Entrepreneurship College Case Study Example | Topics and Well Written Essays - 750 words

Entrepreneurship College - Case Study Example Here, it is the ability to recognize which bit of information/ event/ transaction, though on the face of it appearing routine, is significant for developing leads to produce a fresh product. The research process here is not about collecting data through lengthy or formalized processes, but more about using the data creatively-to predict; and to be able to see what the customer will need, before the customer knows it himself. (p4) The techniques have therefore to be flexible, going hand in hand with the actual production process, enabling the company to add pictures, or junk obsolete product, quickly. The company's research techniques are inherent in their lean structure (forty employees, headed by Jerry and his wife), and Jerry's creative, hands-on approach. (p3) Therefore, research here is not necessarily separate from production. The ability of production personnel to envision what kind of pictures is needed, in future, is an inherent part of the research of such a company. It is likely that there may not be much formal demarcation between research and production, which is evident from the fact that Jerry himself participates in the process of conducting photo shoots. Being the first to do it, has always been an essential part of Jerry's, and therefore, Stockbyte's, entrepreneurial philosophy. For instance, they were the first to seek venture capital assistance in Ireland, the first "significant European publisher" of royalty free stock photography, as well as the first in Ireland to offer downloadable e-commerce by way of virtual CD's (p6) Relying on his gut feeling, and striding boldly into a new venture, backed by his own past background of working in his family's photography unit had helped Jerry to move forward successfully. Apart from this, the company's explicitly stated entrepreneurial objectives, which include the whole organization in its sweep, sets down commendable objectives like exceeding expectations, being "passionately creative" crafting "relevant images", "leveraging the best technologies", and even one enjoining one to "enjoy the ride"(p7) clearly are motivating and entrepreneurial strategies, needed to keep ahead in a competit ive industry. The company has always enjoyed the benefits of the first comer, avoiding the rush, and therefore being able to build up clientele, before the field became crowded. And, being flexible, adaptable, and quick to notice new opportunities, they have succeeded by being equally quick in dumping ideas that no longer worked. Jerry's ability to work with a relatively small team has ensured that they responded quickly to the demands of a market. It is not clear, however, whether Jerry has grown an effective second line of management-most likely not-to handle any contingency that could affect his personal functioning: bad health, for instance. The question is how long can a company, which is driven by a single person, withstand competition from giants, and continue to resist a sell-out How long would it be possible for Jerry to be personally there to deal with crises-it could be a mudslide in Asia today, something else

Organization and Environmental Analysis Essay Example for Free

Organization and Environmental Analysis Essay Huawei Technologies technical diversification of its portfolio and value addition to its existing products is highlighted by Huawei being ranked amongst the top 5 in the world in terms of essential UMTS patents. By June 2008, Huawei had filed 30,569 patent applications. (Huawei Corporate Information-Huawei Media release). The big inclination towards RD and strong cost differentiation has enabled Huawei Technologies to achieve what the other dominant players in the telecom industry have been struggling to achieve- customization! .This strong customer focus is also the face of Huawei Technologies projected through its brand logo. The Huawei Technologies brand logo reflects its core principles of â€Å"customer-focus, innovation, steady and sustainable growth, and harmony, conveying Huawei Technologies sincere commitment to helping its customers realizing their potential to launch a variety of competitive services through continuous innovation and an enterprising spirit. † (Huawei Corporate Information-Huawei Media release). The Huawei Technologies logo was recently changed and modified to reflect harmony as also one of its key elements, so as to convey its social responsibility. Huawei Corporate Information-Huawei Media release). This has brought in the much needed image change required by Huawei Technologies primarily being seen as a Chinese vendor. Figure1: Huawei Contract Sales (Source Huawei Corporate Information-Huawei Media release) Opex Capex leverage which Huawei Technologies has been able to offer its customers has enabled it to demonstrate cost leadership which is evident as 72% of its contr act sales were from overseas market in 2007. Let alone in 2007, it had 45% increases in its contract sales revenue. See figure 1. Huawei Corporate Information-Huawei