How Does Law And Order SVU Portray Women?

How Does Law And Order SVU Portray Women? Contents 1. Introduction This study examines the representation of women on Television which is one of the most litigious topics surrounding the medium and is strongly dissected in this day and age. I will be conducting my research specifically on portrayal of women in Law and Order: Special Victims Unit. The examination should reveal whether the depiction of female characters on Law and Order is positive or negative. 1.1 Women On TV Joseph (2004) argues that women were underrepresented on network dramatic shows in 1950s to the 1970s and when they did appear, they were frequently seen in token or stereotyped roles. Although representation of women have changed greatly in the last two decades as we are progressing into a more contemporary society, the question is, has it really changed modern representations of women or it merely replicates gender stereotypes (Dobash et al. 1998). In recent years, Xena Warrior Princess and Buffy The Vampire Slayer pioneered the strong leading female characters in fantasy genre. Magoulick (2006) elucidates the positive reviews of Xena and Buffy demonstrate the extent to which these women characters resonate with female viewers longing for strong role models, or even just strong female roles on television. However, these characters were based in fantasy and science fiction genre. Still, programmes like Cagney and Lacey, Cats Eyes and Juliet Bravo paved the way for future strong fema le characters which were popular police/detective dramas depicting strong women. 1.2 Law Order: Special Victims Unit Currently in its 13th season, Law and Order: SVU first aired in 1999. The detectives on the team solve sexually motivated crimes and child abuse cases, which includes an exceptionally strong female lead character Olivia Benson (Mariska Hargitay) and other popular female characters such as Amanda Rollins (Kelli Giddish), Assistant District Attorney Alexandra Cabot (Stephanie March) and Assistant District Attorney Casey Novak (Diane Neal). Law Order: Special Victims Unit offers a unique blend of characteristics placed within a masculine detective genre with strong main female lead along with a male partner, Detective Elliot Stabler portrayed by Christopher Meloni. The episodes often feature real life crime stories and create episodes based on crime stories ripped from the headlines (Green 2009, pp.2). Law Order: Special Victims Unit is one of the most successful and popular spin off series of Law and Order franchise which has won many awards as well as the 2006 Emmy for Outstanding L ead Actress in a Drama Series for Mariska Hargitay (Emmys, 2006) who describes female audiences reaction to her character Olivia Benson in Greens book Law Order: Special Victims Unit: The Unofficial Companion: As the show got more popular, I received so many emails from so many survivors. They were identifying so much with my character, identifying with this lion, this strong powerful (Olivia Benson). And then I had thirteen-years-old going, I want to be you; you are my role model. Hundreds of emails going, I want to be a cop when I grow up. And I thought this character has touched something deep in so many women and provided a safe place to goà ¢Ã¢â€š ¬Ã‚ ¦ I felt I had a responsibility. (Green 2009, pp. 90) 1.3 Relevance Of The Research Women representation on television has significant value to female audiences because they view strong characters as role models. Singh, Vinnicombe and James (2006) studied career-minded women who keenly draw on role models from different aspects of like, television being one of them. They discovered that women used female characters from Television as role models such as Buffy, Alias and Xena: The Warrior Princesss. Analysing this aspect of female characters on Law Order: Special Victims Unit will provide me with the tools to examine the codes used in the portrayal of women. Research has been conducted on Law and Order: Special Victims Unit in the past i.e ethnic minorities, victimization of women. For example Britto (2007, p40) has deconstructed that portrayal of women are overplayed on crime drama series as offenders and victims with the help of content analysis in her article Does Special Mean Young, White and Female? Deconstructing the Meaning of Special in Law Order: Special Victims Unit. Furthermore, there has been extensive research on representation of ethnic minorities, male and female on Law and Order: Special Victims Unit. However, my research will focus on the female characters such as Olivia Benson (Mariska Hargitay), Amanda Rollins (Kelli Giddish), Assistant District Attorney Alexandra Cabot (Stephanie March) and Assistant District Attorney Casey Novak (Diane Neal) and deconstruct the codes employed to characterize them. 2. Literature Review Theoretical framework will direct my research in a focus manner whilst facilitating a proficient and comprehensive analysis. It will provide a major foundation for my investigation. As representation of women is such a diverse topic, I will focus and limit my research with the help of theoretical framework to achieve an accurate conclusion. 2.1 Representation Of Women On TV In order to build my research, the history of women representation would greatly aid in my investigation. Consequently, DAccis (1994) meticulous exploration of Cagney and Lacey, which aired from 1981 to 1988 and widely recognized as an innovative treatment of working women would provide the perfect groundwork for the investigation. While researching this book, DAcci had unprecedented access to the set, to production meetings, and to the complete production files, including correspondence from network executives, publicity firms, and thousands of viewers. In this book she examines the development of women characters and the representation of feminism on prime-time television. This would provide me thorough knowledge of what goes behind making a drama series with female lead characters and will equip me with the right tools to compare the representation of female characters on Law and Order:SVU. Furthermore, it contains other example from the history of American television which would be beneficial for my research. Brunsdon, Charlotte and Spigels (2007) book Feminist Television Criticism: A Reader provides a detailed examination extending across television, media and screen studies which looks into representation of feminism as historical categories and political identities. This book gives a valuable analysis of women working behind the camera and in-front of the camera as well as female audience and their response to television in their daily lives. I would be able to evaluate the depiction of women on Law Order: SVU in regards to historical and political viewpoint. The representation of females on the television screen has been a subject of much discussion since the television became commercially available in the late 1930s. In 21st Century, even though television produces programs like Pan Am, Charlies angels, The Playboy Club with female lead characters, they are still viewed through a very patriarchal ideology (Ingham, 2007). Dominicks (1979) article The portrayal of women in prime time, 1953-1977 concludes that female characters appearing on prime-time television from 1953-1977 were underrepresented on television and were frequently seen in stereotyped roles. This article will help me setting the groundwork for my research as I can put female characters on Law and Order: SVU side by side with previous characters. Further research (Elasmar, Kazumi and Brain, 2009) showed that women were more likely to be shown playing minor roles and playing characters of housewives and involved in a romantic relationship. I would need to further explore the depth of women representation on television which will allow me to conduct adept research. Gills (2007) work on Gender and Media looks like an interesting book for my research which explores the contradictory character of contemporary gender representations. Gender and the Media is also concerned with the theoretical tools available for analyzing representations. A range of approaches from semiotics to postcolonial theory are discussed, and Gill asks how useful notions such as objectification, backlash, and positive images are for making sense of gender in todays Western media which relates to my current study. Melanie (2011) cross-examines the construction of feminism and femininity in cinema and television from a wide variety of female centric programs such as chick flicks, reality shows and drama. This book will provide me with the understanding of the relationship between feminism, femininity, and visual culture and tools to analyze images of female representation in media. 2.1.1. Narrative Writing The Woman In order to relate characters and peak interest of the audience, formulation of the character through narrative is of uttermost importance. The character and narrative in the text have an emotional connection and resonate with the reader if they identify with the character. Hence, analysis of female representation in Law and Order SVU through their characterization in the narrative would allow me to deconstruct the signs from the text. Furthermore, specific aesthetic and narrative strategies used by the producers to create characters also append to feminism and female representation (Geetha, 2007). Mulveys (1975) groundbreaking article Visual Pleasure and Narrative Cinema would greatly aid in exploring the relation of narrative structure in construction of female characters in Law and Order: SVU where she unravels the narrative and visual techniques in cinema and puts forward the male cinematic gaze that objectifies the female character, hence, turning her into a spectacle, to-be-loo ked-at-ness (1975, 19). Mulvey (2009) revisits her theory in Visual and Other Pleassure by applying her feminist theory to more contemporary work concerning film spectatorship. She also talks about young modern woman of the 1920s in terms of images and narratives employed in Hollywood and European films which will be relevant to assess portrayal of women in Law and Order: SVU. In regards to narrative and women representation in media, Teresa de Lauretiss (1984) work would facilitate my research in the right direction as she investigates the structural representations of woman in cinema. De Lauretis (1984) disagrees with Mulveys (1975) theory of women representation as being permanently subjective and affirms that it is in a consistent stage of self-progression. De Lauretis believes that narrative structure draws upon the characters aspiration in social and cultural context and reproduces subjectivity. De Lauretis argues that female characters are formulated to incline towards femininity and conventionally portrayed as ideal image perceived by men (1984, 143). De Lauretiss conclusion of womens oppression by employing techniques of cinematic narration would provide a diverse perspective in representation of women in Law and Order: SVU. 2.2 Women Crime Genre The characteristics of gender have been reallocated in modern era in crime dramas where the female and male personalities are synthesized. The transformation also saw the shift of feminine traits of emotions, compassion and bond between traditionally masculine traits of heroism, vigor, and power giving rise to alternative action hero (Feasey 2008, p. 67). In 1970s and 1980s, crime genre progressively began depicting women in significant characters embarking on TV revolution. Snauffers (2006) book called Crime Television would aid in my research tremendously as it would be idyllic to find out the history of crime genre as it was dominated by men (Maureen 1988, p. 2). Since the beginning of television, crime dramas have been a prime genre of TV. According to Snauffer (2006), crime television has proven to be a fascinating reflection of changes and developments in the culture at large. In the 50s and early 60s, the square-jawed, just-the-facts