Economics and Global Business Applications

Introduction There is no doubt that communication is an integral marketing strategy that a firm must master in order to compete effectively in foreign markets. According to Tian and Borges (2011), a company must adopt sound marketing communication strategies in order to engage in international business successfully (p. 110). Nonetheless, some senior executives fail to realize that cultural difference may enhance or impede a company’s marketing approach in a foreign market.Advertising We will write a custom essay sample on Economics and Global Business Applications specifically for you for only $16.05 $11/page Learn More As the world becomes globalised, many countries have progressively staked a claim to â€Å"a right to culture† in global business (Tian Borges, 2011, p. 110). Some experts have even predicted that national culture will play an important role in determining not only economic growth but also the overall global business strate gies. Consequently, this paper will explore the major cultural issues that impact a firm’s marketing approach in China. Major Cross-cultural Issues Affecting a Firm’s Marketing Approach It is important to mention that cross-culturalization is an unavoidable process since the world is rapidly becoming a global village. On the one hand, as the world becomes more globalised, the disparities between national markets are weakening. On the other hand, the cultural disparities between ethnic groups, regions and countries are (nonetheless) growing stronger. Accordingly, since global marketing communication is a cross-cultural process, senior executives must strive to understand cultural diversity across ethnic groups and countries in order to successfully launch their business operations in international markets (Pitta, Fung Isberg, 1999, p. 240). As noted earlier, global marketing communication entails communication that transcends national frontiers. Accordingly, cross-cult ural communication (from the viewpoint of consumers, values and language) is a complicated undertaking since a certain level of miscommunication is bound to happen. For example, cross-cultural communication problems may surface when a particular group from one culture fail to grasp culturally established disparities with respect to communication traditions and practises that are presented in another cultural perspective. In addition, the manner in which a firm entrenches the norms and values in its advertising messages may positively or negatively impact its business operations in the global market. In other words, a firm must grasp the role of cultural values in advertisements in order to enhance its cross-cultural marketing communication. Thus, a firm’s global marketing strategy should be guided by the cultural values present in the targeted market to avoid misinterpretation of the intended message and consequently result in poor performance in the global markets (Pitta, Fu ng Isberg, 1999, p. 240).Advertising Looking for essay on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More The China market provides a good example for exploring the relevance of cross-cultural communication given the prevalence of numerous variable that determine the manner in which the Chinese businessmen interact with their non-Chinese counterparts. For example, Tian and Borges (2011) point out several factors that new market entrants must consider inculcate in order to market and sell their products successfully in China market. These factors include strong negotiation skills, agility and patience (p. 111). In addition, new market entrants must learn how to adapt to the local market environment in order to compete effectively in the China market (Pitta, Fung Isberg, 1999, p. 240). Cross-cultural Communication and Marketing Strategies In Chinese Market As noted in the previous section, the rapid globalization of world markets has compelled marketing executives to learn how to carry out business operations among diverse cultures. It is worth mentioning that the cross-cultural communication between consumers and marketers is an important factor that determines business success in the China market. Thus, it is important for a firm to collect market data, interpret and use it effectively to ensure business success in the China market. This argument can be supported by one classic example regarding efforts by the Japanese firms to introduce coloured televisions in the China market (Tian Borges, 2011, p. 112). In the late 1990s, the China market was dominated by coloured television sets imported from Japan. Previously, the European and the Japanese television set producers carried out studies to explore the viability of their operations in the China market. The European producers (based on their findings) opted not to venture into the China market. Their studies revealed that the Chinese consumers co uld not afford coloured television sets because the country’s (China) GDP per capita was lower. Nonetheless, the Japanese television set producers opted to market their products in the China market because the findings of their studies revealed that most Chinese shoppers had a culture of saving. Their findings also revealed that this tradition has been practised by successive generations in China for many years (Tian Borges, 2011, p. 113). In addition, the majority of consumers in the Western nations have poor saving habits compared to their Chinese counterparts. For example, the research by the Japanese marketers found that a majority of households in China had saved their earnings for close to three years in order to purchase a television set. The Japanese manufacturers also found that majority of the Chinese households purchased Japanese television sets more than those produced by the local Chinese companies.Advertising We will write a custom essay sample on Economic