C-H Bending Vibrations of Benzene Rings

C-H Bending Vibrations of Benzene Rings Vibrational analysis or IR spectrum or Vibrational assignment or Analysis of vibrational spectra: C-H vibrations The C-H stretching vibration present in the hetero aromatic structure lies in the characteristic region 3100-3000cm-1, in which the bands are not affected noticeably by the nature of substituent’s. All the C-H stretching vibrations are weak in intensity. In our case the C-H stretching vibrations were observed at 3083, 3063, 3031 cm-1 in FT-IR spectrum. The calculated wavenumbers at the range 3117–3042 cm-1 (mode no’s: 174–167, 165, 163,162) are assigned to C-H stretching vibrations. All bands have very weak intensities and were obtained in the expected region. As expected, these modes are pure stretching modes as it is evident from TED column in Table 2; they almost contribute around 100%. The C-H bending vibrations of benzene rings for the title compound are observed in the range from 1100 to 1613 cm-1, however some vibrations of the title compound observed at values 1576, 1535, 1375, 1277, 1241, 1182, 1097 cm-1 respectively are mixed with CC and SO stretching vibrations. The C-H in-plane bending frequencies appear in the range 1000–1300 cm-1 and are very useful for characterization purpose Ring vibrations The ring stretching vibrations are very much important in the spectrum of aromatic compounds and are highly distinctive of the aromatic ring itself. However, empirical assignments of vibrational modes for peaks in the fingerprint region are difficult. The C=C stretching vibrations are generally observed at 1400-1600 cm-1 in benzene derivatives which are assigned to ring vibrations. In general, the bands are of variable intensity and observed at 1625–1590, 1590–1575, 1540–1470, 1460–1430 and 1380–1280 cm-1 from the frequency ranges given by Varsanyi for the five bands in the fingerprint region. In the present compound, the C=C stretching vibrations are observed at 1592, 1561 and 1464cm-1 in FTIR spectrum. The calculated theoretical values were 1584, 1576, 1562, 1553, 1552 and 1535 cm-1 by B3LYP/6-311G (d, p) method shows excellent agreement with the experimental values. The C-C stretching vibration is expected at 1450-1250cm-1. The peaks are observed at 1399 and 1375cm-1 in FTIR are assigned to C-C stretching vibrations. The calculated wave numbers at 1375, 1360, 1286, 1277, 1273, 1252, 1182, 1166, 1150 and 1010cm-1 were assigned C-C stretching vibrations by DFT Method. The C-C-C in-plane and out-of-plane bending vibrations are the modes associated with smaller force constants than the stretching ones, and hence assigned to lower frequencies. The in-plane deformation vibration is at higher frequencies than the out-of plane vibrations. Shimanouchi et al. gave the frequency data for these vibrations for different benzene derivatives as a result of normal coordinate analysis. Although some modes are missing in experimental spectrum, however, the calculated CCC in-plane and out-of-plane bending modes are found to be consistent with the recorded spectral values, as seen in Table 2. The mode no’s 40, 44, 45, 51, 60, 61, 64 and 66 were identified as C-C-C-C torsional deformation Ï„(CCCC) modes these are shown in Table 2. Methyl group vibrations The C-H asymmetric stretching vibrations of CH3 groups are expected in the range 2950-3050 cm-1 and the symmetric stretching vibrations in the range 2900-2950 cm-1 [roeges, colthup]. The calculated values of the asymmetric stretching vibrational modes of the methyl group are 3051, 3011, 3009, 2989, 2975, 2961cm-1 using DFT/B3LYP with 6-311g (d, p) basis set and observed at 2998, 2923 cm-1 in FT-IR spectrum, whereas the values of the symmetric stretching vibrational modes are 2937, 2910 and 2864 cm-1 and at 2880 and 2859cm-1 in FTIR spectrum. The symmetrical and asymmetrical bending vibration involves in-phase and out-of-phase bending of the C-H bonds. The asymmetrical deformations are expected in the range 1400-1485cm-1 [roeges]. The bands observed at 1464, 1448 cm-1 in the FT-IR spectrum are assigned as the methyl asymmetrical deformation and the calculated values are at 1448, 1438, 1437, 1431, 1428, 1426, 1423cm-1 by DFT. The methyl symmetric deformations appears with an intensity varying from medium to strong and expected in the range 1380Â ±25cm-1. These bands have been observed at 1399, 1375cm-1 in the FT-IR spectrum and calculated theoretically at 1383, 1361 cm-1. The CH3 rocking generally appears in the regions 1150Â ±30 and 875Â ±45 cm-1, the wave number is coupled to the CC stretching vibrations, which occurs in the neighborhood of 900 cm-1. The rocking modes of the CH3 group are observed at 759cm-1 in the FTIR spectrum and calculated at 1168, 1138, 1129, 1122, 1022, 1087, 969 cm-1 in DFT. The wavenumbers 115, 107,102, 82, 71 and 62 cm-1 of modes 15, 14, 13, 11, 10 and 9 are due to methyl torsion. Methylene Vibrations The stretching vibrations CH2 group is expected in the region 2900-3000 cm-1. The deformation mode of CH2 is expected in regions 1480-1400cm-1(scissoring), 1380-1150cm-1(wagging twisting) and 800-710 cm-1(rocking). In this study, the bands at 2923 and 2859cm-1 has been assigned to CH2 asymmetric and symmetric vibrations in FT-IR spectrum and computed theoretically at 3044, 2945 cm-1 by DFT. The deformation mode of CH2 are assigned at 1431, 1364, 1340, 699 cm-1 theoretically and bands are observed in the FT-IR spectrum at 1448, 1375, 710 cm-1. SO2 vibrations The asymmetric stretching for the SO2, NH2, NO2, CH2 and CH3 etc has magnitude higher than the symmetric