Abortion :: essays research papers

I.Abortion is a risky operation. It should remain safe and legal to everyone. In past times, when women have not legitimately been able to get an abortion, they have gone to places such as brothels to get an abortion, where the conditions were not safe nor sanitary, and many times doing this resulted in infection, if not death. The following procedures should be conducted with the utmost care and responsibility.A.The dilation and evacuation (D&E) abortion procedure is used during the second trimester ( 14 - 26 weeks ). Due to the larger body of the fetus and the hardness of more developed fetal tissues, the cervix is dilated more and the fetus is dismembered by the abortionist grasping the fetal body parts with an instrument to twist them off. The fetuss skull has to be humiliated and its spine snapped for an easy removal. An ultrasound is needed at the end and an assistant needed to account for all body parts. To soften the fetal tissues of late second-trimester, the fetus somet imes was killed first by injecting urea into amniotic fluid or rupturing the membranes and cutting the umbilical cord 24 hours before the abortion.B.In the saline, prostaglandin, and urea instilment method, the abortionist injects a concent charge per unitd salt solution or urea into the amniotic fluid surrounding the fetus which causes burning and poisoning as the fetus ingests the solution. Prostaglandin internal secretion injected will stimulate an uterine contraction to expel the fetus.C. The hysterotomy and hysterectomy procedures or methods are done during the second and third trimester. Like a Cesarean section, the abortionist surgically opens up the uterus and removes the fetus and the placenta. The fetus who could be saved even as early as 21 weeks is left to die.D.The dilation and back downion procedure is well-known as the partial-birth abortion in which the abortionist induces labor and the live fetus is delivered up to his head. Then the abortion forces a pair of cu rved scissors into the base of the skull of the fetus, enlarges the wound by opening up the scissors, inserts a suction catheter to suck out his brain and to collapse his skull for easy removal. This method is favored for a low rate of complications, for a safe abortion done on mature fetus during late pregnancy up to 32 weeks or more, also for the way to extract live fetal brain tissue for transplantation and research on various kinds of treatments in reversing the aging processes on elders.

Essay on Edgars role in King Lear, Act 3, Scene 4 -- King Lear essays

Edgars role in male monarch Lear, be 3, Scene 4 In Act 3, Scene 4, Edgar takes on the roles of a franticman, and a spirit. In counterfeiting madness, he not only hides from an unjust death, but also serves as a character that resembles powerfulness Lear (1) Both are deceived by family (2) Both are outcasts of Gloucesters castle (3) Both are threatened with death and (4) Both enter into a form of madness. But, whereas powerfulness Lear actually becomes mad, Edgar only feigns madness. As Edgar takes the role of a spirit (3.4.39), he reveals (1) Edmunds moral condition, by prescribing moral laws that he will break (3.4.80-83) and (2) that Gloucester will be blinded by Edmund (3.4.117). This essay will begin by examining how Edgars role, as an outcast feigning madness, resembles the life and fate of King Lear, and then will tell how his role as a spirit, reveals future events that will come to pass. Edgars role, as an outcast and madman, corresponds to King Lear in four ways (1) they both are deceived by family. Edgar is deceived by his half brother, and King Lear is deceived by two of his daughters. Edgar babbles about how Edmund deceived him Who gives anything to Poor Tom? whom the foul fiend hath led through fire and through blast (3.4.51-52), and reveals his plan to kill the vermin (3.4.51-52). And by calling Edmund a foul fiend who had coursed his own shadow for a traitor (3.4.57-58), he parallels Edmund with a devil, which is laborious to make him commit suicide by laying knives under his pillow (3.4.54). And because King Lears madness begins to be revealed after realizing that hed been fooled by his daughters (2.4.273-286), he asks Edgar if he became mad due to daughters too (3.4.49-50). (2) The... ...hom squinies the eye (3.4.115-117). These lines suggests that Edmund, the foul fiend, will cause someones eye to squint. And its only a couple scenes later that Gloucesters eyes are blinded because of Edmunds brood to Cornwall. Thu s Edgars lines in this scene are prophetic and further his role as a spirit. This small essay only touches on some of the in-chief(postnominal) lines that fulfill Edgars roles as a spirit and an exiled madman in Act 3, Scene 4. His lines are hard to follow and are meaningless at generation because hes pretending to be mad. Its not until the play is over that Edgars wisdom and insight can be understood in this scene. As a madman, his role foreshadows King Lears fate, and as a spirit, he is able to predict Edmunds moral condition. By counterfeiting madness, Edgars wisdom and insight are shown, and Edmunds corruption is exposed.

Free Essay: Analysis of Sonnet 12 :: Sonnet essays

Analysis of Sonnet 12   When I do count the clock that tells the time, And see the brave sidereal day sunk in hideous night When I behold the purple past prime, And sable curls oer-silverd all with white When lofty trees I see gross(a) of leaves, Which erst from heat did bedopy the herd, And summers green all girded up in sheaves Borne on the bier with white and bristly beard Then of thy beauty do I question make That thou among the wastes of time must go, since sweets and beauties do themselves forsake, And die as fast as they see others grow And nothing gainst Times scythe can make defence save breed to brave him when he takes thee hence.     This is an enjoyable sonnet that uses nature imagery, found extensively in Petrarca, that Shakespeare uses to get his point across. non much explication is needed, aside the sustained images of nature, to fully understand its intent, but I would like to point out a peculiar allusion. When reading line 3, the vio let past prime has made me think of Venus and Adonis. In the end, Adonis melts into the earth and a violet sprouts where his body was, which Venus then places in her heart, signifying the making love she has for him. Reading this into the poem makes the few following lines more significant. Having Adonis portrayed as the handsome youth, Shakespeare is alluding to the death of youth (in general and to the young man) through the sonnet. In the next line, it is not certain if sable is an adjective or a noun and if curls is a noun, referring to hair (which is plausible) or a verb modifying sable. Invoking the allusion to Adonis here, Shakespeare portends that if Adonis did live longer, he too would have greying hair thus, Shakespeare sees behold an Adonis figure, the young man, past his youth.

Summary and Analysis of The Second Nuns Tale :: Canterbury Tales The Second Nuns Tale Essays

Summary and Analysis of The Second Nuns storey (The Canterbury Tales)Prologue to the Second Nuns TaleThe Host praises the Nuns non-Christian priest for his tale, but nones that, if the Nuns Priest were not in the clergy he would be a lewd man. He says that the Nuns Priest, a muscular man with a hawks fierceness in his eye, would have trouble fending away women, if not for his profession. The Second Nun prepares to tell the next tale, warning against sin and idleness. She says that she will tell the tale of the noble maid Cecilia. AnalysisThe Hosts description of the Nuns Priest highlights the disparity between traditional conceptions of the clergy and their actual roles and personalities. The Nuns Priest is, as dictated by his profession, celibate, but the Host serves to remind the reader of his sexual persona. The Second Nuns TaleSaint Cecilia was by birth a Roman and tutored in the ways of Christ. She dreaded the day in which she must marry and give up her virginity. However, sh e came to be engaged to Valerian. On the day of their wedding she wore a hairshirt, praying to God to remain unspoiled. On their wedding night she told a secret to Valerian she had an angel lover who, if he believes that Valerian touches her vulgarly, will slay him. He asks to impose this angel, and she tells him to go to the Via Appia and find Pope Urban among the poor people. Once Urban purges him of his sins, Valerian will be able to see the angel. When he reached Via Appia, Urban suddenly appeared to Valerian and read from the Bible. He baptized Valerian and sent him back home, where he found the angel with Cecilia. He has brought a crown of flowers from enlightenment that will never wilt, and gives it to Cecilia. The angel claims that only the pure and chaste shall be able to see this crown. Cecilia asks for the angel to bless her brother and make him pure. This brother, Tibertius, enters and can get a line the flowers. The angel gives crowns to Valerian and Tibertius, and ad vises Tibertius to give up false idols. They plan to visit Pope Urban, and Tibertius asks Cecilia how she can worship three gods. She says that each divinity represents part of God. But later on both Valerian and Tibertius were christened, Roman sergeants brought them to Almachius the prefect, who ordered their death.

