Pricing Strategies Essay Example for Free

Pricing Strategies Essay Competition based pricing Setting the price based upon prices of the similar competitor products. Competitive pricing is based on three types of competitive products: * Products having lasting distinctiveness from competitor’s product. Here we can assume * The product has low price elasticity. * The product has low cross elasticity. * The demand for the product will rise. * Products have perishable distinctiveness from competitor’s product, assuming the product features are medium distinctiveness. * Products have little distinctiveness from competitor’s products. Assuming that: * The product has high price elasticity of demand. * The product has some cross elasticity of demand. * No expectation that the demand of the product will rise. Cost plus pricing Cost plus pricing is the simplest pricing method. The firm calculates the cost of producing the product and adds on a percentage (profit) to that price to give the selling price. This method although has two flaws; it takes no account of demand and there is no way of determining if potential customers will purchase the product at the calculated price. AC + Profit markup It is lower than profit maximizing level of pricing Price = Cost of production + Margin of profit Creaming or skimming Selling a product at a high price, sacrificing high sales to gain a high profit, therefore ‘skimming’ the market. Usually employed to reimburse the cost of investment of the original research into the product – commonly used in electronic markets when a new range, such as DVD players, are firstly dispatched into the market at a high price. This strategy is often used to target â€Å"early adopters† of a product or service. These early adopters are relatively less price sensitive because either their need for the product is  more than others or they understand the value of the product better than others. This strategy is employed only for a limited duration to recover most of investment made to build the product. To gain further market share, a seller must use other pricing tactics such as economy or penetration. This method can come with some setbacks as it could leave the product at a high price to competitors. Limit pricing To set a price low enough to ensure that new entrants are discouraged to enter the market. A limit price is the price set by a monopolist to discourage economic entry into a market, and is illegal in many countries. The limit price is the price that the entrant would face upon entering as long as the incumbent firm did not decrease the output. The limit price is often lower than the average cost of production or just low enough to make entering not profitable. The quantity produced by the incumbent firm to act as a deterrent to entry is usually larger than would be optimal for a monopolist, but might still produce higher economic profits than would be earned under perfect competition. The problem with limit pricing as strategic behavior is that once the entrant has entered the market, the quantity used as a threat to deter entry is no longer the incumbent firm’s best response. This means that for limit pricing to be an effective deterrent to entry, the threat must in some way be made credible. A way to achieve this is for the incumbent firm to constrain itself to produce a certain quantity whether entry occurs or not. An example of this would be if the firm signed a union contract to employ a certain (high) level of labour for a long period of time. Loss leader Loss leader: Basic concept in the majority of cases, this pricing strategy is illegal under EU and US Competition rules. No market leader would wish to sell below cost unless this is part of its overall strategy. The idea of selling at a loss may appear to be in the public interest and therefore often not challenged. Only when the leader pushes up prices, it then becomes suspicious. Loss leadership can be similar to predatory pricing or cross subsidization; both seen as anti-competitive practices. Market-orientated pricing Setting a price based upon analysis and research compiled from the targeted market. Also with the cost price. Penetration pricing This price is deliberately set at a low level to gain customer’s interest and establishing a foot-hold in the market. Price discrimination Setting a different price for the same product in different segments of the market. For example, this can be for different ages or for different opening times, such as cinema tickets. Such as market orientated pricing is also a very simple form of pricing used by very new businesses. What is involves is, setting a price of product/service according to research conducted on your target market. It holds good in case of: price sensitive consumers existence of large mass market intence competition in the market.