stretching.The asymmetric and symmetric stretching modes of SO2 group appear in the region 1360-1310 cm-1 and 1165-1135 cm-1.The stretching vibrations of SO2 for sulfonamide derivatives as reported by Chohan et al. [Z.H. Chohan, M.H. Youssoufi, A. Jarrahpour, and T.B. Hadda, Eur. J. Med. Chem. 45 (2010) 1189–1199] are 1345 and 1110 cm-1 and Hangen et al [A. Hangen, A. Bodoki, L. Opren, G. Alznet, M. Liu-Gonzalez, J. Borras, Polyhedron 29 (2010) 1305–1313] at 1314, 1308, 1274, 1157, 1147, 1133cm-1 respectively. In the present study, the asymmetric and symmetric stretching vibration of SO2 group is observed as very strong peak at 1348cm-1 and 1163 cm-1 in the FTIR spectrum and 1260, 1241, 1083 and 1040cm-1 theoretically assigned to SO2 stretching modes. The SO2 scissoring and wagging vibrations occur in the range 570Â ±60cm-1 and 520Â ±40cm-1. The corresponding bands are observed for the title compound at 544cm-1 and 499cm-1 in the FTIR spectrum. Carbonyl ester group vibration The carbonyl compound are added functional group includes the C=O bond, also provide very profound contributions to the spectrum. The C=O stretching vibration exhibits a strong band in the region 1600-1750 cm-1. For the title compound , the stretching vibration of C=O is characterized by very strong peak appearing at 1727 cm-1 in the FTIR spectrum and at 1721cm-1 theoretically which shows a perfect agreement with experimental result. Methyl ester has the strong absorption bands about the C–O asymmetric stretching modes at 1315–1195 cm−1 and symmetric stretching modes at 1096–900 cm−1. In present case, the strong peak is observed for C-O-C stretching vibrations at 1257 cm-1 and 961 cm-1 in the FTIR spectrum, corresponding to the computed wavenumber 1225cm-1 and 954cm-1, is assigned to the C-O-C stretching vibration. The band at 961 cm−1 in FT-IR spectrum has been assigned to O–CH3 stretching mode. The band at 857(818) cm−1 in FT-IR spectrum is assigned to C–O–C in-plane deformation mode. The band at 784(760) cm−1 in IR spectrum is out-plane deformation mode. The methyl ester has also two characterized vibration modes in 530–340 cm−1 and 390–250 cm−1 region, corresponding to the CO–O rocking and COC deformation. The DFT calculation gives CO-O rocking and COC deformation at 354 and 242 cm-1. C-S, S-N, N-C and ON vibrations C-Cl vibration The C-Cl bonds are formed in benzene ring in place of hydrogen atoms. The stretching vibration is observed in the strong bands at 760-370cm-1. Since, the title compound has two chlorine atoms, the C-Cl stretching vibrations are observed at 757 cm-1,733 cm-1 in FTIR spectrum. The theoretically calculated values by B3LYP/6-311G(d, p) method at 743 cm-1 , 724 cm-1 and 380 cm-1 is assigned to C-Cl Stretching vibrations is coincides very well with the experimental value. Due to longer bond length() of C-Cl reduction in force constant occurs and C-Cl stretching falls in the lower frequency region.

Essay --

Candide is a famous French satire written by French philosopher, Voltaire. In this satire, Voltaire humorously ridicules Leibniz’s belief of optimism, the violence the military employ during war and the hypocrisy of religion. This essay aims to describe some of the techniques that Voltaire uses to satirize Leibniz through the character of Pangloss, the military through the Bulgarian War, and religious figures through the hypocrisy of the Grand Inquisitor and the Friar, showing how the humor is achieved in the description of the characters. One of the ‘important’ figures Voltaire satirizes would be Leibniz and his theory of philosophical optimism. According to Leibniz, we live in â€Å"the best of all possible worlds† and Voltaire ridicules this in his novel by introducing the character of Pangloss who also believed that â€Å"things cannot be otherwise than they are: for all being created for an end, all is necessarily for the best end.† (Chapter 1, p1) Throughout this novel, no matter the misfortunes Pangloss encounters, he would defend optimism by claiming, â€Å"all is for the best† then continue to justify the possible reasons for such an occurrence. One prominent example would be when Pangloss had unfortunately contracted syphilis from Paquetta, yet he reasoned that â€Å"it was a thing unavoidable, a necessary ingredient in the best of worlds; for if Columbus had not caught in an island in America this disease, which contaminates the source of generation, and frequently impedes propagation itself, and is evidently opposed to the great end of nature, we should have had neither chocolate nor cochineal.† (Chapter 4, p8) The foolishness and incessant belief of Pangloss' optimism is thoroughly displayed here as Voltaire uses the technique of irony ... ...ous figures in Candide seem to almost all be corrupted and deceitful with the exception of a few like Jacques, and the characters in Candide seem to be accustomed to such occurrences, displaying little shock at their ‘unholy’ behavior. Such a manner of portraying these characters further enunciates Voltaire’s view on various religious people. In conclusion, through techniques such as irony, exaggeration, parody and understatement, Voltaire effectively satirizes Leibniz, the military and religious figures, mocking Leibniz’s philosophy of optimism, disapproving the brutality of the military and criticizing the hypocrisy of religious figures. Humor was achieved through the irony and exaggeration he cleverly wove into his novel, making it much easier for the readers to swallow despite the novel being highly critical of his modern society, addressing many serious issues.