s and Global Business Applications specifically for you for only $16.05 $11/page Learn More Based on their findings, the Japanese manufacturers were convinced that the Chinese households would purchase coloured television sets imported from Japan. It is against this backdrop that the Japanese coloured television manufacturers reaped enormous profits in the China market because they were able to grasp the distinctive aspect of the Chinese culture (Tian Borges, 2011, p. 113; Pitta, Fung Isberg, 1999, p. 240). Cross-cultural Ethical Differences In Marketing Strategies Between US and China The Chinese culture perceives change as disturbing especially if it is extensive and happens abruptly. This viewpoint is grounded on the principles of Taoism and Confucius which are held in high esteem by the Chinese. It is worth mentioning that Taoism and Confucius tenets have strong influence on the manner in which the Chinese people think and act since they emphasize peac e and harmony. However, the Americans hold efficiency in high esteem in all their marketing strategies. In other words, any marketing strategy that will bring about the desired outcomes is considered as essential. In addition, American marketers lend credence to a rational way of thinking that is anchored in facts. Furthermore, Americans hold in high esteem the desired outcomes which may be troublesome to the existing relations . What is more, Chinese marketers value human relationships and abhor the spirit of individualism in their marketing strategies. On the contrary, human relationships play a limited role among American executives. Furthermore, the spirit of individualism is highly prevalent among Americans because it enables them to acquire their uniqueness via their individual actions and accomplishments (Pitta, Fung Isberg, 1999, p. 247). References Pitta, D., Fung, H., Isberg, S. (1999). Ethical issues across cultures: managing the differing perspectives of China and the USA. Journal of Consumer Marketing, 16 (3), 240-256. Tian, K., Borges, L. (2011). Cross-cultural Issues in Marketing Communications: An Anthropological Perspective of International Business. International Journal of China Marketing, 2 (1), 110-126. This essay on Economics and Global Business Applications was written and submitted by user Lilliana Clay to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Art Fakes and Forgeries Essay Example

Art Fakes and Forgeries Essay Example Art Fakes and Forgeries Paper Art Fakes and Forgeries Paper Essay Topic: F for Fake The two essays, â€Å"What is Wrong with a Forgery,† by Alfred Lessing and â€Å"Artistic Crimes,† by Denis Dutton, explore the different reasons that they give negative connotation to the concept of an artistic forgery. Each author concludes that a forgery is indeed wrongful, however their reasons for this conclusion differ in several distinct ways. This essay will summarize both authors’ main points and compare and contrast the fundamental differences of their arguments. Lessing begins â€Å"What is Wrong with a Forgery† by establishing that forgeries are not void of aesthetic value. In fact, he states that a clear distinction must be made between the qualities that make a piece of art aesthetically pleasing and the non-aesthetic qualities that art critics consider when analyzing a piece. The concept of a forgery, he says, is purely non-aesthetic and should not be used to describe the beauty of a piece. To further illustrate this point and later points in his essay, Lessing introduces the case of the Johannes Vermeer fakes done by Hans van Meegeren. The painting The Disciples was thought to be a Vermeer masterpiece for 7 years until van Meegeren revealed that he had actually done the painting and misrepresented it as Vermeer’s. Lessing says, â€Å"The fact that The Disciples is a forgery is just that, a fact. It is a fact about the painting which stands entirely apart from it as an object for aesthetic contemplation. The knowledge of this fact can neither add anything to nor subtract anything from the aesthetic experience. Here Lessing establishes that his problem with the forgery does not lie within the aesthetic value of the art, so he introduces what he believes to be the real problem with a forgery: that it is an offense against what he calls â€Å"the spirit of the art,† and he contends that a forgery, such as The Disciples, â€Å"lacks artistic integrity. † To further illustrate this he considers that the concept of forgery cannot be applied to the performing arts, a concept which Dutton refuses to ac cept in his essay, which we will explore later. Lessing uses this concept to draw a distinction between creativity or originality and reproduction or technique. Technique, he says is public, it is something anyone can possess or learn, while originality or creativity is a deeper concept to explore. Both qualities in perfect balance, he asserts, are necessary to create a great work of art. Lessing says forgery is in the concept of originality and not technique stating, â€Å"forgery is a concept that can be made meaningful only by reference to the concept of originality, and hence only to art viewed as a creative, not as a reproductive or technical, activity. The element of performance or technique in art cannot be an object for forgery because technique is not the kind of thing that can be forged. Technique is, as it were, public. † In the Vermeer case, it is not the technique that was forged but his discovery of it; his originality in its use. Lessing further defines his view of artistic originality and its importance. He contends that true artistic originality comes from the impact on the history and progression of art. Vermeer, he says was a great artist because he brought new and original technique and style to the artistic community and profoundly impacted art history. The ability to produce aesthetically