Ansel Yosemite Adams Essays -- Biographies Bio Biography

Ansel "Yosemite" Adams It is said that, "A picture is worth a thousand words." Ansel Adams proved this statement correct with every single image he produced. Some of his best-known photographs were taken in the Yosemite Valley, including his first ever picture of Monolith; the Face of Half Dome nestled in the heart of the valley. When the thought of Yosemite comes to mind, Ansel Adams' name follows right behind it. Adams' life revolved around Yosemite in many ways, and he was often called "Ansel Yosemite Adams" (Fischer 8). He was a caring man and cared deeply about the Sierra Nevada, and seemed to have a psychic connection with Yosemite (Spaulding 615). Ansel Adams once recalled his first visit to Yosemite: The first impression of the Valley-white water, azaleas, cool fir caverns, tall pines, and solid oaks, cliffs rising to undreamed-of heights, the poignant sounds and smells of the sierra, the whirling flourish of the stage stop at Camp Curry with its bewildering activities of porters, tourists, desk clerks, and mountain jays, and the dark green-bright mood of our tent-was a culminations of experience so intense as to be almost painful. From that day in 1916, my life has been colored and modulated by the great earth-gesture of the Sierra. (Fischer 9) Adams' love for Yosemite was portrayed through his elegant words and pure black and white images of the valley. The natural beauty of Yosemite was shared with the world through his images of unspoiled rushing streams, raging waterfalls, crystal clear lakes, lone trees and high sierra mountain peaks. In the combination of his photographs and writings, Adams demonstrated "that those who appreciate the earth's wild places have a duty and responsibility to use them wisely and well... ...tional Park idea" (246). His magnificent photographs were his key to access the powerful leaders that could help him protect the land he loved (Fischer 18). Adams persistence and dedication to Yosemite changed the face of how people view our national parks. Yosemite's natural beauties and wilderness gained much appreciation from the American people through Adams images and efforts to protect the national park. In his autobiography Adams said, "While touching the fringes of environmental problems, I am happy to have been able to have had some small effect on the increasing awareness of the world situation through both my photographs and my vocal assertions" (322). Adams "photographs continue to inspire artist and conservationist alike" (Sierra Club). With his contributions to Yosemite, the sentimental value of the national park would not be as momentous as it is today. Ansel 'Yosemite' Adams Essays -- Biographies Bio Biography Ansel "Yosemite" Adams It is said that, "A picture is worth a thousand words." Ansel Adams proved this statement correct with every single image he produced. Some of his best-known photographs were taken in the Yosemite Valley, including his first ever picture of Monolith; the Face of Half Dome nestled in the heart of the valley. When the thought of Yosemite comes to mind, Ansel Adams' name follows right behind it. Adams' life revolved around Yosemite in many ways, and he was often called "Ansel Yosemite Adams" (Fischer 8). He was a caring man and cared deeply about the Sierra Nevada, and seemed to have a psychic connection with Yosemite (Spaulding 615). Ansel Adams once recalled his first visit to Yosemite: The first impression of the Valley-white water, azaleas, cool fir caverns, tall pines, and solid oaks, cliffs rising to undreamed-of heights, the poignant sounds and smells of the sierra, the whirling flourish of the stage stop at Camp Curry with its bewildering activities of porters, tourists, desk clerks, and mountain jays, and the dark green-bright mood of our tent-was a culminations of experience so intense as to be almost painful. From that day in 1916, my life has been colored and modulated by the great earth-gesture of the Sierra. (Fischer 9) Adams' love for Yosemite was portrayed through his elegant words and pure black and white images of the valley. The natural beauty of Yosemite was shared with the world through his images of unspoiled rushing streams, raging waterfalls, crystal clear lakes, lone trees and high sierra mountain peaks. In the combination of his photographs and writings, Adams demonstrated "that those who appreciate the earth's wild places have a duty and responsibility to use them wisely and well... ...tional Park idea" (246). His magnificent photographs were his key to access the powerful leaders that could help him protect the land he loved (Fischer 18). Adams persistence and dedication to Yosemite changed the face of how people view our national parks. Yosemite's natural beauties and wilderness gained much appreciation from the American people through Adams images and efforts to protect the national park. In his autobiography Adams said, "While touching the fringes of environmental problems, I am happy to have been able to have had some small effect on the increasing awareness of the world situation through both my photographs and my vocal assertions" (322). Adams "photographs continue to inspire artist and conservationist alike" (Sierra Club). With his contributions to Yosemite, the sentimental value of the national park would not be as momentous as it is today.

