Mabe: Learning to be a Multinational Essay

Due to the misconception of the size and diversity of Russia, foreign companies tended to enter Moscow and Saint Petersburg first, the two most crowded markets in Russia. These two cities concentrated a large proportion of the population, whose consumption patterns and styles differed from those of the average Russian citizen, Cultural Low trust of outsiders ( Inhibited Communications with foreign managers and undermind organizational innitiatives ) Heavily influence by the history . ( Cultural influence by Soviets and Zharist past: collectivism paternalism administration, fear of responsabillity and reliance of once own neighbors. Oriented in short therm, place little enfasis in competitive strategy and formal strategy planning. Young Russian professionals, with their high aspirations, acquired European style and anti-status quo spirit, collided against the more disciplined and submissive â€Å"older† Russians. In fact,  Russians in their mid-thirties and forties tended to speak only Russian and had mostly been educated under a different mindset. Thus, when younger Russians led an organizational structure, they tended to be more selective when recruiting new talent. That is, they felt more comfortable working among Russians like themselves, not Russians like their parentsIn the process of recruiting and selection, these younger Russians paid more attention to candidates’ family origins even when the candidates themselves were young and had a college degree. According to a common rule of thumb, if the potential hire came from a family of the intellectual elite — i.e., musicians, artists, scientists or academics — they would easily fit with the new generation, but if they came from a family of workers from the Soviet era, the potential of conflict still existed, notwithstanding the age or educational level of the candidate. Rusia low unemployment rate acted to demotivate firmn loyalty ( Compensation did not mean everything.) EconomicRusia have no middle ground proportion of small and middle size enterprises in relation to big enterprises. This proportion is lower in Ruisia than in any other emerging market. Not truly modern Banks ( contries financial systems dominated by one bank) Rusians not invested at home ( loans difficult to acquire) Morgage market non existent ( Only 3% of GDP lowest of any emerging markets) Net foreign direct investment of negative 9.5 billion in 2010. Decreasing population.   Countries wealth represented by is human capital ( deterioration of human capital). Society characterize by high levels of education , but low levels of quality, health and knowledge. (as a result it have serious economic implication) What lessons has Mabel learned for future International expansions? Would another emerging market have been a better Choice than Russia?

Al Muerzo Resto Bar

He is the current General Manager of Shanghai-La Hotel in Manila. A She graduated com lauded at Southern Luzon State university, finished her master degree major in culinary arts. Currently the executive of golden dragon restaurant. , CYRIL He graduated at Southern Luzon State University. Major in bartering and cocktail mixing. He is the current owner of cheers and Jump He graduated at Southern Luzon State university, major in housekeeping mane alms to be the unique premier organization of casual dining Mexican restaurant.To serve freshly prepared high quality Mexican food in a relaxed and Steve atmosphere by a friendly and knowledgeable staff. We will do so by providing our guest with the most entertaining dining experience in flavor of Mexican cuisine. Toys sounds, energy, fun and flavors of being part of Lucian, Guenon that is so rich and colorful. We provide also who work with us a friendly, hospitable, cooperative and rewarding environment which is the best character of being Lu cian.Our vision is to provide the extraordinary flavor of Mexican, the premium quality food at a reasonable price with the commitment of promoting a unique twist of tastiness n every bite. Introduce the flavor and culture of a Mexican food item and refreshment. Is innovating the new food experience for Lucian though the constant pursuit of perfection. Maintain the hygiene and good facilities of restaurant and using the alternative materials for the better of Lucian, Guenon in no plastic policy.We strive to bring our guest the ultimate dining experience though excellent food, outstanding customer service and genuine hospitality. Is a place where people who truly enjoy real and authentic Mexican cuisine will find an enormous and extensive selection of dishes, appetizer, desserts and drinks from a various part of Mexico. Offers their guest very Mexicans experience ambiance even if where located in Lucian, Guenon, decorated a Mexican style, with bright colors pleasing to the eye, plants , fine art, music, and paper-art found in Mexicans festivals.