detectives of The Untouchables and The FBI put police work in the best light possible. As the 60s gave way to the 70s, however, the depictions gained more subtle shading, and The Streets of San Francisco, The Rockford Files, and Baretta offered conflicted heroes in more complex worlds. This trend has of course continued in more recent decades, with Steven Bochcos dramas seeking a new realism through frank depictions of language and sexuality on television. In chronicling these developments and illustrating how the genre has reflected our ideas of crime and crime solving through the decades, author Douglas Snauffer here provides essential reading for any fan. This work provides a comprehensive history of detective and police shows on television which will contribute to my research immensely. Turnbull (2013) in her book The Crime Drama: TV Genres provides a historical study of the crime drama series as a genre which presents a number of case studies to clarify major concerns in the course of the genre. This book will facilitat e my argument as it looks at female led crime drama series from around the world such as The Wire and The Killing. Crime dramas generally feature subject matter related to public sphere with male dominance, however, the addition of female characters into crime genre has enabled to pursue a dynamic approach concerning gender bending transgressions, domestic issues and other feminist concerns (Feasey 2008). Nevertheless, women werent always depicted as strong willed and independent on TV. Cavender (1999) examines the depiction of women crime victims by comparing episodes from reality crime program. He analyzed that women talked about their victimization; however, men spoke more often and presented master narratives about the crimes. In both seasons, the program imagery emphasized feminine vulnerability to violence from strange, devious, and brutal men and masculine technical expertise and authority as womens protection from such violence. His analysis would be helpful in further studying the crime genre as well as involvement of women. Humphries (2009) examines women, violence, and media presentati ons through the lens of feminist criminology. This book contains chapters on Gendering Constructions which lays the foundation for the volume and examines media presentation of gendered violence, female killers on Law and Order and women in media. This book will give me tools to analyze the media text meticulously. In crime genre, male protagonist used to focus on solving the crime neglecting the public concerns during the process. Though, attitudes started to change when women were portrayed unconventionally as brave, independent and intelligent characters breaking away from the societal norm resulting in shaping a new feminist archetype (Aisenberg, 1994). In her book Ordinary heroines: Transforming the male myth Aisenberg (1994, p. 240) believes that female representation has progressed into equal active crime-solving characters with slight borrowing from conventional masculine traits such as Dana Scullys (Gillian Anderson) character in The X Files who was a powerful and independent professional woman even though FBI agent roles were profoundly male-dominated. Cuklanz and Moorti (2009) examine a wide variety of text to delve into the representations of gendered violence against women and formulation of gender. They believe that Law and Order SVU featuring lead female characters engage in stereotypical representation of women showcasing violence against them including inherent misogynist communiquà ©. Cavender and Jurik (2012) inspect the optimistic side of representation of women on TV as they analyse Prime Suspect starring Helen Mirren as policewoman Jane Tennison in popular British drama series where her character disrupts the conventions of the traditionally male genre (p.65). They focus on the portrayal of gender and law enforcement in the show featuring modern social tribulations where women play the central character. On one hand, Prime Suspect has become a cult hit for being an exceptionally feminist show in a traditionally male dominated crime genre. On the other hand, it is still not devoid of gender politics where Tennisons char acter shown as a successful woman is pigeonholed into an old lonely and friendless career woman. Cavender and Jurik (2012) work will provide the framework to deconstruct the meanings and connotation in depiction of women in Law and Order: SVU in relations to social norm. There has been a dramatic rise in representation of women detective in modern text whether be film or television which used to be dominated by men (Mizejewski, 2004). Whilst examining Jodie Fosters character Clarice on The Silence Of The Lambs, Mizejewski believes that traditional Hollywood cinema has been unconsciously organized along these lines: men looking and taking action, women being looked at. The conventions of framing, lighting and editing in portrayal of women all play to these dynamics (p. 7). Tasker (2007) believes women representation has progressed tremendously in recent years with transformed and empowered gender egalitarianism; however, there is still substandard issue. Gender is a key constructor and differentiator of character in ensemble workplace dramas (Allen 2007, p 48). The meticulous examination of Crime Scene Investigation (CSI) in Reading CSI by Michael Allen, a popular crime drama including the relationship of characters to their narratives and response of fans would provide great depth and widespread view which I can apply to Law and Order: SVU during my research. 1.3 Female Heroine Gunter (1986) argues that women are represented in a stereotypical manner associating with the characters traits they typically exhibit. In comparison with men, their characters were subjugated by personal relationships and family issues. However, this began to change in the 1970s when women were portrayed in more dynamic roles. Knight (2010) believes that it wouldnt have been possible without Sigourney Weavers character Ellen Ripley in Alien (1979) franchises which has become an avant-garde symbol. Ellen Ripley signified the first final girl archetype, a term coined by Carol J. Clover in the book Men, Women and Chansaw: Gender in the Modern Horror Film (1992), who conquered and triumphed against an evil villain without any help or rescue from a man (p.98). Knight (2010) and Clover (1992) examinations of women representation would aid in decoding the signs in Law and Order:SVU. Anthony (2009) believes that the progression in women portrayal on television and films was because women h ad taken over the market and were able to acquire positions as Producers and Directors. Consequently, women were portrayed in more heroic roles which cancelled out the notion of women as victims, resulting in a positive ideological advance (p. 80). Innesss (2004) Action Chicks is a groundbreaking collection of essays providing a new look at female action icons such as Xena, Buffy, Lara Croft and so on. These essays take a look at how recent depictions of women in action films, TV shows, comic books, and video games reflect a changing acceptance of women in traditionally male heroic or tough-guy roles. This highly specialized and scholarly study is suitable for my research and would enable me to view Law and Order: SVU in different light. In order to analyze the representation of women in Law and Order: SVU, I will construe if the women embody four essential constructing features which are body, attitude, action and authority in a tough hero (Innes, 1998). Brown (1996) has the same belief of women portrayed as action heroes stating, female action heroines body is represented by using same codes as a male hero in regards to object and subject in action films (p. 56). Goodwill (2011) agrees with Browns statement that new female ac tion hero possesses positive masculine characteristic which were preserved for men only, breaking away from orthodox feminine attributes. With the fusion of traits, earlier archetype of the hero has been amended in popular culture containing both masculine and feminine traits which will enable me to interpret female traits presented in Law and Order: SVU. Hill (1999, p 38) states, action heroines are the new type of protagonists in action genre who are smarter and tougher than conventional female heroines and even their male counterparts. This new breed of action heroines contravenes not only cinematic but cultural gender codes of women being submissive and tangential characters and transform traditional cinematic depiction of women. Noble (1999) produces an innovative framework to create new epitome of heroism for women in her book The Sound of a Silver Horn: Reclaiming the Heroism in Contemporary Womens Lives. She puts forward certain qualities that a female hero should possess to transform her and the world such as strong-minded, valiant and a risk-taker. Harriss (2004) groundbreaking work would provide a framework for my research where she looks at intricate representation of girls in recent history. Siehlohrs (2000) anthology investigates generic codes used in gender in regards to national identity in European films. She also exa mines how representations of women are effected by particular national milieu. This provides a baseline to investigate influences of societal factors on representation of women in Law and Order: SVU. Hanson (2007) proposes alternative ways of viewing classic and contemporary Hollywood heroines and the associations of gender with genre. She investigates representation of women as investigator and heroine in the variable context of the film industry which will enable me to apply the same approach to my research. She confers meticulous attention to the production of narrative, actions and perception as well as negotiation of feminine self and desires across the past. Jaceys (2010) book about The Woman in the Story: Writing Memorable Female Characters would be of significant value on this topic. She states that by creating a heroine, the screenwriter has to consider all kinds of differences, from character development to gender issues in the development process. This would allow me dig deeper into the depiction of female characters on Law and Order: SVU such as Olivia Bensons character as a Detective and Alexandra Cabot character as a District Attorney. According to Knight (2010), female action heroes extensively influence individuals in society and also reveal a lot about our society. Her analysis on female action here would help me understand Olivia Bensons character on Law and Order: SVU as she is seen as a role model and a super heroine to a lot of women. Furthermore, I will examine Buffy which was a very popular show with very sharp and provocative commentaries on gender. In Undead TV, media studies scholars tackle the Buffy phenomenon and its many afterlives in popular culture, the television industry, the Internet, and academic criticism (Levine and Parks, 2007). Stuller (2010) illustrates the triumph of female hero in contemporary mythology which has cracked through male dominated environment and divulges into the crucial role of female crime fighters in popular culture. METHODOLOGY: Litosseliti (2002) book on Gender, Identity and Discourse Analysis will provide me with the tools to employ discourse analysis to the media text for my research. I will conduct a discourse analysis on Law and Order: SVU to find out why Olivia Benson is considered a positive role model. Benson has been taken up as a feminist icon by artists and bloggers because shes the type of person who triumphs over adversity, stands up against injustice, and never blinks when shes staring down a bad guy. Furthermore, it will aid me in examining other female characters re-presented as victims and criminals. Research has shown that violence against women is a serious public health and human rights concern (World Health Organization 2000) and that the concurrent presentation of women as sex objects and victims in various forms