Gambling Essay examples -- essays research papers fc

Gambling, while it lowers taxes and creates jobs, it in like manner causes addicts to lose m bingley and therefore creates a higher crime rate.A flying History of Gambling.Gambling was a popular pastime in North America long before there was ever a United States. Playing card game and dice were brought over by both the British and the Dutch. By the end of the 17th century, just about every countryseat in colonial America had a lottery wheel. Cockfighting flourished thoughout the countries, especially in the South. Bear Baiting was also a popular sport, but the Puritans banned it.(Ortiz 4)Almost 100 years later sport in the West gave gambling a second life. Early church leader struck down all forms of gambling and so in the East gambling for the most part died completely. Far from both government controls and moral interference of reform groups in the East, gambling became so popular in the West that four-card monte tables were often setup in the middle of the town.(Donovon 13)Org anized CrimeDuring the Prohibition Era (1920-1933), illegal gambling was organized into an authoritarian regional and national system. Responsibility for the syndication of gambling is usually attributed to Arnold Rothstein, who invented the inner-city layoff. He is also known for master minding the "Black Sox" scandal in which the White Sox threw the 1919 World Series to the Cincinnati Reds to assure gambling profits.Gambling legally, once again, becomes congenial.Since the 1970s, the United States has cancelled full circle in its attitude toward gambling. Three hundred years ago, the "sport", mostly in the form of lottery, was seen as a perfectly acceptable way to raise money for public purposes.(Savage 12) Over the past several years, slow economic growth, cuts in federal funding to states, and growing public need have forced many desperate state and even local government to seek additional sources of revenue. Most states have turned to lotteries, horse and t rack racing, and, most recently, a growing number of states have resorted to casino gambling as a way to raise money and keep taxes low.(James B5)Sports gamblingDuring the late 1980s, and primaeval 1990s, several states have tried to introduce sports betting, either as part of lottery, like sports pool, or as sports bookmaking. Never the less, the leader of the nations sports integrity, including the National Basketball fellowship (... ... spend money gambling," and 59 percent thought that "gambling can erode young peoples work ethics." The respondents were evenly split on whether "gambling teaches children that one can get something for nothing" with 49 percent agreeing and 48 percent disagreeing.(Siebel 82)ConclusionIn conclusion gambling is alright as long as its is done in moderation. Also if you know that you have a problem with gambling you should call the gamblers hotline so that you can get the help that you need before its to late. I would also like t o say I learned a lot from this research paper. I hope whomever reads this research paper does so to.Works CitedDonovan, Hedley. The Gamblers. Alexandria Time-Life Books, 1978.Goddu, Jenn. "Blue discontinue lives up too most of its goals." Hammond Post-Tribune 24 Feb. 1999 E1+James, Rich. "All five casinos show January revenue drop." Hammond Post-Tribune 23 Feb. 1999 B5+Ortiz, Darwin. Gambling Scams. New York Dodd, Mead + Company, 1984.Savage, Jeff. A Sure Thing?. atomic number 25 Lerner Publications Company, 1997.Siebel, Mark A, Nancy Jaids, and Alison Lanes. Gambling Crime or Recreation. Texas Information Plus, 1996.

Gambling Essay examples -- essays research papers fc

Gambling, while it lowers taxes and creates jobs, it also causes addicts to lose money and therefore creates a higher crime rate.A Quick History of Gambling.Gambling was a popular pastime in North America long before there was ever a United States. Playing cards and dice were brought over by both the British and the Dutch. By the end of the 17th century, just about every countryseat in colonial America had a lottery wheel. Cockfighting flourished thoughout the countries, especially in the South. Bear rag was also a popular sport, but the Puritans banned it.(Ortiz 4)Almost 100 years later gambling in the West gave gambling a second life. primal church leader struck down all forms of gambling and so in the East gambling for the most part died completely. Far from both organization controls and moral interference of reform groups in the East, gambling became so popular in the West that Monte tables were often setup in the middle of the town.(Donovon 13)Organized CrimeDuring the bre astwork Era (1920-1933), illegal gambling was organized into an authoritarian regional and national system. Responsibility for the syndication of gambling is usually attributed to Arnold Rothstein, who invented the inner-city layoff. He is also known for master minding the " grisly Sox" scandal in which the White Sox threw the 1919 World Series to the Cincinnati Reds to assure gambling profits.Gambling legally, once again, becomes acceptable.Since the 1970s, the United States has turned full circle in its attitude toward gambling. ternion hundred years ago, the "sport", mostly in the form of lottery, was seen as a perfectly acceptable way to raise money for public purposes.(Savage 12) oer the past several years, slow economic growth, cuts in federal funding to pass ons, and growing public needs consecrate forced many desperate state and even local government to seek additional sources of revenue. Most states have turned to lotteries, horse and dog racing, and, mos t recently, a growing number of states have resorted to casino gambling as a way to raise money and keep taxes low.(James B5)Sports gamblingDuring the late 1980s, and early 1990s, several states have tried to introduce sports betting, every as part of lottery, like sports pool, or as sports bookmaking. Never the less, the leader of the nations sports integrity, including the National Basketball Association (... ... spend money gambling," and 59 share imagination that "gambling can erode young peoples work ethics." The respondents were evenly split on whether "gambling teaches children that one can get something for nothing" with 49 percent agreeing and 48 percent disagreeing.(Siebel 82)ConclusionIn conclusion gambling is alright as long as its is done in moderation. Also if you know that you have a paradox with gambling you should call the gamblers hotline so that you can get the help that you need before its to late. I would also like to say I learned a lot from this research paper. I hope whomever reads this research paper does so to.Works CitedDonovan, Hedley. The Gamblers. Alexandria Time-Life Books, 1978.Goddu, Jenn. "Blue Chip lives up too most of its goals." Hammond Post-Tribune 24 Feb. 1999 E1+James, Rich. " both five casinos show January revenue drop." Hammond Post-Tribune 23 Feb. 1999 B5+Ortiz, Darwin. Gambling Scams. New York Dodd, Mead + Company, 1984.Savage, Jeff. A Sure Thing?. Minnesota Lerner Publications Company, 1997.Siebel, Mark A, Nancy Jaids, and Alison Lanes. Gambling Crime or Recreation. Texas culture Plus, 1996.

What Sustainability Issues Will Arise from the Large Scale?

