Economics of Slavery Essay Example | Topics and Well Written Essays - 500 words

Economics of Slavery - Essay Example Since an average slave hand could produce about a ton of tobacco yearly, the total increase in the tobacco trade over the century required an increase of about 70,000 hands, a minuscule fraction of the 5.7 million slaves imported during the same period. "As late as 1860 the average value of the capital invested in an American cotton textile factory was just $109,000 and the average number of employees was just 130" (Kolchin 1995, p. 24). Throughout the eighteenth century, the great slave plantations of the sugar colonies, with profits averaging about 10 percent on invested capital, were the largest privately owned enterprises of the age and their owners were among the richest of all men. The same can be said of the great cotton plantations in the United States on the eve of the Civil War (Kolchin, 1995). Alternative sources of labor were scarce; European labor was more expensive than African labor; Africans could endure the rigors of the tropics better than Europeans. While each of these factors played a role, no one of them individually, or their joint sum, constitutes an adequate explanation.

Nursing assignment Essay Example | Topics and Well Written Essays - 3000 words

Nursing assignment - Essay Example Diffusivity of a gas is a physical constant that is derived from calculations based on the solubility of the gas in the membrane and the molecular weight of the gas. The area available for diffusion and the thickness of the membrane is anatomy dependent. Thus the exchange of oxygen from the alveoli to the capillaries is mostly based on the pressure gradient across the alveolar-capillary membrane. The same law applies to the transport of carbon dioxide from the capillaries to the, but carbon dioxide is more soluble than oxygen in the membrane and so diffusion limitation is seldom an issue with carbon dioxide, the elimination of which is dependent heavily on ventilation. (Walley & Russell, 1999). Besides the difference between the partial pressures of the gases in alveoli and the pulmonary capillary bed another important determinant of gas exchange is the relationship between the pulmonary capillary perfusion (Q) and alveolar ventilation (V). A well ventilated alveolus needs to have an equally well perfused capillary, with the ratio V/Q ideally 1. A three compartment model of the lungs helps to understand the perfusion and ventilation relationship. Physiological dead spaces, where exchange of gases does not take place are areas of wasted ventilation, where V/Q is greater than 1. Perfectly matched areas of ventilation and perfusion have V/Q equal to 1. Areas that contribute to venous admixture, which is the mixing of non-oxygenated with oxygenated blood after passing through the lungs, where perfusion has been wasted, in the example of the right to left shunt, V/Q is less than 1. Even in normal lung function, there is a degree of variation in the perfusion and ventilation in different areas of the lung due to gravity, which requires the extra effort in forcing blood supply through the blood vessels above the heart in an erect position. Thus the lower portion of the lobes of the lung is better perfused

Satellite. Solar system Essay Example for Free

Satellite. Solar system Essay A satellite is defined as any object that orbits any other object. Satellites can be celestial, such as a moon orbiting a planet in the solar system, or a planet in the solar system orbiting the sun. Satellites can also be man-made. Man-made satellites are typically launched into outer space from earth to collect data, photos and other information about Earth and all the many things that exist around it. An animation depicting the orbits of GPS satellites in medium earth orbit. A full size model of the Earth observation satellite ERS 2  In the context of spaceflight, a satellite is an object which has been placed into orbit by human endeavor. Such objects are sometimes called artificial satellites to distinguish them from natural satellites such as the Moon. The first artificial satellite, Sputnik 1, was launched by the Soviet Union in 1957. Since then, thousands of satellites have been launched into orbit around the Earth. These originate from more than 50 countries and have used the satellite launching capabilities of ten nations. A few space probes have been placed into orbit around other bodies and become artificial satellites to the Moon, Venus, Mars, Jupiter and Saturn. Satellites are used for a large number of purposes. Common types include military and civilian Earth observation satellites, communications satellites, navigation satellites, weather satellites, and research satellites. Space stations and human spacecraft in orbit are also satellites. Satellite orbits vary greatly, depending on the purpose