Zhou 1 Essays - Characters In Romeo And Juliet, Romeo And Juliet

Zhou 1 Tangia Zhou ENG2D-10 Mr. Staff Mon. April. 30, 2018 Passion Versus Reason All decisions in life should be made with a balance of emotion and logic. If not balanced correctly, there will be consequences. Throughout Romeo and Juliet, a play by William Shakespeare, the theme of emotions outweighing reason is explored, resulting in the deaths of many, including the deaths of young lovers, Romeo and Juliet. This is shown through many characters and their actions caused by their personalities, which eventually lead to their downfall. Along with that, the motif of fear causes emotions to outweigh reason, and on top of that, multiple conflicts arise, which cause many characters to think unclearly and use their judgement based on emotions solely. Firstly, Romeo is known to be a very emotional character, often becoming upset about small situations. He lets his emotions run wild when he kills himself after thinking his love, Juliet is dead. An example of this is when Romeo says Come, bitter conduct, come, unsavoury guide/ Thou desperate pilot, now at once run on/ The dashing rocks thy seasick, weary bark/ Heres to my love! (Shakespeare 5.3.116-119). Romeo was clearly sunken in sorrow at the fact that Juliet died, and he is only thinking with emotion, which leads to his demise. Moving on, Romeos emotions outweigh reason when he kills Tybalt, Juliets cousin, after Tybalt kills Mercutio, Romeos loyal friend. Romeo was outraged with his friends death, and didnt take the time to think about the consequences. His emotions were leading him to revenge, which led to Tybalts death and eventually, Romeos exile from Verona. Furthermore, Juliet is also known to be an emotional character, who makes many hasty actions due to her overwhelming emotion. Secondly, the motif of fear is often explored throughout the play. Fear causes people to do irrational things and there are always consequences. Firstly, Juliet is afraid of marrying Paris, the man she is forced to marry, so she takes a sleeping potion to make her appear dead. This is so when everyone thinks she's dead, she can be retrieved by Romeo, who is in exile, when she wakes up. Juliet never thought about the consequences that could arise due to her taking the sleeping potion. This eventually causes Romeos death as new never went to him that Juliet faked her death, proving that fear has an influence on Juliets emotion when coming up with a significant decision. In addition, male dominance as a motif occurs throughout the play many times through Tybalt, Juliets cousin, who strongly represents the stereotypical dominant male. It is clear that emotions outrule reason when Tybalt enters hot blooded and ready to fight anyone. Boy, this shall not excuse the injuries// that thou hast done me; therefore turn and draw (Shakespeare 3.1.65-66). He acts strong to defend his family honour, so it is because of his emotional anger that rules over reason, that eventually kills Mercutio at this sword fight. Finally, the motif of hate allows people to make irrational decisions using their emotions, without thinking about consequences. Finally, the figurative language in this play clearly demonstrates how emotions can overpower logic and reason. Firstly, there is the use of a hyperbole which in this case helps exaggerate the effect of the statement. Right after Romeo meets Juliet, he goes to Friar Laurence, a religious confessor and tells him I stand on sudden haste (Shakespeare 2.3.93), after telling him he wants to marry Juliet, whom he has just met. This shows that Romeo is lovestruck and is not thinking about the fact that it is not logical to marry someone the day after meeting them, thus proving the idea of emotions overpowering reason. Moving on, At some point in everyones life, their emotions dictate reason and logic, and this occurs many times throughout the play of Romeo and Juliet. First, To conclude, although Romeo and Juliet were star crossed lovers, maybe they wouldnt have d Works Cited Shakespeare, William, et al. Romeo and Juliet: Teacher's Guide. Harcourt Brace Jovanovich, Canada, 1987.