Media release). The strong hold which Huawei Technologies is being able to maintain also comes from the socio-political environment it works in as the labour cost in China is one sixth of that of United States or Europe. Thus it has become a key external environmental factor . Internally Huawei Technologies has capitalized on human resource and RD. But has the cost differentiation been enough, will it still promise growth and more market share? These are the biggest questions which need to be addressed for a guaranteed continuous growth. This question has made Huawei Technologies rethink its marketing strategy towards value proposition, and to value chain analysis (Porter 1985) for a bigger market share. Before that however lies another hurdle of poor quality perception a question mark on the quality of Chinese branding. Issue 2- The dragon brand wagon. With the FMCG market taking blows after blows because of adulterated Chinese raw materials, the general consumer perception on Chinese quality is struggling to establish a stand. Though it specifically affects as said the FMCG market or the business dealing in B2C but the general perception affects all including B2B. And this has been one of the prime challenges. From 1998 to 2001 Huawei was looked at with distrust doubt . With the Cisco lawsuit the market penetration in the developed economies had become more difficult and required 1000 times more effort as compared to its American or European counterparts. (The Economist, Nov 2007). I believe that the focus needs to be shifted towards creating a strong brand if Huawei Technologies needs to keep its foothold in the global telecom market. Thus strengthening of the Huawei brand has become even more important. Remodeling to establish Huawei as a brand has been now the new focus to develop a better perceived quality create brand equity. The need of brand recognition has also become very vital to be seen as a valued collaborator for its customers. Brand development has never been big in China; with large volume market brand recognition never existed in the Chinese market. Hence it becomes more essential as well as difficult for Huawei to develop its brand image to compete in the global economy. The strong need for branding and change for the marketing orientation to move towards the service sector becomes more vital when we look into the 5C’s of Huawei Technologies. Issue 4- The 5C’s. Exploring the 5 C’s of Huawei Technologies highlights the core competencies of Huawei and helps us in understanding why a new orientation approach is required . As discussed earlier Huawei Technologies dominates in cost differentiation and is armed with a strong RD to achieve customization in a high barrier industry and it has been a key strength of Huawei Technologies. But a quick SWOT analysis brings out the lack of perceived quality in the market as one of the greatest threats Huawei Technologies faces. Its major competitor Ericsson currently leading the market share comes with a very strong branding and high perceived quality. The dilemma is not just the market perception but also the perception of the employees themselves despite the fact that human capital is a key resource strength of Huawei Technologies which also drives to low labor costs.

Business environment of indian entertainment industry

Business environment of indian entertainment industry The liberalization efforts by the Indian government have resulted in the emergence of numerous sectors, which offer great possibilities for Indias development. One such recent sector was interactive media and entertainment, along with information and communication technologies (ICTs). The entertainment and interactive media industry in India has been making headlines of late, not so much for its impact on the domestic market, but as a premier outsourcing destination for western entertainment companies. This was paper examines the growth and development of the interactive media and entertainment industry in India. It discusses Indias position and Indias advantages in the global entertainment industry, the challenges that India faces in this was industry, the path ahead, and opportunities for international collaboration in this was sector. The global film and entertainment industry was expanding fast. The Entertainment Council of Philippines estimates that the revenues from entertainment industry worldwide have been growing annually at 20% to 30% over the past few years. According to Indias National Association of Software and Services Companies (NASSCM), revenues from the global entertainment industry will amount to US$50-US$70 billion by end-2005. Today, entertainment products are increasingly used in films, TV programmes, commercials, games and online education. Following Walt DISNEY 1988 production Who Framed Roger Rabbit, worldwide interest in entertainment feature films has been raising. Four major entertainment movies released in 2004 collected record revenues. Childrens channels across the world have seen their numbers rising ever so rapidly in the last few years. Entertainment products also have applications in the