Management and Leadership Essay -- Manager Business Leading Essays Lea

Management and Leadership Within the organizational structure of most businesses you will likely find management and leadership coexisting. Commonly, the words are often substituted for one another. However, each word has a distinctly different definition. A manager does not necessarily make a good manager. Management is defined as those individuals in an organization that have the authority and the responsibility to manage the organization through the control of production processes and ensuring that they operate efficiently and effectively. Leadership is defined as the skills and ability to set future goals in accordance with the organizational goals and to communicate those goals to other employees in such a way that they voluntarily and harmoniously work together to accomplish those goals for the benefit of the organization. In this paper, I will differentiate between management and leadership. Any organization needs to be managed, even a one-person company has to be managed. A manager has four key responsibilities: 1) planning, 2) organizing, 3) leading, and 4) controlling. Management can also be defined as the function that determines how the organization?s human, financial, physical, informational, and technical resources are arranged and coordinated to perform tasks towards achievement of strategic goals. Leadership implies that the manager has fundamental knowledge about critical processes. A leader is focused on ensuring the creation of strategies, systems, and methods for achieving excellence and building knowledge and capabilities. Leaders are focused more on creating an enthusiastic work environment for all of a company?s employees. In other words leadership is to help people do a better job through coaching, facilitating, and by creating environments that support the aim of the organization. Leadership is the ability of a manager to train employees, remove institutional roadblocks, and empower employees. (Stern and Kren, 2002). The common thread in differentiating between management and leadership seems to be that management is more involved with monitoring the details of the daily operations and leadership is about invoking the changes necessary to continuously move towards an organization?s vision. I have also found that in all of the success stories read, the common points are that the leaders took a different approach into the... ... successful. I attribute the main reason to the fact that they are in control of the reward along with the recognition. In summary, management is about control through a series of control mechanisms and although leadership is one of the four principles of management, leadership is a combination of personal traits and skills that directly affects the opinions and attitudes of people, leading to changes in behavior. A person can be an effective manager but that does not necessarily make that person an effective leader. Leadership is about insight towards the future and helping individual employees and groups of employees to accept uncertainty, because they have confidence that the leader will provide solutions to any problems that may arise. References Stern, Kenneth and Kren, Lawrence (2004, December 9). Machine design. Know and grow. Retrieved January 17, 2005, from University of Phoenix Online, ProQuest Database Website: http://web22.epnet.com/externalframe. asp?tb=1&_ug=sid+553EA1C5%2D2133%2D4C4D%2D976B%2D01F560CA7714%40sessionmgr4+dbs+aph%2Cf5h%2Cbuh%2Cawh%2Cufh+cp+1+6C31&_us=hs+False+or+Date+ss+SO+sm+KS+sl+%2D1+dstb+KS+ri+KAAACBSC00041487+ED56&_uso=tg%5B0+%2D+db Management and Leadership Essay -- Manager Business Leading Essays Lea Management and Leadership Within the organizational structure of most businesses you will likely find management and leadership coexisting. Commonly, the words are often substituted for one another. However, each word has a distinctly different definition. A manager does not necessarily make a good manager. Management is defined as those individuals in an organization that have the authority and the responsibility to manage the organization through the control of production processes and ensuring that they operate efficiently and effectively. Leadership is defined as the skills and ability to set future goals in accordance with the organizational goals and to communicate those goals to other employees in such a way that they voluntarily and harmoniously work together to accomplish those goals for the benefit of the organization. In this paper, I will differentiate between management and leadership. Any organization needs to be managed, even a one-person company has to be managed. A manager has four key responsibilities: 1) planning, 2) organizing, 3) leading, and 4) controlling. Management can also be defined as the function that determines how the organization?s human, financial, physical, informational, and technical resources are arranged and coordinated to perform tasks towards achievement of strategic goals. Leadership implies that the manager has fundamental knowledge about critical processes. A leader is focused on ensuring the creation of strategies, systems, and methods for achieving excellence and building knowledge and capabilities. Leaders are focused more on creating an enthusiastic work environment for all of a company?s employees. In other words leadership is to help people do a better job through coaching, facilitating, and by creating environments that support the aim of the organization. Leadership is the ability of a manager to train employees, remove institutional roadblocks, and empower employees. (Stern and Kren, 2002). The common thread in differentiating between management and leadership seems to be that management is more involved with monitoring the details of the daily operations and leadership is about invoking the changes necessary to continuously move towards an organization?s vision. I have also found that in all of the success stories read, the common points are that the leaders took a different approach into the... ... successful. I attribute the main reason to the fact that they are in control of the reward along with the recognition. In summary, management is about control through a series of control mechanisms and although leadership is one of the four principles of management, leadership is a combination of personal traits and skills that directly affects the opinions and attitudes of people, leading to changes in behavior. A person can be an effective manager but that does not necessarily make that person an effective leader. Leadership is about insight towards the future and helping individual employees and groups of employees to accept uncertainty, because they have confidence that the leader will provide solutions to any problems that may arise. References Stern, Kenneth and Kren, Lawrence (2004, December 9). Machine design. Know and grow. Retrieved January 17, 2005, from University of Phoenix Online, ProQuest Database Website: http://web22.epnet.com/externalframe. asp?tb=1&_ug=sid+553EA1C5%2D2133%2D4C4D%2D976B%2D01F560CA7714%40sessionmgr4+dbs+aph%2Cf5h%2Cbuh%2Cawh%2Cufh+cp+1+6C31&_us=hs+False+or+Date+ss+SO+sm+KS+sl+%2D1+dstb+KS+ri+KAAACBSC00041487+ED56&_uso=tg%5B0+%2D+db