Introduction to ISDN essays

Introduction to ISDN essays Integrated Services Digital Network (ISDN) is a digital version of switched-circuit analogue telephone service. It was and developed to use the existing telephone wiring system is provided by local phone companies or PTTs ISDN was specifically designed to solve the low bandwidth problems that small offices or dial-in users have with traditional telephone dial-in services. When a data call is made using ISDN, the WAN link is brought up for the duration of the call and is taken down when the call is completed. ISDN is generally viewed as an alternative to leased lines, which can be used for telecommuting and networking small and remote offices into LANs as shown in Figure 1. Telephone companies developed ISDN as part of an effort to standardise subscriber services including the User-Network Interface (UNI). The ISDN standards define the hardware and call set-up schemes for end-to-end digital connectivity. ISDN's ability to bring digital connectivity to local sites has many benefits, including the following: Ø ISDN has been developed by the International Telecommunication Union Telecommunication Standardisation Sector (ITU-T) and as such has become a worldwide industry standard, which helps achieve the goal of worldwide connectivity by ensuring that ISDN networks easily communicate with one another. This means multinational corporations can deploy ISDN technology in their facilities located throughout the world. and standards-based Customer Premises Equipment (CPE) will be easier to install and will cost less as manufacturer pass on the savings of economies of scale Ø Because ISDN is a digital communications technology it is not subject to the same noise interference that analogue modem technologies suffer. Lower error rates result in fewer re-transmissions, greater network reliability and hence higher throughput. Ø ISDN can carry a variety of user traffic signals. ISDN provides access to digital video, circuit-...

Calibrating a pressure gauge using an air-operated dead-weight pressure gauge tester for air gauges

Calibrating a pressure gauge using an air-operated dead-weight pressure gauge tester for air gauges INTRODUCTION: Calibrationis the set of operations that establish the relationship between the values of quantities indicated by a measuring instrument and the corresponding values realized by standards. The result of a calibration allows for the determination of corrections to be made with regards to the indicated values. It may also help in determining other metrological properties such as the effect of influence quantities. The results of a calibration are usually documented and referred to as calibration certificate or a calibration report. Necessary adjustments are made to the instrument after calibration so that it always indicates readings corresponding to given values of the quantity measured. When the instrument is made to give a null indication corresponding to a null value of the quantity to be measured, the set of operation is called zero adjustment . The Calibration Process The first thing to consider in calibrating an instrument is its design. In order to be able to cal ibrate an instrument, the design of the instrument has to be capable of measurements that are â€Å"withinengineering tolerance† when used within certain conditions and over a reasonable period of time. The criteria used for assigning tolerance values vary according to regions and according to type of industry. Manufacturers of instruments assign a general measurement tolerance and suggest the calibration interval as well as the optimum environment for use and storage of the instrument. The user of the instrument on the other hand assigns the actual calibration interval, on the instrument’s likely usage level. For example, if a manufacturer states that an instrument needs to be calibrated after usage for 8-12 hours of use 5 days per week is six months, that same instrument in 24/7 usage would generally get a shorter interval. The assignment of calibration intervals can be a formal process based on the results of previous calibrations. Calibration process versus cost G enerally, the process of calibrating an instrument is a difficult and expensive one. As a rule of thumb, the cost for ordinary equipment support is generally about 10% of the purchasing cost of the instrument on a yearly basis. Exotic devices such asscanning electron microscopes,gas chromatographsystems andlaserinterferometerdevices can be even more expensive to calibrate. When the instruments being calibrated are integrated with computers, the integrated computer programs and any calibration corrections are also under control. The calibration paradox Successful calibration has to be consistent and systematic. At the same time, the complexity of some instruments requires that only key functions be identified and calibrated. Under those conditions, a degree of randomness is needed to find unexpected deficiencies. Even the most routine calibration requires a willingness to investigate any unexpected observation. Theoretically, anyone who can read and follow the directions of a calibra tion procedure can perform the work. It is recognizing and dealing with the exceptions that is the most challenging aspect of the work. This is where experience and judgement are called for and where most of the resources are consumed. THEORY Principles of Operation Of Dead Weight Testers Pressure is defined as force per unit area i.e.