beautiful pieces of art is not all that makes a great artist, but it is this originality or â€Å"the fact that [Vermeer] painted certain pictures in a certain manner at a certain time in the history and development of art. † Van Meegeren did not possess this, he only had the technique to reproduce Vermeer’s originality. Lessing concludes with the assertion that since van Meegeren’s painting is aesthetically beautiful it is actually shows what a great artist Vermeer was. It is a testament to the original genius of Vermeer’s style and technique brought about in the 17th century. In Dutton’s essay, â€Å"Artistic Crimes† he, like Lessing, agrees that the intrinsic aesthetic properties of a work of art are not changed by the revelation that the piece is actually a forgery. Dutton’s stance on the issue of why a forgery is wrong differs most from Lessing’s in that he argues that there can be no distinction between creative and performing art. In Dutton’s opinion, every work of art involves some element of performance. The difference is whether we perceive the moment of performance or if we only see the end product of the performance. Regardless, this performance must be considered in appreciating a work of art. A performance he says represents a sense of accomplishment or achievement. Dutton states, â€Å"As performances, works of art represent the ways in which artists solve problems, overcome obstacles, make do with available materials. † This is an aspect of a piece that cannot be ignored when fully appreciating its artistic value. Dutton’s main problem with forgery then is not the lack of originality that Lessing speaks of, but that a forgery misrepresents achievement. In the van Meegeren case, for example, the problem is in that it was a much greater achievement for Vermeer to paint his masterpieces during the 17th century with the resources and technology at that time, than it is for van Meegeren to paint the same way in the 20th century with many more resources available. Another difference between Lessing and Dutton’s argument is that Dutton believes that a forgery does have originality and this is not its problem. Lessing believes that this lack of originality is the fundamental problem with the forgery, but Dutton states, â€Å"even forgeries – those putative paradigm cases of unoriginal effort – can have strikingly original aspects. † He goes on further to say that the van Meegerens are actually original van Meegerens, an original performance by van Meegeren was misrepresented as a Vermeer performance. Here, he asserts, is the misrepresentation of achievement that is the problem with a forgery. Dutton reiterates that the knowledge of the origin of a work and the artistic achievement that the piece represents is crucial to appreciating a work of art. The â€Å"aesthetic experience† that Lessing speaks of in his essay, Dutton discredits stating, â€Å"The encounter with a work of art does not consist in merely hearing a succession of pretty sounds or seeing an assemblage of pleasing shapes and colors. † The artistic experience he asserts is much more complex than that and when the performance that led to a piece of art is misrepresented the achievement that the art represents is misrepresented. To learn this fact changes the entire artistic experience when appreciating all aspects of the piece including the performance that led to its existence. Both Lessing and Dutton agree that the aesthetics of a piece are not altered by the acquired knowledge that it is a forgery. Where the two authors differ is in their concept of experiencing art. Dutton discredits Lessing’s belief in a purely aesthetic experience, believing that there are many more aspects involved in the artistic experience than pure aesthetics. The authors’ other key disagreement is in Lessing’s distinction between performing and creative art, saying that a forgery only exists in the creative aspect and the lack of originality in style and technique is where the forgery is wrong. However, Dutton disagrees, asserting that every piece of art involves a performance and this misrepresented performance misrepresents achievement. This is Lessing’s problem with a forgery because the achievement of the artist must be considered during any artistic experience.

Growing Gap between Poverty and Wealth in China Essay

Growing Gap between Poverty and Wealth in China - Essay Example As the report declares rumors of the magnificent prosperity of the south and eastern provinces have reached the more isolated-and less prosperous-interior provinces. Those current farmers who would travel in order to be more prosperous themselves are often blocked at the borders of industrial growth and discouraged to proceed. This paper stresses that today, 80 to 120 million surplus rural workers are adrift between the villages and the cities, many subsisting through part-time, low-paying jobs. Everyone in China seemingly wants a share, but the industrial provinces can physically support no more drain on their existing housing and infrastructures, and they are finding themselves unable to enhance their current positions despite their economic prosperity. The gap between rich and poor in China is rapidly growing and could even threaten the country’s stability. In just 20 years, China has gone from having virtually no income gap to having one of the world's biggest. Growing wealth in cities like Shanghai has not been shared by rural areas. The country was now in a "yellow-light" zone, the second most serious indicator of "social instability", according to an official report focusing on the growing gap between rich and poor. If there are no effective solutions in the next few years, it is going to hit red-light scenario after 2010. Earlier in September, the Organisation for Economic Cooperation and Development (OECD) produced an imposing report on China's economy.