medical, architecture, and legal fields.1 the global non-entertainment entertainment industry, i ncluding work in scientific and medical entertainment, now accounts for revenues worth $15 billion. ENTERTAINMENT INDUSTRY The Entertainment Industry in India though a late starter, was considered as one of the fastest growing segments of the entertainment and media industry. The Entertainment Industry in India gained significance as an outsourced destination for entertainment work due to low cost, skilled labour as its many advantages. In the recent past Indian entertainment companies and entertainment studios have been moving up the value chain to create their own intellectual property rights with Hanuman, Roadside Romeo, etc. and partnering with international studios to produce animated properties for the global audience. Though a majority of the work done by the entertainment industry in India was outsourced work, this was was expected to change in the future with increased demand from the domestic entertainment industry. This was industry can be categorized into four different components: Entertainment, education, content development and multimedia/web design. The entertainment market in India was r elatively new compared to some other Asian countries. But it was among the fastest-growing in the Indian entertainment sector. With approximately 200 entertainment studios, India has emerged as a global outsourcing hub for entertainment technology services. The key drivers for the entertainment industry are the increasing domestic demand for entertainment movies and the increase in entertainment studios and training centers across the country. MEANING OF PESTLE ANALYSIS P-Political E-Economical S-Social T-Technological L-Legal E-Environmental Political factors are how and to what degree a government intervenes in the economy. Specifically, political factors include areas such as tax policy, labour law, environmental law, trade restrictions, tariffs, and political stability. Political factors may also include goods and services which the government wants to provide or be provided (merit goods) and those that the government does not want to be provided (demerit goods or merit bads). Furthermore, governments have great influence on the health, education, and infrastructure of a nation. Economical factors include economic growth, interest rates, exchange rates and the inflation rate. These factors have major impacts on how businesses operate and make decisions. For example, interest rates affect a firms cost of capital and therefore to what extent a business grows and expands. Exchange rates affect the costs of exporting goods and the supply and price of imported goods in an economy Social factors include the cultural aspects and include health consciousness, population growth rate, age distribution, career attitudes and emphasis on safety. Trends in social factors affect the demand for a companys products and how that company operates. For example, an ageing population may imply a smaller and less-willing workforce (thus increasing the cost of labour). Furthermore, companies may change various management strategies to adapt to these social trends (such as recruiting older workers). Technological factors include ecological and environmental aspects, such as RD activity, automation, technology incentives and the rate of technological change. They can determine barriers to entry, minimum efficient production level and influence outsourcing decisions. Furthermore, technological shifts can affect costs, quality, and lead to innovation. Legal factors include discrimination law, consumer law, antitrust law, employment law, and health and safety law. These factors can affect how a company operates, its costs, and the demand for its products. Consumer protection laws are designed to ensure fair competition and the free flow of truthful information in the marketplace. These factors can affect how a company operates, its costs, and the demand for its products. Environmental factors include weather, climate, and climate change, which may especially affect industries such as tourism, farming, and insurance. Furthermore, growing awareness to climate change was affecting how companies operate and the products they offerit was both creating new markets and diminishing or destroying existing ones. POLITICAL ANALYSIS OF ENTERTAINMENT INDUSTRY Government Support Mr. Kapil Sibal, Minister of State for Science and Technology, identified entertainment industry as one of the important sector for Indias export oriented growth.10 However, compared to governments in other countries; efforts by the Indian government to encourage the sector have been very minimal. The government of South Korea funds entertainment ventures on a partnership baswas.11 Bangladesh has a World Bank-funded support programme for the entertainment industry. In contrast, there have not been many initiatives from the Indian government to promote the entertainment industry, at least till the past one year. The Indian government signed co-production treaty with France about 20 years ago and efforts are on to reactivate it. A