The Management of Navistar International Corporation Coursework

The Management of Navistar International Corporation - Coursework Example On the contrary, the MD&A of the Oshkosh Corporation does not contain the justification for the inclusion of the MD&A section of the organization’s annual financial report, rather going directly into giving the information related to the nature of the company and its operations. On the other hand, the MD&A section of the Oshkosh Corporation has provided a section titled general, under which all the operations and the products that the company is involved in producing and availing to the market, both locally and internationally, are explained (Oshkosh Corporation, 32). This is completely different from the organization of the MD&A for Navistar International Corporation, which goes directly into the executive summary section, which focuses on the previous targets and goals that the organization had set, and the achievements that the organization has made in relation to these goals and targets. The other notable point where the MD&A’s for these two organizations differ is in the presentation of the specific financial information associated with the direct benefit of the shareholders. The MD&A of the Oshkosh Corporation provides the information related to the Earnings per Share (EPS) for the financial year ending 2014, by declaring that the earnings per share for its shareholders in the full year of 2014 was $3.61, which was a notable increase in from the initial estimated range of $3.10 to $3.40 per share (Oshkosh Corporation, 32). This represents an increase in the actual EPS for the shareholders by $0.21 per share. The MD&A of the Oshkosh Corporation has also provided information related to the reinstated dividends to the shareholders, as well as the great milestone made by the company which managed to repurchase 8.3 million shares of Common Stock that served to increase the earning per share for the shareholders of this organization by $0.15 in 2014.

Prioritizing the IT Project Portfolio Essay Example | Topics and Well Written Essays - 1000 words

Prioritizing the IT Project Portfolio - Essay Example As such, re-evaluation is recommended. In addition to the external cutting edge technologies, the top management peruses a variety of processes to access the most appropriate project to be funded. For example, a company with well establihsed information technology infrustructure can consider building a facility from scratch or develop a unique product. The implementation and installation of support product willdefinately be outsourced. The decision to settle on such a project can be seen to be simple. However, there are other factors such as the management of project execution via costs, resources, milestones and schedules which must be in-check to ensure the success of the project. The management also faces the challenges related to supply chain oversight to make sure that materials, resources and equipments are availed on time whenever needed. The major concern is, "will the organization’s top management be able to integrate the project management processes with their portfo lio to attain both business value and project profitability?† A corporate intranet project priority portfolio Background Most organizations depend on the chief information officers to process the collected data and present it in a form that can be understood. They are also expected to spearhead innovation that solves the challenges faced by the organization. The chief information officers in turn, respond by suggesting a corporate intranet. This is a platform that ensures the organization’s prized assets are safeguarded, improve process work flow and link the employees (Sauter, 2010) Critical analysis of the exising literature and continous studies by Baum (2011) revelaed that the assumption that both business objective and employees requirements can be met in one-size-fits-all project is not realistic. The management always thinks that the project idea is noble. A single univeral project that provides a blueprint of the organization is enough. Sincerely speaking, this is imposible. The context of the chosen project can have relevant content for majority of employees but not all. The users are forced to mentally filter the project non functiona contents (Power, 2008). Some CEO creates a communication platform that is one-way. Ideally, it excludes the users’ efforts to approving and publishing their content. People are gravitated away from the project because of such restrictions. When developing a project, developers ignore the feedbacks from the users. The corporate project deployment process is always delayed untill all the requirments for various departmenrts are captured. This does not work very well. Doing an IT project in a modular or in phases does not imply that the business is not big enough. It enables one to integrate all the user functional and non functional requirments. The users are more comfortable when the responsibility of managing their user account and login credentials is left in their hands. The idea of forcing the use rs to login to the intranet is not well taken by the users. This is bacause they already have too much login credentails such as ticketin g tracking, ERP system login credentails and the organization’s CRM (Marven, 2010). The idea of login in is viewed by the IT department as a way of enhancing security but the users have an