The Source of Creativity in Writers

We laymen have always been intensely curious to know like the Cardinal who put a similar question to Ariosto – from what sources that strange being, the creative writer, draws his material, and how he manages to make such an impression on us with it and to arouse in us emotions of which, perhaps, we had not even thought ourselves capable.Our interest is only heightened the more by the fact that, if we ask him, the writer himself gives us no explanation, or none that is satisfactory; and it is not at all weakened by our knowledge that not even the clearest insight into the determinants of his choice of material and into the nature of the art of creating imaginative form will ever help to make creative writers of us. If we could at least discover in ourselves or in people like ourselves an activity which was in some way akin to creative writing!An examination of it would then give us a hope of obtaining the beginnings of an explanation of the creative work of writers. And, indee d, there is some prospect of this being possible. After all, creative writers themselves like to lessen the distance between their kind and the common run of humanity; they so often assure us that every man is a poet at heart and that the last poet will not perish till the last man does. Should we not look for the first traces of imaginative activity as early as in childhood The child’s best-loved and most intense occupation is with his play or games.Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, re-arranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his world of play, the child distinguishes it quite well from real ity; and he likes to link his imagined objects and situations to the tangible and visible things of the real world.This linking is all that differentiates the child’s ‘play’ from ‘phantasying’. The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously – that is, which he invests with large amounts of emotion while separating it sharply from reality. Language has preserved this relationship between children’s play and poetic creation. It gives [in German] the name of ‘Spiel’ [‘play’] to those forms of imaginative writing which require to be linked to tangible objects and which are capable of representation.It speaks of a ‘Lustspiel’ or ‘Trauerspiel’ [‘comedy’ or ‘tragedy’: literally, ‘pleasure play’ or ‘mourning play’] and describes those who carry out the representation as â⠂¬ËœSchauspieler’ [‘players’: literally ‘show-players’]. The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for many things which, if they were real, could give no enjoyment, can do so in the play of phantasy, and many excitements which, in themselves, are actually distressing, can become a source of pleasure for the hearers and spectators at the performance of a writer’s work.There is another consideration for the sake of which we will dwell a moment longer on this contrast between reality and play. When the child has grown up and has ceased to play, and after he has been labouring for decades to envisage the realities of life with proper seriousness, he may one day find himself in a mental situation which once more undoes the contrast between play and reality.As an adult he can look back on the intense seriousness with which he once carried on his games in childhood; and, by equating his ostensibly serious occupations of to-day with his childhood games, he can throw off the too heavy burden imposed on him by life and win the high yield of pleasure afforded by humour. As people grow up, then, they cease to play, and they seem to give up the yield of pleasure which they gained from playing. But whoever understands the human mind knows that hardly anything is harder for a man than to give up a pleasure which he has once experienced.Actually, we can never give anything up; we only exchange one thing for another. What appears to be a renunciation is really the formation of a substitute or surrogate. In the same way, the growing child, when he stops playing, gives up nothing but the link with real objects; instead playing, he now phantasies. He builds castles in the air and creates what are called day- dreams. I believe that most people construct phantasies at times in their lives. This is a fact which has long been overlooked and whose importance ha s therefore not been sufficiently appreciated.People’s phantasies are less easy to observe than the play of children. The child, it is true, plays by himself or forms a closed psychical system with other children for the purposes of a game; but even though he may not play his game in front of the grown-ups, he does not, on the other hand, conceal it from them. The adult, on the contrary, is ashamed of his phantasies and hides them from other people. He cherishes his phantasies as his most intimate possessions, and as a rule he would rather confess his misdeeds than tell anyone his phantasies.It may come about that for that reason he believes he is the only person who invents such phantasies and has no idea that creations of this kind are widespread among other people. This difference in the behaviour of a person who plays and a person who phantasies is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other. A child’s play is determined by wishes: in point of fact by a single wish-one that helps in his upbringing – the wish to be big and grown up. He is always playing at being ‘grown up’, and in his games he imitates what he knows about the lives of his elders.He has no reason to conceal this wish. With the adult, the case is different. On the one hand, he knows that he is expected not to go on playing or phantasying any longer, but to act in the real world; on the other hand, some of the wishes which give rise to his phantasies are of a kind which it is essential to conceal. Thus he is ashamed of his phantasies as being childish and as being unpermissible. But, you will ask, if people make such a mystery of their phantasying, how is it that we know such a lot about it?Well, there is a class of human beings upon whom, not a god, indeed, but a stern goddess – Necessity – has allotted the task of telling what they suffer and what things give them happiness. These are the victims of nervous illness, who are obliged to tell their phantasies, among other things, to the doctor by whom they expect to be cured by mental treatment. This is our best source of knowledge, and we have since found good reason to suppose that our patients tell us nothing that we might not also hear from healthy people. Let us now make ourselves acquainted with a few of the characteristics of phantasying.We may lay it down that a happy person never phantasies, only an unsatisfied one. The motive forces of phantasies are unsatisfied wishes, and every single phantasy is the fulfilment of a wish, a correction of unsatisfying reality. These motivating wishes vary according to the sex, character and circumstances of the person who is having the phantasy; but they fall naturally into two main groups. They are either ambitious wishes, which serve to elevate the subject’s personality; or they are erotic ones. In young women the erotic wishes predominate almost exclusively, for the ir ambition is as a rule absorbed by erotic trends.In young men egoistic and ambitious wishes come to the fore clearly enough alongside of erotic ones. But we will not lay stress on the opposition between the two trends; we would rather emphasize the fact that they are often united. Just as, in many altar- pieces, the portrait of the donor is to be seen in a corner of the picture, so, in the majority of ambitious phantasies, we can discover in some corner or other the lady for whom the creator of the phantasy performs all his heroic deeds and at whose feet all his triumphs are laid.Here, as you see, there are strong enough motives for concealment; the well-brought-up young woman is only allowed a minimum of erotic desire, and the young man has to learn to suppress the excess of self-regard which he brings with him from the spoilt days of his childhood, so that he may find his place in a society which is full of other individuals making equally strong demands. We must not suppose tha t the products of this imaginative activity – the various phantasies, castles in the air and day-dreams – are stereotyped or unalterable.On the contrary, they fit themselves in to the subject’s shifting impressions of life, change with every change in his situation, and receive from every fresh active impression what might be called a ‘date-mark’. The relation of a phantasy to time is in general very important. We may say that it hovers, as it were, between three times – the three moments of time which our ideation involves. Mental work is linked to some current impression, some provoking occasion in the present which has been able to arouse one of the subject’s major wishes.From there it harks back to a memory of an earlier experience (usually an infantile one) in which this wish was fulfilled; and it now creates a situation relating to the future which represents a fulfilment of the wish. What it thus creates is a day-dream or phanta sy, which carries about it traces of its origin from the occasion which provoked it and from the memory. Thus past, present and future are strung together, as it were, on the thread of the wish that runs through them. A very ordinary example may serve to make what I have said clear.Let us take the case of a poor orphan boy to whom you have given the address of some employer where he may perhaps find a job. On his way there he may indulge in a day-dream appropriate to the situation from which it arises. The content of his phantasy will perhaps be something like this. He is given a job, finds favour with his new employer, makes himself indispensable in the business, is taken into his employer’s family, marries the charming young daughter of the house, and then himself becomes a director of the business, first as his employer’s partner and then as his successor.In this phantasy, the dreamer has regained what he possessed in his happy childhood – the protecting hous e, the loving parents and the first objects of his affectionate feelings. You will see from this example the way in which the wish makes use of an occasion in the present to construct, on the pattern of the past, a picture of the future. There is a great deal more that could be said about phantasies; but I will only allude as briefly as possible to certain points.If phantasies become over-luxuriant and over-powerful, the conditions are laid for an onset of neurosis or psychosis. Phantasies, moreover, are the immediate mental precursors of the distressing symptoms complained of by our patients. Here a broad by-path branches off into pathology. I cannot pass over the relation of phantasies to dreams. Our dreams at night are nothing else than phantasies like these, as we can demonstrate from the interpretation of dreams.Language, in its unrivalled wisdom, long ago decided the question of the essential nature of dreams by giving the name of ‘day-dreams’ to the airy creation s of phantasy. If the meaning of our dreams usually remains obscure to us in spite of this pointer, it is because of the circumstance that at night there also arise in us wishes of which we are ashamed; these we must conceal from ourselves, and they have consequently been repressed, pushed into the unconscious.Repressed wishes of this sort and their derivatives are only allowed to come to expression in a very distorted form. When scientific work had succeeded in elucidating this factor of dream-distortion, it was no longer difficult to recognize that night-dreams are wish-fulfilments in just the same way as day-dreams – the phantasies which we all know so well.  ¹ Cf. Freud, The Interpretation of Dreams (1900a).So much for phantasies. And now for the creative writer. May we really attempt to compare the imaginative writer with the ‘dreamer in broad daylight’, and his creations with day-dreams? Here we must begin by making an initial distinction. We must separat e writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who seem to originate their own material.We will keep to the latter kind, and, for the purposes of our comparison, we will choose not the writers most highly esteemed by the critics, but the less pretentious authors of novels, romances and short stories, who nevertheless have the widest and most eager circle of readers of both sexes. One feature above all cannot fail to strike us about the creations of these story-writers: each of them has a hero who is the centre of interest, for whom the writer tries to win our sympathy by every possible means and whom he seems to place under the protection of a special Providence.If, at the end of one chapter of my story, I leave the hero unconscious and bleeding from severe wounds, I am sure to find him at the beginning of the next being carefully nursed and on the way to recovery; and if the first volume closes with the ship he is i n going down in a storm at sea, I am certain, at the opening of the second volume, to read of his miraculous rescue – a rescue without which the story could not proceed.The feeling of security with which I follow the hero through his perilous adventures is the same as the feeling with which a hero in real life throws himself into the water to save a drowning man or exposes himself to the enemy’s fire in order to storm a battery. It is the true heroic feeling, which one of our best writers has expressed in an inimitable phrase: ‘Nothing can happen to me! ’ It seems to me, however, that through this revealing characteristic of invulnerability we can immediately recognize His Majesty the Ego, the hero alike of every day-dream and of every story.Other typical features of these egocentric stories point to the same kinship. The fact that all the women in the novel invariably fall in love with the hero can hardly be looked on as a portrayal of reality, but it is easily understood as a necessary constituent of a day-dream. The same is true of the fact that the other characters in the story are sharply divided into good and bad, in defiance of the variety of human characters that are to be observed in real life.The ‘good’ ones are the helpers, while the ‘bad’ ones are the enemies and rivals, of the ego which has become the hero of the story. We are perfectly aware that very many imaginative writings are far removed from the model of the naà ¯ve day-dream; and yet I cannot suppress the suspicion that even the most extreme deviations from that model could be linked with it through an uninterrupted series of transitional cases. It has struck me that in many of what are known as ‘psychological’ novels only one person – once again the hero – is described from within.The author sits inside his mind, as it were, and looks at the other characters from outside. The psychological novel in general no doubt owes its special nature to the inclination of the modern writer to split up his ego, by self- observation, into many part-egos, and, in consequence, to personify the conflicting currents of his own mental life in several heroes. Certain novels, which might be described as ‘eccentric’, seem to stand in quite special contrast to the type of the day-dream.In these, the person who is introduced as the hero plays only a very small active part; he sees the actions and sufferings of other people pass before him like a spectator. Many of Zola’s later works belong to this category. But I must point out that the psychological analysis of individuals who are not creative writers, and who diverge in some respects from the so-called norm, has shown us analogous variations of the day-dream, in which the ego contents itself with the role of spectator.If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. Let us, for instance, try to apply to these authors’ works the thesis we laid down earlier concerning the relation between phantasy and the three periods of time and the wish which runs through them; and, with its help, let us try to study the connections that exist between the life of the writer and his works.No one has known, as a rule, what expectations to frame in approaching this problem; and often the connection has been thought of in much too simple terms. In the light of the insight we have gained from phantasies, we ought to expect the following state of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work.The work itself exhibits elements of the recent provoking occasion as well as of the old memory. Do not be alarmed at the complexity of this formula. I suspect that in fact it will prove to be too exiguous a pattern. Nevertheless, it may contain a first approach to the true state of affairs; and, from some experiments I have made, I am inclined to think that this way of looking at creative writings may turn out not unfruitful.You will not forget that the  stress it lays on childhood memories in the writer’s life – a stress which may perhaps seem puzzling – is ultimately derived from the assumption that a piece of creative writing, like a day-dream, is a continuation of, and a substitute for, what was once the play of childhood. We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the re-fashioning of ready- made and familiar material.Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite ext ensive. In so far as the material is already at hand, however, it is derived from the popular treasure-house of myths, legends and fairy tales. The study of constructions of folk-psychology such as these is far from being complete, but it is extremely probable that myths, for instance, are distorted vestiges of the wishful phantasies of whole nations, the secular dreams of youthful humanity.You will say that, although I have put the creative writer first in the title of my paper, I have told you far less about him than about phantasies. I am aware of that, and I must try to excuse it by pointing to the present state of our knowledge. All I have been able to do is to throw out some encouragements and suggestions which, starting from the study of phantasies, lead on to the problem of the writer’s choice of his literary material.As for the other problem – by what means the creative writer achieves the emotional effects in us that are aroused by his creations – we h ave as yet not touched on it at all. But I should like at least to point out to you the path that leads from our discussion of phantasies to the problems of poetical effects. You will remember how I have said that the day-dreamer carefully conceals his phantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pleasure by his disclosures.Such phantasies, when we learn them, repel us or at least leave us cold. But when a creative writer presents his plays to us or tells us what we are inclined to take to be his personal day dreams, we experience a great pleasure, and one which probably arises from the confluence of many sources. How the writer accomplishes this is his innermost secret; the essential ars poetica lies in the technique of overcoming the feeling of repulsion in us which is undoubtedly connected with the barriers that rise  between each single ego and the oth ers.We can guess two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal – that is, aesthetic – yield of pleasure which he offers us in the presentation of his phantasies. We give the name of an incentive bonus, or a fore-pleasure, to a yield of pleasure such as this, which is offered to us so as to make possible the release of still greater pleasure arising from deeper psychical sources.In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a fore-pleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is due to the writer’s enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the threshold of new, interesting and complicated enquiries; but also, at least for the moment, to the end of our discussion. The Source of Creativity in Writers We laymen have always been intensely curious to know like the Cardinal who put a similar question to Ariosto – from what sources that strange being, the creative writer, draws his material, and how he manages to make such an impression on us with it and to arouse in us emotions of which, perhaps, we had not even thought ourselves capable.Our interest is only heightened the more by the fact that, if we ask him, the writer himself gives us no explanation, or none that is satisfactory; and it is not at all weakened by our knowledge that not even the clearest insight into the determinants of his choice of material and into the nature of the art of creating imaginative form will ever help to make creative writers of us. If we could at least discover in ourselves or in people like ourselves an activity which was in some way akin to creative writing!An examination of it would then give us a hope of obtaining the beginnings of an explanation of the creative work of writers. And, indee d, there is some prospect of this being possible. After all, creative writers themselves like to lessen the distance between their kind and the common run of humanity; they so often assure us that every man is a poet at heart and that the last poet will not perish till the last man does. Should we not look for the first traces of imaginative activity as early as in childhood The child’s best-loved and most intense occupation is with his play or games.Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, re-arranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his world of play, the child distinguishes it quite well from real ity; and he likes to link his imagined objects and situations to the tangible and visible things of the real world.This linking is all that differentiates the child’s ‘play’ from ‘phantasying’. The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously – that is, which he invests with large amounts of emotion while separating it sharply from reality. Language has preserved this relationship between children’s play and poetic creation. It gives [in German] the name of ‘Spiel’ [‘play’] to those forms of imaginative writing which require to be linked to tangible objects and which are capable of representation.It speaks of a ‘Lustspiel’ or ‘Trauerspiel’ [‘comedy’ or ‘tragedy’: literally, ‘pleasure play’ or ‘mourning play’] and describes those who carry out the representation as â⠂¬ËœSchauspieler’ [‘players’: literally ‘show-players’]. The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for many things which, if they were real, could give no enjoyment, can do so in the play of phantasy, and many excitements which, in themselves, are actually distressing, can become a source of pleasure for the hearers and spectators at the performance of a writer’s work.There is another consideration for the sake of which we will dwell a moment longer on this contrast between reality and play. When the child has grown up and has ceased to play, and after he has been labouring for decades to envisage the realities of life with proper seriousness, he may one day find himself in a mental situation which once more undoes the contrast between play and reality.As an adult he can look back on the intense seriousness with which he once carried on his games in childhood; and, by equating his ostensibly serious occupations of to-day with his childhood games, he can throw off the too heavy burden imposed on him by life and win the high yield of pleasure afforded by humour. As people grow up, then, they cease to play, and they seem to give up the yield of pleasure which they gained from playing. But whoever understands the human mind knows that hardly anything is harder for a man than to give up a pleasure which he has once experienced.Actually, we can never give anything up; we only exchange one thing for another. What appears to be a renunciation is really the formation of a substitute or surrogate. In the same way, the growing child, when he stops playing, gives up nothing but the link with real objects; instead playing, he now phantasies. He builds castles in the air and creates what are called day- dreams. I believe that most people construct phantasies at times in their lives. This is a fact which has long been overlooked and whose importance ha s therefore not been sufficiently appreciated.People’s phantasies are less easy to observe than the play of children. The child, it is true, plays by himself or forms a closed psychical system with other children for the purposes of a game; but even though he may not play his game in front of the grown-ups, he does not, on the other hand, conceal it from them. The adult, on the contrary, is ashamed of his phantasies and hides them from other people. He cherishes his phantasies as his most intimate possessions, and as a rule he would rather confess his misdeeds than tell anyone his phantasies.It may come about that for that reason he believes he is the only person who invents such phantasies and has no idea that creations of this kind are widespread among other people. This difference in the behaviour of a person who plays and a person who phantasies is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other. A child’s play is determined by wishes: in point of fact by a single wish-one that helps in his upbringing – the wish to be big and grown up. He is always playing at being ‘grown up’, and in his games he imitates what he knows about the lives of his elders.He has no reason to conceal this wish. With the adult, the case is different. On the one hand, he knows that he is expected not to go on playing or phantasying any longer, but to act in the real world; on the other hand, some of the wishes which give rise to his phantasies are of a kind which it is essential to conceal. Thus he is ashamed of his phantasies as being childish and as being unpermissible. But, you will ask, if people make such a mystery of their phantasying, how is it that we know such a lot about it?Well, there is a class of human beings upon whom, not a god, indeed, but a stern goddess – Necessity – has allotted the task of telling what they suffer and what things give them happiness. These are the victims of nervous illness, who are obliged to tell their phantasies, among other things, to the doctor by whom they expect to be cured by mental treatment. This is our best source of knowledge, and we have since found good reason to suppose that our patients tell us nothing that we might not also hear from healthy people. Let us now make ourselves acquainted with a few of the characteristics of phantasying.We may lay it down that a happy person never phantasies, only an unsatisfied one. The motive forces of phantasies are unsatisfied wishes, and every single phantasy is the fulfilment of a wish, a correction of unsatisfying reality. These motivating wishes vary according to the sex, character and circumstances of the person who is having the phantasy; but they fall naturally into two main groups. They are either ambitious wishes, which serve to elevate the subject’s personality; or they are erotic ones. In young women the erotic wishes predominate almost exclusively, for the ir ambition is as a rule absorbed by erotic trends.In young men egoistic and ambitious wishes come to the fore clearly enough alongside of erotic ones. But we will not lay stress on the opposition between the two trends; we would rather emphasize the fact that they are often united. Just as, in many altar- pieces, the portrait of the donor is to be seen in a corner of the picture, so, in the majority of ambitious phantasies, we can discover in some corner or other the lady for whom the creator of the phantasy performs all his heroic deeds and at whose feet all his triumphs are laid.Here, as you see, there are strong enough motives for concealment; the well-brought-up young woman is only allowed a minimum of erotic desire, and the young man has to learn to suppress the excess of self-regard which he brings with him from the spoilt days of his childhood, so that he may find his place in a society which is full of other individuals making equally strong demands. We must not suppose tha t the products of this imaginative activity – the various phantasies, castles in the air and day-dreams – are stereotyped or unalterable.On the contrary, they fit themselves in to the subject’s shifting impressions of life, change with every change in his situation, and receive from every fresh active impression what might be called a ‘date-mark’. The relation of a phantasy to time is in general very important. We may say that it hovers, as it were, between three times – the three moments of time which our ideation involves. Mental work is linked to some current impression, some provoking occasion in the present which has been able to arouse one of the subject’s major wishes.From there it harks back to a memory of an earlier experience (usually an infantile one) in which this wish was fulfilled; and it now creates a situation relating to the future which represents a fulfilment of the wish. What it thus creates is a day-dream or phanta sy, which carries about it traces of its origin from the occasion which provoked it and from the memory. Thus past, present and future are strung together, as it were, on the thread of the wish that runs through them. A very ordinary example may serve to make what I have said clear.Let us take the case of a poor orphan boy to whom you have given the address of some employer where he may perhaps find a job. On his way there he may indulge in a day-dream appropriate to the situation from which it arises. The content of his phantasy will perhaps be something like this. He is given a job, finds favour with his new employer, makes himself indispensable in the business, is taken into his employer’s family, marries the charming young daughter of the house, and then himself becomes a director of the business, first as his employer’s partner and then as his successor.In this phantasy, the dreamer has regained what he possessed in his happy childhood – the protecting hous e, the loving parents and the first objects of his affectionate feelings. You will see from this example the way in which the wish makes use of an occasion in the present to construct, on the pattern of the past, a picture of the future. There is a great deal more that could be said about phantasies; but I will only allude as briefly as possible to certain points.If phantasies become over-luxuriant and over-powerful, the conditions are laid for an onset of neurosis or psychosis. Phantasies, moreover, are the immediate mental precursors of the distressing symptoms complained of by our patients. Here a broad by-path branches off into pathology. I cannot pass over the relation of phantasies to dreams. Our dreams at night are nothing else than phantasies like these, as we can demonstrate from the interpretation of dreams.? Language, in its unrivalled wisdom, long ago decided the question of the essential nature of dreams by giving the name of ‘day-dreams’ to the airy creati ons of phantasy. If the meaning of our dreams usually remains obscure to us in spite of this pointer, it is because of the circumstance that at night there also arise in us wishes of which we are ashamed; these we must conceal from ourselves, and they have consequently been repressed, pushed into the unconscious.Repressed wishes of this sort and their derivatives are only allowed to come to expression in a very distorted form. When scientific work had succeeded in elucidating this factor of dream-distortion, it was no longer difficult to recognize that night-dreams are wish-fulfilments in just the same way as day-dreams – the phantasies which we all know so well. ? Cf. Freud, The Interpretation of Dreams (1900a).So much for phantasies. And now for the creative writer. May we really attempt to compare the imaginative writer with the ‘dreamer in broad daylight’, and his creations with day-dreams? Here we must begin by making an initial distinction. We must separate writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who seem to originate their own material.We will keep to the latter kind, and, for the purposes of our comparison, we will choose not the writers most highly esteemed by the critics, but the less pretentious authors of novels, romances and short stories, who nevertheless have the widest and most eager circle of readers of both sexes. One feature above all cannot fail to strike us about the creations of these story-writers: each of them has a hero who is the centre of interest, for whom the writer tries to win our sympathy by every possible means and whom he seems to place under the protection of a special Providence.If, at the end of one chapter of my story, I leave the hero unconscious and bleeding from severe wounds, I am sure to find him at the beginning of the next being carefully nursed and on the way to recovery; and if the first volume closes with the ship he is in going down in a storm at sea, I am certain, at the opening of the second volume, to read of his miraculous rescue – a rescue without which the story could not proceed.The feeling of security with which I follow the hero through his perilous adventures is the same as the feeling with which a hero in real life throws himself into the water to save a drowning man or exposes himself to the enemy’s fire in order to storm a battery. It is the true heroic feeling, which one of our best writers has expressed in an inimitable phrase: ‘Nothing can happen to me! ’ It seems to me, however, that through this revealing characteristic of invulnerability we can immediately recognize His Majesty the Ego, the hero alike of every day-dream and of every story.Other typical features of these egocentric stories point to the same kinship. The fact that all the women in the novel invariably fall in love with the hero can hardly be looked on as a portrayal of reality, but it is e asily understood as a necessary constituent of a day-dream. The same is true of the fact that the other characters in the story are sharply divided into good and bad, in defiance of the variety of human characters that are to be observed in real life.The ‘good’ ones are the helpers, while the ‘bad’ ones are the enemies and rivals, of the ego which has become the hero of the story. We are perfectly aware that very many imaginative writings are far removed from the model of the naive day-dream; and yet I cannot suppress the suspicion that even the most extreme deviations from that model could be linked with it through an uninterrupted series of transitional cases. It has struck me that in many of what are known as ‘psychological’ novels only one person – once again the hero – is described from within.The author sits inside his mind, as it were, and looks at the other characters from outside. The psychological novel in general no dou bt owes its special nature to the inclination of the modern writer to split up his ego, by self- observation, into many part-egos, and, in consequence, to personify the conflicting currents of his own mental life in several heroes. Certain novels, which might be described as ‘eccentric’, seem to stand in quite special contrast to the type of the day-dream.In these, the person who is introduced as the hero plays only a very small active part; he sees the actions and sufferings of other people pass before him like a spectator. Many of Zola’s later works belong to this category. But I must point out that the psychological analysis of individuals who are not creative writers, and who diverge in some respects from the so-called norm, has shown us analogous variations of the day-dream, in which the ego contents itself with the role of spectator.If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. Let us, for instance, try to apply to these authors’ works the thesis we laid down earlier concerning the relation between phantasy and the three periods of time and the wish which runs through them; and, with its help, let us try to study the connections that exist between the life of the writer and his works.No one has known, as a rule, what expectations to frame in approaching this problem; and often the connection has been thought of in much too simple terms. In the light of the insight we have gained from phantasies, we ought to expect the following state of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work.The work itself exhibits elements of the recent provoking occasion as well as of the old memory. Do not be alarmed at the complexity of this formula. I suspect that in fact it will prove to be too exiguous a pattern. Nevertheless, it may contain a first approach to the true state of affairs; and, from some experiments I have made, I am inclined to think that this way of looking at creative writings may turn out not unfruitful.You will not forget that the  stress it lays on childhood memories in the writer’s life – a stress which may perhaps seem puzzling – is ultimately derived from the assumption that a piece of creative writing, like a day-dream, is a continuation of, and a substitute for, what was once the play of childhood. We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the re-fashioning of ready- made and familiar material.Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite extensi ve. In so far as the material is already at hand, however, it is derived from the popular treasure-house of myths, legends and fairy tales. The study of constructions of folk-psychology such as these is far from being complete, but it is extremely probable that myths, for instance, are distorted vestiges of the wishful phantasies of whole nations, the secular dreams of youthful humanity.You will say that, although I have put the creative writer first in the title of my paper, I have told you far less about him than about phantasies. I am aware of that, and I must try to excuse it by pointing to the present state of our knowledge. All I have been able to do is to throw out some encouragements and suggestions which, starting from the study of phantasies, lead on to the problem of the writer’s choice of his literary material.As for the other problem – by what means the creative writer achieves the emotional effects in us that are aroused by his creations – we have as yet not touched on it at all. But I should like at least to point out to you the path that leads from our discussion of phantasies to the problems of poetical effects. You will remember how I have said that the day-dreamer carefully conceals his phantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pleasure by his disclosures.Such phantasies, when we learn them, repel us or at least leave us cold. But when a creative writer presents his plays to us or tells us what we are inclined to take to be his personal day dreams, we experience a great pleasure, and one which probably arises from the confluence of many sources. How the writer accomplishes this is his innermost secret; the essential ars poetica lies in the technique of overcoming the feeling of repulsion in us which is undoubtedly connected with the barriers that rise  between each single ego and the others. We can guess two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal – that is, aesthetic – yield of pleasure which he offers us in the presentation of his phantasies. We give the name of an incentive bonus, or a fore-pleasure, to a yield of pleasure such as this, which is offered to us so as to make possible the release of still greater pleasure arising from deeper psychical sources.In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a fore-pleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is due to the writer’s enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the threshold of new, interesting and complicated enquiries; but also , at least for the moment, to the end of our discussion.