treaty was signed with the Italian government, which in turn sent a delegation to Goa. Efforts are also on to sign similar agreements with Britain, Japan, Brazil, Canada, Netherlands and China. These treaties will lead to sharing of costs by partner nations and also the dispersion of technical know-how amongst the partner nations. New Government Initiatives A 25-acre Special Export Zone (SEZ) was going to be constructed in the outskirts of Thiruvananthapuram exclusively for the entertainment industry. The commerce ministry was said to have approved the creation of the SEZ within the Film and Video Park (FV Park) set up by the Kerala Industrial Infrastructure Development Corporation near Thiruvananthapuram. The state government was said to have created a 15,000 sq meters entertainment facility to welcome entertainment houses to create their bases. The FV Park made a good start when the Chennai-based Prasad Labs has made it its base to process all Malayalam films for the next two years. Kerala has been making efforts at convergence in the areas of information technology and cinema. The Entertainment Production Association of India recently suggested to the Information and Broadcasting Ministry of India that all TV channels must ensure 10% reservation for local animated content. The government can further encourage investments and particip ation in this sector by providing tax benefits. It can provide grants to Indian animators for participation in international conference and for taking up training programs abroad 2. ECONOMICAL ANALYSIS OF ENTERTAINMENT INDUSTRY Indias attractiveness as an entertainment hub lies in the presence of an English-speaking workforce, high-quality software engineers, a large pool of creative talent, good studios and low costs. The cost of producing a 30-minute 3D entertainment programme in India was US$60,000 compared to US$250,000-400,000 in the United States and Canada. India has a cost advantage compared to the Philippines, which was another low cost producer of entertainments. The average monthly salary of an entertainment professional in India was US$600 compared to US$1,000-US$1,200 in the Philippines. The cost of outsourcing one hour of entertainment work to India was estimated to be 30% to 40% of the corresponding costs in leading entertainment centres in Korea, Taiwan and the Philippines. Indias advantages in low costs have been exploited by many multinational firms and production studios. The advent of digital entertainment coincided with the liberalization of the Indian economy and India offered the benefits of lower production costs, strong creative and technical skills and a large English speaking population. This has led to the development of state of the art entertainment studios in several Indian cities, and these studios are collaborating with global entertainment companies. FACTOR THAT AFFECTING THE ECONOMIC GROWTH OF ENTERTAINMENT INDUSTRY Lack of Finance Indian entertainment firms cannot match their western counterparts in financial strength. It was pointed out that state support in the form of tax holidays was crucial for success in the entertainment business. Canada, for example, offers major incentives to its studios for developing entertainment products. However, financial institutions in India have not been much forthcoming in funding projects in entertainment and interactive media. The long gestation period before fruition of projects discourages potential investors. This can be a major hurdle, and it has, in fact, led to the stoppage of a few production ventures. For example, Jadooworks had to stop production of animated epic of Krishna due to technical problems and lack of funding. The firm was supposedly on the verge of bankruptcy and this has led to the retrenchment of about 250 workers.7 Interestingly, Jadooworks was the same firm which drew appreciation from Thomas Friedman in an article in February 2004 for employing tra ditional artistes and transforming their skills to computerised digital painting he was arguing that globalisation can have beneficial impact on traditional artwasts.8 The experience of Jadoo works underlines the fact that it was still too ambitious for Indian companies to single-handedly enter into entertainment projects. Even a small project in the entertainment industry entails a budget of US$30 million, which was not affordable for Indian firms. 