student is given a chance to give his opinions and suggestions. Student-directed goals are clear from the start, with Bedley acting as the coach. The activity that Bedley initiated, particularly the group discussion is a venue for knowledge construction and collaboration. Alternative viewpoints are reached through the small group discussions and through the class discussion. According to Jonassen, Ã¢â‚¬Å"constructivist learning environments emphasize authentic tasks in a meaningful context rather than abstract instruction out of contextÃ¢â‚¬ . This characteristic is definitely present in BedleyÃ¢â‚¬â„¢s class. He emphasized that each student is to perform a task but still work within the group. Constructivism emphasizes a learning method that is active and not passive. Obviously, BedleyÃ¢â‚¬â„¢s style of teaching is active. The students are able to have new learning experiences which they incorporate with their previous understandings of the topic on consensus. They come up with possible rewards if consensus is reached by the class. Clearly, one can conclude the BedleyÃ¢â‚¬â„¢s manner of teaching is one of constructivism.

Monday, September 23, 2019

Reflective Journal Coursework Example | Topics and Well Written Essays - 250 words

Reflective Journal - Coursework Example Accomplishment of leadership roles requires leaders to be equipped with the necessary skills for that purpose. Certo S. and Certo T. (2012) posit that a leader should have ability to delegate duties to the right persons to ensure work continues even when they are away. Secondly, effective communication skills enable leaders to describe clearly and succinctly the roles, requirements and procedures to their subjects (Salagean, IlieÃ…Å¸, Gherman & Pampa, 2013). Thirdly, a leader should be confident in order to assure organisational stakeholders that setbacks are natural and the necessary objective is to focus on the larger goal for organisational prosperity. I believe accomplishing my goals with the help from a network of other people would be beneficial than struggling in my own. According to Latham (2014), people can identify other peopleÃ¢â‚¬â„¢s strengths and weaknesses faster than they can identify their own. Using a network also encourages shared goals and outcomes in addition to beneficial contributions made by people with experience in leadership environments. I believe I am not perfect; therefore, I need other people to help me develop my leadership

Saturday, September 21, 2019

Examine Shakespeares presentation of Ophelia Essay Example for Free

Examine Shakespeares presentation of Ophelia Essay Throughout the play, Ophelia is treated as an inferior by the men in her life. She is instructed and also used by them to achieve their own selfish goals. As Rex Gibson states, Shakespearean women were virtually helpless pawns in the power games of their main relatives. Her tone towards them is most often submissive and accepting of their commands, although the audience is given occasional glimpses of the seemingly intelligent and opinionated young woman beneath her clichi d exterior. In the play, she is merely a side story. She has no particular role in the play rather than to reflect the traits of other characters, and this secondary importance to the plot reflects Shakespeares presentation of her. Upon Ophelias first appearance in the play, it becomes obvious that she and her brother have a close relationship. Laertes tells Ophelia, let me hear from you, to which she replies Do you doubt that? Laertes mentions Hamlet as a cause for concern, weigh what loss your honour may sustain, If with too credent ear you list his songs, Or lose your heart, or your chaste treasure open To his unmastered importunity. He believes that Hamlets intentions are dishonourable. He is quick to form this opinion, and as he feels he knows Hamlets true motives, this suggests that men of the era shared this abusive attitude towards women. While he may be expressing a genuine concern for his sisters well-being, there is a tone of authority in his voice. He is not her father, but as a male he talks down to her. His primary concern may be more for the honour of his family, which Ophelia would destroy should she conduct a relationship with Hamlet. She does however retort defensively with, Do not as some ungracious pastors do, Show me the steep and thorny way to heaven, Whiles like a puffed and reckless libertine Himself the primrose path of dalliance treads. Here she is warning him against hypocrisy and recognising that some men (ungracious pastors) are promiscuous while expecting women to be virtuous. In seeing that society has double standards, the audience is shown that there is a side to Ophelia deeper than is obvious in most of her appearances in the play. A modern audience would feel that her reply is justified, and would respect her for standing up for herself. She has a more relaxed attitude to verbalisation of her thoughts when she is in the presence of her brother, but still respects and accepts his will. In conversation with Polonius for