Wonders of The African World Movie Review Example | Topics and Well Written Essays - 500 words

Wonders of The African World - Movie Review Example He gives us a clear insight into the history of celebrated monuments and buildings, the culture and tradition followed in the region, besides the rituals and architectural beauty of the places of the region. Then, with the showcasing of Timbuktu and The Lost Cities of the South, Gates extends his support to the factual capacities of the Africans in being able to create this kind of a cultural and learning setup. The cities of Zimbabwe, Kush, Mero , Axum, Lalibela, Asante, Timbuktu, Zimbabwe were great examples that have been given by Gates to place before us the African essence! These four aspects of the documentary clearly throw light on the richness of the African continent in terms of tradition, religion, architecture and learning. However, the other two important descriptive pieces of the documentary, which are the The Swahili Coast and The Slave Kingdoms are more on the verge of showcasing the 'dark' side of the Dark Continent. The two parts of the documentary clearly outline the violence, disparity and the cruelty of the same Africa, that has been portrayed as something rich in culture and tradition! Here, the gh

Principles of Economics Assignment Example | Topics and Well Written Essays - 1000 words - 6

Principles of Economics - Assignment Example This is a factor that will result in students missing on the services and others will opt to park out of school wile others will be forced to use other means of transportation that are likely to inconvenience them more. Employed students will feel the pinch the most. Their time will be wasted with most of them opting for external parking. Unemployed students have adequate time to look for parking and if not for the rush to class, they will be the greatest benefactors of the lowered parking prices. Opportunity cost refers to the loss of one alternative when the other is chosen. 100 bats are equivalent to the production of 400 rackets. Producing an additional 100 bats will thus result in the loss of 400 rackets. The larger trade off is brought about by the equal rate of producing the two items in the second scenario. While the other will result in the loss of more rackets, the second scenario results in the loss of 100 rackets. This is more admissible than in the first case. f. Suppose Athletic Country is currently producing 200 bats and 200 rackets. How many additional bats could they produce without giving up any rackets? How many additional rackets could they produce without giving up any bats? (4 Marks) The production of equal number of the two simply results in equal number of either item in case of a trade-off. In this scenario, one bat or racket traded off results in the loss of one racket or bat preferred over the other. This type of production is efficient as it ensures effective returns for the capital invested. In case of an increased demand on either of the two, the firm simply halts the production of the other thereby maximising on the capital. In order to reduce smoking, the government places an additional tax of  £2 on a pack of twenty cigarettes. After one month, while the price to the consumer has increased a great deal, the quantity

Threats to Global Security Essay Example | Topics and Well Written Essays - 3500 words