of media increases acceptance of violence against women (Malamuth, 1996). As television has the widest audience of any medium (Gunter Wober, 1992), it is of uttermost importan ce to have an improved representation of women on television. I will draw primarily upon the discourse analysis of Law and Order: SVU to examine the meanings behind the representations of women as victims to more positive and hopeful depictions. Marion (2008) argues that the contemporary portrayals of women within popular culture are shaped by two major trends: the mainstreaming of pornography and its resultant hypersexualization of women and girls, and the commodification of those images for a global market. Wood (2000) book will provide both the practical steps for doing discourse analysis and the theoretical justifications for those steps. This book shows students how the social world revolves around talk and text. This book will aid in my research a great deal as it presents actual examples, covers data collection methods and strategies for data analysis, and addresses issues of reliability and validity. Tolsons (2006) book Media Talk: Spoken Discourse on TV and Radio investigates distinctive forms of mediated speech on TV and radio through discourse analysis. Media Talk is the first book to provide a comprehensive review of this important work. Lorenzo-Duss (2008) Television Discourse examines the specific forms and structures of talk across media genres. This book will provide me an in-depth knowledge of the discourse analysis on TV as it examines four defining characteristics of the current broadcast landscape: Storytelling, Closeness, Conflict and Persuasion. This would allow me to analyse the characters on Law and Order: SVU and find out if they are portrayed positively or negatively. Even though the women on LO: SVU are tough and strong, there are still some problematic issues in their representation. They are re-presented as victims or offenders in a lot of episodes. For example, Detective Olivia Benson is frequently victimized throughout the show, including her being stalked in Seasons 1 and 3, and more recently she is sexually assaulted while undercover in a prison. Furthermore, there were several suggestions in episodes on how the female detective pays a lot of attention to her appearance. An in-depth research would allow a more precise and comprehensive investigation on the topic. References [You may optionally use Bibliography or Works Cited] Cavender, Gray , 1999. The Construction Of Gender In Reality Crime Tv. Journal Of Broadcasting Electronic Media , Volume 13, Issue 5, 643-663. Dobash, R. E., Dobash, R. (1998). Rethinking Violence Against Women. Thousand Oaks, Calif, Sage Publications. Dominick, Joseph R. , 2004. The Portrayal Of Women In Prime Time, 1953-1977. Sex Roles, Volume 5, Number 4, 405-411. DAcci, Julie, 1994. Defining Women: Television and the Case of Cagney and Lacey. Edition. University of North Carolina Press. DAcci, Julie, Brunsdon, Charlotte and Spigel, Lynn , 2007. Feminist Television Criticism: A Reader. Edition. Open University Press. Douglas M. Snauffer, 2006. Crime Television (The Praeger Television Collection). Edition. Praeger. Elasmar, Michael, Hasegawa, Kazumi and Brain, Mary. 2009. The portrayal of women in U.S. prime time television. Journal of Broadcasting Electronic Media , Volume 43, Issue 1 Gill, Rosalind Clair, 2007. Gender and the Media. 1 Edition. Polity. Gunter, Barrie And Wober, Mallory 1992. The Reactive Viewer: Review Of Research On Audience Reaction Measurement (Independent Television Commission Research Monograph.). Edition. University Of Luton Press. Humphries, Drew. 2009. Women, Violence, and the Media: Readings in Feminist Criminology (Northeastern Series on Gender, Crime, and Law). Edition. Northeastern. Ingham, H. (2007, December 18) The Portrayal of Women on Television. [ONLINE] Available at: http://www.aber.ac.uk/media/Students/hzi9401.html. [Accessed 18 March 2012]. Inness, Sherrie A. 2004. Action Chicks: New Images of Tough Women in Popular Culture. First Edition Edition. Palgrave Macmillan. Jacey, Helen 2010. The Woman in the Story: Writing Memorable Female Characters. Edition. Michael Wiese Productions. Knight, Gladys L. 2010. Female Action Heroes: A Guide to Women in Comics, Video Games, Film, and Television. Edition. Greenwood Levine, Elana and Parks, Lisa. 2007. Undead TV: Essays on Buffy the Vampire Slayer. 1st Edition. Duke University Press Lorenzo-Dus, Nuria. 2008. Television Discourse: Analysing Language in the Media. 1 Edition. Palgrave Macmillan. Litosseliti, Lia 2002. Gender Identity and Discourse Analysis (Discourse Approaches to Politics, Society, and Culture, 2). Edition. John Benjamins Pub Co. Magoulick, Mary, 2006. Frustrating Female Heroism: Mixed Messages In Xena, Nikita, And Buffy. The Journal Of Popular Culture, Vol. 39, No. 5, 734. Malamuth, N. (1996). Sexually Explicit Media, Gender Differences And Evolutionary Theory. Journal Of Communication, 46 (3), 8-31. Meyers, Marian 2008. Women In Popular Culture: Representation And Meaning (Political Communication). Edition. Hampton Pr. Tolson, Andrew. 2006. Media Talk: Spoken Discourse on TV and Radio. Edition. Edinburgh University Press. Wood, Linda A. 2000. Doing Discourse Analysis: Methods for Studying Action in Talk and Text. 1 Edition. Sage Publications, Inc Britto, Sarah, 2007. Does Special Mean Young, White and Female? Deconstructing the Meaning of Special in Law Order: Special Victims Unit. Journal of Criminal Justice and Popular Culture, 14 (1), 40. Val Singh, Susan Vinnicombe, Kim James, (2006) Constructing a professional identity: how young female managers use role models, Women In Management Review, Vol. 21 Iss: 1, pp.67 81 Brunsdon, Charlotte and Spigel, Lynn 2007. Feminist Television Criticism. 2 Edition. Open University Press. Green, Susan 2009. Law Order: Special Victims Unit: The Unofficial Companion. Edition. BenBella Books. Pp. 90 Emmy. 2006. Mariska Hargitay. [ONLINE] Available at: http://www.emmys.com/celebrities/mariska-hargitay. [Accessed 10 March 13]. Melanie, Dr Waters, 2011. Women on Screen: Feminism and Femininity in Visual Culture. Edition. Palgrave Macmillan. Janet McCabe, 2005. Feminist Film Studies: Writing the Woman into Cinema (Short Cuts). Edition. Wallflower Press. Laura Mulvey, 2009. Visual and Other Pleasures (Language, Discourse, Society). 2nd Edition. Palgrave Macmillan. Barthes, Roland. S/Z: An Essay. Trans. Richard Miller. New York: Hill and Wang, 1974. Ramanathan, Geetha 2007. Feminist Auteurs: Reading Womens Films. Edition. Wallflower Press. Mulvey, Laura, Visual Pleasure and Narrative Cinema (1975),Visual And Other Pleasures. London: Macmillan, 1989: 14-26. Laura Mulvey, 2009. Visual and Other Pleasures (Language, Discourse, Society). 2nd Edition. Palgrave Macmillan. Lauretis, Teresa de (1984) Alice Doesnt. Feminism. Semiotics. Cinema. Bloomington: Indiana University Press, Sue Turnbull, 2013. The Crime Drama (TV Genres). Edition. Edinburgh University Press. Allen, Michael 2007. Reading CSI: Crime TV Under the Microscope (Reading Contemporary Television). Edition. I. B. Tauris. Reddy, Maureen (1988). Sisters In Crime: Feminism and Crime Novel. New York: Continumm. pp Linda Mizejewski, 2004. Hardboiled and High Heeled: The Woman Detective in Popular Culture. 1St Edition Edition. Routledge. Cavender, G., Jurik, N. (2007). Scene Composition

Scarlet Letter :: Free Essay Writer

Scarlet Letter Through out the Scarlet Letter I believe that Hester and Dimmesdale do redeem themselves. I am led to think this for Three major reasons. The first being that the sin is between man and God. In my beliefs they do not have to repent to the people for they have not sinned against them. My second reason for my opinion is that both Hester and especially Dimmesdale feel bad in their hearts for what they have done. The third and final reason is that for every crime I feel that there should be an equal or greater punishment for the crime. Both of the two pay more than what is fair for the crime they committed. Sin is between man and God. Being Lutheran this is a belief of mine that I live by. I believe this for when you sin it is God’s heart you are breaking, there for you must repent to him not the people. Hester does this all through out the book. She takes the scarlet letter as a personal ignominious burden. Hester carries the shame of the A in her heart. Much deeper than just on the outside or in public. By this she shows that she is sorrowed in her heart, which in my opinion means she is repenting to God. It is very easy to see Dimmesdale’s shame and repentance in every action he carries out through out the book. Dimmesdale talks of how hard it is to preach to a congregation and save souls when his is polluted. In every action he does he feels bad for the crime he has committed and it shows with his health. For not being able to obtain peace of mind he looses sleep and proper nourishment and eventually his health for a very long period of time. When one can not obtain peace of mind in my opinion it is because ninety-nine percent of the time something is on their conscious. A conscious was God given meaning that there for Dimmesdale is constantly feeling bad begging for forgiveness from God. God is very forgiving and it is written that Jesus died on the cross to cleanse us of our sins. My interpretation of this means to me that Dimmesdale repenting with his whole heart will be forgiven. If one is inline with God I feel that they are redeemed. There are cases in the bible where it says if one is to sin against the people or the church then he must confess in front of those he

The Lost Handwriting :: essays research papers

The Unheard Writing   Ã‚  Ã‚  Ã‚  Ã‚  One day, in the second grade, the teacher told our class to get out their lined paper and pencils. As I made that first fancy loop, following the example on the board, I was wondering what possible situation I was getting into. Later in the year, I learned that cursive writing was time consuming and very difficult to master. In high school, I found out that we had a choice of cursive or printing. I asked myself why we needed cursive? Why are others putting aside this writing that consumed so much time? What are the pros and cons of cursive? This type of writing is established, and I never thought to evaluate its effectiveness or its need until now.   Ã‚  Ã‚  Ã‚  Ã‚  One such pro is that cursive an established form of writing. In grade school, we learned how to neatly write the cursive alphabet. The reason that so much time was spent on this area of development is because it is seen as professional writing. The teacher wanted to prepare us for the future, and without this ability we would be unable to read or write this type of writing. For example, many professional forms such as taxes, weekly paycheck and legal papers all require a signature.   Ã‚  Ã‚  Ã‚  Ã‚  Adding on to that, your signature is unique to each and ever one of us. In all the people in the world, there is only one signature that is like yours and that is your own. Yes, it is possible to forge a persons signature, but it is highly unlikely to be a precise copy of the original. For instance, most colleges require students to sign their exams. This procedure prevents the acts of cheating. Moreover, banks have convicted many people of forge checks. A unique signature prevented both of these situations. Who would of thought that personal ID’s were this important?   Ã‚  Ã‚  Ã‚  Ã‚  On the other hand, one negative attribute is the fact that cursive is sloppy. It is hard for many of us to read cursive that was quickly written. It was hard for me to write it neatly in school. It was also difficult to read other kids’ handwriting because all the letters were smashed together and looked almost the same. Recently, there was a lawsuit involving a doctor and his cursive prescription slip. The patient received the wrong prescription. This mishap happened because the doctor was busy and wrote like a speeding bullet.