the first time in the play, the audience sees the submissive side to Ophelia. Polonius is also quick to suspect Hamlets motives, reinforcing the suggestion that all men of this time have a common view of women. Polonius treatment of her reflects the double standards of Shakespeares society, as he at first seems disgruntled that she acts like an inexperienced green girl | Unsifted in such perilous circumstance and then goes on to say think yourself a baby, enforcing her inexperience. Ophelia implies her own inability to form an opinion I do not know my lord what I should think. This seemingly air-headed behaviour could cause much annoyance to a modern audience, whether she simply cannot think for herself or has an opinion and is too intimidated to voice it. Polonius perception of his daughter becomes clear with the statement you have taen these tenders for true pay | Which are not sterling. Tender yourself more dearly. The financial references here show that these tenders are worth nothing to Polonius unless they become cash, or stirling, in his hand. The acquisition of wealth comprises all of Ophelias uses to him. She is a possession and a tool to him. This is noted by Gibson, women were regarded as possessions, as capital to be exploited. He also harbours selfish concerns about his own social standing, and that Ophelia will tender him a fool, as her behaviour reflects upon him as a father. Ophelia concludes by submitting yet again, I shall obey, my lord. Despite the fact that Ophelia has firstly rebelled against expectations by meeting with a man without the permission of her father, or has gone against social mores (Pitt), she continues to treat her father as her superior and conform to his wishes. Again the audience witnesses the dual personality of Ophelia. This could leave an audience confused, and unsure of exactly what to think of her as a character, as her true identity remains a mystery until her death. After Hamlet advances upon her looking like he had been loosed out of hell, Ophelia runs to her father, seeking protection and comfort. She enters the room saying O my lord, my lord, I have been so affrighted. Modern audiences may draw comparisons between this and the behaviour of a small child. Not only is she treated like one by men, but at this point she proves their treatment to be right. This might anger a modern audience who could perceive her to be lacking common sense and therefore totally unable to deal with a hostile situation. To increase the antagonism of a post-feminist audience, she then goes on to relate that she was sewing in her closet at the time of incident while to a Shakespearean audience sewing was part of life for women, a modern audience would see this as a stereotypically effeminate activity being used by Ophelia to play up her helplessness. As stated by A. C. Bradley in the Victorian era, a large number of readers feel a personal kind of irritation against Ophelia; they seem unable to forgive her for not having been a heroine. While this does not represent the viewpoint of todays audience, it shows that even in Victorian times when women were still much less free than they are now, Ophelias helplessness is exaggerated to the point of irritation. We witness Ophelias utter submissiveness yet again, and her acting as if she has no thoughts of her own I do not know, | But truly I do fear it. Ophelia incessantly addresses her father submissively as my lord. It can be presumed that Ophelia has been taught to address him thusly, reflecting on Polonius as a father, who is an example of men at the time of the play. Polonius sees Ophelia as being far inferior to him. He speaks to her in short commands Come, go with me, rather than asking her to do things. He also seems to think that she is untrustworthy, as he questions her, Have you given him any hard words of late? suspecting that she has not done what he told her to do. As Ophelias letters are read aloud, she stands on the stage in silence to endure this harsh and humiliating experience. She is utterly powerless as her most intimate secrets are exposed to the King and Queen. Her father has granted her no right to privacy, to the point that he publicly proclaims and meddles in her affairs. Polonius says I have a daughter have while she is mine, this bluntly suggests his intentions to sell her, and continues Who in her duty and obedience, mark, | Hath given me this. Here, it is as if he is marketing her, making her good qualities known to the King and Queen, telling them to mark, possibly in the hopes that they approve of her as a wife to Hamlet. In this situation Polonius social standing would vastly improve. She is certainly seen by him as capital to be exploited. Upon the Kings questioning Ophelias chastity, Polonius asks him What do you think of me? This shows that in a Shakespearean society, the behaviour of a daughter was seen to be an indication of how honourable her father was, again proving that women were taught chastity, modesty, obedience and faithfulness to their husbands (Gibson), to be used as