Definition of Marketing and Marketing Mix

Definition of Marketing and Marketing Mix Application of the marketing mix is no longer relevant for contemporary approaches to marketing. Marketing mix, as a part of marketing strategy, may affect the performance of one company. However, as to whether it still plays an important role in the contemporary marketing, many scholars and academics have various views, and some of them regard it as controversial, see Grà ¶nroos 1994, McCarthy 1960, Kent 1986 for more detail. Based on the previous analysis, this essay mainly discusses the relevance of the marketing mix used in two certain contemporary approaches- customers marketing, and relationship marketing as the limitation study of this essay. The Definition of Marketing and Marketing Mix In order to have a clear idea on marketing mix, first of all, the concept of marketing should be discussed. As reported by Keith Blois (2000, p.517), the American Marketing Association (1985) makes a conclusion of defining marketing as the process of planning and executing the conception, pricing , promotion, and distribution of ideas, goods and services to create and satisfy individual and organizational objectives and UKs Chartered Institute of Marketing(1996) defines the marketing as the management process of planning, anticipating and satisfying customer requirements profitably. In general, these two definitions focus on the transaction approach in marketing rather than relationship marketing, which the latter one plays a more important role in nowadays marketing approach. As supported by Philip Kotler and Gary Armstrongs (2007, p.5), marketing definition is the process of creating value for customers and build strong customer relationships in order to capture value from customers in return. This is also the reason of choosing customers marketing and relationship marketing as the main contemporary approach to discuss in latter parts of this article. After the figure out the definition of marketing, then it seems necessary to draw a clear picture of what marketing mix refers to, for the reason that many scholars and academic now have different views whether it should be change into 4C, or 4R, or add more Ps. Neil Borden (1975) who may first create the term marketing mix, and made a list of 12 subdivisions as the components within marketing mix, which can be divided into 4 categories, namely, consumer attitudes and habits, trade attitudes and methods competition and government control. as explicated by Baker (2007, p.328). He also discusses many types of classifying the elements of marketing mix, for examples the Albert Freys two dimensions (1961), threefold classification of Lazer and Kelley (1975) and Lazer et al (1973) and a four-way classification of Lipson and Darling (1971), but he prefers the idea of 4Ps-product, price, place and promotion as refer to marketing mix, which firstly proposed by McCarthy (1978). As Baker (2007) points out the 4Ps model simplifies the way to make a clear structure as a whole for marketing managers and guide them to achieve a certain task. Philip Kotler and Gary Armstrong (2007) define the marketing mix as the set of controllable, tactical marketing tool s (p.50), in order to get the feedback of the certain markets, and regard the 4Ps as marketing mix. Moreover, according to David Jobber (2001), The strength of the 4Ps approach is that it represents a memorable and practical framework for marketing decision-making and has proved useful for case study analysis in business schools for many years. Therefore, as 4Ps-product, price, place and promotion, are still widely recognized by worldwide scholars as marketing mix, this article will use 4Ps to discuss its relevance of contemporary marketing approach. The Relevance to Customers Marketing The development of the marketing approach and modern technology facilitate the customers to get more chances to be evolved in commercial activities, business communications and collecting data from the internet. Thus, the customer becomes more sophisticated to serve, as E. Constantinides (2006, p.413) illustrates that many researchers agree that modern consumer is demanding, individualistic, involved, independent, better informed and more critical (Capon and Hulbert 2000; Lewis and Bridger 2000). In this case, the marketers need to focus on the individual needs and wants and make the service personalized rather than carrying out the traditional marketing approach as mass marketing. For example, a famous cosmetic band Biotherm makes its products different according to the local markets. A product called corrective make-up base which have four different colors and SPF25 can only be sold in a China. Although it is more related to global marketing, but to some extent, the product is sold based on the local customers need-the skin of Chinese is more sensitive than European country. Another example is Dell Computer Company, which is more concentrate on customizing their products. The company tries very hard to collect as many choices as possible for every single consumer, in order to meet their personalized needs. However, when look into the marketing techniques used by both companies, they all emphasize on customer or consumers needs as the first principles, and it is obvious that marketing mix-product, price, place and promotion, do not contain the element of customer. And according to E. Constantinides (2006), Robins (1991) pointed that 4Ps model of marketing mix concerns the internal elements too much, instead, the external elements such as Customers, Competitors, Capabilities, Company should be also taken into consideration. And Kotler (1984) advocated that as part of marketing strategy, some external and uncontrollable environmental factors are needed to includ e in the marketing mix, namely, Customers