Strategic management of Apple Inc. and Samsung Group Case Study

Strategic management of Apple Inc. and Samsung Group - Case Study Example Their main strategy was elaborated product development cycle which grows on anticipation level among customers. Simultaneously the company showcased their innovations globally very well. Samsung on the other hand used time very well. They always try to make their presence felt in the market. Primary focus of Samsung was to capture low and middle end market. But with the help of fast innovations the company was able to perform well in premium end market also. The company is presently enjoying huge popularity for their products in every segment of global society. Internal capacities of both these two companies are very high. Both companies are having super innovative capabilities. Apple has done a good mixture of both science and arts in their products. Apple over the years has delivered super, elegant and simple experiences out of their products. It has made the organization a dominant player in the smart phone market. Apple is fighting legal battles with Samsung regarding infringemen t of patent rights. It is a very well thought business strategy from Apple to keep more firm foot on the global mobile industry. In this way Apple is trying to break free from competitions. The mission and vision statement of Apple is very much in line with their long term goals. Apple reinvented mobile phones and brought revolutionary changes in digital music systems. Samsung’s mission and vision statement is also in line with their long term goals. According to the company they believe in devotion of their human resources and their technology for the creation of good quality products and services which would contribute towards global society. Samsung is contributing towards South Korean economy heavily (Jeremy, 2010). Strengths: Samsung has unparallel ability to market their brands. Integration of hardware with many open sources like software and OS is also a great strength for Samsung. Superior product

Behavior is hereditary Essay Example for Free

Behavior is hereditary Essay The whole issue of nature and nurture is complex with potential debates centered round their influences on human development. Nature refers to the traits inherited from parents while nurture refers to the influence of the environment to an individual’s behavior (Lippa 2005, p. 26). Psychological research shows that both nature and nature have a general influence on the physical and behavioral characteristics of people. This paper seeks to explain the factors which affect nature and nurture. The nature theory holds that human behavior is hereditary. True to the theory, some traits such as blood type and eye color are known to be predominantly genetic. It can therefore be asserted that genetic variation of people affects the development and characteristics of the next generation (Lippa 2005, p. 28). Nurture on the other side holds that the environment in which an individual is brought up in influences his or her behavior. In this context therefore, it can be acknowledged that the ability of an individual to interact and conform to the societal requirements and the environment at large affects the degree to which the environment can influence the individual’s behavior (Lippa 2005, p. 28). Still to be noted here is the effect of age on the influence of nature and nurture. Inherited traits are first noticed when a child is born. As the child grows up to teenage, behavioral characteristics are predominantly influenced by the environment because of the interactive nature of people at this stage of growth as well as the ability to conform to peers and the society at large (Lerner Bearer 2004, p. 86). At adult stages, people tend to become more independent hence less influenced by the environment. At this stage therefore nature prevails but the nurture traits acquired at early stages of growth remains effective. In conclusion therefore, nature and nurture are undoubtedly influential to human development. Nature gives inborn traits while nurture takes these inborn abilities and changes them with age to fit the individual’s environment. ? Bibliography Lippa, R 2005, Gender, nature, and nurture, Lawrence Erlbaum Associates, Inc. Lerner, R, Bearer, E 2004, Nature and Nurture: The Complex Interplay of Genetic and Environment. Routledge: New York.