3. SOCIAL ANALYSIS OF ENTERTAINMENT INDUSTRY Entertainment Products for Illiterates The interactive media and entertainment industry in India has a large domestic market too to tap on. A field-study based research conducted by one of the authors in July-August 2004 on the diffusion of ICTs in Indias rural areas offers some interesting results in this regard.6 The study showed that televsion was a highly popular medium as a source of information in the Indian countryside, as it combines visual and audio effects and was less demanding of the cognitive skills of the user. Almost 35 per cent of Indias over 1 billion population was illiterate. There was great demand from this segment of Indian population for an innovative medium that facilitate communication and information sharing, while at the same time, being easily accessible to the masses via the television. Products of interactive media and entertainment can fill this demand gap to a large extent; they can be great tools for education, entertainment and awareness among illiterates in Indias rural and urban areas. SOCIAL FACTORS AFFECTING FILM AND ENTERTAINMENT INDUSTRY The Indian Entertainment industry: Facing the manpower challenge Despite the impressive growth forecasts, the Indian Entertainment and Gaming industry will account for less than two percent of the worldwide market in 2010. Obviously a much larger opportunity exists beyond what was currently being envisaged and the potential remains high. India can participate in a more significant way in the global Entertainment market, provided the country has built up requisite manpower, with the relevant expertise, to fuel its growth. According to analysts, India has the potential to grow its Entertainment industry to around US$ 1 billion by 2010, but will remain restricted to US$ 869 million on account of a looming demand-supply gap in the area of employable human resources.   A similar situation exists in the gaming segment as well, which has the potential to achieve revenues of US$ 732 million by 2010, but was expected to touch only around US$ 424 million by that period, owing to the paucity of skilled manpower.   The employment statistics for the Indian  entertainment  and gaming industry during 2006 were as follows: Around 16,500 professionals were employed by the Indian Entertainment industry during 2006. This figure was forecast to increase at a CAGR of 14-15 percent and exceed 26,000 by 2010. There were nearly 150 gaming companies in India, employing about 2,500 people. This number was forecast to increase at a CAGR of over 50 percent to exceed 13,000 by 2010, with the industry revenue forecast to grow nearly ten-fold and reach US$ 424 million. 4. TECHNOLOGICAL ANALYSIS OF ENTERTAINMENT INDUSTRY While it was true that Indias entertainment industry was growing at a remarkable pace, the fact remains that this growth was largely a result of the mushrooming of studios-for-hire. In entertainment feature films, for example, while Indian companies carry out the technological entertainment work, character design, and storyboarding are done abroad. India was yet to become a successful player in concept creation, the high value-adding segment of the industry which remains a preserve of western firms. Indias advantages of low costs in this industry will be too short-lived, and sooner rather than later, the country will have to start developing new technologies. Skills The entertainment industry was still young. Indian cinema was yet to make its mark on the global stage. The booming entertainment outsourcing industry was constantly demanding new skills and fresh infusion of new talent into the industry. As such, it was imperative that we have a healthy pipeline to supply talent to the industry. Skills required in the entertainment field can be clubbed under two broad categories, mainly technical skills and soft skills. Programming expertise, analytical ability, and proficiency on the software are basic requirements for technical skills. The number of professionals joining the entertainment industry has been growing at a compound annual growth rate (CAGR) of 18.2 percent and was expected to grow at the same rate. Though India possesses the manpower with the requisite skill set, what remains an area of concern was the education imparted to this manpower from the quality perspective. This has resulted in mushrooming of multimedia institutes. What was interesting was that quite a few reputed organizations have come forward and started a chain of multimedia institutions for two reasons. One, they can use the trained professionals for in-house entertainment development and secondly, use this education channel for market diversification and penetration. However, companies need to invest considerable time and money in bringing these students up to the levels where they start earning revenue for the organization. Need For technological training to employees There are no academic institutes like Indian Institutes of Technology, Regional Engineering Colleges, Polytechnics, etc., churning out animators by the thousands. What we have are only fine arts schools which teach the fundamentals but not the technical skills required for production, points out K. Chandrasekhar, General Manager, Media Works, and Tata Elxsi. According to him, this was a major drawback for the industry in India. Education in new media has to be embedded into the mainstream curriculum. Students have to realize that they can have a lucrative career as animators, and the governments as well as educational institutions have to start programmes for their career development. The entertainment sector will benefit greatly by giving encouragement to the community of traditional artists as much as to technically trained professionals. In other words, integration of the rural and urban talent will prove highly beneficial. Also, NASSCOMs President Kiran Karnik believes that there was a need for an entertainment academy to build a steady inflow of entertainment professionals in the industry. NASSCOM extended its help to the government for framing the curriculum and also work with the industry players to enhance the academic-industry interface. 