Environmental variables Competitive variables. As discussed above, it indicates that, in customers marketing, the markers should think more about how to satisfy their customers, rather than just focus on the product itself. In other words, markers should do something for the customer instead of to them and be more customer-oriented. Today, consumer is no long the one who just buy the mass products, but the one who personalize the products by themselves and even push forward the one companys creativity. Besides, customers marketing requires more consumer interactivity. As argued by Doyle (1994), and Yudelson (1999) in E. Constantinides (2006), that to get higher value is not as the only purpose to consumer, but they also want to affect on the process of communicating. In this case, the 4Ps marketing mix seems not as relevant to the customers marketing as to other marketing, like transactional marketing. The Relevance to Relationship Marketing Evert Gummesson (2008) defines relationship marketing as an approach to develop long-term loyal customers and thus increasing profitability. And he even develops 30R (relationship) to elaborate the core concept-relationship, network and interaction. Gronroos (1994) argues that the 4Ps model marketing mix is much more clinical approach, restrictive and obsolete, which also makes the buyer a passive part rather then an active part as it should be. Patterson andWard (2000) in E. Constantinides (2006, p.417) illustrate that 4Ps Marketing Mix has a clearly offensive character because the strategies associated to the 4Ps tend to be function-oriented and output oriented. In order to solve the problem caused by 4Ps, he advocates the emphasis should be in managing valued customer relationships, and proposes new Cs, namely, Communication Customization Collaboration and Clairvoyance. From the above statement, it is clearly that the limitation of 4Ps marketing mix in relationship marketing. The 4Ps marketing mix is lack of customer orientation, either in interactive communication or in satisfying the consumers needs. Gronroos (1994) even pointed out that the marketing paradigm will eventually shift to relationship marketing rather than marketing mix management. It seems that the function of 4Ps marketing mix in dealing with customers marketing and relationship marketing is limited. It may due to the following reasons: Firstly, marketing mix is mainly coping with transaction marketing, which is product-oriented, as it is focus on mass markets. As Gronroos (1994) demonstrates that 4Ps model was indeed originally developed for consumer packaged goods marketing where transaction marketing is most appropriate. Secondly, marketing mix is as the dominating marketing function in transaction marketing, but just plays a supportive role in customers marketing and relationship marketing. Finally, compare with customers marketing and relationship marketing, in transaction marketing, customers are more sensitive to the price, as the former one may add additional value to the product, to some extent can fulfill other needs of consumers. So does 4Ps marketing mix really irrelevant to contemporary approach to marketing? Not exactly. As the article just picks up two main marketing methods to discuss, so the conclusion is too earlier to draw. However, when Philip Kotler and Gary Armstrong (2007) mentioned about the marketing mix, they indicated that it is better to consider the buyers or consumers view, so they advocate 4C-customer solution, customer cost, convenience and communication, should be thought firstly, then build 4Ps on the basis of 4C, in that case, it will be more successful. Besides this, as discussed above that the marketing mix also supports the interactive marketing as in customers marketing and relationship marketing, so in conclusion, 4Ps is still relevant to the contemporary marketing, but at the same time, we should give priority to the customers wants and the peoples needs. Bibliography: 1. AMA Board Approves New Marketing Definition, Marketing News, 1 March 1985. 2. Christian Grà ¶nroos. (1994) From Marketing Mix to Relationship Marketing: Towards a Paradigm Shift in Marketing, Management Decision, Vol.32, No.2, pp.4-20. 3. David Jobber. (2007) Principles and Practice of Marketing, 5th edition. Maidenhead, Berkshire, UK: McGraw-Hill Publishing Company. 4. E. Constantinides. (2006) The Marketing Mix Revisited: Towards the 21st Century Marketing, Journal of Marketing Management, Vol. 22, Issue 3/4, pp.407-438. 5. Evert Gummesson. (2008) Total Relationship Marketing, 3rd edition. Oxford: Butterworth-Heinemann. 6. Keith Blois. (2000) The Oxford Textbook of Marketing, Oxford, UK: Oxford University Press. 7. McCarthy, E.J. (1960) Basic Marketing, Irwin, Homewood, IL. 8. Michael J. Baker. (2007) Marketing Strategy and Management, 4th edition. Basingstoke, Hampshire, UK: Palgrave Macmillan. 9. Nicole E. Coviello, Roderick J. Brodie and Hugh J. Munro. (1997) Understanding Contemporary Marketing: Development of a Classification Scheme, Journal of Marketing Management, Vol. 13, Issue 6, pp.501-522. 10. N.H. Borden. (1964) The concept of the Marketing Mix, Journal of Advertising Research, Vol.4, June, pp.2-7. 11. Philip Kotler. (1984) Marketing Management: Analysis, planning and Control, 5th edition, Prentice-Hall, Englewood Cliffs, New Jersey. 12.Philip Kotler, and Gary Armstrong. (2008) Principles of marketing, 12th edition. Upper Saddle River, N.J. Pearson Prentice Hall. 13. Rick Wise and Niren Sirohi. (2005) Finding the best marketing mix, Journal of Business Strategy, Vol. 26, No.6, pp. 10-11. 14. Robins, F. (1991) Four Ps or Four Cs or Four Ps and Four Cs, MEG Conference. 15. Walte van Waterschoot and Christophe Van den Bulte. (1992) The 4P Classification of the Marketing Mix Revisited, Journal of Marketing Vol. 56, No.4, pp.83-93.