Contemporary Issues in Criminology

Contemporary Issues in Criminology Critically discuss its theoretical underpinnings and evaluate whether this theoretical approach serves as a useful explanation of criminal behavior in modern Britain. The idea of cultural criminology indicates both exact viewpoints and extensive orientations that have come forward in criminology, sociology, and criminal justice over the past few years. More distinctively, cultural criminology stands for a perception performed by Ferrell Sanders (1995), and equally in employment by Redhead (1995) and others (Kane 1998) interlinks prà ©cised academic threads to discover the meeting of cultural and criminal procedures in current social life. Cultural criminology sees the sights of the numerous traditions in which cultural dynamics interlink with the performances of crime and crime control in contemporary social arrangement; put in a different way, cultural criminology lays emphasis on the centrality of meaning and demonstration in the structure of crime as temporary occasion, sub cultural effort, and social issue. From this view, the suitable topic material of criminology goes beyond traditional ideas of crime and crime causation to contain images of illegal behavior and representative displays of law enforcement; accepted culture constructions of crime and criminal act; and the mutual sentiment that animate criminal events, awareness of criminal risk, and public labors at crime control. This widespread cultural focal point, cultural criminologists argue, permits academics and the public identical to better appreciate crime as significant human activity, and to break through more intensely the contested politics of crime control. At a basic stage cultural criminology incorporates in this way the imminent of sociological criminology with the directions on the way to the representation and mode accessible by the field of cultural studies. Inside this extensive union of the criminological and the cultural, though, cultural criminology has come out from a quite more multifaceted co-evolution of sociology, criminology, and cultural analysis. An essential first point in this emergence is the job of academics related with the Birmingham School of cultural studies, the National Deviancy Conference, and the â€Å"new criminology† in Great Britain throughout the 1970s. Reconceptualizing the character of modern power, these academics discovered the cultural and ideological extents of social class, observed relaxation worlds and prohibited subcultures as sites of stylized conflict and alternative sense, and investigated the mediated ideologies motivating social and lawful control. Any regulation that is living and affluent is a topic to ordinary processes of regeneration and refreshment. Criminology is the alike. It has had its humanist Marxist, feminist, and rationalist, between other reappearances and is presently bein g delighted to one more ‘paradigm shift’ in the shape of a self-styled ‘cultural criminology’. A current unique issue is Theoretical Criminology (2004), which was dedicated to the appearance and predictions of this new kid on the rational block. According to Hayward and Young’s opening essay of the particular topic, cultural criminology is: ‘the placing of crime and its control in the background of culture; that is, observing both crime and the organization of control as cultural products –as inspired creations. (Hayward and Young 2004: 259). The latest criminology’s focal point on top of all on the method in which human actors generate meaning and try to find to use this diagnostic focal point to discover the attractions of disobedience or rule contravention activity (ibid.: 260, 266). Casting its academic custom back to 1960’s radicalism and the concentration to strangers and unusual subcultures towards which that radical ism leaned in criminological job. Certainly cultural criminology describes it self as, and revels in, working ‘at the edges of ‘conventional criminology, for two purposes, firstly, because ‘it is here, in these forgotten gaps that the feature of crime so often opens out, and secondly for the reason that conventional criminology is conquered by ‘managerial rationalization and statistical difficulty. Certainly, whether criminology actually does present a new rational attempt rather than a reasonable amplification of earlier work on unusual subcultures is it self arguable –admirable of a split paper and an appropriate chronological likeness. There are connections between crime and culture. Criminal behavior is, more regularly than not, subcultural behavior. From the interactionist criminology of the Chicago School and Edwin Sutherland to the subcultural theories of Cohen, Cloward and Ohlin, and others, criminologists have long accredited that events and i ndividualities named criminal are classically produced inside the limitations of unusual and criminal subcultures. In this sense, a lot of what we acquire to be crime is fundamentally communal behavior; whether carried out by one person or lots of; exacting criminal acts are habitually prepared within and initiated by subcultural crowd. Despite the fact that the limitations/boundaries may stay ill-defined, and the relationship may shift in unpleasant numbers and stage of assurance, these subcultures compose ultimate human links for those who partake in them. Biker, hustler, Blood and Crip, pimp and prostitute all name subcultural networks as much as individual personalities. Since Sutherland and the Chicago School identified a half century ago, and as immeasurable case studies have since established, criminal subcultures integrate way further than easy immediacies of private relationship. To have a word of a criminal subculture is to distinguish not only an organization of people, but a set of connections of symbols, denotation, and awareness. Components of a criminal subculture are taught and discuss â€Å"intentions, force, rationalizations, and attitudes; expand detailed conventions of language, look, and appearance of self; and in so doing contribute, to better or minor grades, in a subculture, a combined way of life. A large number of this subcultural meaning, exploit, personality, and condition is planned around style, that is, something like the common aesthetic of the subcultures members. As previous researchers have established, delicacies of cooperative style describe the sense of crime and deviance for subcultural contestantants, manager of legal control, clients of arbitrated crime descriptions, and others. If we are to understand both the terror and the plea of skinheads, Bloods and Crips, graffiti writers, zoot suiters, impolite boys, drug users, and others, we have to be able to make sense not only of their criminal acts, but of their group aesthetics as well. Katzs study, for instance, has