Threats to Global Security - Essay Example The nation-states drafted or enlisted vast segments of the population base to build huge armies, navies, air forces, and nuclear weaponry, and the military command of each nation used this force with unrestrained power, even against civilian populations. The â€Å"old† war pattern led to hundreds of millions of individual deaths across the world during the course of the 20th Century. In a different interpretation focusing on media, Heidi Schaefer writes in â€Å"Old Wars New Wars†: â€Å"The famous photograph of a man being executed by a shot to the head by South Vietnam Lt. Colonel Ngyen Ngoc Loan, Saigon Chief of Police... taken by Eddie Adams, in 1968, on a side street in Saigon and later won him... a Pulitzer prize. In Adams’ obituary, the Washington Post wrote on this defining image of the violence of war in the latter half of the 20th century: ‘It was war in its purest, most personal form.’† (Schaefer, 2009) Thus, in evaluating the defin ition of â€Å"old† wars, it can be stated that on the global or international level, â€Å"old† wars operate on the Clausewitzian model of â€Å"total war† and mass-mobilization of societies that cause immense amounts of social and economic destruction. On the local level, â€Å"old† wars operate as in the Eddie Adam’s photo, the brutality of a man shot in the head, the passion of the scene, the emotions, and desperation are all caught on camera and recorded as a â€Å"total history†. In using this understanding to build a conception of â€Å"new† wars, these can be seen as â€Å"conflicts† that operate on a limited or isolated basis globally, generally in failed States or in surgical military operations led by the hegemonic powers. Where â€Å"total war† characterized the old paradigm, â€Å"contained war† is symbolic of the new. This may also include increased systematization, de-personalization, and abstractio n of violence so as to understand that State violence becomes more â€Å"stylized† in the operation of â€Å"new† war, as in a â€Å"cosmopolitan† police action. Additionally, there is a greater tendency to covert action, marginalized conflicts, lack of media coverage of non-central States, and disappearance of history that suggest in the local operation of â€Å"new† war, there is an inherent secrecy or hidden aspect that relates to containment, and can be seen as contrary to the Eddie Adams model. This means the media may not be centrally present in the â€Å"new† wars; the violence may not be recorded and broadcast in graphic imagery, but rather masked and stylized by the State in Hollywood manner in order to continue status quo operations with violence contained to the destruction of media-driven stereotypes of â€Å"foreign enemies† and â€Å"terror†. In reviewing the academic literature on the definition of â€Å"old† war and â€Å"new† war, there is a consistent theme of scholars writing on the subject to identify the 9/11 attacks as ushering in a new paradigm in the conduct of war. In "Old Laws, New Wars: Jus ad Bellum in an Age of Terrorism," William K. Lietzau writes: "At 8:46 on the morning of 11 September 2001, a handful of terrorists propelled the globe into an era of profound change... Whether or not recognized, acknowledged, or asserted, 9/11 and the response thereto brought forth a nascent legal regime that will alter the way nation states apply the rule of

Total Quality Management in International Business Essay

Total Quality Management in International Business - Essay Example Gerber views quality from the definitional perspective in that quality is the top priority of the company and serves a generic marketing strategy for promotional purposes. The company uses quality to solidify the firm’s brand value. The company wants the logo Gerber baby to be associated with the highest quality standards. Based on Gerber’s trajectory during the 20th-century quality has been a critical success factor that has helped the company become the industry leader in infant care products. When quality is used to define the product line of a company and the product’s the firm offers are in reality superior to the competition an enterprise has a great formula for success. Quality at Gerber has become so important that the company seeks feedback from a variety of stakeholders including the customers, suppliers, and employees.2. Gerber Corporation realized since its inception that quality could provide the company with a competitive advantage due to the importance parents place in the care of their creatures. The business integrated quality into the manufacturing processes in order to create greater consistency and reliability in the quality of the firm’s products. Gerber has benefited from using teamwork in the quality assurance process. The use of teamwork allowed the company to spread quality functions from departments to being used throughout the plant. The human resources practices that encouraged teamwork help the firm achieved synergy. Synergy in the workplace occurs when the whole is greater than the sum of its parts (Schermerhorn & Hunt & Osborn, 2003, p.174). Another technique that has helped Gerber achieve quality improvements is getting frontline employees involved. The floor workers are the individuals that at times have the greatest insight into quality control problems because they are the ones that see the production lines with their own eyes day.A strategic move that improves quality in the company was the implementation of managerial incentives for quality performance.

The Land of Opportunity Essay Example | Topics and Well Written Essays - 750 words

The Land of Opportunity - Essay Example One should keep in mind that increasing employment signals increasing businesses that hire people, hence, more competition.   The firm might also consider expanding its market. For example, if the firm’s product is only meant to appeal to a particular range of age, say, teenagers to young adults, it might want to try producing manufactured goods modified for younger children. Of course, an extensive customer research must follow. Product improvement will occur after determining from the customers answers to questions like â€Å"How can this product improve?† or â€Å"What product that is not available yet will compliment this available product?† And lastly, the firm must acquire all the possible business from its product. If the product that the customer will experience? After this, the company can then proceed to providing branches that will deal with specific issues concerning the product.  has something to do with technology, the firm must pre-meditate wha t will be the problems that the customer will experience? After this, the company can then proceed to providing branches that will deal with specific issues concerning the product.In the Foreign Trade Statistics, a list is presented containing the Top 10 Trading Partners of the U.S.—surplus, deficit and total trade. Countries with which the U.S. has a trade surplus includes: Netherlands, United Arab Emirates, Hong Kong, Australia, Belgium, Singapore, Panama, Bahamas, Honduras and Jamaica. Countries with which the U.S. has a trade deficit are: China, Japan, Canada.... In the Foreign Trade Statistics, a list is presented containing the Top 10 Trading Partners of the U.S.-surplus, deficit and total trade. Countries with which the U.S. has a trade surplus includes: Netherlands, United Arab Emirates, Hong Kong, Australia, Belgium, Singapore, Panama, Bahamas, Honduras and Jamaica. Countries with which the U.S. has a trade deficit are: China, Japan, Canada, Mexico, Federal Republic of Germany, Venezuela, Nigeria, Saudi Arabia, Malaysia and Italy. Lastly, the countries with which the U.S. trades are the following: Canada, Mexico, China, Japan, Federal Republic of Germany, United Kingdom, South Korea, Taiwan, France, and Malaysia. Netherlands has a year-to-date surplus of U.S. $ 4,615.92M. China has a year-to-date deficit of U.S. $ 64,354.56M. Canada has a year-to-date total of U.S. $ 178.07B. These are the leading countries in the three categories and their amounts in surplus, deficit and total trade. Apparently, the trade deficit amount exceeds the trade surplus with the countries. In studying these lists, it can also be noticed that several countries appear in more than one category. The countries Canada, China, Japan, Mexico and Federal Republic of Germany consistently appear on the Top 5 of both trading partners and deficit countries, in slightly different order. While Malaysia follows behind as the 10th in the trading partners, and 9th in the deficit countries. This clearly shows how the countries with which the U.S. has a trade deficit (specifically Canada, China, Japan, Mexico, Federal Republic of Germany and Malaysia) are also the same countries that are its top trading partners. Based on the Foreign Trade Statistics

Youth Justice Sytem Essay Example | Topics and Well Written Essays - 2000 words

Youth Justice Sytem - Essay Example Surely the aberrant youths cannot be prosecuted the same way as adults as there is a different degree of criminality. The young criminal is always considered as a troubled youth whose parents, the church, the state and its institutions must partake of the blame. He is deemed as a victim of circumstances, of the weakening and destruction of the family and the family values, of fads such as drug use, cults, gangs and even heavy metal music as well as a product of violence in the newspapers, TV and the cinema. On the other hand, youth crimes cannot just be handled with kid gloves or reacted to by a mere slap of the wrist as these are potent symptoms of the debilitation of the moral fabric of society and thus, the weakening of the bonds that hold tight the dam that preserves society. Surely, if youthful criminals are detained for a while and released prematurely to society, they will be back to wreak more and deadlier havoc. At first, most societies dealt with youth crime control by subscribing to the environmental theory of crime which believes that youthful crimes are caused by external and environmental factors that are mostly beyond the control of the youthful offender. When this proved to be a failure, most societies shifted to the classical theory of crime which holds that the individual's crime is a result of his exercise of his free will and thus he must be deterred from commission 2 of crimes by severe punishment (Olivo et al 52). Today, UK has decided to meet halfway and has come up with a legislation called Youth Criminal Justice Act 2003, which holds that the youthful offender must be punished but he must undergo rehabilitation, pre-emptive intervention, education and a host of other services like the concept of restorative justice offered by the Youth Justice System (Stephenson xvii). The above was triggered by the UN Convention on the Rights of the Child of which UK is a signatory. In 1990, UK has agreed to accede to the UN provision respecting "special protection measures covering the rights of children in the juvenile justice system" and the provision granting to each child offender the right to "family environment and family care" as well as the "right not to be subjected to torture" (UN Convention on the Rights of the Child). The UN Riyadh Guidelines 1990 also provided for early intervention which is a shared responsibility between state and the parents. Concomitant to the provisions of the Youth Justice System was the establishment of Youth Justice Board (YJB) by the Crime and Disorder Act 1998. Its role is to oversee and provide leadership for the improvement of the performance of the youth justice system (Smith 83). Its main responsibility is to prevent the commission of offenses by young persons (Ghate 1). Other responsibilities are the securing of facilities for the juvenile offenders, the development of models of restorative justice and the development of parenting programmes (Smith 86). The Act declared that its main objective is the reinforcement of the responsibilities of parents to exercise control over their offsprings.