People and culture Essay

In this essay I am going to compare to poems present people and culture. Whether it be using words, imagery or the tone of the poem. The two poems I will be comparing are ‘What were they like’ by Denise Levertov and ‘presents from my aunts in Pakistan’ by Moniza Alvi. Both people consider the prospect of loosing a culture but the will loose them in different ways to each other, through war and the pressures of society also peer pressure. In ‘what were they like’ by Denise Levertov we are first confused about what the poem subject matter may be until we delve into the meaning of the poem and explore the history of the Vietnamese war and the people and culture caught up in the conflict. After reading into the poem we can see that it is about how people after the Vietnamese war believed their culture would be lost forever and that they would need story tellers and educators to continue their cultures story. The poem considers issues that are still relevant today such as the possibility of the loss of the culture and tradition in Afghanistan and Iraq due to the ongoing hostilities. The poem heavily romanticises the war and the Vietnamese people when saying things like ‘life was in rice and bamboo.’ This implies that the Vietnamese are simple folk, their lives are painted in a sympathetic portrait of a gentle, kind and humble race living and working in the paddy fields, which may be perceived as a patronising view of the Vietnamese people. This would not necessarily be how the poem was intended to be presented. ‘Presents from†¦Ã¢â‚¬â„¢ has similarities and differences to ‘What were they like’ is about. In ‘presents from my aunts in Pakistan’ Moniza Alvi is curious of her culture that she was torn away from at an early age. She receives presents from her aunts in Pakistan but is embarrassed of them. This poem is written through the eyes of a 16 year old girl who is curious, confused and embarrassed about a culture that she knows so little about but is such a big part of her as a person. When friends come round she hides her presents to avoid further embarrassment and ridicule. She is considering what culture to embrace and what culture to reject, peer pressure from both her friends and relatives are forcing her into a corner from which she is made to choose from and has nowhere to turn. The way this poem is both different and similar to ‘what were they like’ is that in both cases they are being forced to loose their culture, in ‘Presents from†¦Ã¢â‚¬â„¢ by peer pressure and in ‘What were they like’ by military force, in this way they are also similar because it is not their choice to loose their culture, this is how both poems present people and culture, how people can make their own choices and that people need to stand up for themselves. In this section of my essay on people and culture I will be comparing the structure of both ‘Presents†¦Ã¢â‚¬â„¢ and ‘What were†¦Ã¢â‚¬â„¢ how they are similar and different in shape, rhyme, punctuation, repetition, refrain and stanzas/sections. The structure of both poems are similar as they are original in the way they are presented. The structure has been greatly considered to show the poem is a certain way. In ‘Presents†¦Ã¢â‚¬â„¢ there appears to be no structure or reason to the bizarre way the poem is written at first reading. When we consider that the poet is confused and curious about her other culture she has moved away from, it becomes clear that that are the scattered ideas running through the mind of a troubled young girl. There need be no beginning or end to this poem; it is possible for the poem to start in many places, as this is set out to be as though someone has jotted down ideas and thoughts that have possibly no link between lines. There is no rhythm or flow through the poem, broken up by the lack of sense and constant change of path the poem takes. There is still some structure to the poem, there is punctuation where is should be, maybe even mare so as she pauses to throw more ideas and thoughts onto the page. There are full stops and capital letters where expected at the start and end of ideas. Ideas are split into stanzas which shows the poem is not completely free from structure. There is no repetition or refrain which is only to be expected in a poem such as this, where there is no regular shape or structure. I believe the poet has intended for their to be no structure, as it shows turmoil in the writer’s mind as she throws up the pro’s and con’s of embracing or rejecting her culture of which she knows so little about. It could also be written in this way to celebrate culture and diversity, by displaying her work in a unique and diverse way, I think this is the way Moniza Alvi wanted to display people and culture through the structure of her poem. In ‘What were†¦Ã¢â‚¬â„¢ the structure is also unorthodox in the way it is presented. We may be puzzled the first time we read it and question why the poem is written in such a way. As I have said before, it is not until you read deeper and research into the meaning of the poem that you can fully understand why it is written the way it is. You can then understand that it is written about the Vietnamese people and their battle to keep their culture. It appears to be children asking their teacher, Vietnamese people or American war veterans that fought in the war about the past and the culture or way of life the Vietnamese had. The way the poem is set out even as a question and answer poem is not as you would expect it to be, all the questions and all the answers are grouped together in two block paragraphs divided by a small gap. I thin Denise Levertov wrote the poem in this way because it shows that there are two different speakers to the poem and it draws a clear line between then to avoid confusion. I also think it is written in this way to show that there is a bombardment of questions from the children, as when the war was over people would have wanted to ask a lot of questions about the war, what the felt and how their culture has been affected. This is how I think Denise Levertov intended and used the structure of the poem to present how the people both Vietnamese and the group questioning them felt about the war. In the next section of my essay I will be exploring how the poets used language and poetic devices to display people and culture. Poets use different poetic devices to display their work in different ways depending on which way they would like their work to be perceived. ‘What were†¦Ã¢â‚¬â„¢ is a good example of where metaphors are used affectively to creat a clear image in your mind of what the poet is tring to get accros. A good example of this is ‘Sir, laughter is bitter to the burned mouth’, this could mean a few things, it could mean that they can no longer laugh as nothing is funny after the horrors they have seen, nothing would seem funny after the amount of death and destruction they have seen. Another meaning that is linked to laughter being hard to come by, could be that after seeing charred bodies and charred mouths that can no longer physically laugh. The poem is very ambiguous and could have many meanings that are not clear at first. The poet, Denise Levertov could have intended for this to happen and used it as a devise to make you continue reading to see if it became clear over time the exact meaning of this poem. It may also be ambiguous because the poem was written before the end of the Vietnamese war and ideas they may have been proved wrong or be different to the knowledge we have now, I think it was accidental that the people and culture are displayed in such an ambiguous way, but the way imagery, metaphors and similes have been used is very effective and presents well people and culture in the Vietnamese war. In ‘Presents†¦Ã¢â‚¬â„¢ imagery is also used all of the time to help you imagine the presents that are sent from her aunts in Pakistan. At the same time similes and metaphors are used to describe the items of clothing by comparing the exotic items of clothing to other more familiar objects, such as when it says ‘They sent me a salwar kameez peacock blue, and another glistening like an orange split open.’ This is very useful when trying to imaging other items of clothing that are sent. It is much better way of describing what the thing looks like and a much clearer way of presenting the people and culture in the poem when we can relate to everyday items and not just a name that we cannot pronounce properly. One of the dresses is personified when it says ‘ I tried each satin-silken top was alien in the sitting-room’. This puts a clear image in your mind of how Moniza feels towards her new clothes, it shows that she is confused about her Pakistani culture as if it were alien to her. Personification is not used in ‘What were†¦Ã¢â‚¬â„¢ but is used very effectively in ‘Presents†¦Ã¢â‚¬â„¢

The Tell Tale Heart By Edgar Allan Poe - 1133 Words

Written in 1843, The Tell-Tale Heart by Edgar Allan Poe incorporates nearly all of the gothic elements. While this piece of art may not contain all of the gothic elements, it is the epitome of a gothic short story. In The Tell-Tale Heart, the setting seems to be inside an old house, which strengthens the atmosphere of mystery and suspense. The madness and overall insanity of the narrator illustrates the sense of high, overwrought emotion. The presence of creaking hinges and the darkness represent the metonymies of gloom and horror throughout the story. Sustaining the atmosphere of the gothic, the appropriate vocabulary also maintains the atmosphere of suspense, the overwrought emotion, and the metonymies of gloom and horror. In combination, the elements that are utilized in this short story create a gothic masterpiece and each element individually influences the plot of The Tell-Tale Heart. Early on in the story, Edgar Allan Poe introduced the atmosphere of mystery and suspense. In T he Tell-Tale Heart, the atmosphere of mystery and suspense is enhanced by the unknown and the narrator’s vigilance. â€Å"It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man.† This quote immediately entices the reader to continue reading because the author is vague about what he has done; creating the perfect atmosphere of mystery and suspense. The vigilance and caution ofShow MoreRelatedThe Tell Tale Heart By Edgar Allan Poe1161 Words   |  5 PagesOut of a vast quantity of these English historians, one stood out to me, his name is Edgar Allan Poe. Poe’s writing had its own unique gothic and horror style. The story, The Tell-Tale Heart is one of his very popular pieces of literature, it not only tells a story, but uses Poe’s unique style of writing to silently incorporate different genres, themes, and symbolism to create a sub- story within the text itself. 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In â€Å"The Tell-Tale Heart: Overview† it is proven that: â€Å"One of the most powerful contributions that Edgar Allan Poe made to the short story genre was his insistence that every element of the work contribute to the story’s overall effect. Poe frequently gave this aesthetic demand realistic

The Significance of Chapter 1 in Great Expectations by...