of the satellite, and are classified in a number of ways. Well-known (overlapping) classes include low Earth orbit, polar orbit, and geostationary orbit. Satellites are usually semi-independent computer-controlled systems. Satellite subsystems attend many tasks, such as power generation, thermal control, telemetry, attitude control and orbit control. HISTORY OF ARTIFICIAL SATELLITES Sputnik 1: The first artificial satellite The first artificial satellite was Sputnik 1, launched by the Soviet Union on October 4, 1957, and initiating the Soviet Sputnik program, with Sergei Korolev as chief designer. This in turn triggered the Space Race between the Soviet Union and the United States. Sputnik 1 helped to identify the density of high atmospheric layers through measurement of its orbital change and provided data on radio-signal distribution in the ionosphere. The unanticipated announcement of Sputnik 1s success precipitated the Sputnik crisis in the United States and ignited the so-called Space Race within the Cold War. Sputnik 2 was launched on November 3, 1957 and carried the first living passenger into orbit, a dog named Laika. TYPES OF SATELLITE ïÆ'ËœCommunication satellites †¢Communication satellites provide a worldwide linkup of radio, telephone, and television. †¢The first communication satellite was Echo 1, launched in 1960. †¢Relay 1 and telstar 1 were the first active communications satellites. †¢They were launched in 1962. ïÆ'ËœNavigation satellites †¢Navigation satellites are mainly intended to help aircraft, ships and nuclear submarines. †¢These satellites provide constant signals by which aircraft and ships can determine their positions with great accuracy. ïÆ'ËœWeather satellites †¢Weather satellites carry cameras and other instruments pointed toward Earths atmosphere. †¢They can provide advance warning of severe weather and are a great aid to weather forecasting. ïÆ'ËœMilitary satellites †¢ Many military satellites are similar to commercial ones, but they send encrypted data that only a special receiver can decipher. †¢ Military surveillance satellites take pictures just as other earth-imaging satellites do, but cameras on military satellites usually have a higher resolution. ïÆ'ËœScientific satellites †¢Earth-orbiting satellites can provide data to map Earth, determine the size and shape of Earth, and study the dynamics of the oceans and the atmosphere. †¢ Scientists also use satellites to observe the Sun, the Moon, other planets and their moons, comets, stars, and galaxies. HOW ARE SATELLITES LAUNCHED ïÆ'ËœThe trick when launching a satellite is to get it high enough to do its job without losing the capsule to outer space. ïÆ'Ëœ Its a delicate balance of push and pull, accomplished by the inertia of the moving object and the Earths gravity. GEOSYNCHRONOUS SATELLITE LAUNCH VEHICLE ïÆ'ËœThe Geosynchronous Satellite Launch Vehicle (usually known by its abbreviation, GSLV) is an expendable launch system operated by the Indian Space Research Organization (ISRO). ïÆ'ËœIt was developed to enable India to launch its INSAT-type satellites into geostationary orbit and to make India less dependent on foreign rockets. GSLV Geosynchronous Satellite Launch Vehicle FunctionMedium Lift Launch System ManufacturerISRO Country of origin India Size Height49 metres (161 ft) Diameter2.8 metres (9 ft 2 in) Mass402,000 kilograms (890,000 lb) Stages3 Capacity Payload to LEO 5,100 kilograms (11,000 lb) Payload to GTO 2,000 to 2,500 kilograms (4,400 to 5,500 lb) Launch history StatusActive Launch sitesSatish Dhawan Total launches6 (5 Mk.I, 1 Mk.II) Successes2 (Mk.I) Failures3 (2 Mk.I, 1 Mk.II) Partial failures1 (Mk.I) Maiden flightMk.I: 18 April 2001 Mk.II: 15 April 2010 Boosters (Stage 0) No boostersFour Engines1 L40H Vikas 2 Thrust680 kilonewtons (150,000 lbf) Total thrust2,720 kilonewtons (610,000 lbf) Specific impulse 262 sec Burn time160 seconds FuelN2O4/UDMH First Stage Engines1 S139 Thrust4,700 kilonewtons (1,100,000 lbf) Specific impulse 166 sec Burn time100 seconds FuelHTPB (solid) Second Stage Engines1 GS2 Vikas 4 Thrust720 kilonewtons (160,000 lbf) Specific impulse 295 s (2.89 kN†¢s/kg) Burn time150 seconds FuelN2O4/UDMH Third Stage (GSLV Mk.I) 12KRB Engines1 KVD-1 Thrust69 kilonewtons (16,000 lbf) Specific impulse 460 s (4.5 kN†¢s/kg) Burn time720 seconds FuelLOX/LH2 Third Stage (GSLV Mk.II) CUS12 Engines1 ICE Thrust73.5 kilonewtons (16,500 lbf) Specific impulse 460 s (4.5 kN†¢s/kg) Burn time720 seconds FuelLOX/LH2 LIQUID BOOSTERS One of the strap-ons of GSLV-F04 being brought to the Vehicle Assembly Building The GSLV uses four L40 liquid strap-on boosters derived from the L37.5 second stage, which are loaded with 40 tons of hypergolic propellants (UDMH N2O4). The propellants are stored in tandem in two independent tanks 2.1 m diameter. The engine is pump-fed and generates 680 kN (150,000 lbf) of