Bus405 Final Project

Final Project Ashford University Trena Mealor Dr. James Prentice August 27, 2012 ? Final Project Investing in the total stock market allows an investor to capture the return of the stock market while at the same time diversifying an investment portfolio. The easiest way to build a total stock market portfolio is with a mutual fund or an exchange traded fund. This particular portfolio is diversified with Vanguard ETF’s that were carefully chosen to seek the highest return with moderately aggressive to aggressive risk strategy.The investment strategy associated with this portfolio is short-term with an aggressive attitude of â€Å"more risk more reward†. 7/24 priceInvestment Amount# of Shares8/13 priceValue Vanguard Consumer Discretionary ETF – (VCR)67. 8910000147. 2970971. 7410567. 0932 Vanguard Financial ETF – (VFH)30. 2510000330. 578531. 5810439. 6690 Vanguard Growth ETF – (VUG)66. 9110000149. 454570. 4810533. 5531 Vanguard Information Technology E TF – (VGT)66. 9310000149. 409871. 7710723. 1413 Vanguard Intermediate-Term Corporate Bond ETF – (VGIT)86. 9410000115. 154386. 579968. 9077 50,00052232. 36Exchange Traded Funds, also known as ETFs, are mini-portfolios of securities and derivatives that track an asset like an index and/or commodity. When creating a portfolio, it is important to note that there is a difference between diversifiable risk and market risk. According to Elton (1977), diversifiable risk may be caused by random events that are particular to an individual firm. Since these events are random, the influence of events, such as a lawsuit or strike can be almost eliminated via diversification. However, diversification cannot entirely eliminate market risk. Market risk ffects most firms. Examples of market risk include war, recessions and high interest rates. By researching the portfolio funds, the investor can gain an understanding of risk and how it fits into diversification. A single stock has more risk of not creating a positive return than a stock portfolio. In a market dominated by risk-averse investors, riskier securities must have higher expected returns Ross, Westerfield & Jordan (1993) indicates, the principle of diversification tells us that the spreading of an investment across a number of assets will eliminate some but not all the risk.Unsystematic risk is essentially eliminated by diversification, so a relatively large portfolio has almost no unsystematic risk. Ong (1982) mentions that diversification can reduce the overall portfolio risk. However, the possibility for the risk reduction depends on the correlation coefficient and the proportion of the total funds invested in each. According to Jordan, etal (2012), the benchmark for a well-diversified portfolio would be a portfolio of all stocks in the market. Relevant market risk of the stocks within the portfolio is calculated using a beta coefficient.Accordingly, a stock with a high beta will bring a lot of risk t o the portfolio. The authors further explain, as you calculate the beta for various stocks, you may begin to see groupings of low, average and high beta risk. Beta measures the stock’s risk relative to the stock market average. Calculate the weighted average of these groupings, and you will discover the market risk for the entire portfolio. A â€Å"low† beta is generally 1. 0 or below. The average beta is 1. 00 and assets with a beta greater than 1. 00 have more than average systematic risk.Rosenberg and Guy (1995) further explain the importance of beta as the value of beta measures the expected response to market returns and because the vast majority of returns in diversified portfolios can be explained by their response to the market, an accurate prediction of beta is the most important single element in predicting the future behavior of a portfolio. To the degree that one believes that one can forecast the future direction of market movement, a forecast of beta, by predicting the degree of response to that movement, provides a prediction of the resultant portfolio return.To the degree that one is uncertain about the future movement of the market, the forecast of beta, by determining one's exposure to that uncertainty, provides a prediction of portfolio risk. We begin with the first description of the portfolio. Unlike mutual funds or index baskets, the investor does not have to make multiple transactions in order to achieve a market price. With ETFs it's one trade, one price. The first fund in this portfolio is Vanguard Consumer Discretionary ETF. From July 24, 2012 to August 13, 2012 the value has risen from $67. 9 to $71. 14. The annual investment returns of this ETF are: Annual investment returns as of 12/31/2011 (Vanguard, 2012) Year EndedVanguard Consumer Discretionary ETFSpliced US IMI Consumer Discr 25/50* Capital Return by NAVIncome Return by NAVTotal Return by NAVTotal Return by Market PriceTotal Return 20112. 28%1. 42%3. 71%3. 70%3. 83% 201029. 30%1. 27%30. 57%30. 62%30. 87% The Vanguard Consumer Discretionary ETF is generating 0. 16% of daily returns assuming volatility of 0. 71% on return distribution over 30 days investment horizon.MERGENT online indicates, the one month beta on this investment is 1. 03. This EFT includes stocks of companies that manufacture products and provide services that consumers purchase on a discretionary basis. The following risks are associated with this type of ETF: Stock market risk, Sector risk, Non-diversification and Investment style risk (Vanguard, 2012). Vanguard Consumer Discretionary ETF fund’s manufacturing segment includes the following industries: automotive, household durable goods, textiles and apparel, and leisure equipment.The services segment includes hotels, restaurants and other leisure facilities, media production and services, and consumer retailing. The next fund in this portfolio is Vanguard Financial ETF, which includes stocks of companies that provid e financial services. The investment has a one month beta of 0. 73 which indicates that the investment is 73% less risky than the average. This ETF fund is classified as aggressive is subject to extremely wide fluctuations in share prices.The unusually high volatility associated with these funds may stem from one or more of the following strategies: a concentration of fund holdings in a relatively low number of individual stocks, or in a particular sector of the stock market, or in a particular geographical region of the world; a heavy emphasis on small-capitalization stocks or growth stocks with relatively high market valuations; holdings of international stocks or bonds, which are subject to price declines caused by changes in the value of the U. S. ollar against foreign currencies; or investments in bonds that have exceptionally long average durations, whose prices are highly sensitive to changes in interest rates. According to the Wall Street Journal online, the annual investmen t returns of this ETF: Annual investment returns as of 12/31/2011 (Vanguard, 2012): Year EndedVanguard Financials ETFSpliced US IMI Consumer Discr 25/50* Capital Return by NAVIncome Return by NAVTotal Return by NAVTotal Return by Market PriceTotal Return 2011-16. 04%1. 69%-14. 35%-14. 35%-14. 24% 201013. 15%1. 58%14. 74%14. 77%14. 7% Vanguard Financials ETF seeks to track the investment performance of the MSCI US Investable Market Financials 25/50 Index, a benchmark of large-, mid-, and small-cap U. S. stocks in the financials sector, as classified under the Global Industry Classification Standard (GICS). This GICS sector is made up of companies involved in activities such as banking, mortgage finance, consumer finance, specialized finance, investment banking and brokerage, asset management and custody, corporate lending, insurance, financial investment, and real estate (including REITs).The next ETF in this portfolio is the Moderately-Aggressive Vanguard Growth ETF with a closing p rice of $66. 91 on July 24, 2012 and an ending close of $70. 48 on August 13, 2012. The one month beta on this investment is 0. 99 with a positive strong direction. Annual investment returns as of 12/31/2011 (Vanguard, 2012): Year EndedVanguard Growth ETFMSCI US Prime Market Growth Index* Capital Return by NAVIncome Return by NAVTotal Return by NAVTotal Return by Market PriceTotal Return 20110. 0%1. 27%1. 87%1. 84%1. 96% 201015. 66%1. 46%17. 11%17. 15%17. 23% An investment in this the fund could lose money over short or even long periods. The investor should expect the fund’s share price and total return to fluctuate within a wide range, like the fluctuations of the overall stock market. Vanguard funds classified as moderate to aggressive are broadly diversified but are subject to wide fluctuations in share price because they hold virtually all of their assets in common stocks.In general, such funds are appropriate for investors who have a long-term investment horizon (ten ye ars or longer), who are seeking growth in capital as a primary objective, and who are prepared to endure the sharp and sometimes prolonged declines in share prices that occur from time to time in the stock market. This price volatility is the trade-off for the potentially high returns that common stocks can provide. The level of current income produced by funds in this category ranges from moderate to very low.The type of risks associated with this investment is: stock market risk and investment style risk. The chance that stock prices overall will decline. Stock markets tend to move in cycles, with periods of rising stock prices and periods of falling stock prices. The fund’s target index may, at times, become focused in stocks of a particular sector, category, or group of companies. Because the fund seeks to track its target index, the fund may underperform the overall stock market. The chance that returns from large-capitalization growth stocks will trail returns from the overall stock market.Large-cap stocks tend to go through cycles of doing better—or worse—than other segments of the stock market or the stock market in general. These periods have, in the past, lasted for as long as several years. The next investment in the portfolio is Vanguard information technology ETF. This ETF seeks to track the performance of a benchmark index that measures the investment return of stocks in the information technology sector. With a one month beta of 1. 1, this fund is passively managed, using a full-replication strategy when possible and a sampling strategy if regulatory constraints dictate.Includes stocks of companies that serve the electronics and computer industries or that manufacture products based on the latest applied science. The risk potential for this fund is aggressive, more risk more reward. Annual investment returns as of 12/31/2011 (Vanguard, 2012) Year EndedVanguard Information Technology ETFMSCI US Prime Market Growth Index* Capi tal Return by NAVIncome Return by NAVTotal Return by NAVTotal Return by Market PriceTotal Return 2011-0. 28%0. 80%0. 52%0. 53%0. 66% 201012. 08%0. 66%12. 74%12. 67%12. 99%Vanguard Information Technology ETF is made up of companies in the following three general areas: technology software and services, including companies that primarily develop software in various fields (such as the Internet, applications, systems, databases, management, and/or home entertainment), and companies that provide information technology consulting and services, data processing, and outsourced services; technology hardware and equipment, including manufacturers and distributors of communications equipment, computers and peripherals, electronic equipment, and related instruments; and semiconductors and semiconductor equipment manufacturers.Vanguard Intermediate-Term Corporate Bond ETF which seeks to provide a moderate and sustainable level of current income. Invests primarily in high-quality (investment-gra de) corporate bonds. Moderate interest rate risk, with a dollar-weighted average maturity of 5 to 10 years. Vanguard Intermediate-Term Corporate Bond ETF seeks to track the performance of a market-weighted corporate bond index with an intermediate-term dollar-weighted average maturity. The fund invests by sampling the index, meaning that it holds a range of securities that, in the aggregate, approximates the full index in terms of key risk factors and other characteristics. Annual investment returns as of 12/31/2011 (Vanguard, 2012)Year EndedVanguard Intermediate-Term Corporate Bond ETFMSCI US Prime Market Growth Index* Capital Return by NAVIncome Return by NAVTotal Return by NAVTotal Return by Market PriceTotal Return 20113. 