The Significance of Chapter 1 in Great Expectations by Charles Dickens Great Expectations is a riveting book set in Victorian London and published in 1861. The novel is set in historical context and illustrates ideas of implication such as how the really interesting people could often be found in the lower classes, in the time of social division and where the shift from agriculture to industrial processes was contemporaneous. Nevertheless the plot contains significant relevance to modern day life in the subtle message that we can be happy as we are; we dont need always to aim higher at riches. This great novel is so successful as it applies to historical and contemporary issues alike in themes†¦show more content†¦He himself was enslaved in a blacking house at age 12. It is because of his experiences that he is not apprehensive in literal application of his moral and philosophical views on how the lives of the poor could be made more tolerable. Dickens has written many other articles stating his disapproval of mistreatment of people, the dan ger to their lives and even animal rights, this often comes across in his novels. Charles Dickens was a typical Victorian novelist concerned with issues of character, plot and the Victorian social world. He along with other novelists such as Charlotte Bronte, Emily Bronte, George Eliot and Thomas Hardy revolutionised literature. Although Dickens is often perceived as the most vigorous writer with a style of writing that has irrepressible vengefulness (which can be seen for example by his descriptive language of a young boy humiliating Pip smirked extravagantlyà ¢Ã¢â€š ¬Ã‚ ¦wriggling his elbows and body). This of course is merely opinion however. Chapter 1 is crucial to the whole plot as it introduces the idea of many themes to follow and informs us of basic information such as the characters name. 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Disney s The Pastoral Symphony - 2227 Words

Disney s Fantasia (1940) lies in a class separate from all other animations of program music. While its initial reception was less than stellar, it has since become a standard film in home collections. Theatrical performances, games, and many other derivatives of the brand now exist. Despite this, it has also generated a fair amount of controversy. For example, it contains scenes that allude to Darwin’s theory of evolution, and others that display negative racial stereotypes. Yet the most controversial scene at the movie’s premiere was the animation of Beethoven s Sixth, the Pastoral Symphony. This feature upset many classical music lovers who objected to the idea of giving Beethoven’s symphony an explicit storyline and a set of images that he did not have in mind. The Pastoral Symphony is likely the most familiar example of program music, but most musicians and critics seem to agree that this does not give a free pass to any form of interpretation. In the intr o to Fantasia, the narrator addresses this by cautioning the listener that the video clips were created based on the musical interpretations of animators, not of trained musicians. From that cautionary message to articles published as recently as this year, Fantasia remains a topic of controversy, influenced by factors such as audience familiarity and general views on Beethoven himself. The reach of this influence is not limited to reviews of the Pastoral Symphony feature, but rather extends to the wholeShow MoreRelatedControversies with the Walt Dinsey Company1471 Words   |  6 Pagesis, their mind most likely automatically thinks of one word- Disney. Once they think of that there is an array of movies to choose from. The Walt Disney Company has been making its place in this world for almost one hundred years. Over the decades Disney has become a household name whether it be through their blockbuster movies, television channel, books, products, resorts, cruise line or their world famous theme parks. The Walt Disney Company has spread its ideas and products of imagination throughoutRead MoreDisney Golden Age Of Animation2192 Words   |  9 Pages 1. Disney’ golden age of animation a) 1940 b)Though Disney films are considered wholesome and upbeat,characteristic of this era of films is their darkness. Though they are somewhat eerie and perhaps disturbing, scenes like these are typically sandwiched between two more upbeat and positive scenes, creating an extreme mood shift that engages all of the audience’s emotions. This style of animation also landed the â€Å"Golden Age† the nickname â€Å"The Tar and Sugar Era†, due to its dramatic jumps fromRead MoreRacism in Disney Movies Essay5488 Words   |  22 PagesRacism in Disney During the last several decades, the media has become a strong agent in directing and controlling social beliefs and behaviors. Children, by nature, can be particularly susceptible to the influencing powers of the media, opening an avenue where media created especially for children can indoctrinate entire generations. Disney movies, like all other media â€Å"are powerful vehicles for certain notions about our culture,† such as racism. (Giroux 32). Racist scenes in Disney movies areRead MoreFundamentals of Hrm263904 Words   |  1056 Pagesmoney From multiple study paths, to self-assessment, to a wealth of interactive visual and audio resources, WileyPLUS gives you everything you need to personalize the teaching and learning experience.  » F i n d o u t h ow t o M A K E I T YO U R S  » www.wileyplus.com ALL THE HELP, RESOURCES, AND PERSONAL SUPPORT YOU AND YOUR STUDENTS NEED! 2-Minute Tutorials and all of the resources you your students need to get started www.wileyplus.com/firstday Student support from an experienced

Blood Promise Chapter Nineteen Free Essays