related criminal acts and aesthetics by investigating the styles and symbolic meanings which appear inside the daily dynamics of criminal proceedings and criminal subcultures. By paying attention to dark sunglasses and white undershirts, to accurate styles of walking, talking, and if not introducing ones criminal character, Katz has outlined the alternative deviant culture, the coherent deviant ‘a ‘esthetic in which badasses, cholos, punks, youth gang members, and others take part. In these cases, as in other models of crime on and off the street, the significance of criminality is secured in the style of its collective performance. The bikers ritually rebuild motorbike, the gang members sports clothing and tattoos, the graffiti writers strange street pictures, and the skinheads aggressively challenging music compose the vital cultural and subcultural equipment out of which criminal schemes and criminal individuals are raised and demonstrated. For once more, contribution in a criminal subculture, or in the culture of crime, funds participation in the symbolism and style, the shared aesthetic atmosphere, of criminality. From earlier on labor within the British cultural studies tradition to Katz and more modern criminologists, studies have exposed that representation( symbolism) and style not only form criminal subcultures, but interlink with the wider social and official associations in which these subcultures are wedged. Criminal subcultures and their styles both breed out of class, age, gender, ethnic, and legal differences, and by turns duplicate and oppose these social mistake lines. And this interaction of subcultural style, difference, and power in turn reminds us of Beckers classic criminological command, that we must observe not only criminal subcultures, but the lawful and political authorities who build these subcultures as criminal. When we do, we find these authorities both acting in response to subcultural styles, and themselves utilizing symbolic and stylistic approaches of their own in opposition to them. The criminalization attempts of legal and political supporters show again the control of cultural forces; in criminalizing cultural and subcultural actions, and campaigning for communal support, ethical capitalists and legal auth orities influence legal and political structures, but conceivably more so structures of mass symbolism and perception. To appreciate the actuality of crime and criminalization, subsequently, a cultural criminology ought to report not only for the dynamics of criminal subcultures, but for the dynamics of the gathered media too. Nowadays, arbitrated pictures of crime and criminal violent behavior wash over us in wave after wave, and in so doing help form public insights and strategies in look upon crime. But obviously these modern cases constructed on prior arbitrated structures of crime and control. The criminalization of marijuana in the United States a half century ago was forecasted on an attempt to awaken the public to the threat dealing with it by means of `a didactic campaign recitations the drug, its recognition, and evil consequences. Forceful gang behavior and police attack on zoot suiters in the 1940s were assault by the increase of an unmistakably hostile symbol in Los Angeles newspapers. In the mid-1960s, shocking media reports of rape and assault placed the circumstance for a permissible campaign in opposition to the Hells Angels; and at approximately the matching time, lawful harassments on British mods and rockers were lawful throughout the medias consumption of sensitive symbols.† In the 1970s, the mutual relations amid the British mass media and criminal justice system formed a discernment that mugging was a terrifying new injures of crime. And throughout the 1980s and untimely 1990s, mediated horror legends justified wars on drugs, gangs, and graffiti in the United States, and shaped instants of mediated moral panic over child cruelty and child pornography in Great Britain. This development away from penal borders, this combination of conflicting scholarly viewpoints, this centered on positioned cultural dynamics, all naming prospects not only for a serious cultural criminology, but a kind of postmodern cultural criminology on top. Current social, feminist, and cultural speculations are increasingly moving further than penal restrictions and distinct classes to generate artificial, postmodern outlooks on social and cultural life. Despite the fact that patent by their assorted and different components, these perceptions allocate some wide-ranging thoughts, between them the concept that the on a daily basis culture of persons and groups integrates commanding and contradictory extent of style and sense. The symbolism and style of social interaction, the culture of everyday life, in this way materializes a contested political ground, representing samples of dissimilarity, supremacy, and opportunity. And these samples are in turn tangled with superior struct ures of mediated information and amusement, cultural manufacture and expenditure, and official and political authority. Seeing that the type of cultural criminology outlined here expands, it can incorporate criminology keen on these artificial lines of located inquest now rising under large captions like postmodernism and cultural studies. Cultural criminology therefore offers criminologists the chance to improve their own perceptions and perspectives on crime with approaching from other disciplines, whilst at the same time providing for their social group in cultural studies, the sociology of culture, media studies, and somewhere else priceless prospects on crime, criminalization, and their association to cultural and political procedures. Meandering or breaching the limitations of criminology in sort to create a cultural criminology in this sense destabilizes contemporary criminology less than it increases and enlivens it. Cultural criminology expands criminologys field to compris e worlds predictably measured external to it: gallery art, trendy music, media companies and texts, style. In the equal way, it institutes criminology into contemporary arguments over these worlds, and labels criminological points of view as crucial to them. The particular relations between culture and crime, and the wider relationship among criminology and contemporary social and cultural life, are both explained within cultural criminology. References: Ferrell J. (1999) Cultural Criminology, pages 395-418, Annual Review Of Sociology. Vol.25 http://www.albany.edu/scj/jcjpc/vol3is2/culture.html http://www.culturalcriminology.org/ O’ BRIEM, M. (2005) what is cultural about cultural criminology? British Journal Criminology, [Online] Available: URL: E:UniModulesWhat is Cultural About Cultural Criminology O’Brien 45 (5) 599 British Journal of Criminology.htm [1