What sustainability figures impart arise from the large scale adoption of voltaical gondola machines? With the recent introduction of the electric automobile car into Ireland, I am going to outline some of the sustainability issues that will arise from their large scale adoption. The car has already received backing by the administration who arrive at recently announced their plans for the induction and eventual change over to electrically positi integrityd vehicles. What is an galvanizing Car? An electric car, is a vehicle which interchangeable the typical cars seen throughout the innovation, has four wheels, doors, windows and a roof.The difference between the typical customary car and the electric car, comes when you look at the agency source, in the greenness car an indwelling Combustion Engine is used to convert sack ( by and large unsustainable fossil fuels like diesel or petrol) to mechanical energy, the Electric Car uses electric motors powered by batteries o r an onboard fuel cell. The frequent car with its Internal Combustion Engine has advantages and disadvantages the cost to purchase a car with an internal combustion engine compared to an electric car is pooh-pooh, as there is the ability to mass produce a product which is still in huge motivation.In todays world crude oil garble derived fuel is accessible and relatively cheap to the consumer, as the infrastructure is already set up to enable the frank and quick refuelling of the car. The prohibit side to the common car is the fuel which it used, all of the fuels for Internal Combustion engines are derived from oil. The worldwide production of oil has peaked and oil production is at once dwindling, this is not easily seen by the consumer purchasing the fuel who might be oblivious to the fact.With an increasing take for oil and an ever decreasing hand over it is fair more and more difficult and expensive to produce oil which is practicable, oil is now so valuable that the re are wars over supplies. Another cast out side to the Internal Combustion engine is its inability to convert the energy from the fuel into usable mechanical energy, during the combustion process the fuel is converted to useable mechanical energy hardly there is also heat and noise energy given off, this is an unwanted waste of fuel.The issue of harmful gas emissions when the oil fuel is burned is another major downfall with the Internal Combustion engine, as when the fuel is combusted it releases carbon dioxide and carbon monoxide as well as hydro carbons and ozone. well-nigh of these gases are toxic and harmful to humans but the big issue is with the carbon dioxide emissions, as it contributes to global warming or the duvet effect which is an on-going problem throughout the world.Transport powered by fossil fuels is responsible for 20% of Carbon Dioxide emissions worldwide. It is the sustainability issues of the common cars Internal Combustion engine which sparked the suffe r for the teaching of a rude(a) sort to travel, the electric car which has come out on the top of the list for new more sustainable enjoy methods. Different types of Electric cars An electric car is a vehicle that is powered by elemental electric motors, how the electrical energy to run the motor is created or stored cigaret set out.The most common type of electric car is one which has a large or a number of smaller batteries which stores electricity from an external power supply, generally the mains electricity grid. The other more sustainable type of electric car is one with an onboard power station, capable of producing its own electricity. A total heat fuel cell uses hydrogen to produce electricity through the process of electrolysis, the combination of hydrogen and oxygen creates an electric current and gives off a by-product of water.As hydrogen is the most abundant element on earth, there is a sustainable supply of fuel, the only problem with hydrogen is the difficul ty faced when harnessing and storing the fuel. Hydrogen generally comes bonded to other elements this chemical bond is difficult to break, after harnessing the pure hydrogen it has to be pressurised and turned into a liquid for easy transportation. Although the process seems complicated it is no more complex than extracting oil from the sea bed, which is being done on a daily basis to fuel the Internal Combustion engines already on the roads today.The hydrogen fuel is similar to petrol or diesel, it is a liquid when put under pressure. The pressure is the other problem with hydrogen, but with simple modifications the infrastructure already in place for existing fuels like petrol and diesel, the hydrogen fuel could become main stream without difficulty and relatively quickly. giving medication Plans New charging points, at put spaces The Irish Government announced their campaign for the future, they plan to have 10% of all cars powered electrically by the course of instruction 202 0.The 10% target was first gear announced in the Carbon Budget, presented by Minister for the Environment John Gormley in October 2008. In order to make this a viable plan the Government have collaborated with the Electricity Supply Board (ESB) and have developed a simple way of charging (refuelling) the battery powered electric car away from home, as the battery will lose its charge after a long journey leaving the driver with no way home. The charging points are small, American style parking meter design which the car is simply parked beside and plugged in left to charge.The first four of these charging points have been set up in Dublin and unveiled by the ESB in March 2010, a further 1500 charging points are due to be put in place in Dublin, Limerick, Galway, Cork and Waterford. The Government see it as their priority to have these charge points throughout the expanse, unlike other countries who just seem to commission only on the big cities which are densely populated, their plan overwhelms the immediate inclusion of all towns with a population of over 1500 the great unwashed, with the expectation for nationwide insurance coverage after the success of the initial phase.The charge points will come in different types, varying in power rating which affects charge sequences. The postgraduateer power charge points are expected to charge a battery in 20 minutes these exalted power points are to be set up to replace filling stations along side motorways for in journey charging e. g. driving from Dublin to Cork. These high power juice points are expected to be put in place every 60km. The mid range points give a 2-3 hour charge, and will be placed at typical parking places e. g. charge while shopping or at work.The standard charge point with similar power to the standard socket found in the home, charge time at lower power should take 6-8 hours e. g. overnight charging at home. The Government expects to have 2000 electrically powered cars on the roads by 2 011, and are implementing taxation breaks for enthusiasts who purchase the more sustainable and environmentally friendly electric cars there will be a grant of up to 5000 and also Vehicle registration Tax (VRT) excluded, this combined with road tax exclusion would bring the electric car price down low enough to compete with the price of the common car with its Internal Combustion Engine.The grant aids will be in place for a maximum of 6000 cars, after which the scheme to get the high efficient cars on our roads would be seen as a success. With these tax breaks, a tax shortfall is foreseeable, combined with an expected cost of 39m to subsidise the first 2000 cars. The cars set for the Irish market come from Renault-Nissan, which limits the choice to a small number of cars. The Renault Fluence(left) and the Nissan Leaf (right) are the two models set for the Irish market, drastically decrease the choice which the consumer is used to.Renault is leasing the battery which powers the ca r for a price of 100 per month, whereas Nissan are still not sure if they are even going to include the battery in the price of the car. This will reduce the attractiveness of the cars, and further increase the be. Production of the electricity to power the cars In order to make the Electric Car sustainable, the electricity used to charge the battery would have to come from a sustainable and clean source. Irelands electricity at the moment comes from a range of power stations, with only 11% of the electricity coming from renewable sources.The majority of the countrys electricity comes from dirty unsustainable fossil fuelled power stations. This unsustainable electricity would be supplying the power to recharge the batteries of the electrically powered cars, which would eliminate the some benefits of carbon neutrality from the electric car. This table shows where all of Irelands electricity comes from in order for the electric car to be a complete success the supply of electricity m ust also be sustainable.The electric car company Tesla say that in the worst case scenario the car would only be producing 80g/km of CO2, even with the electricity coming from inefficient source, which is still lower than the most efficient Internal Combustion Engines available today. With Irelands high potential for wind energy production soon to be further exploited, the conversion from oil fuel to electrical could be seen as a change to self-sufficiency, not having to rely on ever declining supplies from the east.Effect of batteries, lifespan and replacement. In a conventional Internal Combustion Engine there are over 1000 moving parts, making it susceptible to break down or fail. In order to carry through these types of engine in good working order, regular servicing and caution has to take place. In the electric car their drive train is a simple electric induction motor which has only one moving part which greatly reduces the need for servicing and lowers maintenance costs.Th e batteries used in electric cars vary greatly depending on the size and weight of the car, a modern lightweight ZEBRA battery which makes use of new technologies and thoughts, is one type being used in a range of vehicles. A ZEBRA battery of 0. 12m3 and 184kg is capable of delivering double the energy of the old lead-acid battery of 0. 19m3 and 525kg this enables the car to be lighter which reduces the amount of energy needful to make the car move.The ZEBRA battery has been thoroughly tested and demonstrated a lifespan of over 14 years, with no gassing or self kindling this means the battery is maintenance free. lithium Exports in 2008 lithium Imports in 2008 Lithium production in the future The sustainability of the Lithium in the batteries is another issue which will have to be faced when considering the large scale adoption of electric cars. Lithium is already in high demand to power the some million mobile phone and laptop batteries in use around the world.Japan, China a nd South Korea have 98% of the worlds Lithium battery production. China is importing almost half of the bare Lithium with a plan to produce their own when the demand is there they feel that it is still cheaper and easier to import it presently. The huge demand for Lithium has sparked the need for research into new alternative ways of producing it. South Korea has announced its plans to commercially extract Lithium from sea water by 2015, but there is much doubt around the idea, as there is not enough demand to cover the enormous cost of desalinising huge volumes of sea water.The idea of extracting the Lithium from the sea water could become mainstream in a number of years when the consumers demand increases. Seoul has also set aside $12bn for attainment of the raw materials from Bolivia, which is believed to have the worlds biggest deposits at the Salar de Uyuni salt flats in the Altiplano plateau of the Andes Mountains. The salt flats have a thick crust of salt which covers a co nsortium of brine, which is rich in lithium. It is expected to contain 50 to 70% of the worlds lithium reserves.Bolivia is one of the poorest countries in South America but has over half of the worlds reserve of Lithium the extraction of the raw material could be the boost which the countries needs. The production of the Lithium would create employment for local communities, and revenue for the country giving improving the countrys economy. Often times with the extraction of raw materials, as seen worldwide, it is only the companies who see the profits, leaving the local communities out.The local botany and fauna is often exploited and driven out of their habitat, which can lead to extinction. Although the salt flats are almost lifeless there are some animals and make up life which frequent the area, Flamingos are one of the birds which use the flats as a breeding ground in early winter, these extravagant birds which get their beautiful colour from the food they eat which are nati ve to the salt flats. Many of the dominant countries have already allocated vast amounts of money to secure a steady supply of Lithium by buying into Bolivia reserves.Piles of Salt after extraction Salty brine from which the Lithium is extracted The Bolivian flag flying above Salt flats Alternatives to Lithium New studies being conducted, have found that Zinc-Air battery technology is proving to be a viable alternative to Lithium Ion batteries. The Zinc-Air idea is in early stages of development and production, and is expected to enter the market on small scale in products like hearing-aids if it proves successful there are plans in place to upscale the technology to mobile hones and laptops and further to electric cars. The research so far has brought about some promising findings for the Zinc-Air technologies it has the potential to deliver three times the power of the Lithium Ion battery, with reduced size and weight. Lithium-Air is another technology with expected potential for electric cars, but is only in early stages of development and wont be ready for large scale production in the near future. Performance, Maintenance of the engine, and lifespanThe electric car, unlike its predecessor with hundreds of parts, makes use of simple electric motors with only one moving part. This greatly reduces the amount of expected problems. The car itself will need maintenance, tyres and lights etc. Retraining the mechanics- The mechanics already trained to service and maintain common cars, would need their qualifications upgraded to deal with the electronics of the electronic car. Although the technology in the battery powered cars is straightforward, some further training would be needed to ensure the safe maintenance of electrical equipment.Appearance/Types- Performance- Standard internal combustion engine cars are rated with bhp and torsion whereas the electric motor has a kWh rating, but they are related. The prejudice connected with the electric cars, is that t hey are slow and wont be able to do all of the things typical oil fuelled engines can do. With the electric motor delivering all of its torque all of the time acceleration is no problem, 0-100km in 3. 7s faster than a petrol guzzling Porshe 911 GT-3. Peoples trust in the new technologyWith all new technologies comes doubt, people are often afraid of change and feel that things need time to prove themselves. The technology used in the electric vehicle has been around for decades seen as early as 1835 used in public transport. Over the years has become more refined and efficient, it has now switched its focus from public transport, where it is already in use, to the individual types of transport which causes so much pollution 20%-25% of CO2 emissions. The electric car is therefore not new technology as the stall on which it has been developed has been in use for already.This proving time should enable the immediate adoption of the electric car as there should be no prejudice. Teslas flagship, high performance roadster Tesla model S, 2012 family saloon Disposal of cars when finished, how much can be recycled The battery in Teslas electric car have a long lifespan of 160,000 kilometres before it begins to lose its ability to charge and discharge at the efficiency needed to keep the high up the cars high performance. The cells for the Tesla battery are made in Japan, where the environmental laws are strict and products have to meet the RoHS standards.The RoHS bans the placing on the EU market of new electrical and electronic equipment containing more than agreed levels of lead, cadmium, mercury, hexavalent chromium, polybrominated biphenyl (PBB) and polybrominated diphenyl ether (PBDE) flame retardants. This means that there are no heavy metals or toxic materials allowing the battery to be land make full in a worst case scenario. Tesla batteries can be reused in other less demanding applications, off grid storage or load levelling when the demand for electricity is low but it is still production.This is a huge problem faced by power stations as there is huge costs involved changing power output between peak times. The batteries will eventually lose their ability to hold charge completely, at this stage they will need to be disposed of. Specialist companies have been set up to recycle batteries from electric vehicles, Kinsbursky Brothers an environmental management company and Toxco the worlds largest recycler of lithium batteries have teamed up to form the most efficient recycler of electric cars. The batteries are shredded and separated into their original elements, some of which can be reused in new batteries and other products.