Human’s Wisdom from Environment Essay Example for Free

Human’s Wisdom from Environment Essay The relationship between the Bangal tiger Richard parker and Pi Patel is the main focus in the novel ‘Life of Pi’.Their relationship are continually changing and it is the struggle for survival makes them need to change.A long time ago,human are weaker than animal as they don’t have strong body as animal .They do not have the sharp claws as Richard Parker does to protect themselves. However,as time going on ,human starts to dominate the earth by creating their own technology and weapon to protect themselves.The change of the relationship between Pi and Richard Parker can be seen as how human developed their skill from learning skill from the animals. In the beginning of the surivial adventure,Richard Parker is always the one who dominate the boat ,he can walk wherever he likes and to scare Pi to get off the boat because he has a much stronger power than Pi has. However,at the end,Pi is actually the one who takes control over Richard Parker and force Richard to follow his command.He does it by using the method which our ancestors used before in history.He used his weapon for attack,turtle shells for defence and his whistles for calling people to come rescue.This can shows human’s wisdom over the animal. The other thing which interested me in this novel is how Pi can adapt the new environment so quickly,he losts a lot of thing that we think we need to use in our daily life,he doesn’t have a phone,map or anything to guide him the direction or call for help.However,he reverted to the animals ways which his ancestors did before.When he arrived on the island , he started to analyze the environment and realize that the water is acidic there and it is dangerous for him to stay there . Also ,he marked down all the animal ‘s rountine.He learned some habits from Richard Parker and he did the same thing as Richard does.He adapt to become something Richard can used to live with.This remind me one extrodinary person in history which is Darwin.Charles Robert Darwin is an English naturalist.He established that all species of life have descended over time from common ancestors.The thing amaze me is Darwin did the same thing as Pi does,both of them do journal to record down what they experience and learned.When we looked back to the beginning of the novel, the zebra couldn’t adapt because it was injured ,and become the first animal to dead . Then the orangutan couldn’t adapt to the foreign environment so he was eaten by the hyena.Lastly the hyena couldn’t adapt to the new threat ,which is the tiger,therefore it get killed by Richard.However, for Pi ,he worked in zoo before so he know some of the animals behavior and that’s why he can prepare the protection for himselves first.This show s human can be adaptable to the nature as if they have enough knowledge of the environment and animal ,and the knowledge come from the analyze towards animal’s habit,that’s what make huaman on top of the food chain. Of course,it is not necessary for us to go to an island and learned all those skills because we can learn those skill from our biology book now.We should really thankful for those people who does the research before.Throughout this novel,the author Yann Martel shows us what do we need to adapt through conflict,which can also apply to our life.When we have difficulty towards our life,we should not feel panic,instead ,we should keep calm and analyze the problem we have in order to find out the solution for it.