social and financial tools. Elaine Showalter accurately describes Ophelia as that piece of bait. She is used to confirm whether or not Hamlets separation from her is the cause of his madness. Before the first conversation between Hamlet and Ophelia (which is held under surveillance by Polonius and the King), Ophelia is not even given a greeting, but is spoken to only by the Queen, and exclusively about Hamlet And for your part Ophelia, I do wish That your good beauties be the happy cause Of Hamlets wildness. Their main concern is Hamlets return to his prior sane state and hope to be able to use Ophelia as a way of bringing it about. Ophelia herself has absolutely no control over events relating to her. She speaks briefly, only when spoken to, and to express her desire to see Hamlet well again Madam, I wish it may. Her father again talks to her commandingly, as if she were a dog, Ophelia, walk you here. When she is at first left with Hamlet, she remains silent onstage throughout his long monologue, until he mentions her. A conversation begins with Ophelias greeting Hamlet, Good my lord, and hereafter she uses the words my lord repetitively. When she mentions rememberances that she as longed long to re-deliver, she is shunned by Hamlet, as he says I never gave you aught. Ophelia further shows the audience that she is an intelligent young woman rather than a girl who is full of nonsense. She elaborates on her feelings for Hamlet with the words: My honoured lord, you know right well you did, And with them words of so sweet breath composed As made these things more rich. Their perfume lost, Take these again, for to the noble mind Rich gifts wax poor when givers prove unkind. There my lord. The audience sees here through her passionate statement that these words held great importance to Ophelia and that she is expressing the depth of her emotion. With Hamlet she gives the first indications of her true feelings, things that she would not share with her father. She is however belittled and mocked by Hamlet (Ha, ha, are you honest? ). Her clever response to Hamlets mad ramblings gives us another insight into the more hidden side of Ophelia. Fundamentally, however, Ophelia is a side story, and is of secondary importance to the main plot and has no story without Hamlet. She appears in only five of the plays twenty scenes (Showalter) and is used to inform the audience of what Hamlet was like before his descent into madness. As stated by Angela Pitt, Ophelias main function in the play is to illuminate a particular facet of Hamlets decline. She has known him in both friendship and gallant devotion. She fulfils this role: O what a noble mind is here oerthrown! The courtiers, soldiers, scholars, eye, tongue, sword, Th expectancy and rose of the fair state, The glass of fashion, and the mould of form. While we see here that she is articulate, is underestimated by Polonius and does have something of value to say, it is quite tragic that this outburst of expression is not of herself, but of Hamlets personality prior to his fathers death. As she is used throughout the play by men, here Shakespeare uses her as a way of imparting information to the audience. At this point in the play, the audience can sympathise with Ophelia, as the pain of rejection by a lover exists outside of time. By proving to the audience that she is intelligent and educated, she wins respect, as modern society values these qualities highly in both men and women. Just before the play, Hamlet initiates a tirade of sexual references directed toward Ophelia. It begins with heres metal more attractive, a mocking reference to her looks. He goes on to say to Ophelia Lady, shall I lie in your lap? to which she replies No my lord. He persists in trying to humiliate Ophelia with phrases such as Do you think I meant country matters? and Thats a fair thought to lie between maids legs. Ophelias responses are short and she again repeats my lord No my lord, Ay my lord, I think nothing, my lord. Her words are sharp and brief as she denies Hamlet the pleasure of provoking an outburst from her. While this repetition could show her merely being weak and submissive, as she is forced to take his insults, it can also be argued that she knows here exactly what she is doing, as she later goes on to retaliate, You are naught, you are naught Ophelias naivety must be assumed and not genuine, because later she gives as good as she gets (Pitt): Ophelia. You are keen my lord, you are keen. Hamlet. It would cost you a groaning to take off mine edge. Ophelia. Still better, and worse. Here she neglects to say my lord, which shows that her tone has changed, and she has given up trying to be tolerant of Hamlet. Ophelias descent into madness portrays her in an ironic and rather tragic light. Her condition has caused her to be more vocal and to reject authority. Now people notice that Ophelia is speaking, and try to understand what she says, when her mind is not her own nothing she says makes sense. Even though she is louder, her position is still largely unchanged her madness