string(64) " Seeing her straight on, I was surprised at how pretty she was\." For someone who had preached to Denis about impulse control, I wasn’t setting a very good example. Once left alone in the suite, I continued trying everything possible to get out-emphasis on the â€Å"try† part. Nathan had acted like keeping a prisoner was a rare thing, but from what I could tell, this place had been built to hold people in. We will write a custom essay sample on Blood Promise Chapter Nineteen or any similar topic only for you Order Now The door and window remained impassible, no matter how hard I beat at them or threw objects against them. I didn’t bother with the chair this time and instead used one of the living room’s end tables, hoping it would carry some extra heft. It didn’t. When that didn’t work, I actually tried entering random codes into the door’s keypad. Also useless. Finally, exhausted, I collapsed onto the leather sofa and tried to assess my options. The process didn’t take very long. I was trapped in a house full of Strigoi. Okay, I didn’t know that for sure, but I knew there were at least three here, which was far too many for me. Dimitri had referred to this place as an â€Å"estate,† which I didn’t find comforting. Estates were big. The fact that I appeared to be on the fourth floor was proof of that. A big place meant that there could be lots of room for lots of vampires. The one comfort I had was that Strigoi didn’t cooperate very well. Finding large groups of them working together was rare. I’d observed it a couple of times-the attack on the Academy being one such occasion. They’d come then because the school’s wards had dropped, and that had been a big enough incentive for the Strigoi to unite. Even when they did try to work together, the unions were usually short-lived. The friction I’d observed between Dimitri and Nathan was proof of that. Dimitri. I closed my eyes. Dimitri was the reason I was here. I’d come to free him from this state of living death and had promptly failed, just as he’d said. Now, it appeared I might be on the verge of joining him. Yeah, good job, Rose. I shivered, trying to imagine myself as one of them. Red rings around my pupils. Tanned skin gone pale. I couldn’t picture it, and I supposed I’d never have to actually see myself if it happened. Strigoi cast no reflections. It would make doing my hair a real pain in the ass. The scariest change of all would be within, the loss of my connection to my soul. Both Dimitri and Nathan had been cruel and antagonistic. Even if I hadn’t been around to start the fight, it probably wouldn’t have taken long for them to find some other reason to turn on each other. I was combative, but it was always driven by some passion for others. Strigoi fought because they relished the bloodshed. I didn’t want to be like that, seeking blood and violence because I enjoyed it. I didn’t want to believe that of Dimitri either, but his actions had already branded him as a Strigoi. I also knew what he had to have been eating this whole time to survive. Strigoi could go longer without blood than Moroi, but it had been over a month since he was turned. There was no question he had fed, and Strigoi almost always killed their victims to eat. I couldn’t picture that of Dimitri†¦ not the man I’d known. I opened my eyes. The topic of feeding had brought my lunch to mind. Pizza and brownies. Two of the most perfect foods on the planet. The pizza had long gone cold during my escape efforts, but as I stared at the plate, both it and the brownie looked delicious. If the outside light was any indication, it hadn’t been a full twenty-four hours since Dimitri had caught me, but it was getting pretty close. That was a long time to go without food, and I wanted to eat that pizza badly, cold or not. I didn’t really want to starve to death. Of course, I didn’t want to become Strigoi either, but this situation was quickly running away from what I wanted. Starvation took a long time, and I suspected Dimitri was right: he’d turn me long before I had a chance to truly starve. I’d have to find some other way to die-God, not that I wanted that at all-and in the meantime, I decided I might as well keep up my strength on the feeble chance I might be able to escape. Once the decision was made, I gobbled down the food in about three minutes. I had no idea who Strigoi hired to do their cooking-hell, Strigoi couldn’t even eat regular food, unlike Moroi-but it was fantastic. Some wry part of me noted that I’d been given food that required no silverware. They really had thought of every possible way I might get my hands on a weapon. My mouth was full of my last giant bite of brownie when the door suddenly opened. Inna slipped deftly inside, the door shutting almost immediately. â€Å"Son of a bitch!† Or at least I tried to say that through my mouthful of food. While I’d been debating whether to eat or not, I should have been staking out the door. Dimitri had said Inna would check in on me. I should have been waiting to overpower her. Instead, she’d gotten in while I wasn’t paying attention. Once again, I’d slipped up. Just like when she was around Dimitri and Nathan, Inna made very little eye contact. She held a pile of clothes in her arms and paused in front of me, holding them out. Uncertain, I took them from her and set them beside me on the couch. â€Å"Um, thanks,† I said. Pointing at the empty tray, she actually glanced up at me shyly, a question in her brown eyes. Seeing her straight on, I was surprised at how pretty she was. You read "Blood Promise Chapter Nineteen" in category "Essay examples" She might even have been younger than me, and I wondered how she’d ended up being forced to work here. Understanding her query, I nodded. â€Å"Thanks.† She picked the tray up and waited a moment. I wasn’t sure why; then it occurred to me she must be waiting to see if I wanted anything else. I was pretty sure â€Å"the combination to the lock† wouldn’t translate very well. I shrugged and waved her off, my mind spinning as I watched her approach the door. I should wait for her to open the door and then jump her, I thought. Immediately, a gut reaction sprang up in me, hesitation at striking out at an innocent. Another thought squashed that one: It’s me or her. I tensed. Inna pressed herself close to the door as she punched in the combination, effectively blocking my view. Judging by how long she was punching in numbers, the code appeared to be pretty long. The door clicked open, and I braced myself to act. Then-I decided against it at the last moment. For all I knew, there could be an army of Strigoi out there. If I was going to use Inna to escape, I probably only had one opportunity. I needed to make it count. So, instead of leaping up, I shifted