Marijuana Essay -- Hemp Mary Jane Pot Weed

Marijuana Wether you call it Hemp, Mary Jane, Pot, Weed; it doesn't matter. It is still Cannabis Sativa, or cannabis for short. And it is still illegal. The use of marijuana as an intoxicant in the United States became a problem of public concern in the 1930s. Regulatory laws were passed in 1937, and criminal penalties were instituted for possession and sale of the drug. "Marijuana" refers to the dried leaves and flowers of the cannabis plant, which contains the non-narcotic chemical THC at various potencies. It is smoked or eaten to produce the feeling of being "high." The different strains of this herb produce different sensual effects, ranging from a sedative to a stimulant. The term "marijuana" is a word with indistinct origins. Some believe it is derived from the Mexican words for "Mary Jane"; others hold that the name comes from the Portuguese word marigu-ano, which means "intoxicant". The use of marijuana in the 1960's might lead one to surmise that marihuana use spread explosively. The chronicle of its 3,000 year history, however, shows that this "explosion" has been characteristic only of the contemporary scene. The plant has been grown for fiber and as a source of medicine for several thousand years, but until 500~ AD its use as a mind-altering drug was almost solely confined in India. The drug and its uses reached the Middle and Near East during the next several centuries, and then moved across North Africa, appeared in Latin America and the Caribbean, and finally entered the United States in the early decades of this century. Marijuana can even be used as "Biomass" fuel, where the pulp (hurd) of the hemp plant can be burned as is or processed in to charcoal, methanol, methane, or gasoline. This process is call... ...ke of argument - that marijuana has no medical value whatsoever, despite the fact that it has a several thousand year history of medical use and that a prescription drug is made from its primary active ingredient. Let's assume - for the sake of argument - that all these medical marijuana patients are just fooling themselves. Even in that case, what would we stand to gain as a society by punishing sick people and putting them through an already overloaded criminal justice system? Even if they are deluding themselves- what benefit is there to prosecuting sick people?" In conclusion to this, it is important to state that there have been hundreds of studies showing that smoking cannabis is potentially harmful to the brain and body and the same number of studies contradicting what these have stated. Bibliography Grolier Multimedia Encyclopedia 1996 Marijuana

A Study of Development and Analysis of Plasma and Lcd Tv Industry

(1) Title of the Research Work: â€Å"A STUDY OF DEVELOPMENT AND ANALYSIS OF PLASMA AND LCD TV INDUSTRY AND IT’S IMPACT ON GENERAL CTV MARKET:- WITH SPECIAL REFERENCE TO MUMBAI REGION† (2) Introduction: History and development of audiovisual medium: Perception is the frame of mind of a customer about a particular product or service which customer would like to avail. It is the way a customer look at anything. In short it is the process of perceiving about anything. Customer perception about any product or service is an important parameter in the whole marketing scenario and global economy as well. It contributes to the social, cultural, environmental, political and economic growth of the nation. Post-war mass communication and media studies have had two periods of radical change, the late 1960s-early 1970s and the1980s, of which the former was characterized by the rise of Marxism and the latter by its decline. These transformations did not take place simultaneously in all countries, but as a generalization this seems to hold true. For instance, Frands Mortensen (1994) recalls the year 1977 as the turning point when critical vocabulary in his work began, for the time being at least, to fade out. Mortensen’s fate was shared by many of the turn-of-the-seventies generation throughout Europe, the soixante-huitards or ’68ers’ as the French call them. As a result, some avoided radical thought altogether, denouncing their Marxist past; others changed to postmodernism, while a few still adhered to the Marxist project by trying to reshape it. However, they all had to keep abreast of the new 1980s generation– a generation more in tune with economies of deregulation, individualist policies and cultural anti-modernism. The 20th century has witnessed at least three periods during which the nature and status of moving images have been at the centre of more or less comprehensive cultural-theoretical concerns: one in the 1920s with the stabilization of the feature film and film art; one in the 1950s and 1960s with the emergence of full-blown television; and one from the 1980s to the present with the transformation of television, combined with the introduction of video and computer- based media. One of the underlying assumptions during this 70-year-debate boils down to the idea that if there is one thing that characterizes 20th-century culture, at least its latter half, then it is audiovisuality. It is this view that unites 1920s avant-gardists and cineaste-critics (e. g. Balazs 1982), 1950s and 1960s filmologists in France and Italy (e. g. Cohen-Seat 1961)who receded but were, unfortunately, overshadowed by Marshall McLuhan, and the 