The Investment Industry :: essays research papers

The Investment Industry   Ã‚  Ã‚  Ã‚  Ã‚  The investment industry is composed of a wide variety of firms. The main players include independent full line brokerage firms, investment bank subsidiaries of chartered banks, and discount brokers. Independent full line brokerage firms offer a wide range of services, including underwriting, trading of stocks, advice and research. In essence, the full service brokerage subsidiaries of chartered banks offer the same services, however, banks' brokerage firms may have a larger pre-established clientele. Finally, the discount brokers are basic stock brokers that perform trades for clients who do not want investment advice. Usually, this service is targeted toward the sophisticated investor who does his/her own research to incur minimal commission fees.   Ã‚  Ã‚  Ã‚  Ã‚  Banks entered the investment industry in 1987, whereby they took over full-service brokerages, introduced mutual funds to the banking industry and became part of discount brokering. From this time on, chartered banks have expanded their dominance in the industry by acquiring key players in the industry or branching off into full brokerage services. For example, the brokerage firms for CIBC, Royal Bank, Toronto Dominion Bank, Bank of Nova Scotia and Bank of Montreal are Wood Gundy, RBC Dominion, Evergreen, Scotia McLeod and Nesbitt Burns respectively. In addition, the aforementioned chartered banks have also branched into the discount brokerage sector.   Ã‚  Ã‚  Ã‚  Ã‚  As of December 1994, the Securities Industry as a whole included 158 firms, directly employs over 24,000 people, has operating revenue of $5.1 Billion and operating profit of $1.2 Billion (Appendix A). Within this industry the largest firms ranked by revenue are: RBC Dominion Securities ($1 Billion), Midland Walwyn ($480 million), Burns Fry ($416 million) and Nesbitt Thomson ($335 million) (Appendix B). It is evident that the industry is highly concentrated in a small number of companies. The top 4 leaders in the industry accounted for 44% of revenue, while the top 8 was 51%.   Ã‚  Ã‚  Ã‚  Ã‚  Industry information from 1993 displays further segregation, between retail, institutional and integrated firms. Integrated retail-institutionalized firms (RBC Dominion Securities, Scotia McLeod, Nesbitt Thomson, Wood Gundy) made up 66% of the industry's revenue, while strictly institutional firms (First Marathon Securities, Gordon Capital Corp. and Loewer Ondaatje McCutcheon Ltd.) made up 21% and Retail firms (Green Line Investor Services Inc.), 15% (Appendix C). The following analysis will outline the investment dealer's industry, specifically the life cycle, critical success factor, strengths, weaknesses, target markets and profitability. Life Cycle   Ã‚  Ã‚  Ã‚  Ã‚  The demand for investment financial services is expanding. This becomes evident by examining the average increase in revenue which has occurred over the 1990-1994, 5 year span. This amounts to a 114% increase in revenue, ($2.4 Billion and $5.13 Billion), (Appendix A). An additional indication of growth in the investment industry is the fact that the number of firms in the industry has

Indian Film Industry Bollywood Essay

The entertainment industry in India has outperformed the economy and is one of the fastest growing sectors in India. However, it registered a moderate growth of over 6 per cent in 200.The industry is expected to grow from Rs. 166 billion (U.S. $ 3.45 billion) to Rs. 419 billion(U.S. $ 8.72 billion) by the year 2007. Film entertainment is the most popular form of entertainment and it is this undiminished passion through the decades that has driven India to become the largest producer of films in the world. Since 1931, when talkies were introduced in the country, the film industry has produced more than 67,000 films in more than 30 different languages and dialects. The film industry recorded a loss of Rs. 3 billion (U.S. $ 62.5 million) in gross revenues of Rs 39 billion (U.S. $ 812.5 million) in 2002. But, it is expected to grow annually by 19 per cent to reach Rs. 93 billion (U.S. $ 1.93 billion) by 2007. The industry produced 1200 films in 2002, and 1,013 films in 2001, up from 855 films in 2000. While Hindi films continued to be the largest segment in 2001 (23 per cent share), south Indian language films (Telegu, Tamil and Malyalam) have seen growth in their shares. India’s movie industry is a great sector for foreign investment by corporatized entertainment companies. Though risks are high on a per-movie basis, the risk spreads out across a number of films. However, the domestic filmmaking industry, despite its profligacy, is yet to acquire the character of professionalism on a large scale. BRIEF HISTORY OF INDIAN MOVIE INDUSTRY When the Lumiere Brothers’ first films were shown at Bombay’s Watson’s Hotel in 1895 or when Dadasaheb Phalke released his epochal feature film Raja Harischandra in 1913, it is unlikely that either the exhibitors or the pioneer film maker realised they were unleashing a mass entertainment medium that would hold millions in sway for the next hundred years; that they were spawning an industry that in years to come would overtake the rest of the  world in film production! For most Indians, cinema is integral to their lives; it is not a distant, two to three hour distraction, but a vicarious lifestyle for them. The large screen provides an alternative, an escape from the realities of day-to-day life. The protagonists are totally identified with, the hero is applauded, the virtuous is worshipped and the villain is condemned. The actors and actresses are household names; there is no escaping their omnipresence, from the Paanwala (betel vendor) to the most revered Indian painter – they are all caught up with the magnetism of screen personalities. A study of the vicissitudes of Indian cinema would throw light on the progress of technology, especially cinematography, and the changing political scene and