slightly so that I could see beyond her. She was just as fast as before, slipping out as soon as the door unlocked. But in that moment, I caught a glimpse of a short corridor and what looked like another heavy door. Interesting. Double doors on my prison. If I did follow her, that would prevent me from making an immediate escape. She could simply wait by the other locked door, holding out until Strigoi backup showed up. That made things more difficult, but understanding the setup at least gave me a spark of hope. I just needed to figure out what to do with this information, provided I hadn’t screwed myself by not acting now. For all I knew, Dimitri was about to walk in and turn me into a Strigoi. I sighed. Dimitri, Dimitri, Dimitri. Looking down, I took the time to actually see what she’d brought me. My current attire wasn’t bothering me, but if I stayed here much longer, my jeans and T-shirt were going to get pretty gross. Like Tamara, someone wanted to dress me up. The clothes Inna had brought were all dresses and all in my size. A red silk sheath. A long-sleeved, form-fitting knit dress edged in satin. An empire-waist, ankle-length chiffon gown. â€Å"Oh, great. I’m a doll.† Digging deeper into the stack, I discovered there were a few nightshirts and nightgowns tucked in there-as well as some underwear and bras. All of those were satin and silk. The most casual item in the whole lot was a forest-green sweater dress, but even it was made of the softest cashmere. I held it up, trying to imagine myself making a daring escape in it. Nope. With a shake of my head, I heedlessly tossed all of the clothes onto the floor. Looked like I’d be wearing grungy clothes for a while. I paced around after that, turning over futile escape plans that I’d already spun around in my head a million times. In walking, I realized how tired I was. Aside from the blackout when Dimitri had hit me, I hadn’t slept in over a day. Deciding how to handle this was like deciding how to deal with the food. Let down my guard or not? I needed strength, but each concession I made put me more at risk. At last, I gave in, and as I lay down on the massive bed, an idea suddenly occurred to me. I wasn’t totally without help. If Adrian came to visit me in my sleep, I could tell him what had happened. True, I’d told him to stay away last time, but he’d never listened to me before. Why should this time be any different? I focused on him as hard as I could while I waited for sleep to come, as though my thoughts might act as some sort of bat signal and summon him. It didn’t work. There was no visit in my dreams, and when I woke up, I was surprised at just how much that hurt me. Despite Adrian’s infatuation with Avery, I couldn’t help but recall how kind he’d been to Jill the last time I saw them. He was worried about Lissa, too, and he’d displayed none of his usual carefree bravado. He’d been serious and†¦ well, sweet. A lump formed in my throat. Even if I had no romantic interest in him, I’d still treated him badly. I’d lost both our friendship and any chance of calling for help through him. The soft rustling of paper snapped me from my musings and I jerked upright. Someone was in the living room, his back to me as he sat on the couch, and it took me only a moment to recognize who. Dimitri. â€Å"What are you doing here?† I asked, climbing out of bed. In my groggy state, I hadn’t even registered the nausea. â€Å"Waiting for you to wake up,† he said, not bothering to turn around. He was overly confident in my inability to inflict damage-as well he should have been. â€Å"Sounds kind of boring.† I walked into the living room, moving myself far to the side of him and leaning against the wall. I crossed my arms over my chest, again taking comfort in that meaningless protective posture. â€Å"Not so boring. I had company.† He glanced over at me and held up a book. A western. I think that shocked me almost as much as his altered appearance. There was something so †¦ normal about it all. He’d loved western novels when he was a dhampir, and I’d often teased him about wanting to be a cowboy. Somehow, I’d imagined that hobby would go away when he turned. Irrationally hopeful, I studied his face as though I might see some radical change, like maybe he’d turned back to the way he’d been while I slept. Maybe the last month and a half had been a dream. Nope. Red eyes and a hard expression looked back at me. My hopes shattered. â€Å"You slept for a long time,† he added. I dared a quick look at the window. Totally black. It was nighttime. Damn. I’d only wanted a two-hour power nap. â€Å"And you ate.† The amusement in his voice grated at me. â€Å"Yeah, well, I’m a sucker for pepperoni. What do you want?† He placed a bookmark in the book and set it on the table. â€Å"To see you.† â€Å"Really? I thought your only goal was to make me one of the living dead.† He didn’t acknowledge that, which was a bit frustrating. I hated feeling like what I had to say was being ignored. Instead, he tried to get me to sit down. â€Å"Aren’t you tired of always standing?† â€Å"I just woke up. Besides, if I can spend an hour tossing furniture around, a little standing isn’t that big a deal.† I didn’t know why I was throwing out my usual witty quips. Honestly, considering the situation, I should have just ignored him. I should have stayed silent instead of playing into this game. I guess I kind of hoped that if I made the jokes I used to, I’d get some kind of response from the old Dimitri. I repressed a sigh. There I was again, forgetting Dimitri’s own lessons. Strigoi were not the people they used to be. â€Å"Sitting’s not that big a deal either,† he replied. â€Å"I told you before, I’m not going to hurt you.† â€Å"? ®Hurt’ is kind of a subjective term.† Then, in a sudden decision to seem fearless, I walked over and sat in the armchair across from him. â€Å"Happy now?† He tilted his head, and a few pieces of brown hair escaped from where he’d pulled it back in a small ponytail. â€Å"You still stay beautiful, even after sleeping and fighting.† His eyes flicked down to the clothes I’d tossed on the floor. â€Å"You don’t like any of them?† â€Å"I’m not here to play dress-up with you. Designer clothes aren’t going to suddenly get me on board with joining the Strigoi club.