expresses itself through her, but does not allow her to express her own true thoughts. At the time, women who were vocal and opinionated, who challenged authority or sought freedom were often portrayed as being insane. This overly emotional, nonsensical state was also thought to be womanhood in its purest, unsuppressed form Ophelia might confirm the impossibility of representing the feminine in patriarchal discourse as other than madness, incoherence, fluidity, or silence Ophelia represents the strong emotions that the Elizabethans as well as the Freudians thought womanish and unmanly. (Showalter). The themes of her songs are death and true love the two issues that have most recently affected her. Firstly, her exploitation by Hamlet: And I a maid at your window, To be your Valentine. Then up he rose, and donned his clothes, And dupped the chamber door, Let in the maid, that out a maid, Never departed more. In Shakespearean times, it was extremely important that a woman maintained her chastity it is implied quite obviously by these songs that Ophelia did engage in sexual relations with Hamlet. This would have meant the loss of her reputation altogether. People will now take notice of these open declarations, as a woman her promiscuity is condemned, whereas a mans promiscuity (Hamlets) will be overlooked. This exposes Shakespearean societys double standards. A woman of high social standing such as Ophelia was expected even more so to exhibit virtue, and so was very vulnerable and open to condemnation, with every relationship putting her in a potentially life-destroying position. Now, when the relationship has dissolved, she is in a difficult position. Her imprisonment is particularly distressing to a modern audience, who are very used to seeing women with much more freedom. While todays morals are not quite as tight as Shakespearean morals, a modern audience will still feel a lot of sympathy for the poor abused and abandoned Ophelia. As well as being an issue of chastity, it also involves trust. She trusted Hamlet with her love and her reputation wrongly. Secondly, she sings about her fathers death: At his head a grass-green turf, At his heels a stone. His death has marked the loss of two of the men in her life who, while they were controlling and dictating, were all that she had, and both of whom she loved dearly. When Ophelia falls into the river where she eventually perishes, she does nothing to save herself. She is as passive at the moment of her death as she was throughout life, doing nothing to save herself. Gertrude is able to describe Ophelias death in detail, down to the exact type of flowers Ophelia had decked herself with (crowflowers, nettles, daisies, and long purples). This may be seen as Gertrudes expression of genuine sympathy for her fellow woman. Ophelias death can be seen as a suicide, but Gertrude, perhaps to prevent Ophelia from being denied a Christian burial, which would have deepened Laertes grief, describes her as having been one incapable of her own distress, suggesting that she fell in and simply did not care enough to get out. Ophelias last influence in the play is her funeral, where Laertes jumps into her grave in grief. Hamlet however jumps in after him, and they begin to grapple irreverently, arguing over who loved her more: Hamlet. I loved Ophelia, forty thousand brothers Could not, with all their quantity of love, Make up my sum what wilt thou do for her? Hamlet persists in trying to out-do Laertes in his love for his sister, to the point of ridiculousness Woot drink up eisel, eat a crocodile? | Ill dot. This sudden display of affection for Ophelia from Hamlet contrasts hugely with his treatment of her during her life, and seems unrealistic. Laertes grief for Ophelia is overshadowed by his desire for revenge as Hamlet has destroyed his family. The two use their love for Ophelia as an excuse to let private rivalries surface, even at her funeral. This is symbolic of how she has been used throughout the play, by Polonius to get closer to the king and by Hamlet to portray his insanity. To a Shakespearean audience, peoples treatment of Ophelia would have been typical of the way in which women were treated. Her silence and oppression would have been met with sympathy, as well the empathy of women of the time. While her situation with regards to Hamlet and his cold rejection of her still holds poignancy with a modern audience, people today may question more why she made little attempt to defend herself in certain situations, and why she so blankly followed the instructions of her father and brother at the expense of her own mental and emotional well-being. Bibliography Shakespeare, William, Hamlet, Heinemann, 1996 Pitt, Angela, Shakespeares Women, David and Charles, 1981 Gibson, Rex, Cambridge Student Guide: Hamlet, Cambridge University Press, 2002 A. C. Bradley, Shakespearean Tragedy, 1904 Showalter, Elaine, Representing Ophelia: Women, Madness and the Responsibilities of Feminist Criticism. in New Casebooks: Hamlet, Macmillan, 1992 Eleanor Crossey Malone L6G.