social mores and attitudes. The silent films launched by Phalke, which had titles in English, Gujarati, Hindi and Urdu, by and large related to myths and legends. The stories were familiar to the audience and required minimum commentary. Historicals also proved very popular; Harsh, Chandragupta, Ashoka and the Mughal and Maratha kings strode the silver screen amidst cardboard pillars and in tinsel costumes. Strangely enough, while in the nineties we are still arguing over whether or not ‘kissing’ should be shown on screen, in the first decade of Indian cinema, with the British paying scant attention to censorship except when the Establishment was attacked in any way; leading heroines of the day kissed their leading men without inhibitions, like Lalita Pawar in Pati Bhakti (1922)! With the advent of Gandhiji came the plea for according a better status to women, the removal of untouchability and a cry for religious harmony. The silent era of Hiralal Sen, Baburao Painter and R. Nataraja Mudaliar came to an end when Adershir M. Irani produced his first talkie, Alam Ara in 1931. If Phalke was the father of Indian cinema, Irani was the father of the talkie. The classic Hollywood musical Singing in the Rain exemplifies the cynicism with which people first regarded the talking movie and this holds good for India too. There were too many gargantuan problems to be tackled; there were no dialogue writers, no lyricists; songs had to be sung during the filming as prerecording facilities were yet unknown. Minimum instruments  were used as the instrumentalists had to be camouflaged behind the singer. A quaint story goes that during the filming of a song the actress was getting agitated as the tabla beat was too fast. Finally the shooting had to be stopped and a hapless tabla player was pulled out of the pool where he had been hidden. â€Å"What can I do,† he cried, â€Å"a fish got into my dhoti (loin cloth)†. But the talking film had come to stay. Considering that even the silent film had a preponderance of songs, the talkie came to be more of a single; the heroes and heroines sang their way through the three-four hour movie. Histrionics and appearances counted less; a singing talent was all that mattered. To this day the Indian film song has a unique thrall. The music director, the song writer and the playback singers have an unparalleled status in India’s cinema. If Bombay was the hub of early cinema the other centres were not far behind; Calcutta and Madras with their own patriarchs were also making path-breaking films. Chandidas a film glorifying the Bhakti movement and castigating casteism, directed by Debaki Bose in 1932 for New Theatres, was lauded for its use of background music and dramatic narrative. K. Subrahmanyam’s Thyaga Bhoomi (1939) and Seva Sadan both advocated women’s rights and self-dependence. Seva Sadan also introduced to the world through the silver screen, the great singer M.S. Subbalakshmi, who came to be immortalised for her role in and as the poet-saint Meera both in Hindi and Tamil. While it is almost impossible to even list all the luminaries of Indian cinema over ten decades, the Wadia Brothers deserve special mention, before going into the different genres. JBH and Homi Wadia were the forerunners of the stunt film – the thirties was a period in Indian cinema when ‘Wadia’ and ‘Nadia’ were synonymous. Australian by birth, Mary Evans came to India with a dance troupe. She was asked to do a number for JBH’s Noor-e-Yman; she changed her name to Nadia. â€Å"Besides being a lucky name, it rhymes with Wadia†, she is reported to have said, and through various circumstances she became stunt actress for the Wadias, earning the sobriquet â€Å"Fearless Nadia†. The Wadias had a fixation for trains and made a number of films titled,  Toofan Mail, Flying Ranee, Punjab Mail and so on. Nadia got so used to sitting on roof top of trains for her stunts that she became reluctant to step off and even demanded her lunch be sent up! The true stunt woman, she grappled with a lion, did the trapeze, carried a calf and a man over running trains – it is unlikely there could ever be another actress like Nadia. She married Homi in 1960, and breathed her last recently. The forties was a tumultuous decade; the first half was ravaged by war and the second saw drastic political changes all over the world. Film-makers delved into contemporary themes. V. Shantaram, the doyen of lyrical films, made Dr. Kotnis Ki Amar Kahani – a tribute to Dr. Dwaraknath Kotnis who went out with a medical team to China and died there. Shantaram’s other films were reformist but visually appealing, like, Do Aankhen Barah Haath, Pinjra, Chaani. But there were films where pure artistic merit supersedes social message as in Jhanak Jhanak Payal Baaje and Geet Gaya Pattharon Ne. South Indian films also gained great footing. AVM and Gemini were two of the most prolific producers turning out social drama in the South Indian languages as well as in Hindi. While the thespian actor Shivaji Ganesan delivered mind boggling soliloquies on screen, many of the politically inclined writers and actors of the south Indian screen began to use the medium for reaching out to people. The DMK stalwarts, Annadurai, Karunanidhi and MG Ramachandran did not even resort to subtlety. â€Å"Naan anaittal adu nadandu vital†¦Ã¢â‚¬  sang MGR, (if I could be the decision maker, the poor of this world will not suffer†¦.†). The very titles of the films were chosen with care; Rickshakaran (Rickshaw Driver), Muttukara Velan (cowherd Velan) and En Kadamai (my duty) to convey his identification with the masses. No wonder he was hailed Makkal Thilagam (gem amongst people). Just how effective was the use of the medium was amply proved with the party coming to power and MGR getting voted Chief Minister of the state. The other star who used the screen image to great advantage was N.T. Rama Rao of Andhra Pradesh. The veritable screen god, NTR played the role so often that he began believing in his divinity. Apparently so did a lot of other people in Andhra, which is why we had a second screen hero from south as Chief Minister. While the south was busy wooing the public for votes, Bombay was either turning out escapist fare, light, happy, musical films with Dilip Kumar, Raj Kapoor, Dev Anand, Shammi Kapoor, Kishore Kumar, Nargis, Madhubala, Nutan, Geeta Bali, Mala Sinha and others or gave the audience absolute tear jerkers with social melodrama. This was the golden era of music. Shankar- Jaikishan, O.P. Nayyar, Madan Mohan, C. Ramchandra, Salil Chaudhury, Naushad, S.D. Burman – all had their distinctive sway. Each vied with the other