1980s postmodernists (e. . Kroker &Cook 1986). In the following discussion, I will, on the basis of this continuing debate, assume the centrality of image and sound media to our century. One of the key issues in audiovisual media theory, then, is concerned with accounting for this centrality of moving images in contemporary life. It is here, I argue, that the Frankfurt School may still prove helpful. In what sense is the 20th century the â€Å"age of the image† (Gance 1927) as well as that of the society of spectacle, entertainment and interaction? Or, how are the increasing audiovisual and aesthetic components of 20th century civilization interconnected? To answer these questions, media theory has to account for four major empirical phenomena and historical periods (for another synoptically view of the audiovisual 20th century, cf. Zielinski 1989): the birth and beginnings of film (The Age of Early Cinema, 1895-1915), the heyday of the standard feature film (The Age of the Classical Hollywood Film, 1920-1960), the replacement of cinema films by television as the major audiovisual medium (The Age of Paleo-television, 1960-1980) and the transformation of television in the new audiovisual landscape of, inter alia, video and multimedia (The Age of Neo-television, 1980-; the terms ‘paleo-’ and ‘neo-television’,coming from Umberto Eco, seem to have established themselves [cf. e. g. Casetti & Odin 1990]). Because these are understandably highly complex and still insufficiently explored issues, let me just give a cursory idea of the explanatory potential of Critical media theory: I will elaborate on the argument that each change of period –from the early cinema to the Hollywood film, from the Hollywood film to paleo-television and from paleo- to neo-television –involves expansion and intensification of some aspects of the general aesthetisisation of the everyday world To simplify matters for this essay, I shall attribute one single explanatory aspect to each change. First, what distinguishes the classical film of the Hollywood type from early cinema is the standardization of three major attributes: the length, type and screening time of the film. As a result, going to the movies means going to see a fiction film at a scheduled time. What this amounts to is to make film-viewing akin to attending more traditional spectacles such as theare, opera or ballet. In other words, it intensifies the spectacularity of films, for from now on moving images are to be received with more sustained concentration. The symbol for this new relation is perhaps first of all the film star, who functions as the imagined object of identifications and projections inherent in one’s relation to the spectacle of films. Second, of the many differences between the cinema film and broadcast television, two are relevant in this context: moving images are privatized as they enter the home and their viewing becomes a daily pursuit. It is in this way that television, like the periodic press and broadcast radio before it, begins to bind the home incessantly to the outside world, which means a tremendous expansion of the interactive potential of moving images. What is new in these image-relations is perhaps captured best by the recurring, wave-like nature of such television programmes as news, fiction series or sport events; it is their ability a community or an audience out of them that crystallises their interactiveness. Third, the change from paleo- to neo-television mainly implies Americanisation, i. e. , commercialization in a multi-channel context, and seems to concern predominantly the development of European television. The struggle for maximising audiences forces channels to find ways both to attract viewers and to allure them to stay tuned. In this process, entertainment – fiction more probably than fact, exciting fact more probably than non-exciting – is likely to gain the upperhand. An application of Horkheimer and Adorno’s culture-industry theory to the Audiovisual 20th Century: the periods, the determinants of the changes of period and the corresponding paradigms crystallising the changes. 895-1915: The Age of Early Cinema : Spectacle: Film star : 1915-1960: The Age of the Classical Hollywood Film : Interaction: News, fiction series, sports event : 1960-1980: The Age of Paleo-television : Entertainment:TV commercial : 1980- : The Age of Neo-television Considering the commercial as the prototype of this trend, but it is such basic virtues of television commercials as non-seriousness (‘nothing really matters that much’) which in the Age of Neo-television tend to become universalised. Granting the centrality of audiovisual media in the 20th century and the heuristic contribution reading Dialectic of Enlightenment may make to our understanding of it, what other reasons could be offered after the adverse 1980s conditions in defence of the re-actualisation of the Frankfurt School in media and mass communication studies? To conclude, let me pursue two further arguments. First, dissatisfaction with French theorizing has for some time now made room for alternative strains of critical thought; this dissolution of the structuralist and post-structuralist dynasty (cf. Steinman1988 on its repercussions on US film and television studies) has benefitted, among others, American pragmatism (Rorty), Soviet semiotics (Bakhtin) and the Frankfurt School (Adorno). As a matter of fact, it