Friday, September 20, 2019

Development of Anti-Cancer Agent

Development of Anti-Cancer Agent Design, ultrasound assisted synthesis and in-vitro anticancer activity of 3-(4-chlorophenyl) sydnone and 3-(4-chlorophenyl) sydnonecarboxaldehyde against 60 Human Tumor cell lines Sachin K. Bhosale, Shreenivas R. DeshpandeÃ‚ and Rajendra D. Wagh Design, ultrasound asisted synthesis and in-vitro anticancer activity of 3-(4-chlorophenyl) sydnone and 3-(4-chlorophenyl) sydnonecarboxaldehyde against 60 Human Tumor cell lines Abstract: In an attempt to develop an effective and safer anticancer agent, 3-(4-chlorophenyl)-4-sydnonecarboxaldehyde 5 have been designed and synthesized under ultrasonication by formylation of 3-(4-chlorophenyl)-sydnone 4 and characterized by spectral studies. The ultrasonic method of synthesis was found to be simple, ecofriendly, reduces reaction time and gave good yield when compared with traditional methods of synthesis. Anticancer activity of the compounds were tested against 60 human tumor cell lines and compared with standard drug Vincristine sulphate. Cytotoxicity evaluation revealed that compound 5 is most potent against NCI-H23 (Non-Small cell lung cancer) with comparative activity of Vincristine sulphate. Compound 5 also had shown moderate cytotoxicity against T-47D (Breast cancer), CAKI-1, UO-31 (Renal cancer), HL-16TB (Leukemia), NCI-H23, NCI-H522 (Non-Small cell lung cancer), SNB-75 (CNS cancer), MALME-3 (Melanoma). In future, research and modification of compounds to different derivatives may lead to development of potent anticancer drug. Keywords: Anticancer, 1, 2, 3-oxadiazol-5-olate, Formylation, Ultrasonication INTRODUCTION Mesoionic sydnone compounds have shown a variety of biological activities including antitumor ((Kier et al., 1964, Dunkley et al., 2003, Satyanarayana et al., 1995, Kavali et al., 2000, Dunkley et al., 2003, Fregly et al., 1964, Stewart et al., 1965, Roche et al., 1965). It is thought that the ionic resonance structures of the heterocyclic ring promote significant interactions with biological molecules. In 1992 a series of 4-substituted-3-nitrophenylsydnones were synthesized and evaluated by Grynberg et al for anticancer activity and it was found that the 4-chloro and the 4-pyrrolidino compounds significantly enhanced the survival of Sarcoma 180 (S180), Ehrlich carcinoma (Ehrlich) and Fibrous histiocytoma (B10MCII) tumor bearing mice(Dunkley et al., 2003). It was also found that the larger hetero rings; p-piperidino and p-morpholino, were less potent (Kier et al., 1964, Dunkley et al., 2003). Herein we report the design, synthesis, and biological evaluation of two para-chloro substit uted analogues of sudnone molecules 4 and 5. These were tested for 60 human tumor cell lines at the National Cancer Institute for antitumor activity at a minimum of five concentrations at 10-fold dilutions.The synthesized chloro substituted sydnones (4 and 5) passed the primary assay by inhibiting the growth of at least one cell line to less than 32%, and both are proved to be moderate active and versatile against each