to produce some of the most unforgettable melodies India has ever known. This was also the age of innocence; the screen was black and white, the vamp and the heroine did not merge, they had their domains, there were no shades to the hero, a man was all good or rotten to the core. No double entendres were woven into the songs and even the vamp was decently attired on the screen. This was the era of Raj Kapoor, of Shree 420, Awara, Boot Polish, Jagte Raho, Chori Chori and of course his magnum opus Mera Naam Joker – he was still making and acting in enduring films, the tramp who is not able to cope with the pace of the world. He caught up with times and his films changed with Sangam, Jis Desh Mein Ganga Behti Hai, Satyam Shivam Sundaram and Ram Teri Ganga Maili. Dilip Kumar and Guru Dutt were excellent foils to the chocolate-faced heroes as tragedy kings. So were Meena Kumari and Bina Rai amongst the heroines. But such was their versatility that they could also carry off comedy effectively. Two outstanding Hindi films of the fifties that deserve mention are K. Asif’s Mughal-e-Azam (took 14 years to make and is one of the most lavishly produced historical of Indian cinema) and Mehboob Khan’s Mother India, which is said to have gained the status of Gone With the Wind. In the meantime in Bengal, the man who was to take Indian cinema to the international arena and win accolades from the greatest film- makers, Satyajit Ray, released his first film, Pather Panchali (1955). After his trilogy there was no looking back for him or for cinema from Bengal. Mrinal Sen conveyed his quiet commitment to socialism through films like Calcutta, Oka Orie Katha (Telugu) and Bhuvan Shome. Director Ritwik Ghatak gave us memorable films Meghe Dhaka Tara and Subarnarekha. Although Bengal also came up with films that asked for a willing suspension of disbelief, these were  exceptions rather than the rule as in Bombay films, where the Mukherjis, Sippys, Chopras, Chakraborty and Manmohan Desai produced one bonanza after another for the masses and laughed all the way to their banks. There was no market for serious films, it was felt, and the classics that failed to break even like Guru Dutt’s Kagaz ke Phool and Raj Kapoor’s Mera Naam Joker, only strengthened the conviction. The former committed suicide and the latter resorted to the populist fare with Bobby. It was only after the government set up the Film Finance Corporation (FFC, which in 1980 came to be known as NFDC i.e. National Film Development Corporation) that several small but serious film makers got the wherewithal to make films, notable among them being Mani Kaul, Kumar Shahani and GV Iyer (with his maiden venture in Sanskrit, Adi Sankaracharya). The Corporation also partnered the making of Attenborough’s Gandhi and financed Satyajit Ray’s Ghare Baire which was to be one of the last films of the master. Like cinema in Bengal, Malayalam cinema too was meaningful but it took a longer time to get noticed. In fact it was Ramu Kariat’s melodious tragedy Chemmeen winning the President’s gold medal in 1965 that drew attention to Malayalam cinema. Adoor Gopalakrishnan (Swayamvaram) and others all gained similar recognition in the years to come. With actor Prem Nazir doing stellar roles in a record breaking 600 films, Malayalam films have come to be characterised by simple narration of powerful stories, authentic locales and low cost production. The Karanth (BV) – Karnad (Girish) combine have produced two milestone Kannada films Vamsa Vriksha and Samskara, both essentially iconoclast in treatment. Though much talked about, the critique of caste brahmins, the theme of both films was later seen to be rather extreme. In this context it is worthwhile to mention two films made in Tamil on the same subject. Vedam Pudithu directed by P. Bharatiraja and Ore Oru Gramathile by K. Jyothi Pandyan. Both carried strong indictments against caste hierarchy and the common man’s struggle to overcome it, but retained a balance – rather unusual for Tamil films. With government funds available for making films, the seventies saw an unhealthy divide between the existing commercial or mainstream cinema and the new parallel cinema or art films. The former was condemned unequivocally by the critics but continued to fill the coffers while the latter got rave reviews, bewildered the masses and created deep dents in government resources. Fortunately this situation did not last long, for soon there came a crop of film makers who realised that meaningful films need not necessarily incur heavy losses. Shyam Benegal, (Ankur, Nishant, Manthan) proved that there was an audience for films without frills but with a strong story and interesting narration. Govind Nihalani, Jabbar Patel, Mahesh Bhatt, K. Balachander, Bharati Raja, Adoor Gopalakrishnan, all fell into this category. Around this time, the singular phenomenon, the angry young man with his dark looks, smouldering eyes and mesmerising voice, Amitabh Bachchan, began to stride the scene like a colossus. He introduced to cinema for the first time as a cult, the negative or the anti-hero. Special screen plays were written for this hero seeking vengeance and taking on single-handed an unsympathetic establishment and inadequate legal system. The eighties saw the advent of women film makers, Vijaya Mehta (Rao Sabeb), Aparna Sen (36, Chowringhee Lane, Paroma), Sai Paranjpye (Chashme Baddoor, Katha, Sparsh), Kalpana Lajmi (Ek Pal and, later the much acclaimed Rudali), Prema Karanth (Phaniamma) and Meera Nair (Salaam Bombay). The most commendable thing about these directors is their individuality. Their films have strong content and are told with passion, (only Sai has tackled light hearted subjects). In the nineties, Indian cinema faces tough competition from television; the cable network gives viewers any number of channels and though the most popular channels continue to be the film-based ones, the cinema halls have taken a beating. Nevertheless, films like Aditya Chopra’s maiden effort, Dilwale Dulhaniya Le Jayenge and Suraj Barjatya’s Hum Aapke Hain Kaun have broken all records, because they recall the innocence of the fifties, a novelty in this age of sex and violence. This gives hope. Cinema in India can never cease, it has gone too deep into our psyche. It may undergo several reverses in fortune. With other mediums opening up, there will be a smaller market for films. Living as we are in a global village today, we are becoming a more discerning audience. No longer are we going to lap up every mediocre fare dished out by the moghuls of cinema; only the best will survive. And this is just as well.