has been argued (Hohendahl 1992) that since the 1980s Adorno has become more popular as a research subject than he ever was at the peak of the student movement. Second,if one is to believe the opinion of the majority to be gathered from a recent survey of the field (Levy & Gurevitch 1993), the mass communication research community, especially its US quarters, have been seized by a sense of disorientation. The name of the malaise is marginalisation: media scholars feel as if they are out of touch with more established disciplines (what is more, this feeling is supported by prevailing citation patterns of the field; cf. So 1988). There is no panacea for the situation because the discipline is filled with contradictory pressures, but one could argue, like Graham Murdock (1991), that mass communication research should regain its contact with the general project of the human sciences, which is the historical study of modernity. It is especially here that the tradition of the Frankfurt School, as the ases of Jurgen Habermas and others exhibit, has not reached the end of its journey yet. It is in this sense that the intimate relationship between audiovisuality and what has been termed the â€Å"Short Twentieth Century† (Hobsbawm 1994) turns into one of the key avenues by which media studies can approach and contribute to the study of modernity and its contemporary vicissitudes. (3) In dian television industry The Indian Television industry is going through turbulent transformation. Companies are relooking at their strategies and are desperate for growth. The entrenched position of the Indian market leaders in CTVs’ like Videocon, BPL and Onida has been challenged by the MNCs such as LG, AIWA, Akai, Panasonic, Samsung, Sony, Philips and Sharp; some in a perceptible way and others threatening to do so. The changing environment demands fresh thinking to gain the cutting edge advantage. This study attempts to look at the various customer perception oriented factors operating in the PLASMA and LCD television industry irrespective of the brand of the television Indian or Imported. (4) New developments in CTV industry: An introduction of PLASMA and LCD television in the TV market: Technology may have blurred the differences, but television viewing is more than just about watching moving images. Once you’ve made the right choice, the picture is clearer. Choosing a television set can be quite a daunting task especially if the customer is looking for an LCD or plasma. Choices abound and there are some myths about the technologies, too. Unlike what many believe, there are major differences between the two types and you can’t substitute one type for the other merely on their looks. To be honest, there isn’t much of a hood to look under. But inside the sleek and thin exterior, plasma TVs employ a matrix of tiny plasma gas cells that are charged by precise electrical voltage to create a picture. In the case of LCD panels, liquid crystal display make up the screen. Imagine liquid crystal pressed between two glass plates to which varying electrical charge is applied to create an image. That’s an LCD television. Despite the advances made in LCD and plasma technology, however, there are experts and gamers (they really do use TVs a lot) maintain that CRT (cathode ray tube or our regular TV) still offers the best quality. Depending on customer’s budget and his requirements (maybe in that order of preference), the choice of an LCD or plasma TV will vary. One line of thinking insists that for basic home theatre requirements, plasma screens are slightly better since they can render black better than LCD TVs. This means that the contrast and, therefore , the level of detail on a plasma TV would be better. The reason LCDs cannot achieve as true a black as plasma TVs can has to do with the liquid that is backlit and does leak a little. Improvements are happening all the time and in due course, this should be rectified, but by then, plasma may have become the predominant choice. In addition to the above, one of the major factors in favour of plasma TVs is their better viewing angle. This allows viewers to sit at acute angles and still get a clear picture. But it’s not all bad for LCD TVs. One of the biggest advantages they have over plasma TVs is the price . But even technically, there are some advantages that an LCD TV offers. For instance, LCD TVs have higher native resolutions than plasma TVs of the same size. What this means is there are more pixels on the screen and if you are one of those who like to see every minute detail, an LCD may offer more. Of course, this also depends on the source and an ordinary cable TV connection won’t let you notice the difference. The one myth about LCD TVs that doesn’t hold true for new generation models is the ‘blur’ that was noted in fast scenes or when watching sports (more noticeable when watching a car race as opposed to cricket or snooker! ). This has improved significantly and the difference between a plasma and LCD in this regard is almost negligible. The running cost of a TV is something that many don’t consider. With increasing screen sizes, the power consumption will also increase and in this regard, LCD TVs outscore plasma TVs once again. LCD TVs are said to consume up to 30% less power than plasma TVs. An another downside that plasma TVs suffer from is the screen burn-in. For whatever reason (and we cannot really think