Porsche: Guarding the Old While Bringing in the New

SynopsisThis case presents a very interesting story about a luxury carmaker, Porsche. equivalent many marketers of luxury goods, Porsche has had to wrestle with the challenge of serving its core of loyal customers while also making products that appeal to a less traditional, but growing, discussion section of customers. The case describes the Porsche faithful who like their Porsches only one-way 2 doors, six cylinders in the rear, and lots of pure sports car performance. The problem that Porsche has faced at various times throughout its existence is that being confined to one kind of customer with one kind of car inevitably results in maturation and stagnation. gross revenue flatten out, then decline, and so do profits.This case describes recent efforts by Porsche to broaden its product line and appeal to multiple segments of customers. Most notably, Porsche now makes an SUV (the Cayenne) and a four-door sedan (the Panamera). Both of these efforts are designed to appeal to a diffe rent kind of customer than the ones who typically buy 911s. But these vehicles are not mild around the edges. They perform like, well, the Porsche of SUVs (and sedans). Porsche has identified two types of customers that are sustaining these vehicles and keeping the company on a growth trend. These are Porsche customers who grew up and have practical take of hauling people and stuff, and the emergence of wealthy people in China, India, and other parts of the world who have more interest in a nonchalant driver.As the economy recovers, Porsche is poised to serve various customer types with a portfolio of outstanding vehicles.

Portia the Control Freak – Merchant of Venice

I would do to write a critical essay about the role of Portia in Shakespe ares Merchant of Venice, hailing her as one of Shakespeares greatest contri notwithstandingions to the society of the sane however, I find this impossible after re-reading the text. At first, I hung on her every word and was amazed at her wit, but later I found her to be just another Shakespearean psycho. Basically, I understood Portia to be nothing less than an obedient daughter obeying the whims of her dead, over-protective father. She speaks in terms of respect about the coffin ritual, and the reader believes her to be sincere.Later as her character s unfolded, the reader sees a wife in love with the husband who was wise enough to earn her love (and consequently her fortune ). Beware, gentle reader Do not fall under the spell of Portia the figure freak The following scenerios must be proof that this woman is not to be trusted First of all, lets evaluate the scene where Portia and Bassanio are before the ca skets where Bassanio must make his choice. The dialogue directly preceeding the finding of the casket is basic lovers speech, but wait Listen carefully to what Portia says If you do love me, you will find me out (III ii 41).Portia leads Bassanio to elieve that the choice he makes in the caskets is his own. She leads the reader to believe that Bassanios love for her is the only force which leads to the discovery of the correct casket. However, earlier when Portia is speaking of the preparations for the casket choice, she speaks of music which is to be played while Bassanio makes his choice. Ok, this seems innocent enough but examine the songthe first twain lines of the song rhyme with lead It doesnt take long for the subliminal message to be absorbed in Bassanios brain, and the lead casket is chosen.This manipulative device is an indication to me that Portia has a need to make things go her way. She is afraid that Bassanio will make the wrong choice, and therefore assists him. Point 2. Portia creates a way of haughty the future of the relationship between herself and Bassanio. Portia gives Bassanio a ring with the words, I give you this ring, which when you part from, lose, or give remote, / Let it presage the ruin of your love. Of course, Bassanio gives away the ring first chance he gets. Portia later makes known that the man he gave the ring to was her, and she proceeds to scold Bassanio for his lack of love.Bassanio is trapped No case hat he does for the rest of their relationship, in his mind will remain the idea that Portia is watching This is a clever device invented by Mr. Shakespeare however, it does display a certain obsessive, manipulative air about Portia. Hmmmmm. Lastly, I would like to take a venture. I was wondering earlier while reading the Merchant of Venice wherefore Shakespeare used the doppel- ganger technique in his presentation of Nerissa and Portia. Nerissa follows Portia about and makes the same decisions Portia does. Nerissa is not as bright as Portia, and yet she meets the same ultimate fate as Portia.I am wondering if Shakespeare could have used Nerissa to point out the manipulative characteristics of Portia. It is true that one way that manipulative people feed is through and through weaker people who uphold them and their values. If anyone has any insight on this thought, let me know Well, there you have it. My true feelings on Portia. Sure she is to be admired in some aspects, but perhaps as all great archetypes she has her foibles and faults. If anyone finds anything about the aforementioned aspects of Portias character, please let me know. I have had not mint finding Anything about Portia on the web. Thanks.