How far can Shakespeare’s presentation of Lady Macbeth and Macbeth be seen as typical of their gender? Essay

Shakespeare’s plays were written in a period of time, which we relate to people from by calling them ‘Elizabethans’. However ‘Macbeth’ was written in 1606, after the death of Queen Elizabeth I during the kingship of the newly appointed James VI of Scotland (now James I of England). The play was written with the new king in mind and was based around the chronicles of Scotland. Despite this, Shakespeare still changed details within the chronicles, for instance, Banquo within the real story was actually guilty, but being an ancestor of King James, within the play he made him into an innocent character. Religion although not being mentioned much in ‘Macbeth’, the play still relates to evil and spirits which Lady Macbeth also relates to within the play. During this period of time women would be persecuted for this so in a way she goes against all aspects of the typical women. Within the time it was written James I believed of ‘the divine rights of kings’, this basically states how that of the Gods appoints kings, being in a time of great religion many men would have also thought this. Macbeth however obviously doesn’t as he kills Duncan to become the king. It is debatable how Macbeth and Lady Macbeth can be seen as typical of their gender as they change so much within the play. During the play they seem to swap roles as one becomes strong the other becomes week. Macbeth is first heard of by ‘the captain’, he reports to Duncan of how he ‘bravely’ rips Macdonwald open from the navel to jaw. However by the end of the play no-one has a good word to say about him, changes like this occur many times within the play as during this period from a ‘hero’ to a ‘butcher’, Macbeths manly hood goes the opposite way from being ‘scared’ to taking everything in his own hands. Lady Macbeth on the other hand seems to go the complete opposite way to Macbeth altogether, she starts the play as a commanding, strong and in charge women whereas by the end of the play she is in so much self guilt that we here that she takes her own life as the her past sins are to much to take. The first major talking point towards the two’s gender issues comes prior to the murder of king Duncan. When Macbeth first thinks about the murder (Act1 Scene3 Lines 134-42) he states how â€Å"whose horrid image doth unfix my hair,/And make my seated heart knock at my ribs† basically meaning he is terrified of what he is thinking of but then says how fantastical it would be. Apart from this thought I don’t believe he has the ‘guts’ to commit the murder and just the thought of killing â€Å"shakes his single state of man† until Lady Macbeth steps in. She takes full control of the situation and at times seems more of the man than Macbeth. Lady Macbeth uses the fact that she sees Macbeth as frail and ‘petty’ and challenges this manhood of his. In an attempt to convince him to kill the King (Act1 Scene 7) she challenges him by calling him a â€Å"coward†.

Sales Management Project Report

We were tasked with interviewing the sales manager of a firm, in order to analyze the working of their sales department. We chose Atlas Honda as our company for this project and secured an interview with their sales manager, and questioned him in detail about the operational procedures of the sales department of Atlas Honda. This report contains his responses that shed light on the workings of Atlas Honda’s sales force, as well as our evaluation of their sales operations.Selected CompanyAtlas Honda is a joint venture between Atlas Group of Pakistan and Honda Motor Company of Japan. We chose Atlas Honda as it is the market leader of motorcycles in Pakistan, and thus conducts hefty sales of motorcycles every month, employing a number of effective sales techniques in order to make new customers and to retain old customers.When asked why he chose to pursue a career in sales, he expressed his gratification in working to achieve a target of sales against his competitors, the incenti ves offered for achieving more than the target, and the freedom and travel opportunities that only a sales job could provide. His philosophy regarding his sales career resides in giving a proper product to the customer for the money spent by him, and to create customer lifetime value and build long-term relationships with customers.InterviewQ1. How do you see the marketplace today-changes and trends? Ans. â€Å"In terms of motorbikes, there has not been much of a change in the market in reference to commuter bikes, hence little changes have been made to the existing CD70 model as it is still used as a simple commuter motorcycle. The CD125 model has received a deluxe edition, giving it a sporty look to appeal to more image conscious segment.The Pridor was introduced as a 100cc sporty bike, targeted at customers who wanted something in between the existing 70cc and 125cc motorcycles. The most significant change in the market has been the developing interest in sports bikes. To meet t his new growing  segment in the market, we have launched the Honda CBR150 and Honda CBR500 sports bikes. Atlas Honda closely observes market changes and trends and adjusts its product line accordingly.†Q2. How do you view the importance of cultural diversity in the marketplace? Ans. â€Å"Here in Pakistan when we talk about cultural diversity, it is not particularly significant in terms of commuter motorcycles, as customers looking for commuting motorcycles generally have the same needs such as low price and economical fuel consumption, making the difference in culture largely irrelevant. However, diversity in culture has led to a new market of customers who want high-performance sports and are willing to pay more, a market that we have tapped with the launch of the CBR150 and CBR500.†Q3. How do you define the role of sales support? How important are ethics? Ans. â€Å"Sales support forms an important part of the sales department here at Atlas Honda. They assist the salespersons by various means, such as market research, lead generation, making travel arrangements, scheduling meetings, sending out sales materials and review and reporting of sales. As for ethics, we have always believed in serving the customer in the best possible way so as to cultivate long-term relationships.†Q4. How do you expect sales force to follow a sales process? Ans. â€Å"The sales process followed consists of an initial contact, an approach where needs of the customer is evaluated, followed by a presentation or proposition, finalizing the sale, and lastly follow up. Salespersons are encouraged to close sales using minimum amount of resources and with minimum sales calls.†Q5. How do you organize the sales force-is it local or centralized? Ans. â€Å"Organization of sales force is localized, that is to say that it is decided upon by the regional sales managers, who assign the number of salespersons to specific areas based in the amount of current and poten tial customers.†Q6. How do you select salespersons when positions become vacant? Ans. â€Å"Our Human Resource department is responsible for hiring of new salespersons. They prepare a list of candidates and determine which candidates are most  suitable for the position through interviews. Salespersons with prior experience are naturally given preference, however we also take fresh graduates, in which case they undergo a short period of training before starting work.† Q7. How do you train new personnel? Train experienced salespersons?Ans. â€Å"Our training here is very strong because Atlas Group believes very strongly in development of human resources. The more effort is put into developing our human resources the more the company will grow. We generally avoid hiring people from the top universities. Instead, we take mediocre students who are willing to learn and work hard. In this company there is much to learn and we provide training for new employees. As for train ing experienced personnel, every year we send our employees to study at IBA and LUMS.Additionally, every year one person is selected to study at Harvard University. So training and development is constantly observed here. Here we have SAP system in our computers and for human resource we have HAY system. So every person is evaluated quarterly and then half yearly and then yearly. Then the company goes over their weaknesses and provides relevant training and coaching to overcome their limitations.