Customer Delight In Banking Sector Marketing Essay

Customer Delight In Banking Sector Marketing Essay One important question which arises in every single managers mind is how he/she can leave an ever lasting mark in the mind of a customer, to make sure he/she comes back and remains loyal to ones organization. Now as services uniqueness life has shortened, every single Bank is providing the same services like its competitor. The only solution for the said question is to delight the customers, which competitors and said banks have failed to do so. Achieving the customer delight and experience requires the organization to realize that it is dynamic and merely represents moving targets or ambitions. However, there is no flat target to accomplish customer delight. This is the age of customer delight where customers receive more than they deserved or have ever imagined. Customer delight in banking sector was never researched till now, as we have found out how the account holder of banks can be delighted not just by their services but by reaching beyond the expectations of the customers. Our research started with exploratory investigation to indentify the elements, which create delight in the mind of customers, which enable us to create a customer delight model with eight variables. They become the fundamentals of a customer delight model. Delight model was tested on Bank account holders, which provided us the successful validation of our research. Customer delight model in Banking provides fundamental elements for creating customer delight for the Bank account holders as Management can focus on eight variables for making sure the customers remain Loyal and remain profitable for the organization. Keywords: Customer Delight, Beyond Customer satisfaction, Delight is banking Table of Contents Table of Contents 3 INTRODUCTION 4 Literature Review 6 Research Methods 16 Qualitative Development of Delight measure 16 Exploratory Investigation 16 Focused Interviews 16 Insights from Exploratory Investigation 17 Insight from Focus Interviews 17 Establishing of Customer Delight Model 18 Customer Delight Model 19 Quantitative Testing of Delight measures 21 Empirical Study 21 Data Collection: 21 Respondents profile 21 24 Data Analysis 24 CONCLUSION AND FUTURE RESEARCH 28 References 29 INTRODUCTION The authors investigated the concept and factors which influence delighting the customers in banking. Exploratory research investigated the factors and elements, which will create customer delight, researched based on focused group interviews, which lead to establishing a customer delight model and later on tested on 300 respondents. This recognized a concrete successful validation of the customer delight model. For establishing a delight model, Customer delight researched based on eight variables, which were investigated by asking open ended questions from various customers, which brought them to the state where they have felt over excited from service or in other words felt delighted from Bank services. Once all the data was gathered then every answer was categorized into Specific categories, which brought us the eight variables. These brought the customer delight in the mind of customer from bank services. Can bank delight its customers with its services? Seems like a simple question but in fact is a hard one to answer as every single bank is providing the same service and life cycle of creating competitive edge which has shortened a mile! Currently banks are concentrating on satisfying the customer from their services but in todays fast moving world, customers cant only be satisfied in just 1 single way in order to remain royal to the bank as all the banks are providing the homogenous services. Even if a single bank comes with unique service then its competitive advantage life time shortens as all follow suit. If the customers cannot remain loyal by being permanently satisfied then how can they become (removed word) permanently loyal to their bank? The solution to that is to delight the customers from their services, now how banks can delight the customer? This, the banks are still unable to discover, this is what actually our research is all about. Eight variables filtered by our initial exploratory research, create the customer delight in the mind of bank account holders from their banks. We emphasize that if these 8 variables are implemented in banking system for their customer; it will create delight and will create an ever lasting effect on the customer, instead of all of the banks providing same services which can not create a room for halting the change loyalty from one bank to another. Customer satisfaction the individuals perception of the performance of the product or service in relation to his or her expectations (Schiffman and kanuk, 2004) era has end and now customer delight profoundly positive emotional situation generally resulting from having ones expectations go beyond to a surprising degree. (Oliver, Rust, and Varki 1997) has started implementing on customers retention. Customer delight is the ever long-lasting answer to success. Customer cannot be delighted if until or unless he/she is not satisfied from the presented services, the factors or eliminates of delightness comes after the fulfilling of satisfying consumer needs. The delighted customer is more valuable for the company as it will help the organization to compete with its competitors. The age of customer delight has started where a customers satisfaction is no longer considered as Bank success or the service provided by it. Competitive edge is no longer applicable because almost every bank is providing the same services in term of quality as well as in quantity. The difference which makes between the banks success is how they fulfill their customer required services at the time when they required the most. Customer delight creates the ever lasting edge for the bank in Red Ocean of banking sector. Now the question arises on how to delight the customer when every bank is providing the same services which cannot be distinguished from each other. This question has a unique set of characteristics because it contains the customer delight process which has never been researched until now. Delighting a customer is not just a simple question to answer because customer delight is not just for overall customers; its for every individual customer of the bank. Literature Review Delighting the customer is very debatable topic as critics has suggested that if once raised the customer expectation bar, later it becomes impossible to give same level of experience to that customer, which in long run will also hurt the companys reputation as explained by Oliver and Rust 2000. Customer delight is a rising concept in marketing and little work has yet been done on it. As such, no consensus is reached about delight but it is generally posited as customer response to unexpectedly good performance from a service firm (Keiningham and Vavra 2001; Kumar 1996). Customer satisfaction is extensively recognized as a key authority in the formation of customers future purchase intent (Taylor Baker, 1994). According to Patterson (1997) customer delight involves going beyond satisfaction to delivering what can be best described as a pleasurable experience for the client. Michael Arthur Johnson explained on his customer delight website that When some one create WOW then you have place a very special peg in the recollection of the customer that is easy to recollect. It creates the opportunity of the customer telling the story regarding their WOW incident to many friends, acquaintances and strangers. It creates the free publicity that you cant place a temporary value to. Customer delight creates a cycle of coming back again and again for the customer. It creates the word of mouth publicity to draw new customers without spending any extra money on advertisement. It brings the firm at the top of the list among the competitors with a unique place in the mind of customers and differentiates one firm from the rest. It permits you to sell your products or services for additional money than the competition. It allows you to make extra return on your investment. Delighted customers are those where you foresee their needs; present solutions to them before they request and where you monitor to see if new or supplementary expectations are mandatory to be deployed. Whats wrong with just providing the customer service to customers when they require as explained by Michael Arthur Johnson. Michael Arthur Johnson says the difference between success and failure is only customer delight. Traditionally delight has been thought of a blend of joy and surprise (Kumar, A., Olshavsky, R.W. and King, M.F. (2001). However a recent study suggests that customer can be delighted without being surprised (Kumar et al., 2001). Although joy remains an important element of delight, the study suggests that a greater number of people are exhilarated, thrilled and to a lesser extent exuberant (Kumar et al., 2001). Satisfied customers are not necessarily leave with a firm; they are purely at ease. Delighted customers on the other hand have greater admiration for the firm and its services. Paul (2000) states: Unfortunately, people dont talk about adequate service. Instead, they tell anyone who will listen about really bad or really delightful services. Paul says that delight generate more positive word -of- Mouth for the company. Being only satisfied with a firms product or services does not necessarily mean that customer will prefer the company or rejects it but its just simple expression of acceptance. Delighting customers is about providing a product and services that are outstanding and stimulates customers preference towards a firm or its services. Companies are also realizing that loosing a customer means loosing more than a single sale: it means loosing the entire flow of purchases by the customer made over a lifetime of purchase. It has also been anticipated that as the level of satisfaction increases, so does customer become loyal to the firms product and services (Kotler and Amstrong 2001). Kumar et al., 2001 explain that these studies found that customers who where extremely satisfied were more loyal than customers who says they where satisfied. From many years customer satisfaction is used for the indicator of organization health and success. In recent times it has been argued that in order to succeed in red Blue Ocean of competitive environment it become a necessity to do more than just satisfy the customer but now organizations have to delight the customer for staying alive in the competition.. Delighting customers is a splendid ideal, but what kind of impact does it have on the company? Does customer delight lead to increased success and good monetary health of the firm? According to Rust and Oliver (2000) Research reviewed here strongly suggests that delight cannot be accomplish without surprisingly positive levels of performance, which as noted previously, require additional effort on the part of the firm or its agents. As Rust and Oliver (2000) explain that delighting the customer for organization can be harmful as the expectation of the customer extends and the customer does not get the level of services he is expecting from the organization. In the end the customer become dissatisfied from the organization. Satisfied customers will also tell others about their favorable experiences and therefore connect in positive word of mouth advertising (Richens, 1983; File Prince, 1992). Customers, who are dissatisfied, are most likely to switch brands and become active in the negative word of mouth advertisement of the brand. Furthermore, behaviors such as replicate purchase and word-of-mouth straight influence the feasibility and profitability of a firm (Dabholkar, P.A., Thorpe, D.I. and Rentz, J.O, 1996), A study was conducted by the Levesque and McDougall (1996) confirms and resistant the idea that unsatisfactory customer service results in a drop of customer satisfaction and hesitation to recommend the services to others. This would lead to large number of customer switching rate of customer to another brand as well as the negative word of mouth. A well known academic article on customer delight is by Oliver, Rust and Varki (1997). The authors give delight both hypothetical and an applied perspective, Delight appears as resulting from a Blend of pleasure and arousal. In their article they have presented a model and a test which has both delight sequence and a satisfaction sequence which leads to intentions of the customers. Model was tested using two consumption experiences a recreational wildlife theme park and a symphony concert. In the test the direct and indirect effects on both consumption experiences and on intentions of delight were not constant to its experiences. His indicates the probable effect of the moderating variables on the impact of delight on behavioral intentions. The model tested in Oliver, Rust and Varki is essentially a conceptual psychological model of the process of delight that can occur within consumption experiences of the customers. From the model of Oliver, Rust and Varki (1997) provide the evidence that delight has three direct antecedents such as Surprising consumption, Arousal or Heightened activation and Positive affect, all these three leads to customer delight. Model develops new insight concerning that produce delight when situation triggers surprise in a content of positive effect and arousal. The conservative wisdom is that if you have satisfied customers then you will have loyal customers. It sounds right, but actually its wrong said by Dr. John T. Self. Not only satisfaction of customer can create loyalty but its more than just satisfying the customers. As further he explains that in his opinion loyalty frequently develops when customers get concerned with the company over the ordinary transaction. Means that all the companies are providing the homogenous services and now customers require other than normal services provided by the company. Hence, customers looking beyond expects more from the services so that they can feel delight and be over whelmed. Berman, B. (2005), suggested that organization have to do more than what the customer expects from them and delighting the customer rather than just satisfying them. Berman differentiate customer delight and satisfaction. As satisfaction relate to the meeting the expectation of the customers or exceeding their expectations as customer delight on the other hand customers receive a positive surprise or delight that is afar their expectations. While comparing the satisfaction, customer delight is more toward the customer positive and emotional response against the service. In customer delight the emotional response as compare to the satisfaction has less memory for customer as compare to the delight. Delight a phenomenon that represents the highest level of satisfaction, leading to a stronger intent to repurchase (Jones and Sasser 1995).Customer delight has never happened without high performance and such performance brings not only benefits to customers but also makes them excited (Kwong and Yau 2002). To delight customers, it necessitates a superior and endless effort from firms to deliver extraordinarily high-quality services. This effort has to be recognized and cherished by customers. The major reason to chase delighted customers is the belief that they are more profitable to serve because they are more loyal, that is to say, they tend to have a stronger intent to repurchase. In general, they are apostles who give unfailing support to