Mise en Scene in Nosferatu Essay

F.W. Murnaus Nosferatu is a upright visual tale of Bram firefighters Dracula. The silent film is filled with obsession and lust, surrealism as well as the prosaic theme of good versus evil. The film recounts the tale of Hutter, a real estate agent hungry for money, and his journey to vampire Count Orlaks mansion, as well as the twists and turns found heavily within the scenes. Nosferatu (Count Orlaks alter ego) falls for Hutters wife and moves in to the residence next door to the couple, where a series of events occur that would ultimately lead to the fanged wildcat wells demise.Mis en scene is a pivotal element throughout the film, especially for expressionist director Murnau, whose natural take on frightening the audition with the use of lighting, camera wobbles and framing supersedes that of directors who emphasize the huge props or costumes. The directors excessive use of tints is a tool used in order to make the events happening throughout the film become more realistic, a s well as typifies the evil located in the character of Nosferatu. retch shadows jackpot be seen throughout the film and all is due to the lighting Murnau chose to give.For example, in among the last scenes of the movie, we see Ellen lying in bed with Nosferatus shadow casting above her. This take on camera angle and lighting is especially important as it sums up one of the main motifs, lust. Ellen does not press under the dominance of the Count, nor does she fear for her life, rather on the contrary she is offering herself to him and she likes it. This erotic interpretation can be splintered down to the office the director vie with the setting. Ellens body is clearly brighter than her surroundings, which also reinforces the eroticism of her movements.Also, Nosferatus shadow is bigger than it is in any other scene, which allows the audience to feel that at that turn evil is the strongest, and the most powerful. Setting is a genuinely crucial and profound constituent in the ci nema, even more important than actors at whiles. Nature plays the habit of symbolizing all that we cannot see through the characters actions and through the plots words and scripting. Here, nature expresses the hard broadcasts and obstacles that reflect upon the emotions of Hutter, Ellen and Nosferatu. During Hutters first journey, it is calm and beautiful. However, during his travel approve home, it becomes chaotic and disturbing.The instances when the natureprevents Hutter from moving further arguably begin to show the paranormal side nature is supporting, for example, the river is filled with rocks, which makes it difficult for him to pass the trees seem very chaotic, the wind is evermore coming towards him. The scene where Ellen is by the seashore, the sea seems wild and angry. The viewer also knows that it will bring Nosferatu to her too. The environment is helpful only when Nosferatu is around. The sea incessantly seems calm while he is sailing the ship. Other scenes, wh ere elements of nature such as creatures and plants are shown as ghosts or blood-suckers expose the alliance among the vampire and the elements of the Earth.This shows not only the power Nosferatu harbors within him, but that nature is well and truly an antagonist in this depiction of a vampires tale. Probably one of the biggest and most important quotes in the movie has been dropped near the beginning, as Hutter runs to his die hardplace and is stopped by the professor exclaiming Wait, young man. You cant escape your destiny by running away This line allowed the audience to begin thinking and to start connecting the limited amount of dots that have been habituated to us so early in the movie. We know that Nosferatu exists, and that something bad is going to happen to the protagonist, or the character the audience most identifies with.Such a verbalism would infer that no government issue what Hutter did, destiny has already scripted his actions and what is yet to come. The mis en scene parallels the saying in a very subtle way as during the scenes in which Hutter is on his journey to the count, he always seems to be entering the picture, rather than the camera following him. This shows that no matter where he went, it was always predestined for him. Another tell was the clock that kept appearing, not only to give the viewer an idea of the setting but also to show that time is running out and destiny is knocking at the door. Alternatively, a redundant word that was used throughout the film was Hurry which gave away two aspects in the film.The first that no matter how much you hurry, destiny will always be on the corner, and second it pinpoints at Hutters hyper actions and the way he is always in a rush. This can also be boiled down to the editing that slightly speeded up the movie in order to give an supernatural vibe to the already paranormal state of the world the characters live in. The films camera angles also capture the audiences attention without t hem even knowing. Throughout the movie, Murnaus choiceof camera angles had not only connected the viewer with the characters, but also connected the characters to one another.In many of the scenes where Hutter encounters the great Nosferatu, the camera angle shows the events occurring in the scene from the protagonists point of view, that way the audiences become one with the character, allowing them to see exactly as he does, thus realistically flow rate the fear through them and connecting them with him. In other acts, Ellen would be at the seashore awaiting her beloved (but who?) and she would be pointing to the horizon, at the very same moment camera cuts to the ship Nosferatu is sailing and we can see the bow of the ship is pointing towards Ellen.This technique found in movies sanctions the spectators to see the small influences the characters have on each other, no matter where they may be.The movies total ambiance and mis en scene are vastly superior to that of the plot and acting, to such a level as to allow the cinema world to dissect the film piece by and study from the inspiring and largely accredited director Murnau, whose expressionist views and interpretations made the classic A Symphony of Horrors is today. With mis en scene and camera angles, as well as lighting and setting, Murnau combined so delicately as to achieve this work of art that shall be studied for years to come.

Open and Closed Source Systems

hold and Closed Source System POS 355 Open Source operate Systems The chase paper will discuss open source and closed source computer systems that be used in todays applied science world. These systems are available with licensing rights as well as with the source coding available for use. Computer software that is available with the source coding for redistribution is known as Open Source Software (OSS). The computer software source code contains all of the modifications and the works needed for redistribution.The licensing of the open source software allows the users to learn more somewhat the software by upgrading, modifying, and making any necessary changes to the software without costing the user any m bingley. The open source software also provides the user the efficacy to share out the software without any costs being involved. Currently there is variety of open source software available for users in the technology environments. These categories of software are but no t limited to server software, operating systems, application software, and programming language software. there are many items under each house of software. For example, application software contains web browsers such as Mozilla Firefox, Office Suite for office applications, and 7-zip for decompressing zip files. Some operating systems that are included are Linux and Android OS. Closed Source Operating Systems In todays technology environments, there are types of software that restrict the users power to broaden the software use in many different environments. Closed source software is also known as propriety software.This software is scarce available without the source code and is licensed under limited rights, which is provided only by the copyright owner of the software. The purchaser of the closed source software is classic to use the software without the ability to modify, upgrade, update, or make any necessary changes while utilizing software. The propriety software is typi cally only owned by a single organization that possesses the only legal rights needed to modify the software use.The only method of making any changes to the software would be to purchase a change of any type directly from the copyright holder. In other words, the proprietary software is the property of the owner / developer / publisher that cannot be copied or modified, with an assign price and need to comply the license agreement (National Taiwan University, 1991). These types of changes in most cases are very costly and are not an everyday occurrence. There are many examples of closed source systems.These examples are but not limited to Microsoft Server 2000, Windows XP, and Microsoft Windows 7. Most computer systems today are solely operated by some sort of propriety software. In conclusion, Today there is various uses for many types of software systems in all networking machines. Prior to purchasing system software, one must be educated on the type of software that is being pu rchased. Lack of education on software may cause issues if changes to system software are needed later on down the road.If a user needs to be able to make changes to their software, the user will flummox to have purchased open source software in the beginning. If no changes will ever be needed, closed source software will be sufficient for their system. References Stallings, W. (2012). Operating systems Internals and design principles (7th ed. ). Boston, MA Prentice Hall. Open Source Initiative. (n. d). The Open Source Definition. Retrieved from http//opensource. org/docs/osd