† He gave me a long, penetrating stare. â€Å"Why don’t you trust me?† I stared back, only my stare was one of disbelief. â€Å"How can you ask that? You abducted me. You kill innocent people to survive. You aren’t the same.† â€Å"I’m better, I told you. And as for innocent†¦Ã¢â‚¬  He shrugged. â€Å"No one’s really innocent. Besides, the world is made up of predators and prey. Those who are strong conquer those who are weak. It’s part of the natural order. You used to be into that, if I remember correctly.† I looked away. Back at school, my favorite non-guardian class had been biology. I’d loved reading about animal behavior, about the survival of the fittest. Dimitri had been my alpha male, the strongest of all the other competitors. â€Å"It’s different,† I said. â€Å"But not in the way you think. Why should drinking blood be so strange to you? You’ve seen Moroi do it. You’ve let Moroi do it.† I flinched, not really wanting to dwell on how I used to let Lissa drink from me while we lived among humans. I certainly didn’t want to think about the rush of endorphins that had come with that and how I’d nearly become an addict. â€Å"They don’t kill.† â€Å"They’re missing out. It’s incredible,† he breathed. He closed his eyes for a moment, then opened them. â€Å"To drink the blood of another†¦ to watch the life fade from them and feel it pour into you†¦ it’s the greatest experience in the world.† Listening to him talk about killing others increased my nausea. â€Å"It’s sick and wrong.† It happened so fast that I didn’t have any time to react. Dimitri leapt out and grabbed me, pulling me to him and spreading me out on the couch. With his arm still wrapped around me, he positioned himself so that he was half beside me and half on top. I was too stunned to move. â€Å"No, it’s not. And that’s where you have to trust me. You’d love it. I want to be with you, Rose. Really be with you. We’re free of the rules that others put on us. We can be together now-the strongest of the strong, taking everything we want. We can eventually be as strong as Galina. We could have a place just like this, all our own.† While his bare skin was still cold, the press of the rest of his body against mine was warm. The red in his eyes practically gleamed while this close, and as he spoke, I saw the fangs in his mouth. I was used to seeing fangs on Moroi, but on him†¦ it was sickening. I briefly toyed with the idea of trying to break free but promptly dismissed it. If Dimitri wanted to hold me down, I would stay down. â€Å"I don’t want any of this,† I said. â€Å"Don’t you want me?† he asked with a wicked smile. â€Å"You wanted me once.† â€Å"No,† I said, knowing I lied. â€Å"What do you want then? To go back to the Academy? To serve Moroi who will throw you into danger without a second thought? If you wanted that kind of life, why did you come here?† â€Å"I came to free you.† â€Å"I am free,† he responded. â€Å"And if you’d really intended to kill me, you would have.† He shifted slightly, resting his face close to my neck. â€Å"You couldn’t.† â€Å"I messed up. It won’t happen again.† â€Å"Suppose that were true. Suppose you were able to kill me now. Suppose you were even able to escape. What then? Will you go back home? Will you return to Lissa and let her continue bleeding spirit’s darkness into you?† â€Å"I don’t know,† I replied stiffly. And it was the truth. My plans had never gone past finding him. â€Å"It will consume you, you know. As long as she continues to use her magic, no matter how far away you go, you’ll always feel the side effects. At least as long as she’s alive.† I stiffened in his arms and moved my face away. â€Å"What’s that mean? Are you going to join Nathan and hunt her down?† â€Å"What happens to her is no concern of mine,† he said. â€Å"You are. If you were awakened, Lissa would no longer be a threat to you. You’d be free. The bond would break.† â€Å"And what would happen to her? She’d be left alone.† â€Å"Like I said, that’s no concern of mine. Being with you is.† â€Å"Yeah? Well, I don’t want to be with you.† He turned my face toward him so that we were looking at each other again. Once more, I had that weird feeling of being with Dimitri and not with Dimitri. Love and fear. He narrowed his eyes. â€Å"I don’t believe you.† â€Å"Believe what you want. I don’t want you anymore.† His lips quirked into one of those scary, smirking smiles. â€Å"You’re lying. I can tell. I’ve always been able to.† â€Å"It’s the truth. I wanted you before. I don’t want you now.†If I kept saying it, it would be true. He moved closer to me, and I froze. If I shifted even half an inch, our lips would touch. â€Å"My exterior†¦ my power, yes, that’s different. Better. But otherwise, I’m the same, Roza. My essence hasn’t changed. The connection between us hasn’t changed. You just can’t see it yet.† â€Å"Everything’s changed.† With his lips so close, all I kept thinking about was that brief, passionate kiss he’d given me the last time he was here. No, no, no. Don’t think about that. â€Å"If I’m so different, then why don’t I force you into an awakening? Why am I giving you the choice?† A snappy retort was on my lips, but then it died. That was an excellent question. Why was he giving me the choice? Strigoi didn’t give their victims choices. They killed mercilessly and took what they wanted. If Dimitri truly wanted me to join him, then he should have turned me as soon as he had me. More than a day had passed, and he’d showered me with luxury. Why? If he turned me, I had no doubt that I’d become as twisted as him. It would make everything a lot simpler. He continued when I remained silent. â€Å"And if I’m so different, then why did you kiss me back earlier?† I still didn’t know what to say, and it made his smile grow. â€Å"No answer. You know I’m right.