77%4. 17%7. 94%8. 97%8. 03% 20106. 16%4. 48%10. 65%9. 88%10. 80% All of the fund’s investments will be selected through the sampling process and at least 80% of the fund’s assets will be invested in bonds included in the index. The fund maintains a dollar-weighted average maturity consistent with that of the index. An investment in the fund could lose money over short or even long periods. The fund’s performance could be hurt by: Interest rate risk: The chance that bond prices overall will decline because of rising interest rates.Interest rate risk should be moderate for the fund because it invests primarily in intermediate-term bonds, whose prices are less sensitive to interest rate changes than are the prices of long-term bonds. Income risk: The chance that the fund’s income will decline because of falling interest rates. Credit risk: The chance that a bond issuer will fail to pay interest and principal in a timely manner, or that negative perceptions of the issuer’s ability to make such payments will cause the price of that bond to decline. Index sampling risk: The chance that the securities selected for the fund, in the aggregate, will not provide investment performance matching that of the index. In dex sampling risk for the fund should be low. Annual investment returns as of 12/31/2011 (Vanguard, 2012)Year EndedVanguard Intermediate-Term Corporate Bond ETFMSCI US Prime Market Growth Index* Capital Return by NAVIncome Return by NAVTotal Return by NAVTotal Return by Market PriceTotal Return 20113. 77%4. 17%7. 94%8. 97%8. 03% 20106. 16%4. 48%10. 65%9. 88%10. 80% ETFs combine the advantages of both index funds and stocks. They are liquid, easy to use and can be traded in any quantity just like stocks. At the same time an ETF provides the diversification, market coverage and low expenses of an index fund. These characteristics combine to create an investment tool that provides investors with the broad exposure they require, at the level they want; at the moment they need it.As such, they are fast gaining a reputation as an innovative investment solution – a claim greatly supported by the accelerated growth in ETFs. Reference Elton, E, & Gruber, M. (1977), Risk, reduction and portfolio size: an analytical solution. Journal of Business. Vol. 50, 415-437. Hope-Bell, E. (2008). Focus on: Index investing – exchange traded funds – an innovative investment solution. Professional Wealth Management, , 1-n/a. Retrieved from http://search. proquest. com/docview/205081570? accountid=32521 Jordan, B. , Miller, T. , & Dolvin, S. (2012). Fundamentals of investments, valuation andmanagement (6th ed. ). New York, NY: McGraw-Hill. MERGENT Online. Retrieved from http://www. mergentonline. com/companydetail. php? pagetype=highlights&compnumber=116548 Ong, Poh Wah (1982).Measuring the expected return and risk of combining several shares in an investment portfolio. Securities Industry Review. Vol. 8, No I, 6-16. Rosenberg, B. , & Guy, J. (1995). Prediction of beta from investment fundamentals. Financial Analysts Journal, 51(1), 101-101. Retrieved from http://search. proquest. com/docview/219118485? accountid=32521 Ross, S. , Westerfield, W. , & Jordan, B. (199 3). Fundamentals of corporate finance, 2nd ed. , Richard D. Irwin, Inc. https://personal. vanguard. com/us/home Vanguard (2012). Retrieved from https://personal. vanguard. com/us/home Wall Street Journal online. (2012). Retrieved from http://online. wsj. com/home-page

The Impact of Telecom Services Packages Advertisement on the Social Values of Pakistani Youth

the impact of telecom services packages advertisement on the social values of Pakistani youth Abstract This study will try to investigate the impact of telecom services packages like late night call & unlimited sms on the social values of Pakistani youth. As now a day’s cellular companies are mainly targeting youth through their advertisements and want the youth to get indulge in these activities in return increase their sales but the point is up to what extent youth showing receptiveness and emotional attachment to these packages. Study was conducted in 3 universities Iqra, Bahria & Foundation with the sample of 150 respondents, convenient sampling technique is used & results are measured using multiple regression test. Major findings concluded that cellular advertisements of unlimited sms & late night call packages have a positive impact on youth. Keywords: advertisements, call packages, sms, social values, youth, cellular services Background Now a days there are many packages existing in market with special discounts & unlimited sms & late night call packages have been introduced, so due to this reason the providers of cellular services are having a closer look for the migration of Personal computer consumers to become the cell phone user e. g. â€Å"GPRS rates have gone down, for example you can send hundreds of text messages per day to any network in the country†. (Omar Aijaz, 2008) was of the view that late night call packages mostly targeted youth that influences mostly at the 11th hour of might to early in the morning round about at 7. Mostly all telecom services companies are doing so like WaridTelecom providing night package with the name infinite craze or zem nites similarly Mobilinktelecom night package as raat shuru baat shuru etc. Likewise youth is mature and now parents don’t take a closer look at their children’s as the parents look at the things in different view as compared to the youth so as a result definitely positive or negative things are also perceived in different manners. The packages that were previously discussed in any case surely have affects on the study, healthy life and business life of youth due to staying up long at nights. (Omar Aijaz, 2008), furthermore the students (youth) will let their peers know about these services â€Å"word of mouth† is started we can say peer education begins and one can say immature group of humans acting as profession to teach different or additional immature group of humans (Clements, I and Buczkiewicz, M. 1993), and students are discussing their academic work even on sms. Cell phones nowadays considered by youth as â€Å"symbol of independence† (Babar Bhatti, 2008) they develop their own social groups and are able to elaborate or make one’s self owned body of words to communicate in the social gathering that is far from unnecessarily curious sight of their guardian (father and mother). These services are now utilized by youth in larger numbers i-e 24 hours and 7 days a week and still continues and more over has been made as a â€Å"the traditional amount of contact permitted before marriage†. Conversations are mainly done in bedrooms e. g. sms or late night call packages. Youth is making social ties away from their families and the interaction betwixt the guardians (mother and father) and their children’s came into being as not personal, so if someone says that love is in the environment or surrounding seems like it’s being in accordance of the surrounding because mobile carry texts related to romance and youth are focusing to the usage of these cellular services for the maintenance of their close and loveable relational ties. Cellular companies are â€Å"grabbing our new generation, these free night packages services provided by our Cellular Companies have become a great pleasure/encouragement to people like who aren’t responsible at all†, and looks like beyond morals because whole night indulging in these kind of activities affects are culture and traditions. (Babar Bhatti, 2008). In Pakistan services related to cellular’s started in the 1990’s where telephone licenses for mobile services were assigned to PakistanTelecom and PakistanCommunication known as the Insta Phone for the clause as a legal instrument of providing telephony services through mobiles. As a result now five companies that are providing cellular services exists in Pakistan namely as Ufone, Zong, Warid, Telenor & Mobilink. (Balaji et al. , 2005) perceived and found that currently companies related to mobiles now focusing for the building of having a broad way plan of action to satisfy the consumers for the ongoing services that dominates amusement, & â€Å"preventing loss of royalties in their services and maintaining customer retention†. â€Å"Ideas associated with ‘risk society’ have become part of the rganizing ground, which serves to define and order the ‘personal’ and social spaces’ integral to its ‘youth problem† (Epstein, 1998), so risk of misusing these late night call packages and unlimited sms usage is always there and furthermore friend finder is another service launched by cellular companies affecting social values of youth. Abstracts standards or empirical variables which are present in social life beli eved to be important or/and desirable (Mondofacto and medical dictionary, 1998). What follows is an exploration of this idea both for understanding agency in youth, and for further developing the aims and objectives of a critical sociology of youth (Furlong, 1997), psychological effect is there and youth is emotionally attached to these services now. (Morris and Venkatesh, 2000) were of the view that â€Å"Age has been of significant interest to social psychologists as well as marketers in the past†, these cellular companies are mainly targeting youth for subscription of late night call packages and unlimited sms. SMS was built into the European Global System for Mobile (GSM) working as an additional capability. (Goggin, Gerard, 2005) Now in many countries SMS perceived as cheap, utilized as one-to-one, or one-to-many, mostly communication is done leisure. New culture of media use started by young people thorough SMS but In Hong Kong, for instance, SMS was not accepted too quickly because voice mobile (Spurgeon, 2005) call charges were relatively cheap. Many industries are now interested to use this technology as may telecom services industries are doing so, specially new entrants Zong Is focusing on this strategy. Capitalizing on this unexpected boon, (Christine, 2005) mobile carriers are seeking to position MMS (multimedia services) as the successor to SMS, supported by heavy marketing to promote consumer adoption of new mobile phones with picture and video capacity. † Literature Review Attracting consumers of different cultures & having different social values marked as a challenge for international advertisers. On the other hand (Kothani, 1988; Dahringer, 1991) at a gradual pace service businesses are contributing to grow in the enclosed area internationally. These strategies for people (youth) of different cultures & social values arguments that there is need to understood the marketing internationally that is marked as immediately noticeable and has strong impression, similarly broad way plan of action for advertisement is also required for the services, and on the other hand as well as domestic advertising growth strategies should become compulsory for companies like cellular services. The research in remote period of time suggests that advertisement of mobiles that is focused towards the act of permitting worthy of being accepted as compared to the several different advertisement (Barwise P. and C. Strong, 2002) interpreting consumers find pleasant by undergoing in the presence of to exercise authoritative change of thought, messages, or information as by speech, signals, writing or behavior. Research will determine that our youth get attracted by mobile music services advertisements and use it for entertainment purpose. The word Qos can explain in terms of â€Å"the collective effect of service performances, which determine the degree of satisfaction of a user of the service†. (Wu, 2000) was of the view that user-perceived QoS becomes of vital importance due to the advancement in mobile technology therefore customers expectation increased in view of wireless technologies. Therefore in this current scenario exertions of the strength developed for the explanation of Qos with additional detail considering consumer perspectives and make a linkage of a belief for the particular parameters of cellular structure in form of concept (Saliba et al. 2005). Moreover there are implications of studies which conclude that â€Å"effective network performances, wired and wireless†, are of major importance in satisfying customer experiences as compared to characteristics of the network, if we emphasize on the importance of experienced consumers in context of notion of QoS (Saliba et al. , 2005) cellular companies are focusing on improving their services to a level at which customers become satisfied for better communication like unlimited sms & late night call packages. Quality is defined as the overall excellence or superiority that consumers perceive from a product/service† (Zeithaml, 1988). (Cronin et al. , 2000) explained that â€Å"Consumer perceptions of service quality, value and satisfaction have been extensively studied as antecedents of loyalty intention†. On the other hand, satisfaction is defined as â€Å"a mediator between quality and/or value and customer retention† (Parasuraman and Grewal, 2000; McDougall and Levesque, 2000; Olsen, 2002). In this context cellular services companies are focusing to retain their customers (youth) by giving quality services with timely delivery of unlimited sms package. Population should be literate who will understand the advertised messages, therefore there is a need of hour that population must be of right age & right gender & must have sufficient funds or sum of money to consume the products & services which are offered in the market (Dyer, 1995). (Brierly, 1995) said that most people just take 1. 