thrust. First stage S139 stage is 2.8 m in diameter and is made of M250 grade maraging steel and it has a nominal propellant loading of 139 t. Second stage The second stage is powered by the Vikas engine. It has 2.8 m diameter and uses 37.5 metric tons of liquid propellants with UDMH as fuel and nitrogen tetroxide (N2O4) as oxidizer, in two aluminium alloy compartments separated by a common bulk head. It delivers 720 kN (160,000 lbf) of thrust. Third stage GSLV Mk.II D3 The third stage is propelled by a cryogenic rocket engine, 2.8 m in diameter and uses liquid hydrogen (LH2) and liquid oxygen (LOX) in two separate tanks of aluminium alloy interconnected by an inter-stage. Propellant loading is 12.5 t. The indigenous cryogenic engine was built in Tamil Nadu at the Liquid Propulsion Systems Centre. POLAR SATELLITE LAUNCH VEHICLE ïÆ'ËœThe Polar Satellite Launch Vehicle commonly known by its abbreviation PSLV is an expendable launch system developed and operated by the Indian Space Research Organization (ISRO). ïÆ'ËœIt was developed to allow India to launch its Indian Remote Sensing (IRS) satellites into sun synchronous orbits. ïÆ'ËœPSLV can also launch small size satellites into geostationary transfer orbit (GTO). ïÆ'ËœThe PSLV has launched 41 satellites (19 Indian and 22 from other countries) into a variety of orbits till date. Polar Satellite Launch Vehicle PSLV-C8 (CA Variant) carrying the AGILE x-ray and ÃŽ ³-ray astronomical satellite of the ASI lifting off from Sriharikota FunctionMedium Lift Launch System ManufacturerISRO Country of origin India Size Height44 metres (144 ft) Diameter2.8 metres (9 ft 2 in) Mass294,000 kilograms (650,000 lb) Stages4 Capacity Payload to LEO 3,250 kilograms (7,200 lb) Payload to HCO 1,600 kilograms (3,500 lb)[1] Payload to GTO 1,060 kilograms (2,300 lb)[1] Launch history StatusActive Launch sitesSriharikota Total launches17 PSLV: 10 PSLV-CA: 6 PSLV-XL: 1 Successes15 PSLV: 8 PSLV-CA: 6 PSLV-XL: 1 Failures1 (PSLV) Partial failures1 (PSLV) Maiden flightPSLV: 20 September 1993 PSLV-CA: 23 April 2007 PSLV-XL: 22 October 2008 Notable payloadsChandrayaan-1 Boosters (Stage 0) â„â€" boosters6 Engines1 solid Thrust502.600 kN Specific impulse 262 sec Burn time44 seconds FuelHTPB (solid) First stage Engines1 solid Thrust4,860 kN Specific impulse 269 sec Burn time105 seconds FuelHTPB (solid) Second stage Engines1 Vikas Thrust725 kN Specific impulse 293 sec Burn time158 seconds FuelN2O4/UDMH Third stage Engines1 solid Thrust328 kN Specific impulse 294 sec Burn time83 seconds FuelSolid Fourth stage Engines2 liquid Thrust14 kN Specific impulse 308 sec Burn time425 seconds FuelMMH/UDMH PSLV is designed and developed at Vikram Sarabhai Space Centre (VSSC), Thiruvananthapuram and Kerala. The inertial systems are developed by ISRO Inertial Systems Unit (IISU) at Thiruvananthapuram. The liquid propulsion stages for the second and fourth stages of PSLV as well as the reaction control systems are developed by the Liquid Propulsion Systems Centre (LPSC), also at Thiruvananthapuram. The solid propellant motors are processed by Satish Dhawan Space Centre SHAR, which also carries out launch operations. After some delays, the PSLV had its first launch on 20 September 1993. Although all main engines performed as expected, an altitude control problem was reported in the second and third stages. After this initial setback, ISRO met complete success with the third developmental launch in 1996. Further successful launches followed in 1997, 1999, and 2001. PSLV continues to be the work horse of Indian satellite launches, especially for LEO satellites and the Chandrayaan Projects. It has undergone several improvements with each subsequent version, especially those involving thrust, efficiency as well as weight. ORBIT ïÆ'ËœAn orbit is a regular, repeating path that an object in space takes around another one. ïÆ'ËœAn object in an orbit is called a satellite. A satellite can be natural, like the moon, or human -made. ïÆ'ËœIn our solar system, the Earth orbits the Sun, as do the other eight planets. ïÆ'ËœThey all travel on or near the orbital plane, an imaginary disk-shaped surface in space. ïÆ'Ëœ All of the orbits are circular or elliptical in their shape. In addition to the planets orbits. HOW A SATELLITE STAY IN THE ORBIT ïÆ'ËœThe forward motion of the satellite is its momentum. If the gravity of the earth is not acting on the satellite, the satellite would continue in one direction. ïÆ'ËœThe swinging of the satellite gives it its forward motion. ïÆ'Ëœ When these two forces are equal, the satellite remains in orbit, without falling into or flying away from the Earth. ïÆ'Ëœ A satellites forward motion is controlled by rockets. ïÆ'ËœWhen the rockets are not fired, inertia keeps the satellite going in one direction. HOW SATELLITES WORK ïÆ'ËœReceiving uplinked radio signals from earth satellite transmission stations (antennas). ïÆ'ËœAmplifying received radio signals ïÆ'ËœSorting the input signals and directing the output signals through input/output signal multiplexers to the proper downlink antennas for retransmission to earth satellite receiving stations (antennas). MERITS ïÆ'ËœIn communication. ïÆ'ËœFor military purposes. ïÆ'ËœFor weather broadcasting. ïÆ'ËœIn terrestrial application. ïÆ'ËœSatellite Services. †¢Satellite internet access †¢Satellite phone †¢Satellite radio †¢Satellite television †¢Satellite navigation DE-MERITS ïÆ'ËœLifetime of a satellite is limited. ïÆ'ËœOnce damaged it is difficult to repair. ïÆ'ËœEconomically costly. ïÆ'ËœA small damage in any part can destroy the whole satellite. CONCLUSION ïÆ'ËœNow a day’s satellite is a basic communication media. ïÆ'ËœAny information can be transmitting from one point to another with the help of satellite. ïÆ'ËœAll people are using satellites directly or indirectly. ïÆ'ËœWithout satellites the days cannot be imagined.

Impact of Giorgio Armani on Fashion

Impact of Giorgio Armani on Fashion Introduction Giorgio Armani, the sole share holder, Chief Executive Officer, President and chief designer of Giorgio Armani SpA which is one of the most profitable fashion houses, is quite qualified for the interlocking work of design, management and marketing. Since the early eighties, he had been recognized as one of the most successful and well-selling designers in global fashion industry. Teri Agins (2000) stated that Giorgio Armani is one of the worlds best-selling designer, a creator who was equal parts steak and sizzle—fashion and marketing. In addition, once, it was published in Forbes (Richard Heller 2001) that ‘Armani is unique. Hes the only designer in the world who has been able to combine real creative genius with a tremendously astute business sense. As an icon to fashion newcomers, stars and fans, Giorgio Armani has created a super fashion empire which owns 10 lines (Armani Prive, Giorgio Armani, Armani Collezioni, Emporio Armani, AJ Armani Jeans, A/X Armani Exchange, Armani Junior, Armani Casa, Armani Cosmetic and Armani Hotel), more than three hundred stores in thirty-six countries, thirteen factories all over the world and approximately five thousand employees. He keeps perfect balance between the role of designer and director. Mr. Armani was chosen as the worlds most successful designer by Forbes in 2000 and honored with a lifetime achievement in a 2004s gala event organized by the Fashion Group International which is a global non-profit association with a membership of over 6000 professionals of achievement and influence representing all areas of the fashion, apparel, accessories, beauty, and home industries to commend his inapproachability talents and high status in fashion area. This article will be separated into three parts to wholly demonstrate Giorgio Armanis major contribution and evaluate his status and impact in the field of fashion. The Design Revolution Giorgio Armani brought Giorgio Armanis Unique Marketing Strategy Conclusion Design Revolutionary Giorgio Armani, one of the most famous fashion designers known by people of all ranks and classes in the world, is the undisputed genius of fashion. This Italian designer first made a name for himself by his menswear. Followed 1975s successful menswear fashion show, he started designing chicly womens wear in 1976. However, Armani lead the fashion trend at that time and indeed revolutionized the mens and womens dressing way, thus he was usually cited as the worlds best-recognized, most commercially successful, and personally wealthy designer. (Mary Lisa Gavenas, 2008) ‘Elegant, ‘Masculine and ‘minimal are the commonest words to describe Armanis style. All Armanis cuts are simple, clean and as straight as possible. It nullifies the conflict between dignity and sex, between dress and power. It also produces an aesthetic beauty on the level of the liberation of social minorities and sexualities; acquires public importance through diffusion and mass culture, while remaining open to the imaginary and the sensual; creates narcissistic commodities no longer determined only by functionality, but also by such models of symbolic identification as gender and status. ( Germane Celant , 2000) Iconic Design As a fashion master, Giorgio Armani has created a significant number of design classics, such as ‘Pantsuits for women, ‘Unconstructed Suit , ‘Ethnic Style and ‘Casual Luxury. But if we have to select one as his representative work, jacket, is the inevitable choice. It is generally known that Armani is dubbed as the king of jackets by mass media, not merely because he is the first person who designed the jacket in 1975, but also since he devoted to update it and make it iconic. For Giorgio Armani, one jacket was all it took to initiate his triumphant career and to change both the streetscape and the