† His lips suddenly found mine again. I made a small sound of protest and tried vainly to escape his embrace. He was too strong, and after a moment, I didn’t want to escape. That same sensation as before flooded me. His lips were cold, but the kiss burned between us. Fire and ice. And he was right-I did kiss him back. Desperately, that rational part of me screamed that this was wrong. Last time, he’d broken the kiss before too much could happen. Not this time. And as we continued kissing now, that rational voice in me grew smaller and smaller. The part of me that would always love Dimitri took over, exulting in the way his body felt against mine, the way he wound my hair around one of his hands, letting the fingers get tangled up. His other hand slid up the back of my shirt, cold against my warm skin. I pushed myself closer to him and felt the pressure of the kiss increase as his own desire picked up. Then, in the midst of it all, my tongue lightly brushed against the sharp point of one of his fangs. It was like a bucket of cold water tossed upon me. With as much strength as I could muster, I jerked my head away, pulling out of the kiss. I could only guess that his guard had been momentarily down, allowing me that small escape. My breathing was heavy, my whole body still wanting him. My mind, however, was the part of me in control-for now, at least. God, what had I been doing? It’s not the Dimitri you knew. It’s not him. I’d been kissing a monster. But my body wasn’t so sure. â€Å"No,† I murmured, surprised by how pathetic and pleading I sounded. â€Å"No. We can’t do this.† â€Å"Are you sure?† he asked. His hand was still in my hair, and he forcibly turned my head so that I was face-to-face with him again. â€Å"You didn’t seem to mind. Everything can be just like it was before†¦ like it was in the cabin†¦ You certainly wanted it then†¦Ã¢â‚¬  The cabin†¦ â€Å"No,† I repeated. â€Å"I don’t want that.† He pressed his lips against my cheek and then made a surprisingly gentle trail of kisses down to my neck. Again, I felt my body’s yearning for him, and I hated myself for the weakness. â€Å"What about this?† he asked, his voice barely a whisper. â€Å"Do you want this?† â€Å"Wh-â€Å" I felt it. The sharp bite of teeth into my skin as he closed his mouth down on my neck. For half an instant, it was agonizing. Painful and horrible. And then, just like that, the pain disappeared. A rush of bliss and joy poured through me. It was so sweet. I had never felt so wonderful in my life. It reminded me a little of how it had been when Lissa drank from me. That had been amazing, but this†¦ this was ten times better. A hundred times better. The rush from a Strigoi bite was greater than that of a Moroi’s. It was like being in love for the first time, filled with that all consuming, joyous feeling. When he pulled away, it felt like all the happiness and wonder in the world had vanished. He ran a hand over his mouth, and I stared at him wide-eyed. My initial instinct was to ask why he’d stopped, but then, slowly, I reached inside myself to fight past the blissful daze that his bite had sent me into. â€Å"Why†¦ what†¦Ã¢â‚¬  My words slurred a little. â€Å"You said it would be my choice†¦Ã¢â‚¬  â€Å"It still is,† he said. His own eyes were wide, his breathing heavy too. He’d been just as affected as me. â€Å"I’m not doing this to awaken you, Roza. A bite like this won’t turn you. This†¦ well, this is just for fun†¦Ã¢â‚¬  Then, his mouth moved back to my neck to drink again, and I lost track of the world. 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Story of an Hour free essay sample

They had no say so in their welfare (clothes they wore, house they lived in, bedroom they slept in, their inner thoughts was not heard). A woman day was started the same way every day. Women didn’t have any autonomy and or independence. They were not allowed to be self-sufficient unless they were widows. Characters: Everyone treats Mrs. Mallard as if she was weakest individual in the world. Everybody knows what is best for Mrs. Mallard except Mrs. Mallard. Josephine, Brently, and Mrs. Mallard have a parent child relationship. Josephine, Mrs. Mallards, sister takes the role her of her mother and Brently, Mr. Mallard, takes the role as her father instead of her husband. Brently was a good provider, loved his wife, and was very devoted to her. He wanted the best for her. His downfall was he never asked her what she wanted. This marriage doesn’t have any sense of balance. We will write a custom essay sample on Story of an Hour or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Symbols that lead to a bigger meaning than the one that is literal: marriage, women, Marriages was one sided. No matter how good the man was he was still bad. Or how considerate he was he was still inconsiderate of her feelings. He had the final say so. She lived to please him. They didn’t live to please each other. Thought he knew best Mrs. Mallard loved her husband and he loved her. Just didn’t have a balanced marriage. Meaning that he didn’t listen to her inner thoughts and wants. Even though he was a good man. He took care of her as if she was royalty. The one thing in the marriage she wanted was a voice. And he didn’t allow her to have one. His death to her meant that she would have a voice in her life. Heart trouble in this story meant that Mrs. Mallard was torn between loving her husband and loving herself. Even though she loved him with all her heart. She bore a grudge of resentment toward Mr. Mallard. She loves him, he loves her, but she loves herself beyond the love for him. She dies from heart trouble that is related to her disappointment. She is disappointed to see her freedom, her voice, and her chance at living for one person that is herself and not living for her husband taken away from her. She loves him but for the first time in her life she controlled her every move/destiny/fortune/future. That is what every woman is looking for today. To have a voice in their life. The Story of an Hour was written in 1894. Mr. and Mrs. Mallard was a fine for their times. It was a typical marriage. Mr. Mallard loved Mrs. Mallard and she stated so, â€Å"†¦the face that had never looked save with love upon her. â€Å"When two people get married you have to live for that other person. Both have to compromisetoo much compromise from one person makes that person tired or resent the other. That person doesn’t compromise that makes that person a slacker or don’t care†¦. (1) give and compromises gets tired, (2) takers give enough to stay around. Both have to have a voice or right to be heard or expression or say so or opinion You have to find balance between compromise and or give and take of a relationship.