5. LEGAL ANALYSIS OF ENTERTAINMENT INDUSTRY Intellectual property Outsourcers have always been concerned with the protection of their intellectual property in India. India was one of the few countries which have failed to take stern action against its infringement. India needs to strengthen its IP policy and ensure that companies operating in the outsourcing sphere take stringent steps to take care of clients IP rights. International Cooperation in the Entertainment industry The Indian government was signing co-production treaties with other countries. Professional organisations too are trying to promote the Indian entertainment sector abroad. ASIFA, India, organises film festivals, conducts workshops and entertainment film competitions at the international level. Kahani and Entertainment Bridge have showcased their entertainment shows at Cannes Mipcom (a summit where mobile, broadband and interactive professionals from 95 countries interact with broadcasters, producers and distributors) in October 2005. X-media Lab has been floated to help local, independent digital media producers reach their ideas successfully to the market with assistance from outstanding international new media professionals, who act as mentors to the companies and project teams. The second lab held in Singapore from 17 19 November 2005, Creating Successful Computer Games, attracted worldwide response. Indian developers have also been invited to interact with eight of the best games people in the world. There was also a plan to do a lab in India next year.14 According to Mohit Anand, Country Manager, Microsoft Entertainment and Devices Division, Microsoft India, Gaming in the last 7-8 years has really come a long way but it still has a long way to go. Critical factors like PC penetration, organised retail, broadband, and gaming hardware need to be addressed to help the industry. Those factors are gradually changing and the future definitely looks bright. India was the youngest country in the world, and the new generation was completely tech savvy. We believe that gaming was definitely here to stay and evolve.15 What are the opportunities for engagement between India, Singapore and other Southeast Asian countries in the field of interactive media and entertainment industry? To begin with, Singapore and Southeast Asia will be an important market for products from Indias entertainment industry. Singapore has significant expertise in telecommunication and media industry. Harnessing the favourable trade and investment climate offered by the Comprehensive Economic Cooperation Agreement between the two countries, firms in Singapore should consider investing in Indias entertainment and media business. Maya Academy of Advanced Cinematic, a leading player in the Indian entertainment industry, was planning to extend its operations to Singapore. It was currently working on a project for BBC and has also been involved in the video games division. Entertainment was one of the fastest growing sectors in India-ASEAN relations. The entertainment industry was expected to grow at a compound annual growth rate of 20 percent from 2002 to 2007. The entertainment industry, with total revenues of US$3.6 billion in 2002, was projected to grow up to US$8.7 billion by 2007. ASEAN was a big market for Indian films. There are tremendous collaboration opportunities between India and ASEAN in the area of 3D entertainment, graphics, etc. The Philippines was, until recently, a fast growing entertainment industry, rich in creative talent, and it was a major destination for outsourcing by entertainment firms in the United States. However, with rise in costs, the entertainment industry in the Philippines has begun to decline, and Filipino workers in the industry have been migrating to India and Singapore in search of jobs. India, the Philippines, Singapore and even China must realize that there was little to be gained in the entertainment industry in the long run by competing with each other on costs. Rather, they should seek avenues for cooperation, and direct their efforts at acquiring intellectual property rights in this creative industry. 