history of fashion. Certainly it was a special jacket, something new, which miraculously illustrated the needs and not merely the aesthetic of the moment. It was created to fit the restlessness and new authority of women, and to offer men the impetus to liberate themselves from the uncomfortable armor they had been using to protect their dignity and insecurities. (N atalia Aspesi, 2000) As mentioned in the Emporio Armani magazine, published in 1996, ‘when I began to design, men all dressed in the same way. American industry called the shots, with its technicians scattered all over the world†¦Ã¢â‚¬ ¦ all impeccably equal, equally impeccable. The Mao Syndrome. Everyone wore the same uniform, a bit wider here, a bit more tapered there, but the substance was always the same. You couldnt tell them apart. They had no defects. But I liked defect. I wanted to personalize the jacket, to make it more closely attuned to its wearer. How? By removing the structure. Making it into a sort of second skin. Armani is bold in making innovations and he has never stopped his step. He exerted himself to develop his design around the jacket which was the staring pointing for his career. Armani renewed and redesigned the jacket almost each season. He illustrated that his small but crucial discovery lies in having imagined garment which falls over the body in a surprisingly natur al manner. (Giorgio Armani, 1996) The appearance of jacket offered a new way of dressing for both men and women. Germane Celant (2000) pointed that his jacket was a tool of unstable identity that could adapt itself to any bodily context whatsoever, thus satisfying the emotional and psychological requirements of a femininity tending to the masculine as well as a masculinity that aspired; it situated itself in the area of androgyny. However, jacket has been created for more than twenty years, but so far it has been widely updating in fashion industry. There is no exaggeration to say that, from mass market to luxury market, the iconic design jacket existed everywhere of fashion area. Mens Wear It is widely known that Giorgio Armani began his career by freeing men from the monotonous uniform and offering them varied ways to dress. From years to years, collection to collection, he increasingly designed casual luxury, comfortable but cool menswear on the basis of clear knowing mens desire. It is commented by Farid Chenoune (1993) that Armani initially designed clothes for sexy, thickest and broad-bottomed men, thereby shifting the center of masculine anatomical interest from the back (in contrast to the earlier fashion for tight, flat pants with their ‘exposed—beam look). As mentioned before, in 1975, Giorgio Armani caused a splash in fashion industry. His shocked-world jacket was endorsed by male fans who clustered round Armanis fashion concept. Through several years exploration and innovation, Armani became one of the best-selling menswear designers in the end of 1970s, but he didnt became dizzy with the successes already won, he continued to expand his impact in fashion trend, especially in menswear. In the beginning of 1980s, with the popularization of cinema and television, the whole society has liberate its male sartorial possibilities so they may often coexist and interpenetrate (Anne Hollander, 1994). Armani successfully caught the chance and established cooperated relations with Hollywoods movie industry. Paul Schraders 1980 film American Gigolo put Armani on the publics radar again. In the movie, actor Richard Gere dressed exclusively in Armani. Teri Agins (2000) suggested that the movie was a walking Armani fashion show. Indeed, from then on, mens dressing perception was absolutely different. Maetha J. Nelson (2000) also supported that the imagination that shaped a wardrobe so supple and seductive for Richard in American Gigolo that menswear in this country was never the same again. Giorgio Armani, whose design style was looked upon as sexy, elegance and good quality, was recognized as a progenitor of the Wall Street‘Yuppie. Womens Wear ‘Giorgio Armani changed the face of womens fashion beginning in the ‘70s. Thousands of confused women placed their confidence in him, and were overnight transformed to best dressed. said by Anjelica Huston, an actress. The famous architect Gae Aulenti also declared for this view. She explained that Armani is expressing with continuity a sense elegance that derives from both the intellect and the sense. According to female celebrities appreciation to Armani, it is easy to understand and conclude the status and influence of Giorgio Armani in womens wear design. Armani had cast the same spell over a new generation of executive women who were unimpressed with the fussy, figure-molding haute couture that was coming out of Paris. Armanis soft, comfortable tailoring went over big in feminist age (Teri Agins, 2000). As Anne