cell line. MATERIALS AND METHODS All chemicals and reagents were purchased form from Sigma-Aldrich, Mumbai, India. Melting points of the intermediates and the final products were recorded using a Systolic melting point apparatus and are reported uncorrected. Thin layer chromatographies (TLC) were performed on E-Merck precoated 60 F254 plates and the spots were rendered visible by exposing to UV light. Infra red spectra were recorded in KBr discs using Jasco FTIR 1460 Plus spectrometer. NMR spectra were obtained on a BRUKER AVANCE II 400 NMR spectrometer at 500 MHz for 1H and 125 MHz for 13C, the chemical shifts are expressed in ÃŽ ´ (ppm) downfield from tetramethylsilane (TMS). Electron impact mass spectra were recorded on WATERS, Q-TOF MICROMASS (LC-MS) instrument. Elemental analyses (C, H, N) were in full agreement with the proposed structures within Ã‚ ±0.4% of the theoretical values. The ultrasonic irradiation was performed by using a Biotechnics India TM ultrasonic cleaner bath, model 1510, AC input 115 V, outp ut 50 W, 1.9 liters with a mechanical timer (60 min with continuous hold) and heater switch, 47 KHz. Synthesis of Ethyl N-(4-chlorophenyl) glycinate (1) A mixture of Para-Chloroaniline (2.80 g, 0.02mol) and chloroethyl acetate (2.12 mL, 0.02mol) was added to the solution of ethanol (20 mL) and anhydrous sodium acetate (3.28 g, 0.04mol) under ultrasonication conditions and allowed to react for 120 min. The mixture was diluted with 20 mL of water and cooled in refrigerator for overnight and recrystallized in ethanol to yield 1 (83%), mp 114-116 Ã‚ ºC. IR (KBr): 3327, 2950, 2934, 2879, 1756, 1069; 1H NMR (400 MHz, DMSO-d6): ÃŽ ´ 1.21 (t, 3H, COOCH2CH3), 3.76 (s, 1H, NH), 4.29 (s, 2H, CH2), 4.54 (q, 2H, COOCH2CH3), 6.83-7.21 (m, 4H, Ar-H); 13C NMR (40 MHz, DMSO-d6): ÃŽ ´ 14.65, 44.73, 62.07, 115.12, 123.22, 129.01, 146.26, 173.13. Synthesis of N-(4-chlorophenyl) glycine (2) Ethyl N-(4-chlorophenyl) glycinate (4.26 g, 0.02mol) and sodium hydroxide (1.2 g, 0.030mol) in ethanol was heated under ultrasonication conditions at 65 Ã‚ °C for 15 min and allowed to cool and acidified with dil HCl. Yield 87 %, mp 146-148 Ã‚ ºC. IR (KBr): 3319, 3277, 2951, 2937, 2879, 1703, 1063; 1H NMR (400 MHz, DMSO-d6): ÃŽ ´ 4.29 (s, 2H, CH2), 6.39 (s, 1H, COOH), 6.55 (s, 1H, NH), 6.79-7.27 (m, 4H, Ar-H); 13C NMR (40 MHz, DMSO-d6): ÃŽ ´ 44.48, 115.02, 124.16, 130.02, 145.97, 171.98. Synthesis of N-nitroso (4-chlorophenyl) glycine (3) Ice cold solution of the N-(4-chlorophenyl) glycine (3.72 g, 0.02mol) was added in crushed ice water (40 mL). A solution of sodium nitrite (1.38 g, 0.02mol) in ice cold water (10 mL) was added dropwise under ultrasonication condition at 0 Ã‚ °C for 10 min. The reaction mixture was filtered and precipitated by adding concentrated hydrochloric acid to the filtrate. Precipitate was filtered and recrystallized in methanol to yield 3 (81%), mp 109-111 Ã‚ ºC. IR (KBr): 3255-2521, 2923, 2849, 1711, 1569, 1325, 1062; 1H NMR (400 MHz, DMSO-d6): ÃŽ ´ 5.02 (s, 2H, CH2), 6.93-7.45 (m, 4H, Ar-H), 11.55 (s, 1H, COOH); 13C NMR (40 MHz, DMSO-d6): ÃŽ ´ 49.42, 