5 seconds to read a printed advertisement so advertisement must be made precise & brief. On the other hand the social groups identifies themselves on the basis of same attitudes, shared consumption patterns (Goldman, 1992). Advertisers focus on the group they want to focus for instance woman’s found to be in a homogenous groups & advertisements mostly made in the house for household items. This variable Mobile advertisement helps us to find out the impact of mobile advertisements on social values of youth. Advertisement of the mobiles seems as pleasing to the sight of the customer due to its less amount and strong infiltration (Barwise P. nd C. Strong, 2002) plus the people realted to advertisement made vigilant alerts, call, audio and video texts and messages also communicative streaming of videos are made in order to grasp chances and consumers usually with the help of developing the messaging personalized from. In today’s world cellular services are attracting more customers by introducing services like late night call packages and unlimited sms, making attractive advertisements and commercials e. g. Mobilink Raat Shuru Baat Shuru slogans. The mobile entertainment industry acts as a foundation of m-commerce (Tsalgatidou and Pitoura 2001; Panis et al. , 2002); Maciness et al. 2002). One more thing left which is acting as an indicator i-e what attracts and influence our youth in deciding to adopt cellular service and what specific features they would like a mobile entertainment application to offer (Balasubramanian et al. , 2002). Researching on the study of Consumer behavior is vital towards increasing the pace in diffusion and consumer acceptance of using m-commerce services (Green et al. 001; Nohria and Leetsma 2001; Barnes 2002; Koivumaki2002; Vrechopoulos et al. 2002). It is proposed that the attached emotions with the cellular’s or mobiles can be named as a key that has an impact on the newly born latest services for the admission in the future prospects (Vincent, 2006). Consumer receptiveness is critical in finding out whether people accept the advertisement or not. (Swaminathan et al. , 1996) was of the vi ew that advertisements classified mainly as â€Å"(cognition or affect)† So in these scopes emotional dvertisements means serving advertisements to focus â€Å"elicit affective responses† (Aaker and Stayman, 1992). However, most studies concluded that emotional responses which are positive results in positive advertisement and generally in brand responses, whereas advertisements which are get reacted through cognitive reactions are affected much positively through the help of advertising that is un emotional in nature that has power of attracting in contrast to advertisements that are emotional in nature (De Pelsmacker et al. 2002, 2005). If we look cellular’s through view of product extension they are currently extensions of own (Hulme, 2003; Lasen, 2004; Vincent et. al, 2005; Wehmeyer, 2007), and considered as showing similarity in the condition of being deprived of extension (Hulme, 2003), consumers currently view them as unavoidable so as a result attachment to these cellular devices has increased as users intended to arouse the emotions with these cells. (Fox, 2001; Lasen 2004, 2005; Vincent et. l, 2005, 2006; Wehmeyer, 2007). Cellular services are increasing rapidly as building upon premise that leave its foot prints on future acceptance of new services Vincent’s (2006). However, there exists a lacking rigidly accurate speculation in addition to that verifiable scientific investigation when viewing commercial functions involved in transferring goods from producers to consumers with act of implicating the act of using commerce through mobile or cell (Balasubramanian et. l, 2002) and consumer behavior viewing the act of using commerce through mobile not being marked as title of enough scientific investigation (Green et al. 2001; Ramsay 2001;Barnes 2002). There is a bulk of researches and discussions on the emerging business models of mobile entertainment industry which acts as a trusted market in m-commerce (Tsalgatidou and Pito ura 2001; Maciness et al. 2002, Panis et al. 2002), and there we can still be able to find out indicators i-e what influences consumers in their decision to accept and adopt cellular music services (Balasubramanian, Peterson and Jarvenpaa 2002). Moreover, emotional feeling of affection also determines the cellular device in managing the person confidential as well as life relating to emotions(Henley management college, 2003), we will try to scrutinize in view of customers willingness to accept the advertisement of cellular’s or not. If we view pure services from a nature perspective they are intangible; means are not capable to be grasping or touched psychologically (Bateson, 1979). Therefore the participation of a articular branch of learning, science or art regarding morality principals with relative worth, rules of right conduct main beliefs with the help of honest principles inside commerce (Paine, L. S. , 1996) are must for cellular companies to focus as a basic research area in business ethics. Low impact on moral values of the youth & help youth to become emotionally socialize well as, Cutler and Javalgi (1993) founded that ads are targeted emotionally by the service advertisers, Similarly (Abernethy, D. D. and Butler, A. M. , 1994) marked partial digits that belongs to knowledge communicated stimuli utilization belonging to services provider, so cellular companies must focus on providing the in depth detail of services offered that has an valid positive impact on youth, so the dependent variable social values will explain how youth get influenced by these services & use these services in their social groups. Framework of This Study Cellular Advertisement | |Social values | |Consumer receptiveness | |Consumer Attachment | This study hypothesizes the followings: 1. HO: Is there any relationship between dependent and independent variables? 2. H1: Is there a positive impact of telecom services late night call and unlimited sms packages advertisement on the social values of Pakistani Youth? 3. H2: Is there a negative impact of telecom services late night call and unlimited sms packages advertisement on the social values of Pakistani Youth? Method The study was carried out during the short period from September 2009 to January 2010. In this study Students from 3 universities i-e Iqra University, Bahria University and Foundation University are selected as the target population. The questionnaire were developed using the five point Likert scale, for this purpose. The questioners were distributed to about 00 students out of which reliable results were obtained from 150 students. To keep the validity and importance of the study, all the questionnaires were self administered and assisted, helping students in case of any queries. As a result received datum systematically arranged; in addition to this with the absence of every all comparatively small numeric symbol, sheet of Statistical packages for the social sciences formed and multiple linear regressions was utilized for hypoth esis testing with the help of Statistical packages for the social sciences software version number 16. to find the relationship betwixt variable that are independent and dependents in nature. Result and Discussion: KEY: Co-efficient, Parenthesis (Standard Error), Brackets (t-value) and in italic (P-Value) TABLE |Constant |Attachment |Advertisement |Receptiveness |R Square |F | | |(IV1) |(IV2) |(IV3) | | | |1. 352 |-. 018 |. 95 |. 000 |. 662 |95. 200 | |(. 148) |(. 030) |(. 030) |(. 024) | | | |[9. 115] |[-. 593] |[16. 693] |[-. 028] | | | |. 000 |. 554 |. 000 |. 978 | |. 000 | Results obtained show that as an individual co-effients ? in case of each and every variable indicates a positive result overall. The investigation of this research shows that social issues regarding youth are positively affirmative as well as powerful correlation is seen with advertisement i. e. the independent variable. Whole analysis shows that the variable advertisement which is independent in nature influences social values and gives a significant result as P< . 05, F = 95. 200 and the R Square > . 65 whereas the standard error

The Communication of Window Displays

Retailer:Ted BAker Word Count: 1268 The Communication of Window Displays â€Å"Visual merchandising is an indispensable retail discipline, consisting of a series of practical selling tools that are used to influence what and how much consumers buy† (McKeever, K. 2008). A window display represents the various dynamics used to communicate a message to its target audience. This essay will analyse the way in which Ted Baker conveys its position in the market and brand identity by effectively portraying quality and attention to detail in its window displays.This essay will then compare the successfulness of two different approaches – â€Å"theme focussed display†, and â€Å"product focussed display† – in enticing Ted Baker’s potential customers. This will develop a conclusion on the effectiveness of Ted Baker’s window displays to act as â€Å"silent sellers† (Levine, P. 2008) and enable customers to relate to the brand. Ted Baker use s elements such as the psychological effect of colour, lighting and appropriately chosen props to enable its customer to interpret its position in the market as an â€Å"upper high street brand†.Figure 1: Use of luxurious colours by Ted Baker ( Source: Vaswani, 2012 In various online customer reviews (yelp. com, zappos. com), the attributes that Ted Baker’s products are associated with are commitment to quality and unwavering attention to detail. Interviews with 30 onlookers regarding the window displays on Regent Street revealed that the use of luxurious colours (browns, rich reds, strong neons) along with the warm yellow lighting are the factors that enabled the customers to interpret the quality of the products to be superior.Additionally, the props used in the Ted Baker windows highlight the attention that is devoted to details at the micro level, not only in the products, but also in the window displays. The importance of using appropriate props is highlighted by Tony Morgan’s (2011, p54) statement, â€Å"Props should be relevant to the merchandise to make the overall idea come to life†. In line with this, Ted Baker used bows and arrows as props to complement their autumn winter â€Å"Survival of the Fittest† collection. These props provide a wild and â€Å"outdoorsy† feel to the window.This proves that there is a deep level of