Evaluating The War in Iraq :: War, Iraq

Evaluating The War in Iraq Is the war in Iraq right? Is this not a form of terrorism?, to have U.S. troops stationed in Iraq for six year now. How about pushing our system of government onto another country, isn’t that a form of terrorism? Isn’t this wrong of the US and our fellow Americans to still believe that we’re doing the right thing, when we’ve never received a straight answer as to why we’re even in another country fighting? These are all questions we should be asking, and the answer should be, that it’s morally wrong of the U.S. to be doing so. However, many of us Americans are too blind to see this, to ask these questions, and to do something powerful about it. Many seem to look at it as though, the middle east has done wrong to us, so we must do wrong to them. In addition, after the September 11th attacks, the United States government took it upon it’s self to punish those terrorist held responsible for it’s attacks. Among these people are: Saddam Hussein, Osama bin Laden, and anyone that represented the Al-Quaeda organization. Nevertheless after searching out these terrorist, we took them into our country, into our prison systems, and into our courts to hold justifications over their heads. Each one dying for the terror they imprinted into our once great nation. However is this really morally right? To take away life?, I don’t believe so, but our government and many others do. This is not a justification for any action. Consequently, after finding and executing all of our said terrorist, it wasn’t enough. The U.S. took it upon it’s self to begin an unexplained war with the middle east on March 19th, 2003. And what is the reason for this? Honestly there is no true reason for this. The U.S. has been given so many reasons that the government tried to justify and that us, Americans bought into. For instance, at first we went to Iraq to find WMD’s. However there was no proof of this only suspicion. And after said invasion, there was still no evidence of WMD’s. So, moving forward, the U.S. quickly kept troops stationed in Iraq for a second reason. Which accordingly, the number of terrorist were growing. Namely they have grown and still remain at large. Finally, there were more foolish reasons about oil and other nonsense that could not reach any justification.