Hollander (1994) mentioned in Sex and Suit: the evolution of modern dress, the modernizing clothes for women had meant copying mens clothes, directly or indirectly, one way or another. Giorgio Armani may not be the first or the sole one who borrowed menswears tailor to womens wear, but he may be the one who made the greatest impact. It is also supported by Farid Chenoune (1993) that Armani dressed women in fashions directly inspired by menswear and gave professional women the same kind of subtly powerful uniform that men had. In the 1970s, since women were allowed to share the job with men and assert themselves in office, the need of suitable and graceful working-clothes was pressing. Coward (1984) indicated that womens bodies and the messages which clothes can add are the repositories of the social definitions of sexuality, and women are always the defined sex and the display of those definitions. Giorgio Armani was aware of it and went in for designing what business women want. From 1970s to current, Giorgio Armani, whose pantsuits were the pinnacle of ‘power-dressing, has demonstrated a major contribution in working womens fashion. Fashion begins and ends with the consumer (Maria Costantino, 1998). Since Armani knew clearly his customers needs and satisfied them, his label has become synonymous with the power suit. Maetha J. Nelson (2000), the managing editor of In Style Magazine, criticized Giorgio Armanis contribution in womens wear that ‘The designer who showed women they could dress for the office without looking like men. UNIQUE MARKETING STRATEGY Giorgio Armani, who built the empire by himself, is not only a great designer, but also a marketing genius with astute business sense. Armanis marketing strategies always combine with his design. Armanis huge success is attributed to his fantastic design, creative marketing strategy and distinct business form. None of them could be ignored. From 1980 onward, Armani proved his business mettle by successfully sign license, expanding into allied fields, open his own stores, maintaining tight control of his distribution, and acquiring established manufacturing facilities (Mary Lisa Gavenas, 2008). He had the initiative of his empire by the 21st century, while his peers had sold their business. Celebrity Strategy The symbiotic and tight relationship between fashion designers and celebrities, especially the Hollywoods stars, could tract back to the 1950s. As Martha Nelson, the editor of in Style, concluded that celebrities work on another level because people think of them as real people more than models. There is no doubt that celebrities are symbols of fashion trend. Personal purchase bias of mass, paying close attention to what they wear, which brand they adore, may be influenced by celebrities, such as singer, actor, sport star, artist and socialite. Celebrity strategy, which was supported to carry out by Giorgio Armani, is of prime importance in Armanis promotion plan and plays a significant part in brand growing. Teri Agins (2000) proved that Armani was the first designer to milk his celebrity connections by developing a publicity machine to get his clothes on the backs of Hollywoods most influential and most visible A-list of actors, directors, producers and agents. Such headliners became an integral component of his master marketing plan to keep his trademark in lights Since 1980s, Armani has designed for celebrities to attend Oscars or other red-carpet events. For this Italian designer, Oscar night was regarded as a key marketing chance to publicize his brand. With the huge success of his celebrity strategy, Armani is widely favored by celebrities and regarded as the sure choice. Hamish Bowles (2000) pointed that Armanis intimate involvement with present-day Hollywood seems therefore an inevitable one. Diffusion Line It is difficult to confirm that Giorgio Armani is the first designer who put forward the concept of diffusion lines, but he must be the most successful designer who created his own sub-brands and diversified new product categories, created a coherent ‘branded environment'(Mark Tungate, 2005). From haute couture to ready-to-wear, from menswear to womens wear, from evening dress to home wear, from cosmetic to hotel, Armani offers varied products and Armanis featured lifestyle to different ranks and classes. After Armanis first attempt and success in brand extension, a significant number of fashion companies followed his step, develop their own sub-brand, which extremely changes the structure of fashion industry. Giorgio Armanis empire has developed 10 lines whose objects oriented are various. Followed section will simply introduce them. Armani Prive: Haute couture line. It is only available for the top part of customer pyramid. It is regarded as the sure dressing for celebrities to attend red-carpet events Giorgio Armani:The most expensive