intricacy that has gone into the selection of the props used in the window displays. This supports the upper high street positioning of the brand within the market. All these factors confirm that Ted Baker’s usage of the above elements is effective in conveying its market positioning. A comparison between the effectiveness of a â€Å"theme-focused† and â€Å"product-focused† display will establish whether Ted Baker’s frequent usage of themes in their windows is the right approach to capture the attention of potential customers.For their display in October, Ted Ba ker had ingeniously used the theory of â€Å"the survival of the fittest† to create a humorous theme in their window supporting their autumn/winter merchandise. Figure 2: Survival of the fittest themed window Source: displayhunter. com, 2012 Charles Darwin (1869, On the origin of species) explained â€Å"survival of the fittest† to be â€Å"the natural selection, or the preservation of favoured races in the struggle for life. † The message behind the story in the display is that Ted Baker merchandise is the â€Å"fittest† and would transcend the wearer from the ordinary.By labelling their merchandise as the â€Å"fittest† and rather a necessity, the brand teasingly talks about how the upcoming autumn winter weather is going to be a struggle. Interpretations of several passers-by confirm that this theme was making a joke about the â€Å"Great British weather† and the only way to conquest this struggle was to wear Ted Baker’s merchandis e. Figure 3: Christmas with Frosty Source: Vaswani,2012 The most recent window display, the Christmas display, paints a picture of a Christmas party, the guest of honour being a drunken snowman named â€Å"Frosty† in a festive red thong and Santa Clause hat.The visual merchandising team believe that the movement of the snowman captures attention as peoples’ eyes are drawn towards motion. This statement was confirmed by primary research and observation. Out of a sample of 100 people passing by the shop, seven out of ten stopped to look at the window display (A few even took pictures with the snowman in the window) Five out of these seven went into the store. Figure 4: Frosty the snowman Source: Vaswani, 2012 In both these window displays, Ted Baker uses humorous themes to engage its quirky target audience.The window displays act like â€Å"silent sellers† because they successfully convert onlookers into customers by reeling them in. However, in the second week of October, Ted Baker used a more product-focused window to display their collection. The sales assistant at the Regent Street store identified that the merchandise displayed was mainly evening wear that could be worn for occasions like upcoming Christmas parties. The mannequins were placed in repetition, which â€Å"reinforces and strengthens the impression through replication† (Gorman,G. 996 Visual Merchandising and store design workbook, p20). Also the background was a mirror, â€Å"people tend to slow down when they see reflective surfaces† (Underhill, 2002, Why we buy, p76). The window did have these two strengths but interviews with in-store customers established that the display looked â€Å"boring† and â€Å"as if very little thought and effort had been put into it†. A customer also quoted, â€Å"In comparison to the exciting displays from earlier, this one is a let down†. Figure 5: Ted Baker’s product focused displaySource: Vaswani, 2 012 The sales assistant at the Regent Street store identified that the merchandise displayed was mainly evening wear that could be worn for occasions like upcoming Christmas parties. The mannequins were placed in repetition, which â€Å"reinforces and strengthens the impression through replication† (Gorman,G. 1996 Visual Merchandising and store design workbook, p20). Also the background was a mirror, â€Å"people tend to slow down when they see reflective surfaces† (Underhill, 2002, Why we buy, p76).The window did have these two strengths but interviews with in-store customers established that the display looked â€Å"boring† and â€Å"as if very little thought and effort had been put into it†. A customer also quoted, â€Å"In comparison to the exciting displays from earlier, this one is a let down†. This means that, the Ted Baker customer expects excitement and an engaging theme in the windows. Also based on the description of the windows by the c ustomers, the reflection of the brand’s personality is key to Ted Baker’s display.Evidently, a product-focused window display is inept in this aspect. â€Å"A stores’ window is effectual if it tempts customers†(Portas, 2007). This statement creates stress on the fact that the window display was ineffectual due to its inability to lure customers. From this comparison, we can conclude that, â€Å"theme-focused† window displays are more effective than â€Å"product-focused† display as they create visual excitement and help the customer relate to the brand. The Ted Baker customer enjoys the portrayal of the brand’s humorous and quirky image through its engaging and impactful themes.In conclusion it can be said that, through its window displays, Ted Baker communicates its position of being an upper high street retailer in the market. For this, it uses to its advantage the psychological effect created by colour and lighting and the appropri ate usage and selection of props in its window displays. The windows are a true and effectual representation of the brand’s core values which are- quality and attention to detail. Ted Bakers frequent use of â€Å"theme-focused† window displays is a powerful and efficient approach to draw in their target customers who expect enthusing displays that would make them engrossed and curious.Finally, the strategies and approaches that Ted Baker uses in the creation and execution of its window displays are effective â€Å"silent sellers†. REFERENCE LIST: Darwin, C (1869). On the origin of species. 5th ed. Gorman, G (1996). Visual Merchandising and store design workbook. Ohio: ST Media Group Publisher. p20. Levine, P. (2010). Visual Merchandising: The ‘Silent Salesperson'. [online] Available: http://www. salesandmarketing. com/article/visual-merchandising-silent-salesperson. Last accessed 25th September 2012 McKeever, K. (2008). favourite quotes. Available: http:// thevisualmerchandisingblog. ordpress. com/favorite-quotes/. Last accessed 20th September 2012 Morgan, T (2011). Visual Merchandising: Window and in-store displays for retail. 2nd ed. London: Laurence King Publications. p54. Portas, M (2007). favourite quotes. Available: http://thevisualmerchandisingblog. wordpress. com/favorite-quotes/> [online] Last accessed 20th September 2012 Underhill, P (2002). Why we buy. New York: Simon and Schuster. p76. http://www. yelp. com/biz/ted-baker-london-new-york (2012) [online] last accessed 27th September 2012 http://www. zappos. com/ted-baker (2009) [online] last assessed 27th September 2012REFERENCE LIST FOR IMAGES: Vaswani, D. (2012) Figure 1:Use of luxurious colours by Ted Baker [Photograph]. Regent Street Store Figure 2:Survival of the fittest themed window(2012) [online image]. Available at: http://displayhunter. blogspot. co. uk/2012/11/ted-baker-hunting-game. html [Accessed 23rd November 2012] Vaswani, D. (2012) Figure 3:Christmas with Fro sty [Photograph]. Regent Street Store Vaswani, D. (2012) Figure 4:Frosty the Snowman [Photograph]. Regent Street Store Vaswani, D. (2012) Figure 5:Ted Baker’s product focused display [Photograph]. Regent Street StoreBIBLIOGRAPHY: Cabezas, C (2010). Design Techniques for window dressing: Ideaspropias Editorial Danzinger, P (2002) Why people buy things they don’t need New York: Paramount Market Publishing Din, Rassheid (2000) New Retail London: Conron Octopus Limited Eszter Czibok. (2012). The window- a reflection of our desires. Available: http://workinginthewindow. wordpress. com/tag/window-display/. Last accessed 2nd November 2012 Gardner, A (2000) The 30 second seduction California: Seal Press http://fre23media. blogspot. co. uk/2010/11/window-displays-original-communication. html. 2010). Window displays: the original communication tool. Available: http://fre23media. blogspot. co. uk/2010/11/window-displays-original-communication. html. Last accessed 3rd November 201 2 Holly Bastow-Shoop . (1991). Visual Merchandising: A guide for small retailers. Available: http://ncrcrd. msu. edu/uploads/files/133/NCRCRD-rrd155-print. pdf. Last accessed 11th October Kaisa Leinonen. (2010). Autumn/Winter 2010 Trend Report: Mirrors as Display Props. Available: http://thewindowdisplayblog. com/2010/11/01/autumnwinter-2010-trend-report-mirrors-as-display-props/.Last accessed 11th October Marie, S. (2006). A History of Visual Merchandising in Retail Stores. Available: http://sarahmarie1. hubpages. com/hub/A-History-of-Visual-Merchandising-in-Retail-Stores. Last accessed 9th October 2012 Messaris, P (1997) Visual Persuasion- The Role of Images London: Sage Publications Sturken, M , Cartwright, L (2000) Practices of Looking- An introduction Oxford: Oxford University Press Sussen Madden Understand visual merchandising for a small business. Available: http://www. retailtraining. ie/pdf/Unit-259. pdf. Last accessed 3rd October 2012 The Communication of Window Displays ‘Windows reveal the soul of the store’ (Portas, 1999: 41). Every store has its own concept that characterizes each display, varying from theatre, drama or in the case of Armani Exchange minimalism. Well-dressed windows are undoubtedly, a dynamic form of advertising for products reflecting the stores’ brand image. This essay seeks to evaluate how A|X Armani Exchange’s window displays communicate to spectators with the use of various resources. Armani Exchange is one of the sub-brands under the parental brand of Giorgio Armani. The use of colour, lighting, props and graphics can capture interest, indicating the foundation of any decent display whose aim is to get people off the street. Windows are used as a selling device promoting products. They also mirror what the store is about, bringing pleasure to the eye. A stores’ window is effectual if it tempts customers who will want and be able to purchase the products offered, conveying quality, style and pricing (Portas, 2007). Moreover, windows can lure someone in a shop due to psychological factors. Brand founders such as Armani and Dior, give their own unique identity on their products and are therefore based on persona. As an online source says ‘Armani Exchange has become one of the most dynamic collections with its own unique identity, as well as an ever-growing base of young customers’ (www.ameinfo.com/192218.html). City life is emitted through its concept of sexy, chic and stalwart garments. Hence, it can be said that quality along with brand loyalty comes before the cost. Windows work on the principle â€Å"first impression is the best impression†, implying that only a few seconds are needed for a display to â€Å"speak† to a passer-by and get him/her inside a store. Portas asserts that ‘visual merchandising is the art and science of silent selling, bringing product, environment and space into one stimulating and engaging display to encourage sale’ (Drapers, O ctober 29: 34). This is shown by the power of Armani Exchange’s logo -with grey background and white letters signifying practicality, neutrality but also timelessness- which is becoming more and more recognisable. Furthermore, Armani Exchange’s target customers are both independent male and female who have their own style, belonging in the age group of 16-35. It is more accessible to the bourgeoisie, who want a taste of the luxurious brand. Given that prices are lower than the rest of the Armani sub-brands, the apparel is more inclusive to the public. This stores’ clientele may work as managers, interns or may even be students living in East London. Additionally, they may go out for a drink, coffee or shopping at least once a week, or read magazines like Vogue. Other stores they visit include Zara and Benetton. What is more CPI is escalating; competition is astonishingly high while consumer spending started to fall as September figures show because of pessimism (www.guardian.co.uk, 2010). As a result, retail sales are expected to fall in the following months, along with a rise in VAT. Armani