120.75, 128.29, 130.43, 138.78, and 169.25. Synthesis of 3-(4-chlorophenyl) sydnone (4) Acetic anhydride (30 mL) was added to 3 (5.40 g, 0.0252 mol) under ultrasonication condition at room temperature for 60 min. The reaction mixture was left overnightat room temperature. The solution was poured slowly into cold water which was very well stirred. The crude sydnone was filtered, dried and recrystallized in ethanol to yield 4 (93%), mp 139-141 Ã‚ ºC. IR (KBr): 3181, 1748, 1053. 1H NMR (400 MHz, DMSO-d6): ÃŽ ´ 7.23 (s, 1H, sydnone), 7.49-8.13 (m, 4H, Ar-H). 13C NMR (40 MHz, DMSO-d6): ÃŽ ´ 123.15, 126.49, 131.53, 136.13, 141.13, 170.07 Synthesis of 3-(4-chlorophenyl)-4-sydnonecarboxaldehyde (5) N-Methylformanilide 2.84g (0.0210mol) and phosphoryl chloride (3.17g, 0.0205mol) were mixed under ultrasonication conditions for 10 min. After 0.5 h, 3.0 g (0.0186mol) of 4 was added portionwise with swirling and cooling under ultrasonication below 350C. Hydrogen chloride was evolved vigorously. After standing overnight, the viscous, dark-brown mixture was dissolved in 15 ml. of acetone and poured (stirring) into 75 ml. of ice water. The yellow-orange precipitate was filtered, washed (cold water), and dried. Yield 56%, mp 75-77 0C. MS (M+) (m/e) 223.99, 225.996, 225.002. IR (KBr): 1790 (Ãƒâ€˜Ã‚ ´C=O sydnone ring), 1640 (Ãƒâ€˜Ã‚ ´C=O aldehyde). 1H NMR (400 MHz, DMSO-d6): ÃŽ ´ 7.2, 7.2, 7.3, 7.3 (Cl-Ph-), 9.61 (Sydnone-4-CHO). 13C NMR (40 MHz, DMSO-d6): ÃŽ ´ 127, 129, 129, 130, 130, 134 (Cl-Ph-) 190 (CHO). Element analysis: C; 48.13, H; 2.24, N; 12.47, O; 21.37 Scheme 1-Synthesis of 3-(substituted aryl)-4-sydnonecarboxaldehyde (5) under ultrasonication conditions 1.3. Anticancer screening The synthesized compound was screened for preliminary anticancer assay by National Cancer Institute (NCI), Bethesda, USA in an in vitro 60 human tumor cell panel. The process utilized 60 different human tumor cell lines of the leukemia, Non-small cell lung, Colon, CNS, melanoma, ovarian, renal, Prostrate and breast cancers which was aimed in showing selective growth inhibition or cell killing of particular tumor cell lines by specific compound. The screening begins with the evaluation of selected compounds against these 60 cell lines at a single dose of 10-5 M. The output from the single dose screen is reported as a mean graph of the percent growth of treated cells. It allows detection of both growth inhibition (values between 0 and 100) and lethality (values less than 0) (Roschke et al., 2003, Lorenzi et al., 2009, Mingyi et al., 2013, Al-Suwaidan et al., 2013, Senff-Ribeiro et al., 2004, Butkovic et al., 2011, Lorenzi et al., 2009, Mingyi et al., 2013, Al-Suwaidan et al., 2013, Sen ff-Ribeiro et al., 2004, Butkovic et al., 2011). RESULT Compund 5 showed highly cytotoxic activity against NCI-H23 cell line (Non-Small cell lung cancer) as compared to standard drug Vincristine sulphate. Compound 5 also had shown moderate cytotoxicity against T-47D (Breast cancer), CAKI-1, UO-31(Renal cancer), HL-16TB (Leukemia), NCI-H23, NCI-H522 (Non-Small cell lung cancer), SNB-75 (CNS cancer), MALME-3 (Melanoma). Details of % growth inhibition for comp. 4 (NSC 35759) 5 (NSC 774943/1) as shown in table 1. Table1 One dose mean graph for compound 4 (NSC: 35759) and compound 5 (NSC: 774943 / 1) Conc: 1.00E-5 Molar Table 2 Percent Growth inhibition of synthesized compounds against most effective cancer cell lines Figure1 Percentage growh inhibition for cytotoxic activity evaluation of synthesized ompounds Figure 2 Percentage growh inhibitions for cytotoxic activity evaluation of compound 4 Figure 3 Percentage growh inhibitions for cytotoxic activity evaluation of compound 5 Figure 4 Percentage growh inhibitions for cytotoxic activity evaluation of standard anticancer drug Vincristine sulphate. DISCUSSION Molecules synthesized under ultrasonication conditions. The method provides several advantages over current reaction methodologies, including a simple work up procedure. The ultrasonic method of synthesis was also found to be simple, ecofriendly, reduces reaction time and gave good yield when compared with traditional methods of synthesis. Cytotoxicity evaluation revealed that out of 60 human tumor cell lines, compound 5 is highly effective against SNB-75 (CNS cancer) and UO-31 (Renal cancer) human tumor cell lines.Compund 5 showed highly cytotoxic activity against NCI-H23 cell line (Non-Small cell lung cancer) as compared to standard drug Vincristine sulphate. Compound 5 also had shown moderate cytotoxicity against T-47D (Breast cancer), CAKI-1, UO-31(Renal cancer), HL-16TB (Leukemia), NCI-H23, NCI-H522 (Non-Small cell lung cancer), SNB-75 (CNS cancer), MALME-3 (Melanoma). CONCLUSION In the process of anticancer drug discovery, to find new potential anti-lung cancer agent, we designed and synthesized molecule 5. As compund 5 showed highly cytotoxicity against NCI-H23 cell line (Non-Small cell lung cancer) in comparision to standard drug Vincristine sulphate, in future, research and development with designing desired modifications of molecule 4 and 5 may develop in safer and effective potential anticancer molecules. ACKNOWLEDGEMENT Authors are thankful to BCUD, University of Pune, INDIA (Project-13PHM000018) for financial assistance, NCI, USA for carrying out anticancer activity, SAIF Punjab University for spectral study, JNTU Hyderabad and Dr. Dhake A. S., SMBT College of Pharmacy, Dhamangaon, Nasik (MS) India for providing necessary facilities to carry out the research work. COMPETING INTERESTS The authors declare that they have no competing interest. REFERENCES Kier LB, Dhawan D and Fregley MJ (1964) Synthesis of alkyl substituted sydnone carboxylic acids. J. Pharm. Sci., 53: 677. Dunkley CS and Thoman CJ (2003) Synthesis and biological evaluation of a novel phenyl substituted sydnone series as potential antitumor agents. Bioorg Med. Chem. Lett., 13(17): 2899-2901. Satyanarayana K and Rao MN (1995) Synthesis, antiinflammatory, analgesic and antipyretic testing of 4-[1-oxo-(3-substituted aryl)-2-propenyl]-3-phenylsydnones and of 3-[4-[3-(substituted aryl)-1-oxo-2-propenyl] phenyl] sydnone J. 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