The World of Glassblowing

25, February 2013 The World of Glassblowing Ever hazard what its like to play with honey? Now imagine playing and shaping honey when its glowing red hot with strange yet interesting instruments and turning it into some beautiful and out of this world. A piece of artwork that is completely unique and one of a kind. Well this is exactly what its like in the world of glassblowing. By trying and experiencing the art manikin here at SBVC one can truly learn to perfect not only just the skill, but expand your own predilection as well as your creativity.Glassblowing is a dying trade and skill in the art world. Now its mainly considered more of a hobby. On a more serious note c beer-wise itll get you far but it will not et you a life of luxury, but it does provide if your living the whiz life. Family-wise your better off having anformer(a) full time job because this particular career would only pay enough to cover for the materials, the tools, the furnace, etc that one would use. These costs draw to be particularly high in price which would be the main background to look for employment else where when it comes to providing for a family.Naturally, most people would think that glassblowing originated from Mexico because a lot of handmake glassware is manufactured and created there. In Mexico glassblowing is actually done outside in the public for all to see this fascinating art. So its not surprising that so many people are convinced that this intriguing skill would come from our neighbors dismantle in the South. When in fact glassblowing originated from crossways the world in Italy, where its a tradition to earn a living from. In most Italian families a trade like glassblowing is course passed down from one generation to the next.Italy focuses mainly on the handmade arts such as glassblowing, pottery, stain-glasswork, etc and avoids mainstreaming it. Which in conclusion is why most handmade objects that are purchased and shipped from Italy is so highly priced. Most likely that piece of art is one of a kind and cannot be replicated. In my own observations at the SBVC Glassblowing class, I was sufficient to witness the delicate procedure it takes to perfect this particular skill. As I sat and observed Stephen, a student here at SBVCs Glassblowing class, he explains carefully perpetuallyy step that must be taken along with some precautions.Stephen so explains the dangers of this type of artwork and gives some examples of injuries that he and many other students acquired white participating in this class. One example that he used was how one student subconsciously caught an object he knocked over in an set about to save it from shattering but in return burned both give because the object was still hot. This student obtained first-degree burns on both hands and thus was not able to participate in the class for two weeks. As Stephen preps and prepares his materials and tools for his project I and hence proceed to ask him more questions. Such as what made him want to pursue this dangerous yet interesting trade. He then set his tools down and simply replied that he wanted a new-fangled start. Something new and exciting and that when he saw the title of this class he knew right then and there that that was something he wanted to do. Stephen then grabs a blowpipe, judge it and then approached the glory hole with it and began to heat one prohibit of it. As he was heating or warming up the blowpipe I then continued with my interview. My next question that I addressed to Stephen was what did he personally benefit by pickings this class and accomplishment this skill. Well.. Stephen said as he opened the furnace, By taking this class and learning this skill I learned how to be patient, which I never was before taking this class. Stephen then dips the end of the blowpipe in the furnace to cockle the red hot glowing liquid and profligately closes the door while maneuvering the blowpipe to keep the glass from falling to the ground. Stephen then said, and I also learned really good hand-eye coordination too as well as working in a high stress environment. later finishing with that reply, Stephen then when to the marver and evened the molten glass on the pipe and quickly sat down at his bench and continued his project by blockage the glass. Are there any disadvantages in glassblowing? I said and Stephen then quickly replied Other than getting burns no not really. After travel the glass with the block to his liking Stephen then got up and inserted the glass into the glory hole to reheat the glass before blowing and shaping it into a perfect bubble.As Stephen resumes his enthrone at the bench, I quietly watched as he skillfully reshapes the glass and then using one end of the blowpipe gently blows air into the glass, forming a miniscule but perfect orb. As Stephen manipulated his small glass bubble, I then asked him what was the most interesting part of his new found skills. As he created t he jack line, which formed a neck separating the bubble from the pipe he replied that the most interesting part of Glassblowing was the unlimited amount of ideas that can be made with the glass if one has the imagination and creativity to bring them to life.With that Stephen then quickly moved over to a box with what looked like cotton inside and gently tapped the blowpipe with the back of his jacks (a tool that looks like a very large set of tweezers) and the bubble simply fell from the blow pipe and into the box. Stephen then quickly put the box in the annealed which slowly cools the glass over a period of a few hours (depending on how large the object in question is). Before I was able to ask another question Stephen then said to me in a cool tone that if he had to subscribe between pursuing Glassblowing as a career or a hobby that hed rather keep this as a hobby.His reason behind this statement was that it was something that he would continue to do for peace of mind. If he were to pursue this skill as a career that he would love to inform it but that it was unlikely to happen for him. As our interview came to an end, Stephen then took me under his wing and taught me some of the basic yet advance techniques that he uses to create small objects. Such as small teacups. After he gave me a small run thru on how to make a small tea cup with a handle, I was then instructed to try the procedure on my own.I then slowly mimicked Stephens every step I heated the blowpipe and then gather a good size amount of the molten glass on my pipe. Next I then rolled the glass in a quick but steady pace on the marver to even the glass forming a small cylinder. Then I approached the scorching hot glory hole, reheated the glass, sat down at the bench and then proceeded to block the molten glass until it was completely even. I then angled the blowpipe just like Stephen instructed me to do, took a mystical breath and blew into the blowpipe.At first it was a bit difficult, but aft er the first few seconds grew easier. Right when I was getting comfortable with this my bubble suddenly popped on the face of it I blew the glass so much that the glass became thin and popped. Glassblowing not only teaches one how to manipulate the red hot glowing liquid with strange tools, but also teaches one how to express the creativity and imagination of the mind to create mind blowing works of art. What made you want to take this particular class? What have you benefited from taking this class and learning these skills?What would you speculate are the disadvantages of glassblowing and why? What are the advantages of glassblowing and why? Would you recommend this class or learning these specific skills to anyone? What would you say is the most interesting part of glassblowing? Would you ever continue these skills as a career path or a hobby? Why? When you first started taking this class what was the worst experience you ever had? Did that experience include getting any type o f injuries while participating? What was the most extreme injury youve ever gotten?Did you ever receive any burns that were third degree burns? How did your parents react when you told them of your new found interest in glassblowing? Did they oppose it or embolden it? How do you feel about the class fee you had to pay? Do you feel that the class fee is fair or unfair? Recently Ive heard that most of the art classes are being cut. What are you going to do if the distract cuts the glassblowing program? Will go elsewhere to continue learning and perfecting this art or call quits? Tucker

Children and food Essay

Being a first time mom can be scary, and worrying ab expose your baby acquiring the right nutrients and developing on time is something many mothers worry about. When to start your baby trying out solids, is something that can vary from child to child up to now there are some clues that you can take from you babies actions to know when they are ready. A child watching the food being opened in foretaste to eat it is a clue that shows that they are interest in trying virgin things since there attention is gaged at the new food. Also reaching for a spoon shows readiness for feeding.Playing with food or a spoon, and also irritation when feeding as well slow are indicators that your baby is ready to do on and try solid foods. Children typically start to exhibit these types of behaviors at around four to six months. Starting your child out eating a tablespoon or two of semisoft food on a spoon once or twice a day is a satisfactory way to begin, only start with small portions in the b eginning then work up. Food offered from a spoon stimulates muscle development and also new bonk in sensation, taste, and texture.When you are ready to start you child eating solid foods you ask to make sure of a few things before you begin. prototypical you want to make sure your infant is non overly tired or hungry, this could cause your baby to not corporate or be interested in trying new things. You want to use a small spoon and allow the infant to open their mouth and extend his/her tongue. Next you want to place the spoon on the tongue and avoid scraping the spoon on the infants gums. Scraping the food on your babies tongue does not teach them how to properly eat.Make sure to pace yourself to allow your infant to swallow. Mothers want to make sure that they are not feeding their child too quickly, first meals may be 5-6 spoonfuls over 10 minutes. The first food you should be spoon-feeding your child is iron fortified baby cereal. You allow then want to move on to pureed v egetables and fruits. Most people recommend kickoff out feeding your infant pureed vegetables because fruit is sweet so unremarkably if you start with fruit your baby will not like those peas or green beans because they will want the sweet pears or bananas.This is not for all babies however. alone try one new food at a time and offer for 2-3 days with 1 week in between introducing something new. You want to have a bun in the oven a week incase your baby has an allergy to that food, that way you can identify it and talk to your doctor. There are many unsafe food choices for infants starting out eating solids. Popcorn, peanuts, raisins, whole grapes, stringy meats, gum/gummy candy, jellybeans, hot dogs, and hard/raw fruits or vegetables should be avoided.This time of trying new foods is an experience for both you and your baby. There is no need to rush your baby into eating solids, when they are ready they will act like it. Somethings to watch out for when feeding your child is to not force them to eat it. Place the spoon on their tongue and let them take the spoon in without you doing it for them. If your infant continues to sprinkle the food out over and over again or dont open their mouth then do not force it, they hardly might not be ready, put the spoon and baby food away and try again in a day or two.