label for ready-to-wear. It is the most favorite brand for the elites who work in the Wall Street, and the executive women who are wealthy, confident and stylish. Armani Collezioni: The high end line for ready-to-wear, but cheaper than Giorgio Armani. The line is typically aimed at an older customer who does not desire trendy design, but places emphasis on high quality more classic items ( YourNewFragrance.com, 2008). Emporio Armani:The medium line designed for ambitious youth. This line is unique because it features products that more affordable than the products featured on high end lines, but also supplies items that cost more than the ones in cheaper lines (Paulagerie, 2009). AJ Armani Jeans:The special line for denim-related garments. A/X Armani Exchange: The lower-end line. It is geared toward older teens and young adults with a contemporary fashion style (YourNewFragrance.com, 2008). Armani Junior: A line designed for children. Armani Casa: Special high-end home lines, whose products include furniture, linens, home wear and so on. Armani Cosmetic: A special collection of Armani featured cosmetics, such as skin care, perfume, and cologne. Armani Hotel: Under this label, there are luxury hotels and resorts which smoothly give publicity to Amanas lifestyle. Conclusion If we considered the couture designer as an artist (Linda Welters, 2007), Giorgio Armani has done for fashion which Picasso has done for painting (Franco Maria Ricci, 1982). Colin McDowell (1997) commented that Armani look can be worn by all age group with confidence because like Chanels fashion for women, it eschews gimmicks, ignores fashion fads and springs from a philosophy based on an understanding of mens needs and a faultless technique which brings its own logic to everything the designer creates. It is indisputable to research and analyze in two direction  created a niche for himself with his elegant designs, mostly done in a neutral palette. Although his fashion house, , was much smaller than many other fashion houses, it was one of the most profitable. Another distinctive feature of the house was that Armani headed both the creative as well as the business sides, which was not the norm in the industry.

Translations depicts the cultural take over of Ireland by the British E

Translations depicts the cultural take over of Ireland by the British Empire, yet it cannot be said to be simply pro-Irish.’ Consider this comment. English Literature Coursework- ‘Translations depicts the cultural take over of Ireland by the British Empire, yet it cannot be said to be simply pro-Irish.’ Consider this comment on the play. The Cultural take over of Ireland by the British Empire is a central issue in Translations. Friel examines this issue by describing the effects that certain changes have on individual characters; Irish and English. One may think a play with this issue could not help being biased towards the Irish. However, Friel ‘did not wish to write a play about Irish peasants being suppressed by English sappers.’ In order to ascertain whether he achieves this, we should look to his often complex characters and how they develop throughout the play. and so we must look at individual characters, as Friel does, to see whether this play is pro-Irish or not. Let us take Hugh O’Donnell as the first example. Hugh is portrayed as an intellectual character. He has a wide knowledge of languages and uses a sophisticated choice of words. For instance, when he describes the Irish language he explains that certain other cultures ‘expend on their vocabularies and syntax acquisitive energies and ostentations.’ This is definitely a positive characteristic and can be contrasted to Lancey and Yolland’s ignorance. This can be seen when Lancey misunderstands the Latin statement ‘nonne Latine loquitur’ and tells Jimmy ‘I do not speak Gaelic sir’, making it obvious that he does not speak Latin either. However, when Hugh ‘pours himself another drink’ and his alcohol addiction is apparent the stereotyp... ...land, once again, to represent the attempt of joining two cultures together by his relationship with Maire. However, this joining is doomed to fail just like the couple’s relationship is as, even though Maire and Yolland celebrate what they love about each other’s cultures, thus ignoring their differences, there is still a failure to communicate. This can be seen when Yolland and Maire are having a ‘conversation’ with each other, even though neither speaks the others language, and Yolland explains ‘I’m not going to leave here’, while Maire pleads ‘Take me away with you George’. This represents the inability for all the characters to communicate which results in the supposed death of Yolland. This English soldier is therefore seen as a victim and his questionable murderer appears to be the Irish Manus; although Friel leaves us to decide this for ourselves.