6. ENVIRONMENTAL ANALYSIS OF ENTERTAINMENT INDUSTRY Ability to scale operations. Indian firms are facing a talent shortage which affects their ability to scale up their operations based on client demands. This also affects the clients confidence in off shoring large chunks of work. Though Indian companies have put in place huge expansion plans, these are often marred by various reasons. Tie-ups with educational institutes are helping overcome thwas difficulty. Opportunities in Collaborations Indian companies are trying to improve quality and making attempts to compete globally with the market leaders in the industry. It was said that the year 2004 was a watershed for the Indian entertainment and gaming industry (according to the Federation of Indian Chambers of Commerce and Industry [FICCI] report on the Entertainment Industry). The year was marked by increased use of entertainment in the Bollywood segment. According to the FICCI report, the increasing demand for downloads of games on mobile phones will enhance the opportunities for gaming companies and bring in new entrants. Several Indian companies are entering into collaborations with foreign new media companies, which outsource their work to the Indian companies. Recently, Toonz Entertainment floated a joint venture with First Serve International LLC, a global media company which aims to produce and distribute top-notch entertainment programming for the world market. The new venture will be headed by former Walt Disney executive Ed Bordering. In 2004, a Chinese company also invested in India Games Ltd. Toronto-based entertainment Products Company Kahani was collaborating with Mumbai based Entertainment Bridge. In this venture, Kahani was expected to invest US$30-US$40 million over the next three years to engage in film production. The storylines and scripts will be completed in Canada whilst product development and promotion are expected to be done in India. The company was also planning to tie up with Bangalore and Hyderabad-based studios. Zees entertainment arm, Padmalaya Telefilms, has signed a US$14 million contract with Italian producer-distributor, Mondo TV, to co-produce four new animated series. Padmalaya also has collaborations with British entertainment companies Mallard Media and Ealing Entertainment. CONCLUSION The Indian interactive media and entertainment industry has seen tremendous growth in the last year or so. It was fast emerging from being an outsourcing destination for western entertainment companies to develop and showcase its own capabilities and potentials. The emergence of various industry-related organizations and companies, and the availability of affordable and talented expertise, point to tremendous potential this sector has to offer. Whilst there are internal challenges to the Indian interactive media and entertainment industry, given the efforts being undertaken by the government and like-minded organizations, it will be sooner rather than later, that India lays a strong claim as a major international player in this industry. It was thus opportune for Singapore and countries in the region to identify potential opportunities for collaboration so that we are able to ride on the waves of the Indian interactive media and entertainment industry.

Free Color Purple Essays: The Power of Women :: Color Purple Essays

The Power of Women in The Color Purple   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Despite the odds women can overcome all obstacles.   In the past, women have desperately struggled because they were belittled by men.   They were thought of as ignorant beings that only knew how to manage housework.   In The Color Purple, by Alice Walker, sexism was interrelated in the novel.   Throughout the story, several women were extremely mistreated by men.   Their experiences were considered trivial because they were always subordinated to them.   Through the collection of letters that Celie wrote, the reader could see the development of a frightened young woman who had little regard for herself and of another, Shug, who struggled to become a successful woman.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In fact, Celie nearly struggled for her happiness her entire life.   When she was only a little girl, her stepfather sexually abused her.   He then sold her to a man named Mr. ____ who had no intention of loving her, â€Å"No matter what I’m thinking.   No matter what I feel.   It just him† (Walker 69).   Mr. ____ verbally and physically abused her.   He expected her to manage all the housework and demanded that she took care of his kids, â€Å"They look at me there struggling with Mr.____ children† (Walker 45).   If Celie refused, she was punished.   Through all these traumatizing events, Celie lost respect for herself and forgot how to love.   Her life was full of darkness without a single trace of light.   However, Celie met a woman named Shug who gave her the courage to fight for what she believed in.   Shug taught her how to laugh and play and showed Celie a whole new perspective of life.   Shug constantly reminded Celie to speak out if something was bothering her and to not do anything that she did not feel like doing, â€Å"†¦say whatever come to mind, forgit about polite† (Walker 75).   Cel ie was no longer afraid of Mr. ____.   She stopped doing housework and left the dwelling to start her own business, â€Å"You a lowdown dog is what’s wrong.   It’s time to leave you and enter into the Creation.   And your dead body just the welcome mat I need† (Walker 207).   She realized that women do not need men to survive because they can manage on their own.   Celie was a brand new woman.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Moreover, Shug was a successful and powerful woman.   She was a desirable blues singer who was creative and smart.