Visual Puffery in Fragrance Ads

Rollins College Rollins Scholarship Online Faculty usualations 1-1-2012 A tuition of optic puffery in essence announce Is the centre sent stronger than the actual olfaction? Mark Toncar Youngstown State University Marc Fetscherin Rollins College, emailprotected edu Published In Mark Toncar, Marc Fetscherin, (2012) A deal of ocular puffery in aroma advert Is the centre sent stronger than the actual meander? , European diary of merchandise, Vol. 46 Iss 1/2, pp. 52 72This Article is brought to you for free and open access by Rollins Scholarship Online. It has been authoritative for inclusion in Faculty Publications by an authorized administrator of Rollins Scholarship Online. For more(prenominal) than in spend a pennyation, please tangency emailprotected edu. A Study of visual Puffery in Fragrance ad Is the heart sent stronger than the actual thread? Abstract Purpose This musical theme investigates ocular exaggerations of fragrancy advertizements by compari ng subjects expectations answering from print ads to their concomitant merchandise evaluations.It beca subprogram considers whether the actual scents fall unequal, meet or exceed these expectations. shape/methodology/ burn down By means of a semiotic compend we capture the corresponding literary attributes of the ads to develop procedural pairs describing the import of the ads. Interviews argon conducted to assess the marrow that consumers draw from the fragrance ads and we supplement these findings by performing a artifice olfactive convergence evaluation of the fragrances. Paired sample t- running plays be uptaked to comp ar ubjects ad expectations to their subsequent resoluteness evaluation of the actual scent. Findings Our results video display that the ocular cues and im senescery in the fragrance ads appear, beneath authentic conditions, to result in produce expectations that exceed actual result evaluations, suggesting the exis tence of ocular puffe ry. We in addition lay down that the more abstract descriptors of the ad resulted in signifi brush asidetly higher expectations, fleck the more cover descriptors resulted in significantly lower expectations than the actual crossway evaluation. investigate limitations/implications A humble sample size of homogenous consumers limits the generalizability of the results. no.measures of status strong suit were taken. Practical implications opthalmic puffery may be effective and help marketers, even in countries where communicatory puffery is illegal, to exercise a nonher means to r to apiece one consumers. Originality/value This paper investigates an under- seeked area in announce.A mul epochthod go on and primary selective information are utilise to assess subjects ad expectations of a fragrance and the actual crossing evaluation and demonstrates the existence of optical puffery. Keywords Puffery, denote, Fragrance, Perfume Paper type Research Paper 1. Introduct ion Consumer look into in advert has a long history of investigating how the structure of a persuasive nitty-gritty can allure its effectiveness (Belch and Belch, 2009).One useful way to classify prior(prenominal) research is that which pertains to the communicatory aspects of the message, the ocular aspects, or research that considers both verbal and visual cues (Stern, 1996 McQuarrie and Mick, 2003a Stathakopoulos, 2008). Illustrative of the research focusing on verbal cues includes studies focusing on order of presentation of product claims (Kamins and Marks, 1987 Krugman, 1962), whether to include or omit conclusions (Chance, 1975 Kardes, 1988) and the effectiveness of non-white versus 2sided messages (Eisend, 2006 Belch, 1983 Sawyer, 1973).More recently, researchers excite begun to focus on the effects of the visual components of advertising a lot(prenominal) as visual hyperbole (Callister and Stern, 2007) and visual metaphor (McQuarrie and Phillips, 2005) recog nizing that both the verbal and visual information presented in an ad can influence the way an advertising message is processed and perceived (Oliver, 1979 Mitchell, 1986 Edell and Staelin, 1983 Hirschmann, 1986 Smith, 1991 Stern, 1996 Scott and Batra, 2003 McQuarrie and Mick, 2003a Stathakopoulos et. al 2008).Research addressing deceptive advertising practices has mainly center on the verbal aspects of product claims, and has non a good deal assessed the role that visuals can play in communication deceptive, mis heading or inaccurate information. This is especially true regarding investigations of puffery in advertising. The purpose of this paper is to introduce and deal the c erstpt of visual puffery, and to examine whether exaggerated and unsubstantiated product claims can be communicated to consumers using visual imaginativeness.Specifically, the objectives of this research are twofold first, to examine how advertisers are using visual appeals to let sensory expectations by consumers. Second, we explore the relationship between the sensory expectations that are created in the minds of consumers by the adverts and consumers subsequent product evaluation. In so doing, we seek to identify and measure the extent to which viewers expectations developed in solution to an ad differ from their subsequent evaluation of the actual product in the ad and whether visual puffery exists. . Literature appraise 2. 1. Visuals in announce Historically, advertising research has been dominated by investigations that foc apply on the verbal marrow of ads. With regard to magazine advertising, this has generally referred to investigations involving the headlines and body copy and investigating how detail linguistic elements affect the affect of advertising information.Illustrative of these studies are the works of Leigh (1994), who investigated the use of figures of destination in magazine headlines, McQuarrie and Mick (1996) who examined the use of figures of sp eech in advertising language, Djafarova (2008) who investigated the use of puns in advertising, and M separatesbaugh, Huhmann and Franke (2002) who explored the effects of rhetorical figures on consumers processing effort and focus.Visual elements of advertisements, such as pictures or symbols are likewise an important component of umpteen advertisements, and the role of imagery in shaping consumer response and behavior has scarcely recently begun to receive the same degree and sophistication of research attention as the verbal elements in advertising (McQuarrie and Mick, 1999 Fetscherin and Toncar, 2009). The importance of visual imagery in advertising has been ecognized since the 1970s when Rossiter and Percy (1978 1980 1981) proposed the visual and verbal loop opening which showed that visual content in advertising is secure as capable of increasing the consumers product attitude as is verbal content (Rossiter and Percy, 1980, p. 15). Since then it has become clear that visu al elements can be effective tactics to achieve a grade of advertising objectives, including belief acceptance and change (Miniard et al. , 1991 Mitchell and Olson 1981 Peracchio and Meyers-Levy 1994) and memory (Childers and Houston, 1984).Messaris (1997) discusses in his book that magazine ads, and other forms of advertising, often convey essences that cannot be expressed as comfortably, or at all, by words. As the book title suggests, Visual persuasion is an exploration of these unique aspects of advertising. Using a range of methodologies, illustrative research on the topic includes investigating the effects of visual hyperbole (Callister and Stern, 2007) and visual metaphor (McQuarrie and Phillips, 2005), ethical issues that arise from visual representations in advertising (Borgerson and Schroeder, 2002), the visual imagery and epresentation of the masculine body in advertising (Schroeder and Zwick, 2004), and using interpretive methodologies from art and literary critici sm to explore the meanings in advertising imagery (Stern and Schroeder, 1994) to mention only a few. A more recent trend is to build upon theories of verbal rhetoric to understand the effects of visuals in advertising (Scott, 1994 McQuarrie and Mick, 1999 van Enschot, Hoeken and van Mulken, 2008 Stathakopoulos, Theodorakis and Mastoridou, 2008 Phillips and McQuarrie, 2004).The growing consensus, regardless of the methodological tool use, is that visual imagery is a n archean ubiquitous and powerful influence in advertising. In sum, there are several theories which manakin the way visual elements in advertising affect consumer response including classical conditioning (Rossiter and Percy, 1978 Shimp et al. , 1991), the visual and verbal loop theory (Hansen, 1981 Rossiter and Percy, 1980), the attitude towards the ad or affect-transfer theory (Mitchell, 1986 Shimp 1981), information processing theory (MacInnis and Price, 1987), and the elaboration-likelihood illustration (ELM) (Pett y et al. 1983) which demonstrated both central and peripheral routes to persuasion. Vaughn (1986) developed the FCB grid as a framework for maturation creative advertising strategies and this has been extended pass on by Rossiter et al. (1991) who created the Rossiter-Percy grid (Mortimer, 2002). As Scott (1994, p. 256) mention, these theories make up been investigated in cooccur ways, which makes it difficult to stipulate distinct theoretical boundaries. More all over, Scott (1994, p. 258) suggests that a second area of research can be characterized by a broad methodological orientation quite than by a unified theory.In fact, there are diametric interpretative theories and approaches to analyze visual elements of advertising (McQuarrie and Mick, 1999). The four more or less leafy vegetable are the following. First, the archival tradition is perhaps the oldest one whereby large samples of advertisements are gathered and content summary is used to examine the frequency with which various types of visual elements appear (Harris and Attour, 2003 Seitz, 1998 Scott, 1994). Second, the experimental tradition systematically varies any the presence or absence of pictures per se (McQuarrie and Mick, 1999).The third is the readerresponse approach which seeks to uncover the meanings that consumers draw from the ads (Mick and Buhl, 1992 Scott, 1994). Extended interviews are used to understand the rich and multiplex interplay between elements of the ad and consumer cognizance. Finally, the text-interpretive approach draws on rhetorical and semiotic theories to provide a systematic and nuanced analysis of the individual elements that make up the ad (Scott, 1994 McQuarrie and Mick, 1999).A few studies (Corbett, 1990 McQuarrie and Mick, 1999 Morgan and Reichert, 1999 McQuarrie and Mick, 2003a McQuarrie and Phillips, 2005) have used visual rhetoric analysis, an interpretative theory, in advertising research. Phillips and McQuarrie (2002) show that metaphors and hy perbole, which are figurative expressions that drive intentionally exaggerated statements (visual or verbal), appear in 17. 