†Q8. How do you select and interact with partners? Determine sales force size? Ans. â€Å"We have a system in which we divide Pakistan 7 regions. Every region has a head called Regional Manager. Then above him there is a National Manager. Then there is General Manager Marketing. Then Vice President Marketing. And then there is CEO. Every region has a geographical distribution in which there may be four or five territories according to that area. We make territories under the regions. In every territory under the Regional Managers there is a Head of Sales, a Head of Services and a Head of Parts.† Q9. How do you motivate the sales force? Use monetary and non-monetary incentives?Perceived success of these actions? Ans. â€Å"There is a monthly target which the salesperson has to achieve and upon achieving that target he gets an annual raise. We use a scale to classify how good a salesperson is at closing sales. If he is close to the target that means its fair. If he achieves his targets that means his is good. If he goes 10% above his target that means he is very good. If he goes beyond that then it means that he is outstanding.So basically there are four categories on which a salesperson is evaluated for the raise in his salary; fair, good,  very good, excellent. Additionally, the advantage for salespeople is that after a year or two there are foreign vacations awarded to them. They may win by achieving the most sales. They are sent to places like Europe, Brazil etc. They get extra money for it in addition to the vacation to enjoy and relax.†Q10. How do you reimburse the sales force for expenses?Ans. â€Å"Laws are defined here for the reimbursement of expenses. No one is allowed to interfere whether it may be Vice President or General Manager. The laws defined here are working on two systems. The first is called Management Executive Committee (MEC). Then there is Group Executive Committee (GEC). Only GEC has the right to change laws because only high profile members are allowed in it. So everything is defined.Every person has a grade wise allowance. Kilometers are standardized. Whether a General Manager uses it or may it be an ordinary sales representative. It is already defined that a particular amount per kilometer would be paid when travelled. If he has to stay overnight then there is hotel allowance. If there is no hotel then there is an independent allowance given to that person. So a healthy amount of incentives are gi ven and they are clearly defined and no one can misuse them.†Q11. How do you evaluate the sales force? Frequency and methods? Ans. â€Å"As I have mentioned we have got HAY system in which objectives are defined. They are evaluated on quarterly, half yearly and yearly basis. After three months an analysis is done on the objective to check whether that salesperson is achieving his target or not. We work on a PDCA format which is Plan Do Check Action. We see whether the targets are being achieved or not. If they are, then good.If not, then we examine targets are not being achieved. What were the problems faced and how can we counter them? This is PDCA. Every person’s job is defined. What he has to do, what he doesn’t, and his responsibilities. He knows the result that he has to produce after a year. Hence, salespersons are evaluated on their achievement of target sales.†Q12. How do you play a role in forecasting? What methods are utilized? Ans. â€Å"For fo recasting basically two methods are used. One of them is by using  historical growth data. We take the data of last three years, sum it up and forecast the market growth. Then there are assumptions and usage of alpha. Factors like history, assumption and the economy are always studied closely when forecasting.†Q13. How do you contribute to the firm’s strategies and annual planning? Ans. â€Å"As a sales manager, the forecasts that are generated by my department affect the company’s strategies and operations. For example, new strategies may need to be formulated when attempting to penetrate new markets, or when introducing new products into existing markets. Forecasts of sales also affect the company, for example if forecasts show an increase in sales, then more salespersons may need to be hired.†Q14. How do you utilize CRM and practice relationship marketing? Ans. â€Å"It has been almost 50 years since people are related to this company. By this you ca n imagine the worth of the company. Atlas Honda has worked hard to develop brand loyalty with its customers. We are providing our customers with services throughout Pakistan. There is hardly a single town where you cannot find a Honda service facility. Almost every city has got Honda’s sales dealerships. At this very moment there are 650 dealers across Pakistan. Then we have developed the 5S concept as opposed to the 3S concept.Normally companies provide only 3S that is Sales, Service and Spare parts. But in addition to that we also provide additional Second exchange which means you can trade in your old motorcycle for a new one. Then there is Safety. Then to satisfy the customers we have customer care department. There’s a telephonic department which takes care of the customers. We are going to introduce new CRM software next month. If you buy a motorcycle today all your information will be entered. Previous issues will also be displayed in it. You would be greeted by your name upon calling the department and your picture will also be shown.†Q15. How have you successfully managed portfolio of products? Ans. â€Å"We currently have 7 models in production. Everything is controlled by the General Manager. We have a very big setup. A very vast one. There are many things under the General Manager which are being monitored by different  people. We have a department of product planning. All the pros and cons of all models are discussed there. Then the marketing department is also related to them.They decide the best way to sell the product. There are no bookish systems here in this company as you study in the university. Many of the books and theories that you have studied, you won’t find them here. We have got a very straight system here. There’s only one channel of distribution. The company makes the product and then gives it to the dealer. There is no such thing as sales dealer or this and that dealer. More than 90% of the pla nning done here is successful.†EvaluationQ1. How effective is this sales manager? Ans. He is a very effective sales manager. He has effectively organized the sales force in such a way so that no territory is left out. He is vigilant about providing training to employees so that their skills may be developed and they are able to work to their full potential. He is a good leader and actively motivates his sales force to achieve their targets and instructs his sales force to foster long term relationships with their customers.Q2. Which of his/her activities are reflective of what you learned in class and what activities differ? Ans. He organized his sales force and divided the market into territories in order to use his sales force efficiently. He instructs his sales force to use CRM to better manage and service customers and to retain their information about previous purchases and problems for easy access. He gives great importance to training and developing his salespeople so t hat they may overcome any weaknesses. And he gives great importance to generating customer relationship value rather than just making a one-time sale to a customer.Q3. How do they differ and why do they differ? Ans. There is hardly anything among his activities as sales manager that differs from what we studied in class, as he has organized and developed his sales force very effectively, hardly leaving any room for improvement.