Money or Happiness Essay

The general belief is that the rich tend to pamper their children by buying them all sorts of â€Å"toys†, while the poorer children do not do this because they cannot afford to. It is usually presented in stories- especially in movies – that rich children are bad while those from poorer families struggle all their lives. Consequently it may be believed that children from rich families are happier than those from poorer ones. This may be the case in some instances, but is definitely not always true. Children can be happy whether they are from rich or poor families. We hear of cases where poor families make all sorts of sacrifices so that their children – or one of them – can have a certain comfort. Fathers are known to work at extra jobs so that their children can have expensive toys for Christmas or for their birthdays. On the other hand, the children of the rich are not always given everything they want. Rich fathers are known to make their children work for a living and earn their pocket money. Other fathers have refused to give their children expensive toys so that they will learn the value of hard work. Hence it is not the riches of the parents that can make the children happy but what the parents do to the child. Happiness can never be equated with having money or having rich parents for that matter. It is possible that poor parents have a close relationship with their child. In this way the child has something far better; it has love. Having enough love, the child will be happy – at least much happier than if it did not receive love. On the other hand it is possible that the child of rich parents have everything she wants but does not get the love and concern that she needs. The parents of rich children are sometimes too busy spending their money and earning more. Often we hear stories of â€Å"poor little rich children†. Though many of the stories we hear are fiction, some of them are real indeed. Sometimes the parents of rich children believe that their child will be happy if he is provided with everything he needs. They try to substitute money for love and care. In such instances, the rich child can be very happy indeed. In addition, children brought up in this way tend to be very poor in relationships. They do not know how to value things like friendships. Such a child is poor indeed, in spite of being financially rich. Using money and surrounding himself with all sorts of toys the child is apt to grow up with the wrong sense of what is true happiness. Then one day when he realizes that money does not always buy happiness, he will not know which way to turn. Hence children from rich families may not always be happier than those from poorer families. In fact both are capable of being happy, with or without money.

issues of uncle tom essays

issues of uncle tom essays The book, Uncle Toms cabin, takes the reader through two very different insights of slavery: the conquest of freedom and the decline of Uncle Tom. Stowe places the reader in the story by including every aspect that a slave would live through. She expresses religion and mortality from both the south and the north. Stowe shows the treatment of slaves living in all kinds of conditions. The book starts out in a calm, settling way. The slaves are with a nice family and are happy. Then, Stowe takes the reader through an ironic twist. A slave trader comes to Mr. Shelbys house, and in return for a debt, he wants two slaves. The slave trader wants Tom, a hard working, religious man, and Elizas young child. Tom accepts what has happened, looks to the Lord and does what is expected. On the other hand, Eliza runs away and takes her son with her before the new owner could claim her. Ironically, the reader would assume that Uncle Tom is bound for freedom, and Eliza is bound for decline. Stowe creates her characters in a way that describes each of her views, and each character resembles a real life situation Like the majority of Stowes character, religion plays a major role showing the beliefs and faiths of northerners, southerners, the well-treated slaves, and the badly treated slaves. Miss Ophelia is a character who resembles the north. She is a cousin of St. Clare, a rich man that treats his slaves fairly. Miss Ophelia arrives in the south with her northern views to help St. Clare manage his household. She is against slavery, but still does not feel equal to blacks. She expresses her views to St. Clare. I tell you Augustine, I cant get. Its a perfect abomination for you to defend such a system, -thats my mind. Page.222 Although she feels that slavery is wrong her misunderstanding of the race makes her feel uneasily ...