of a reason good enough), you leave your TV on with a still image (say you paused a movie), there is a chance that the ghost of this image may get burned in permanently on the screen. Which means that even if you turn it off, a faded image of this will be visible. While newer generation Plasma TVs suffer less from this ailment, it hasn’t been entirely eradicated. And if you are wondering about TV channel logos, they are translucent and don’t leave the same sort of ghost behind! When you are looking at plasma or LCD TVs, you may come across a piece of information that says â€Å"60,000 hours† or some such number. This is the time for which your plasma TV will have optimum brightness after which it will start to fade off. In case of plasma TVs, the accepted duration ranges between 30,000 and 60,000 hours while in case of LCD TVs, it is virtually guaranteed for 60,000 hours. If you actually convert this to days, it works out to about 2,500 days or about six years of continuous viewing. * LCD TVs offer more pixels and so you can see more minute details * LCD TVs are said to consume up to 30% less power than plasmas * Plasma screens render black better than LCD TVs. The contrast and level of detail are therefore better * Plasmas offer better viewing angles. It allows you to get a clear picture even from acute angles. Hence after having the preliminary information we get convinced that, it is the customer’s perception which finally takes decision about the type of TV to be purchased. (LCD OR PLASMA TV) 5) Exact nature of the study: As because the differentiation from the customer’s point of view, is no more existed as far as the PLASMA AND LCD television field is concerned, the researcher is interested to find out the perception oriented competent parameters(dominant areas) which are driving the PLASMA AND LCD television market in Mumbai regio n. In doing so, the researcher will be surveying the customer, user and dealers (retailer) in Mumbai market to analyse the PLASMA and LCD television market. (6) Objectives of the study: a)To identify and analyse various factors influencing the purchase of TV set by the customer. )To differentiate the factors between PLASMA TV and LCD TV. c) To study the impact of new developments (PLASMA TV and LCD TV) on traditional CTV market in Mumbai region. d)To study the current scenario of various companies manufacturing and marketing PLASMA and LCD TV and normal CTV in India. e)To understand the customers’ preferences about the various parameters of PLASMA over LCD TV. IMPORTANCE AND NEED OF THE STUDY: A) Now a days the PLASMA and LCD TV manufacturing and marketing Companies are relooking for the best strategies and are desperate for growth. B) This study will provide the preference of the customer in the changing marketing environment. C) This study will provide the complete knowledge about the factors influencing customers’ preference to the CTV market. D) It will make the supplier alert about his own strengths and weaknesses and ultimately will give an insight to enhance his sales in the market. Also the supplier will be aware about favourable and unfavourable factors of the customer which influence on the profitability of the industry. E) It will be witnessing a new scenario with a new market profile. F) To the layman, however, it’s not the technology and how it works that matters but it’s the quality of the TV that he is worried about. Both LCD and PLASMA TVs offer excellent picture quality. But obviously both have their pros and cons. With this study the producer will get an opportunity to understand the same. Significance of CUSTOMER PERCEPTION in TV MEDIUM: 1)To offer better quality of service to the customer after knowing the perception about the product. 2) It would be more convenient to design better Marketing strategy. 3) Provide fast response to the customer (7) Research Methodology Research Design Research Methodology includes the type of primary and secondary research used for this project i. e. the way in which the data are collected for the research project. The methodology will also include the plan for sampling, the relevant field work and the analysis tools to be sued to interpret the data so collected. Methodology refers to more than a simple set of methods; rather it refers to the rationale and the philosophical assumptions that underlie a particular study. This is why scholarly literature often includes a section on the methodology of the researchers. A Research Design provides the framework to be sued as a guide in collecting and analyzing data. Research can be Exploratory, Descriptive or of Casual type. Amongst this Descriptive Research Design has been chosen to carry out this project. Descriptive Research is carried out with definite objective(s) and hence it results in definite conclusion. This research tries to describe the opinion of the respondents on the selected topic of the project. Hypothesis: 1) Customer prefer LCD TV over PLASMA TV. 2) There is a significant impact of PLASMA and LCD TV on the sales of general CTV. Universe of the Study: The universe of the study is all customer, user, dealers(retailers) in the Mumbai region only. Sampling Plan : About 100 customers(mix of perspective customers and users) and around 50 retailers will be selected as a representative sample from all over Mumbai. As the study is limited to Mumbai city, all the samples will be randomly selected