Oscar Wilde’s the Importance of Escape Essay

Oscar Wilde’s play entitled â€Å"The Importance of Being Earnest† illustrates the concept of dual personality, fantasy, love, and lies. Jack, Algernon, Gwendolyn, and Cecily all live in lies. They are manipulated by their fantasies and desire for perfect relationship and love. Jack, the protagonist in the play, is the root of lies because of his imaginary brother named Earnest. Algernon uses the name to win Cecily, while Gwendolyn and Cecily are both fascinated by this name because it expresses strength and perfection of manhood. Due to their search and desire to have Earnest, the male and female characters escape from the reality. Therefore, Wilde in The Importance of Being Earnest portrays a gender doubled theme of escape as the male characters escape through alter-egos and female characters privately through their imaginations. Jack escapes from reality using his alter-ego to become free from his responsibilities and obligations. In the first part of the play, readers learn that Jack is placed in a complex situation: â€Å"When one is placed in the position of guardian, one has to adopt a very high moral tone on all subjects†¦ a high moral tone can hardly be said to conduce very much to either one’s health or one’s happiness, in order to get up to town I have always pretended to have a younger brother of the name of Ernest, who lives in the Albany, and gets into the most dreadful scrapes† (Act I). Jack escapes from his country and changes his identity to Earnest to perform the things that he wants to experience. For Jack, being a guardian and a landowner is a great obligation for his ward and people. Through his alter-ego, Jack obtains freedom because he becomes the opposite of his real self—the liberated and careless individual that he could not demonstrate in reality. Aside from Jack, Gwendolyn also escapes from her real world, through her imagination, to find her true love. When she learns that Jack’s name is Earnest, she immediately confessed to him: â€Å"For me you have always had an irresistible fascination. Even before I met you I was far from indifferent to you. We live, as I hope you know, Mr. Worthing, in an age of ideals. And my ideal has always been to love some one of the name of Ernest. The moment Algernon first mentioned to me that he had a friend called Ernest, I knew I was destined to love you† (Act I). Gwendolyn escapes from the reality to find her match. Searching for his Earnest gives her the opportunity to exit from reality and explore the world of fantasy. She believes that marrying a man with the name of Earnest can give her all her physical, emotional, and economic desires. As she walks into her fantasies, she tends to escape from the reality—from the fact that there is no perfect man. Similarly, Cecily uses her diary to escape from the reality and dreams for her Earnest. When she talks to Algernon, whom she knows as Earnest Worthing, Cecily excitedly revealed: â€Å"You see, it [her diary] is simply a very young girl’s record of her own thoughts and impressions, and consequently meant for publication. When it appears in volume form I hope you will order a copy. But pray, Ernest, don’t stop. I delight in taking down from dictation. I have reached ‘absolute perfection’. You can go on. I am quite ready for more† (Act I). If Gwendolyn uses her imaginations, Cecily is using her diary as her gateway to fantasy. She illustrates her engagement with Earnest in her diary. It means that beyond the boundaries of reality and existence, Cecily found her Earnest, which she claims in her diary. Therefore, Cecily escape from reality and obtainment of her fantasy is part of her comfort zone. It makes her happy, complete, and loved. In conclusion, Jack, Gwendolyn, and Cecily all escape from reality because they want to be free and be loved. Jack uses his alter-ego to detach his self from his moral obligations and obtain liberty without limitations and fears. Meanwhile, Cecily and Gwendolyn escape from reality because they want to experience love. They try to find their own Earnest that will complete their being—and through their fantasies, they are able to explore the idyllic and fearless relationship with the man that they desire.

How to Write a Perfect Occupational Therapist Resume

How to Write a Perfect Occupational Therapist Resume as the medical professionals who often (quite literally) get patients back on their feet, occupational therapists are more ins)How to Write a Perfect Occupational Therapist ResumeHow to Write a Perfect Physician Assistant Resume (Examples Included)How to Write a Perfect Receptionist Resume (Examples Included)How to Create a Perfect Retail ResumeHow to Write a Perfect Sales Associate Resume (Examples Included)How to Write a Perfect Social Worker Resume (Examples Included)How to Write a Perfect Truck Driver Resume (With Examples)