Keats poetry reflects Essay

Q. Rich Sensuousness, well-wrought form and depth of thought are characteristics of Keats poetry. By means of a comparative study examine how Keats poetry reflects these features.  A. The three main odes I will discuss are: Ode to autumn, Ode on Grecian Urn and Ode to Melancholy. The Odes bring to perfection Keats’s command of form and richly meaningful use of the English Language.  Melancholy -which today perhaps he called depression- was a state at which Keats was very familiar. The inspiration of the Ode came from a book on the subject by Burton who proposed various remedies to alleviate the ‘melancholy fit’. The first stanza of the Ode emphatically rejects these remedies, which induce oblivion and associate melancholy with thoughts of death. They numb the sense and dull the keen edge of the melancholic experience. The â€Å"rosary of yew-berries† can be easily pictured, the sinister berries of the tree that symbolizes death strung together for the purpose of counting one’s prayer. Keat begins the second stanza by referring for the first time in the poem to melancholy as a disease, a â€Å"fit† (line eleven) whose onset is as sudden as a spring shower. The lush imagery of lines twelve and fourteen quickly lures attention away from melancholy to the marvel of an April rain, yet the poet is all the while at work characterizing melancholy itself by means of this extended simile. To follow the cure for Melancholy in the final lines of the second stanza is to plunge into a series of sensuous impressions so brilliantly and attractively evoked that they make one forget that this is a kind of medicine. The poet commands us to glut first on the rose; then on the rainbow momentarily created as a wave breaks in the sunlight on the sea; and again on flowers, now the blooms of the peony. The lines containing these commands are heavy with synaesthesia, one of Keats favorite stylistic devices, which consist in mingling the impressions of two or more senses into a single image. The rose, for instance, is obviously a delight to see and to smell, but this is a mourning rose, a blossom at its freshest and best, and the poet bids us to enjoy it so completely as to taste it. Indeed, the word â€Å"taste† is too weak, and instead Keats uses â€Å"glut†, experience. He likewise invokes several senses to stimulate us to a more intense enjoyment of the peony’s bloom by touch as well as by sight. In the last three lines of stanza Keats turns his attention intensity of natural beauty to the intensity of feminine beauty. Almost as if alluding to the clichà ¯Ã‚ ¿Ã‚ ½ that women are most beautiful when angry, the poet chooses the moment in a love affair when emotion is at a very high peak. To evoke the force of such an experience, he engages in this one complex of imagery four of the five senses: touch, â€Å"emprison her soft hand†: hearing, â€Å"let her rave†, sight, â€Å"her peerless eyes†; and taste, â€Å"feed deep, deep.† Keat uses these techniques so that the reader is fully involved with the poem as he forces us to work through this lush imagery. â€Å"She dwells with beauty- beauty that must die† – we know see why Keats turns Melancholy to beautiful things: it is inevitable decay of beauty, which is at the core of Melancholy. Not only does the imminet passing of beauty and joy give rise to melancholy but at every moment the pleasurable experience turns to one of pain or satiety. Thus pleasure and pain, joy and sorrow, are immediately linked belonging even to the selfsame experience. A series of powerful images enforces these ideas: Joy always on the point of departure, the bee’s nectar turning to poison, the veiled goddess of Melancholy enshrined in the temple of delight, the bursting of Joy’s grape, whose taste turns out sadness. If the Ode on Melancholy sags a little in the stanza two is certainly prevented from collapse by the vigor and vividness of stanzas one and three. The third stanza is full of images suggesting life and activity such as the figure of Joy caught at a moment of arrested action and the bee at work, culminating in the energetic act of bursting a grape with ‘strenuous tongue’. The ‘taste’ images, too, suggest the physicality of the experiences of pleasure and joy. In on a Grecian Urn, the subject is a marble urn with scene in relief running around it; it has been shown that the urn here described was not one actually seen, but a creation of Keats’s imagination. The mysterious and beautiful opening lines at once give rise to several ideas: the stillness of the urn, its remaining unspoilt, thought holding out a promise of delight.  Ã¢â‚¬ËœWhat men or gods are these? What maidens loth?’. The urns power lies in its appealing to the imagination rather than the senses; sensual experience is always reaching after, or being set against, an ideal of which it falls short: ‘ Heard melodies are sweet, but those unheard/ Are sweeter; therefore, ye soft pipes, play on;/ Not to the sensual ear, but, more endear’d/ Pipe to the spirit ditties of no tone: The figures on the urn have a sort of ideal existence because they are frozen at a moment of the time and so are immune from life’s vicissitudes: ‘†¦nor ever can those tress be bare; Bold lover,.. For ever wilt thou love and she be fair.’  The unchanging happiness of the figures is emphasized in stanza three by the repetition of words and phrases: ‘happy’, ‘for ever’, ‘move’, even though their passion is unsatisfied their state far transcends that of mortals for whom satisfaction turns pleasure into safety. Stanza four introduces a new scene (as if the urn were being turned round). The first scene was wild and ecstatic, suggesting Bacchanalian rites; this one is serene in comparison, showing a formal procession to make sacrifice. The almost frenzied questions of stanza one contrast sounds are suggestive of tranquility.  The poet helps us to understand what he has in mind. The pipes on the urn sound â€Å"not to the sensual ear† but â€Å"to the spirit†. It is significant that Keats does not use a more literally precise word like â€Å"physical† to describe the ear. â€Å"Sensual† (like â€Å"physical†) refers to the body, but it also connotes excessive indulgence, particularly in sexual pleasure, and moral disapproval. Keats then uses this tension between sense and spirit to add one more layer to this tissue of paradox.

Fahrenheit 451 By Ray Bradbury - 2277 Words

Imagine a society completely run by technology—robotic workers, home theatres, supreme medical care. Despite the benefits technology could provide, its flaws are masked away by the glossy image created by the media. Fahrenheit 451 focuses on a dystopian society, taken place in the future, where technology is deeply engraved into the people’s lifestyle. With technology playing a major role in their lives, the people are isolated from their world as they are not exposed to many aspects of being human—knowledge, independence, emotion. Montag, the protagonist, soon realizes the missing elements of life, being human, due to the heavy uses of technology, and begins finding solutions in books. Ray Bradbury composed the novel in 1953, and was†¦show more content†¦This combination causes the people to not â€Å"...talk about anything...they all say the same things and nobody says anything different from anyone else’ † (Bradbury 28). As technology pl ays a major role in their life, socializing and interacting with others is no longer valued and forgotten—causing the people to become recluded. Similarly, this is reflected in our society as technology is advancing, and people are becoming infatuated with their devices. Often times, â€Å"the kids are all hanging out, but instead of looking at each other, they are staring at their phones† (Los Angeles Times). With technology being at reach, and the current popularity of online social media, people are finding shortcuts and alternative ways to interact with others virtually instead of physical interaction. Although this idea seems innovative, it damages our society’s social structure as people are not being exposed to social skills—thus, creating a socially corrupted community. Not only is technology impacting human interaction, but the people’s mentality as well. Mildred, from Fahrenheit 451, believes that â€Å" ‘books aren t real people. You read and I look around, but there isn t anybody...My ‘family’, is people. They tell me things; I laugh, they laugh’ † (Bradbury 69). Mildred is infamous for being obsessed with her parlor walls—televisions integrated walls—and often refers to her ‘parlor family’ as her biological family.