the firm (Oliver H. M. Yau and Kenneth K. Kwong 2007). Behaviourally, delighted customers tend to view the firm positively and prefer to buy from it (Keiningham et al. 1999; Schneider and Bowen 1999).Rust et al has stated financially, this preference translates to a profit and represents a stream of future income to the focal firm (Rust et al. 1994). In sum, these positive propositions imply that customer delight is a valuable business goal to pursuit (Rust and Oliver 2000). Customer service is what organization do for the customers but customer delight is what the customer has experience when he has been indulgence with way he wanted to. Customer delight does not come from giving additional services but comes from the quality of services make available to customer at the time he or she required most. Opportunities to delight customers also lay in service provider capability to go above and beyond in service delivery. Long-term relationships with customers offer the opportunity, through personalized service, to go beyond the customers expectations and delight them (Zeithaml and Bitner, 2003), Delight is more likely to occur in state where customers are vastly involved, where service quality is uneven, and where overwhelmingly exceptional performance is unexpected (Oliver et al., 1997). According to Peter, P.J. and Olson, J.C. (1996) Pre-purchase prospect are beliefs about predictable performance of the product; disconfirmation transfer to the variation between pre-purchase prospect and post purchase perception. Customer satisfaction is usually illustrate as the full meeting of ones expectations (Oliver,1980).but Delight is a positive consequence of exceeding the customers expectations (Keiningham and Vavra, 2001),Customer delight create the difference between the only satisfied customer and overwhelmed customer who are more loyal to organization Jack Mitchells latest book Hug Your Customers (2003) provides many instances that illustrate the long-term financial benefits that derive from construction those emotional bonds with customers. He suggests that competitive advantage is built in the course of providing both physical and psychological hugs to customers, eventually delighting them with consistent, zealous and committed customer service. Delighted customers are more likely to inform others that they are delighted, which in turn may draw other consumers to do business with that organization. The delighted customers might also be more likely to increase their own spending with the delighting organization, and exhibit increased customer faithfulness (Keiningham and Vavra, 2001). The possibility of delighted customers to repeat a purchase is known to be about six times more than satisfied customers (Reichheld and Sasser 1990). It represents the highest level of satisfaction, leading to a stronger intent to repurchase (Jones and Sasser 1995). Customer delight is never happened without high performance and such performance brings not only benefits to customers but also makes them excited (Kwong and Yau 2002).This effort has to be acknowledged and appreciated by customers. Customer delight is, therefore, defined as an emotional response creating a much pleasured state concerning a firms soaring performance in service delivery, which is then highly praised (Kwong 2006).Behaviorally, delighted customers tend to view the firm positively and prefer to buy from it (Keiningham et al. 1999; Schneider and Bowen 1999). Financially, this preference translates to a profit and represents a stream of future income to the focal firm (Rust et al. 1994). Long-term relationships with customers present the opportunity, through personalized service, to go beyond the customers expectations and delight them (Zeithaml and Bitner, 2003).Therefore, despite the fact that delighting the customer can be a profitable business practice (Rust and Oliver, 2000), Delight is going beyond simply satisfying the customer to delivering a higher level of satisfaction through exceeded expectations (Oliver et al., 1997). This concept of a higher-level of satisfaction is seen by many practitioners as the way to provide a distinct advantage to the company that does it first and does it well consistently (Chandler, C.H. 1989, p. 30, quoted in Oliver et al., 1997). Delighted customers are more likely to tell others that they are delighted, which in turn may attract other consumers to do business with that organization. The delighted customers may also be more likely to boost their own spending with the delighting organization, and exhibit increased customer loyalty (Keiningham and Vavra, 2001). Prof. Kano, the Kano Model categorizes customer needs into three types of feature. Customers are asked a series of questions that identify the importance of their needs and the following typology of features can be arrived at durability of a car might be considered Basic qualities. They do not satisfy when present, but do dissatisfy when absent. (Elmar Sauerwein, Franz Bailom, Kurt Matzler, Hans H. Hinterhuber 1996) Oliver, Rust and Varki (1997) squabble that delight is a combination of pleasure and arousal (whereas satisfaction is a mixture of pleasure and disconfirmation), and show that both satisfaction and delight can manipulate repatronage intentions. According to Berry, L.L., Parasuraman, A. Zeithaml, V.A. (1988) service quality has become a great competitor and the most powerful competitive weapon which many leading service organizations possess. Service business success has been associated with the ability to deliver superior service (Gale, 1990; Rudie Wansley, 1984). Leading service organizations strive to maintain a superior quality of service in an effort to gain customer loyalty (Zeithaml Bitner, 1996).Evaluating the impact of service quality through customer retention will help companies to gauge the financial impact of service quality (Zeithaml et al., 1996). Customer satisfaction no longer constitutes the convincing focus for success; it has been replaced by customer delight (Brown, W.S., Bowen, D.E. Swartz, T.A. 1992). In todays competitive environment, customers expectations and technological innovation demand that service leaders distinguish them selves from the competition by truly delighting the customer (Kandampully, 1997). Customers perception of exceptional service is often associated with the personal interaction of the employees (Kandampully, 1993). Services management literature has repeatedly emphasized the significance of the human element in the delivery of higher service (Crosby Stephens, 1987; Gronroos, 1990b; Parasuraman et al., 1985; Solomon, m.r., Surprenant, c., Czepiel, j.a. Gutman,(1985)). We now live in a service economy where relationships are becoming more important than physical products (Albrecht Zemke, 1985a), in terms of both our business and our personal lives. Business is nothing but relationship (McCormick, M. 1988) and, within service industries, this relationship is an interactive process (Booms Bitner, 1981). The challenge for todays organizations is not merely to reach the top, but to stay there. If that is an organizations aim, its primary focus should be not just to attract customers, but to gain their loyalty and, thus, their patronage, not merely for the current, but also for the long term. This loyalty, however, is the end result of an on-going, long-term relationship. Such relationships are founded on an organizations ability to maintain and extend its relationships with customers (Gummesson, 1994). According to Levitt (1983), buyer ± seller interaction is similar to a marriage; the quality and duration, however, depends predominantly which the organization manages the relationship. Customer supplier relationships are central to exceeding customer expectations (Parasuraman et al., 1991c). Thus, it is apparent that customers cannot `try out services; they purchase a service prior to experiencing it and must trust it to deliver the perceived service promise (Berry Parasuraman, 1992). According to Kanos theory of attractive quality (2001), success cannot be gained only by listening to what customers say. What needs to be gained is a deeper under-standing of the customers latent needs. He has described the factors that influence customer purchase decisions as a model with three main factors: basic (must-be), performance (more is better or one-dimensional) and delight (excitement or attractive). Additional factors are indifferent and reverse, but these add relatively little to this context. The basic factor must be met; otherwise the customer will react with disappointment or disgust. If all basic factors are met, the customer reaction is neutral. Research generally supports the claim that word of mouth is more influential on behavior than other marketer-controlled sources. Indeed, it has been observed that WOM can be more influential than neutral print sources such as which and Consumer Reports (Herr, P.M., Kardes, F.R. and Kim, J. (1991). Arndt, J. (1967) was one of the earliest researchers into the influence of WOM on consumer behavior. He characterized WOM as verbal, person-to-person communication between a receiver and a communicator whom the receiver perceives as non-commercial, concerning a brand, product or service. Customer delight can be defined as an emotion, characterized by high levels of joy and surprise, felt by a customer towards a company or its offering (product/ service) (Kumar 1996). Thus, customer delight is defined as a rather positive emotional state towards the purchase/consumption experience, generally derived from the surprisingly positive disconfirmation level of perceived performance (Oliver et al. 1997; Rust and Oliver 2000). Delight would be characterized as an emotion made up of cognitive and affective aspects, including here surprise (Kumar 1996). In this sense, Izard, Carroll E. (1977), clarifies that even the cognitive concepts inherent in satisfaction and, consequently, in customer delight such as need and desire -, and its comparative standards are considered affective by nature or, at least, as having an affective component. The differentiation basically occurs at an arousal level of the positive emotional response: at a low level there lies satisfaction; at a high level, delight (Oliver and Westbrook 1993). As Plutchiks, Robert (1980) research and the circumflex model of emotions appears to be one of the earliest and most common source for labeling delight as a mixture of joy and surprise, we review the work of which led Plutchik to conclude that delight was comprised of joy and surprise.Plutchik carried out two studies to determine what emotions resulted from the different combination of pairs of basic emotions. Basic emotions were supposed to be emotions that were instinctual and universal among all the human begins (or even among all mammals) and Plutchik had eight emotions which were considered basic and made up one layer of his circumflex model of emotion. Research Methods Qualitative Development of Delight measure Exploratory Investigation Till now the literature for customer satisfaction has only been studied and proved but the customer delight has never been researched upon. For sound conceptual background and for investigation of customer delight in the banking sector, qualitative study was undertaken to investigate the delight concept especially in the minds of their customers. Almost all the banks are providing homogenous services; our main emphasis is on the customer reaction towards the services provided and the experience they faced when they felt excited and delighted from their banks. Focus interviews with the customers was the main part of our research. This provided us with the exact moment or situation, which created customer delight in the mind of a customer. Creating the base for our focused interviews, we distributed an open ended questionnaire, in which the customers were asked to write down the situation where they felt excited or delighted by the service which their respective bank has provided to them when they really required it. We received many situations described by the customer, where they received the service which made them delighted or when they felt excited. Every single response was carefully studied and put under a category, where situations were the same. Focused Interviews Focused interviews consisted of respondents from all walks of life including Housewives, Businessman, Employees, and students. Every focused interview was based on the category which responded a particular response in the questionnaires. Discussions regarding their response to the questionnaire provided the opportunity for the respondent to explain in detailregarding their moment(removed letter) of getting excited or delighted from their banks service. Discussions were based to bring the respondent to the exact reason or moment on why the customer felt delighted. Every respondent was provided the opportunity to elaborate their experience to reach the moment or reason of delight that they felt from the service. Insights from Exploratory Investigation From the exploratory investigation a remarkably completely different pattern of customer delight came out, which was totally different from the nominal services provided by the banks to the customers. Account holders were satisfied from the service provided by the bank as almost all the banks are providing the same type and quality of services but what made the customers delighted, were the occasion when they were offered or received an out the way service from their bank ,which they never expected or ever received before. All the delights of the customers were situations and occasions based on what they had experienced in their daily routine. Outcomes were categorized into the related fields as to what made a customer feel delight from the service. Insight from Focus Interviews Interviews were summarized in categories of the situation or the time when a customer felt delighted from the banks service. Outcomes were surprising as the customers felt delighted not from the homogeneous services provided by the banks but from the acts which customer had received from the banks other than their normal routine practice. Account holders explained in detail regarding the situations that they have felt from their bank, which caused delight. Customers replies were investigated to reach the exact moment in the time in which they received a delightful service from their bank. As the respondents were from different walks of life so their perception toward delight were also different. If the respondent was already getting same service from his bank then there was no reason to be delighted from the instrument we have purposed. Reactions were very important of customer toward the situation they were asked about, as delight is all about the over whelming experience for the customer. Every focused interview session were categories under eight variables, which become the fundamental elements of the customer delight model. Respondent reached the concession that eight variables, which were the outcome from the exploratory studies were eliminates, made them delight from the service. Establishing of Customer Delight Model After completing the focused interviews and gathering the data of the interviews, we came to an understanding on how to establish the customer delight model as per the outcome of the respective customers interview. Model, which consists of eight variables, was sub defined as per the perception of the respondents. Among these eight variables, six of them had clear understanding in the minds of the customers that it is the factor or eleme