from Mumbai city only. Census is the process of obtaining response from / about each of the member of the population which is not always possible due to the various constraints to the researcher like time, cost etc. In such situations the alternate method of data collection is sampling. Sampling is the process of selecting a subset of randomized number of constituents of the population of the study and collecting data about their characteristics, facts and opinions. Sampling takes lesser time to collect data at lesser cost and also as the data is less its accuracy often increases as compared to huge data. Sampling methods can be classified into probability and non-probability sampling. In probability sampling each unit in the population has a probability of being selected as the unit of the sample which varies as per method of probability sampling is chosen. In non-probability sampling there may be instances that certain units of population will have zero probability of selection because the interviewer considered his / her own judgment, convenience and bias for the selection of the sample units of such sampling. Though the probability sampling gives better accuracy in terms of confidence level of the inferences of the study, there are many practical difficulties in fully executing it6. Further, the sample can also be stratified based on the various governing variables. Appropriate questionnaires will be structured and circulated amongst the sampling units. Sampling Tools The Primary Research shall be focused on Survey, Expert Consultations and Qualitative Research which will include in depth interviews, The specific tools will include. †¢ Questionnaire †¢ Personal Discussions / Interviews schedules. Data collection Data is the basic input to any decision making process in a research study; processing which gives the statistics of importance of the study which can be categorized in to primary and secondary data. A) Primary data: Primary data may be collected from customer, user, dealers (retailers) through schedules and questionnaires. B) Secondary data: Secondary data can be traced from office record, journals, annual reports and other office documents. Analysis & Interpretation of Data: Statistics is the art and science of collecting, analyzing, presenting, and interpreting data7. The reason for analyzing data is to understand the variation and its causes in the phenomenon. Since variation is present in all the phenomena, knowledge of it leads to better decisions about a phenomenon that produces the data. It is from this perspective that the learning of statistics enables the decision maker to understand how to draw conclusions about the large population based upon information obtained from the sample. For the purpose of this research: the thought process that focuses on ways to discover, manage, and decrease the variation present in all phenomenon is statistical thinking; data is the collection of observations of variables of interest while the population is the collection of all elements of interest. This research study is focused on statistical theory in formulating and solving problems. Descriptive as well as inferential statistics methods will be used in the research; descriptive statistics will include graphic and numeric method both. Limitations of the study: a)The geographical location of the study is limited to Mumbai city only. b) Only the impact of PLASMA and LCD TV on general CTV market will be studied under the proposed research. c) Brand differentiation of all available TV sets in the market will not be considered. d) Technological aspects will not be covered in the study. e) The study is limited to the customers in the age group of 25 to 35yrs. 8) Plan of Work |SR. No. |Particulars of proposed research work |Duration (Months) | | | | | |1. |Collection of Primary Data. |4 | |2 |Collection of Secondary Data. |4 | |3 |Typing the Manuscript. |2 | |4 |Proof Reading. |2 | |5 |Development of Analysis Plan. |4 | |6 |Data Interpretation. 1 | |7 |Drawing Conclusion. |2 | |8 |Drawing Suggestions. |1 | |9 |Miscellaneous work. |4 | | | | | | |Total |24 | (9) Chapter Scheme Chapter 1: Introduction: History and development of audiovisual medium: This chapter deals with the historical development in the audiovisual medium and evolution in the field of TV industry. Chapter 2: Indian television industry This chapter covers the actual progress in the modern age in the field of television in India. Chapter 3: New developments in CTV industry: An introduction of PLASMA and LCD television in the TV market: In this chapter, specifically the advancements in TV industry in terms of PLASMA and LCD television and their pros and cons will be explain in detailed. Chapter 4: Exact nature of the study: Here, the emphasis will be given on the latest developments in the field of TV Industry (including PLASMA and LCD TV. Chapter 5: Objectives of the study: This chapter covers the basic objectives behind conducting the study. Chapter 6: Analysis and interpretation of Data: This chapter deals with analysis of data using suitable statistical tools and the presentation of the same. Chapter 7: Conclusion and recommendations: In this chapter the conclusion will be drawn on the basis of data analysis and the recommendations shall be presented. Bibliography: Appropriat e bibliography will be given at the end of the report for all secondary data in the theses.