Exchange windows’ are open-back; implying there is ‘no back wall’ (Morgan: 44). The striptease effect is clear as we can see the internal displays emphasizing the focal point through the space between the mannequins, creating a more intense visual impact, which is representative of the merchandise of the store. A|X shows the garment’s prices at the bottom of the windowpane. Lighting from the ceiling and floor is ambient acting as a catalyst for the area (www.infostore.gr. 2010), as Figure 1 shows: Figure 1: The window shows A|X Armani Exchange’s front window in Regent Str. London, October 19, 2010 Source: Kaisidi, 2010 For autumn/winter 2010, Armani Exchange trails a repetition of dark shades evoking a monochromatic colour scheme exerting sophistication and a clean look, which are pleasing to the eye. Materials like leather and fur with metallic details indicate luxury mixed with a touch of mystery, illustrating an intellectual and confident appearance. However silver and gold details on the garments complement the black shades, making the pieces more youthful. A downside of open windows is that high-priced items showcased can be tampered if somebody wishes to feel the fabric, so they are trickier to dress. Besides that another negative aspect is that windows are not as creative since there are fewer props. Hence there is no story to tell. Silhouettes are simple yet authoritative and influential. Effective windows can ‘seduce’ (Portas, 2007: 54) you to purchase something you did not intend to. Buying even a small item, one satisfies a need, a want to feel more contented and self-confident. Also, what you wear is what defines you, reflecting your personality- as implied by Berger (1972). Windows can sway someone into investing in a garment that will make them enviable and glamorous at the same time. ‘The power to spent money is the power to live’ (Berger, 1972: 143), implying that each person interprets the world differently- the same applies in window displays. Armani Exchange has a very clean approach of â€Å"less is more† by not overloading its windows together with being â€Å"strong and simple† emphasizing the brand’s power (http://ezinearticles.com, 2010). Furthermore, by following the â€Å"fresh is best† principle in accordance with Berger (1972), they renew their displays every week thus regular customers find new stock in every visit. Still though, A|X receives deliveries every 3-4 days so that monotony is avoided. For that reason, if a jacket is received in the middle of the week, it will be put on display on that day. Visual merchandising makes ideas come alive whose purpose is to sell commodities through visualization, as induced by Clements (2010). Armani Exchange wants its customers to experience the brand with the aid of visuals. Particularly the three-dimensional sightline placed parallel with the double doors in the Regent Street shop ‘gives energy’ (Portas, 1999: 102), as shown by the image below. Figure 2: The window portrays a 3D advert for A|X sunglasses in London, October 21, 2010 Source: Kaisidi, 2010 Christmas windows however, ought to be more interesting and intriguing. Armani Exchange Christmas decoration is ruled by special effects lighting and radiation. Oval rings are beaming light that changes colour every few seconds; a different look tried by A|X. The rings are symmetrically placed next to each other, as it is clearly illustrated in the following picture: Figure 3: The window illustrates A|X Christmas dà ©cor in London, November 20, 2010 Source: Kaisidi, 2010 Despite having a sale, windows were not unattained (Portas, 1999), since signage advertising the offers are placed. What is more, it urges spectators to celebrate style with the vinyl on the windows’ glass, exploiting psychological factors to lure in onlookers. After questioning 40 citizens, calculations show that 46% found the displays of A|X attractive, although 8% felt that it did not stand out. The effect of these circles illustrates gravity, communicating with the pavement (Portas, Mary Queen of shops-Blinkz DVD). They work as pause points as they can be seen from afar, making the passers stop and browse the new collection. The aesthetic balance of the store emphasizes how the power of light can visually transform a space. One could argue that the density of the garments in Armani Exchange’s windows is just enough to fill the space available given add-ons such as bags and wallets. This is shown with Figure 4: Figure 4: The window shows A|X latest collection 3 weeks before Christmas in London, December 3, 2010 Source: Kaisidi, 2010 Mannequins are said to be a mighty tool, forming the scene of a display. In A|X, mannequins are golden and headless in order to appeal to a wider audience (Pegler, 2008). The mannequins’ outfits offer a possible wearable suggestion in which one could walk out of the store with having a feeling of fulfilment. Mannequins are front facing, but the passers can observe all the angles, as suggested by Morgan. To conclude, window displays need to clearly define the identity of a store. A|X ‘serves as the ultimate testimony to the power of the brand’ (Roll, 2010). The visual placement of the store is rather simplistic so people may think it is too plain. Equally, others who are fond of minimalism obtain a positive vibe for the specific windows, which are a compelling representation of the brand ethos. A|X has an identifiable and cohesive commercial image, which triggers the clients’ interest in conjunction with facilitating communication. All in all, Armani Exchange window displays are effective for their target customers, as they communicate their minimalistic message emitting an aesthetic purity of warmth and luxury. According to G.U Journal of Science there has not been significant empirical evidence regarding the effect of window displays on consumers’ shopping attitudes’ (2007: 33). Bibliography http://ezinearticles.com/?Window-Displays-That-Work!&id=4390505

Effects of Broken Marriage to Children

Effects of Broken Marriage to Children SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS OF THE COURSE BACHELOR OF SCIENCE IN INFORMATION TECHNOLOGY BY Marie Julianne I. Reyes CHAPTER 1 INTRODUCTION Generally, most broken marriages are the result of domestic violence in the home, particularly men abused their wives physically and emotionally, and if are children are involved in the marriage, it means they all experience the situation and then, imagine the suffering they had to go through before the marriage finally leads to break up.All these affects the children negatively and often makes them feel unhappy, especially as it as involves detention battle, it’s as if the parent are fighting over the children. As divorce proceeds and it is time for realism. The way the children survive depends on how the parents handled the divorce proceedings. The more stressful, the harder it will be for the children. From time to time, even when the divorce proceeding was less stressful, th e children will suffer emotionally and otherwise and this in turn tends to affect their academic words.In a situation, where by the children love both parents very much makes the divorce even more difficult for them. They have to make a decision to follow one of the parents, either the mother or the father, though, they don’t even know which of them to follow or side without causing sorrow to the other one. Children from Broken Marriage, always have poor results due to the fact that they do not have happy home and there’s no atmosphere for reading. Since they are not always happy, they think a lot about their family. Statement of the ProblemThis term paper seeks to discuss how and why does husband and wife got to the point of separation and how it affects their children. The following questions will answer it: 1. What should couples do before deciding to end a marriage? 2. What are the factors that cause Broken Marriage? 3. How does divorce affect their children? 4. Wh at lies ahead on the future of children who experienced this kind of situation? Importance of the Study All children/teenagers who are in this situation will help them realized that it is not a hindrance for them to give up easily.They will know and learn how to manipulate what they had been experiencing. It can also help ex-husband and wives on how to handle the situation to their children. Scope and Delimitation of the Study The main idea of this study, is the emotion or feelings of children specially teenagers on how they react and how they really affected having a Broken Family. Research Method Used This topic needs to deal with Case and Clinical Studies. In this process, it will help to adjust, to have a treatment and therapy needed by cases studied. Definition of Terms Used 1.Annulment– states that no valid marriage was contracted because the legal requirement of marriage we’re not met. 2. Marriage– is a relationship between husband and wife. 3. Brokenâ₠¬â€œ it can use to describe a marriage that has ended in divorce, or a home in which the parents of the family are divorced, when you think this is a sad or bad thing. 4. Divorce– legal dissolution of marriage; disunion; to put apart. 5. Desertion– when one partner walks out on the other without notice. 6. Separation– when one spouse moves out with notice; legal disunion of married persons.The Body Of The Term Paper Effects of Broken of Broken Marriage to Children â€Å"Until death do us part† is a promise that has been repeated often in the traditional wedding vows. Nevertheless, many couples enter marriage equipped only with hopes and dreams. The knowledge they need to make this her promise come true is often overlooked. They may be convinced that their marriage will endure a lifetime. Marriages are much like any of the other friendships people have. They are strengthened and weakened in many of the same ways. Like friendships, marriages only work with effort.The mixture when two people get together can create any number of challenges, to the point that they want to separate. The factors that causes the couples got separated are because of their differences such as race, religion, nationality and education. Despite all efforts, some marriages do end. Divorce is the most common method. Other marriages are also ended through desertion and annulment. But before deciding to end a marriage, couples should think first what would be the effect of their decision to the people around them most specially to their children.The children are the most affected of the divorce because this can lead them negatively and often makes them feel unhappy. The pain that children go through when it comes to a broken marriage is devastating and the pain is caused only by the parents. A broken home can make a child insecure. Insecure in a sense that he had no longer had a complete family he can call his own and living without either his father or mother wil l create fear and insecurities in him. This feeling of insecurities will even trigger if he is around his friends who are living a normal, happy and complete life.The insecurities, self-doubt and lack of confidence in a child can eventually make him uninterested in school. Sometimes a child’s reaction on his parent’s announcement of a divorce is not visible. He keeps to himself the pain, shock and anger he feels. This in turn makes him vulnerable to anger, depression, revenge, alcohol, crimes, drugs and so on. He makes these as his outlets. Too much depression, alcohol addiction and drug dependency, if left untreated, can make him mentally ill or can turn him into criminal. He may even attempt to kill himself if he can no longer handle all the misfortunes which he thinks is killing him softly.Growing up in a broken home may also cause children to have difficulty in future relationships and cause them to struggle with the issue of trust. The parents should help their ch ildren to adjust to what has happened. They must be guiding their kids by being supportive and positive about the child’s relationship with the other parent. Children need calm; the information should be given at a level they can understand. And the most important thing is†¦ tell each child individually that he or she is not the cause of the divorce and always be loved by both parents.