Victor Frankenstein’s Obsession in Mary Shelley’s Frankenstein Essay

The most prevalent theme in Mary Shelley’s â€Å"Frankenstein† is that of obsession. Throughout the novel there are constant reminders of the struggles that Victor Frankenstein and his monster have endured. Many of their problems are brought upon by themselves by an obsessive drive for knowledge, secrecy, fear, and ultimately revenge. From the onset of Victor’s youth, his earliest memories are those of â€Å"Curiosity, earnest research to learn the hidden laws of nature, gladness akin to rapture, as they were unfolded to me, are among the earliest sensations I can remember† (ch. 4) This is the first example of obsession that we see in the novel. This drive to learn the ‘hidden’ laws of nature is the original driving force that sets the plot in motion. Without this, Victor would have never embarked on his unholy quest to overcome mortality, thus leading to his creation of his monster. â€Å"Dr. Victor Frankenstein feels uncontrollably compelled to create animation in the lifeless body† (Storment) this obsession with the creation of life alienated him from his loved ones. His impending marriage to Elizabeth was one aspect of his life that he sacrificed. In chapter 22, Elizabeth writes to him â€Å"Tell me, dearest Victor. Answer me, I conjure you by our mutual happiness, with simple truth-- Do you not love another?† Elizabeth’s concern about his faithfulness is based on his neglect of their relationship. He simply did not allow any other aspect of his life to impede his goal. Victor Frankenstein is ultimately successful in his endeavor to create life. This, however, does not stop the underlying theme of obsession. Shelley’s shift from Victor’s never-ending quest for knowledge is replaced with an obsession of secrecy. â€Å"I had worked har... ...his mental strength, taking its toll, leaving him incapacitated for months on end. The final compulsion to destroy his daemon takes him to the end of existence. Exhausted from his relentless pursuit, he dies without ever obtaining the closure that he was searching for. â€Å"Victor Frankenstein’s life was destroyed because of an obsession with the power to create life where none had been before† (Moring) Shelley leaves us pondering the question, when does obsession cross the line into insanity? Works Cited Moring, Patrick. Who is the Monster? California State University, Northridge. n.d.Web. 31 Oct. 2014. Storment, Suzanna. Frankenstein Commentary. Washington State University. n.d. Web. 31 Oct. 2014. Shelley, Mary. Frankenstein, by Mary Wollstonecraft Shelley. Page By Page Books. Read Classic Books Online, Free. n.d. Web. 31 Oct. 2014.

Cavleta Dining Services, Inc: A Recipe for Growth? Essay

What role (if any) have Calveta’s values played in the organization’s success? Calveta’s values played a significant role in the business’ success. He motivates and empowers the members of the staff. Antonio ensured that staff members viewed themselves as valued members of the organization and understands that their job is to take care of their clients, respectfully. The same approach was used with the clients ensuring them that the goal of the organization was to fully take care of their needs 2.Does Calveta’s operating approach offer a sustainable competitive advantage? Calveta’s current operating approach offers a sustainable competitive advantage. Calveta empowered employees to achieve their fullest potential. It was stated that in concept that the employees are the most important capital in the company and in order to uphold that concept the company invested in their employees and offered growth potential. Promote from within culture was evident at Calveta. 3.Why haven’t other food service providers copied Calveta’s approach? Antonio Calveta’s approach is the base for his organization. He worked hard to maintain the mission of the company. As a result of this, it would be difficult to duplicate his approach. The goal of the majority of companies is to make a high profit and that’s all that they would work towards. However, Calveta’s promise to deliver fresh products and provide great service creates a good profit margin without it being their focus. Calveta’s approach is costly to them but it works and produces a profit. Most other companies would not utilize such methods for fear of losing their profits. 4.Given Calveta’s communication and internal organizational challenges, how important will training and development be to maintaining growth and culture? Training and professional development are key to the maintenance of any company’s growth and culture. Leaders of any strong company should realize that improving skill set, increasing knowledge, and employees’ job satisfaction are important to the positive growth of the company. Providing training and development provides opportunities for workers to gain managerial skills and gain managerial skills and gain upward mobility in the company. 5.Calveta’s fifth goal is profitable growth. Goals one through four are more ethical in nature. Is goal five inconsistent with the first four? I believe that the fifth goal is consistent with the first set of goals. Goals one through four focuses on the clients and the employees, which are aligned to the company’s vision and mission. Once goals one through four are achieved, then goal five will automatically be attained because with increased clients, comes increased profits. 6.How, if at all, should Calveta’s organizational structure be changed to resolve communication issues, preserve the company’s culture, and support future growth? An internal survey usually is a useful tool to gauge employees’ dissatisfaction. From the collection of data, an action plan needs to be put in place to address the levels of dissatisfaction. In order to safeguard the company’s culture and support future growth, Calveta must achieve an acceptable level of communication among its units and departments’ heads. Restructuring will be an advantageous way of maintaining the Antonio’s way of culture. Effective cross-boundary work and collaboration required for dealing with complexity and change is required. Increasing engagement within the top leadership team and employees will help the company grow. 7.Should Frank Calveta move forward with an expansion into the hospital sector? With the proposed acquisition? Due to the current financial situation with the company the expansion into the hospital sector should be put on hold at this time. The expansion into the hospital industry should be proposal for a goal for future growth possibility. The proposed acqusitions advantages are ripe for expanding however, Calveta needs to clear up its financial and business issues before expanding with GSD.