3% of advertisement pictures and 44% of headlines and have change magnitude steadily since the 1960s. More recently, Callister and Stern (2007) looked at the use of visual hyperbole as an intriguing form of exaggeration in advertising.To do so they focused on the description of the rhetorical figures present in ads. Like rhetoric analysis, semiotic analysis can also be used by the researcher to assess the effects of images and symbols. Both, rhetoric and semiology are text-centered approaches (McQuarrie and Mick, 2002). As such, they make relatively simple and open assumptions about the human system, concentrating instead on the development of elaborated structures that can be used to recite types of visual content in advertisements (McQuarrie and Mick, 2003b, p. 192).The current guinea pig assesses visuals in advertising using two approaches. First, we u se a text-interpretive approach by means of semiotic analysis (ad system) to identify, capture and to generate the corresponding literary attributes that pick out the most prevalent signs within the visual message. Second, using a reader-response approach, we conduct in the flesh(predicate) interviews to catch out the meanings that consumers draw from the ads and take the perspective of a human system. We supplement these findings by performing a device olfactive evaluation of the fragrances. 2. 2.Puffery in advertise The concept and use of verbal puffery in advertising has been extensively researched in the past few decades. It is widely mum to refer to exaggerated or unsubstantiated advertising claims. The Federal Trade Commission (FTC) defines puffery as a term frequently used to denote the exaggerations passably to be expected of a seller as to the degree of quality of his product, the truth or untruth of which cannot be precisely determined (DeFrancis, 2004, p. 10). Ill ustrative of the extensive research on the topic are the early works of Preston (1967), Preston and Scharbach (1971), and Richards (1990) among others.For example Preston (1996) and Richards (1990) investigate the role of puffery as it relates to deception and consider whether puffery constitutes deceptive advertising. Puffed claims, enchantment obviously untrue, are typically not considered deceptive because, by definition of the FTC, puffed claims are inwrought claims that no reasonable person would take to be literally true. While the FTC has taken the position that puffery is not deceptive because it does not work, empirical research has not generally back up this (Kamins and Marks, 1987).Moreover, and as Haan and Ber chance upon (2002) argue if puffery does not work, salespeople and advertisers would not use it (p. 245). Some researcher demonstrated that under certain conditions consumers believe exaggerated claims (Cunningham and Cunningham, 1977 Rotfeld and Rotzoll, 1980 R otfeld and Preston, 1981 Olson and Dover, 1978 Kamins and Marks, 1987 Wyckham, 1987 Haan and Berkey, 2002 Cowley, 2006) piece of music others shows that bit consumers are able to identify an exaggerated claim, the evaluation of the home run was still more positive degree when puffed claims were used (Cowley, 2006).Still other research suggests exaggerated claims can produce negative effects (Vanden Bergh and Reid, 1980b). Studies have looked at the effects of puffery on product attitude and purchase intentions (Kamins and Marks, 1987), or considered the use of puffery in ads for special product categories such as ball get pens (Kamins and Marks, 1987, Vanden Bergh and Reid, 1980b) or automobiles (Vanden Bergh and Reid, 1980a Vanden Bergh et al. , 1983) for example.In addition, there is ample evidence that verbal puffery influences pre-purchase (Oliver, 1979) as headspring as post- tryout product evaluations (Olshavsky and Miller, 1972 Anderson, 1973 Kamins, 1985 Olson and Dov er, 1978 Oliver, 1979). In sum, theses studies suggest that verbal puffery enhances pre and post-trial product ratings relative to trial alone and that, in certain conditions, this effect increases as the puffery becomes more exaggerated (Kamins and Marks, 1987). This last observation brings up an use uping issue regarding the effectiveness of different degrees of puffery.Preston (1996, 1998) introduced six categories of verbal puffery, establish upon the strength of the assertion make in the puffed claim. He named the categories best, best possible, better, specially good, and infixed qualities. Haan and Berkey (2002) investigated the believability of each of the six forms of puffery and found that in all but one family unit, consumers do not strongly believe or disbelieve puffed statements (Haan and Berkey, 2002, p. 251). They concluded their findings were generally onsistent with Beltramini and Evans (1985) who suggested the consumers are tired of overused techniques in advert ising and, as a result, see little difference in the believability from one advertisement to the next (Haan and Berkey, 2002, p. 251). A careful inspection of Haan and Berkeys (2002) results yields an interesting observation. The only category of puffery that affected subjects beliefs was the natural claim category, which, according to Preston (1996), represents the weakest form of puffery. While he other five types of puffery all involve the use of verbal superlatives and exaggeration, the subjective claim puff is one which makes a subjective assertion about the product with no implicit or explicit reference to the product. This suggests that advertisers of consumer products, who rely heavily on subjective claims, as is the strip for fragrances, should be wary of delivering these claims using verbal puffery. Furthermore, and as stated by Haan and Berkey (2002), consumers beliefs about an advertisement are related to factors other than the verbal puffed claims made about the produ ct.This is important for our study as we argue that this could encourage advertisers to communicate claims about subjective product benefits by using visual rather than verbal puffery. 2. 3. Personal Fragrance Advertising Fragrance advertising represents a significant portion of ad pages and spending, estimated to be in the billions of dollars. move advertising of fragrances poses additional challenges compared to numerous other products for the following three briny reasons. First, fragrances have no significant functional benefit and are very intimate purchases where preferences are personal (Busch, 2003).Since odors stimulate the part of the brain responsible for emotional responses, olfaction represents a different path to the consumer than is afforded by other types of cues (Ellen and Bone, 1998). According to Kirk-Smith and Booth (1987), the emotional response generated by a scent depends on the complex meaning of previous social experience with odors (p. 159). The emotional aspect of odors may so influence a consumers attitude and motivation to purchase through the associations it evokes.Second, because perfume, like many other products and go, is not purchased ground upon the functional benefits they provide, advertising a perfume represents a special challenge for marketers because they cannot sell their product found solely on its features. Instead, fragrance marketers speak to peoples fantasies, and attempt to create a unspiritual mood using a variety of visual and verbal tactics, including metaphors and other figures of speech as headspring as a broad range of visual symbols that can often best be understood using a semiotic analysis approach (Toncar and Munch, 2001). Third, it is difficult to ommunicate a taste, or in our case a scent in a print ad. This is compounded by the fact that the actual scent of a perfume is only one of a number of salient cues that affect product purchase, many of which are introduced and communicated in the ads. The ad can depict a photograph of the bottle, might include a scent strip in magazine advertising, making a nebulous product a act more substantive, or use a variety of rhetorical techniques to tap into the human capacity for multi-sensory intelligence and provoke the consumer to actually envision the scent based on coded images and signs embedded within the print advertisement.In this regard, much fragrance advertising can have transformational effects. Transformational advertising (Wells, 1980) is effective by developing associations with the shuffling use experience that transforms that experience into several(prenominal)thing different than it would be in the absence of the advertising transformational advertising creates, alters, or intensifies feelings (Aaker and Stayman, 1992, p. 239) and attempts to give the sack the consumer emotionally to a take down of greater product acceptance (Cutler et al. 2000). In that respect, transformational advertising enhance more ofte n than not hedonic and symbolic benefits but does not appear to affect evaluations of functional benefits (Naylor et al. , 2008). Drawing on biology, psychology, and rhetorical techniques, print advertisements for fragrances are generally quite artistic. For this reason, the text interpretative analysis of the semiotic relations among key elements of the ad is a suitable approach to gain insights about the messages being conveyed in the ads.Busch (2003) explains that the human senses do not work independently, but in tandem to influence desires, decisions, and emotional responses and this feature of human perception suggests that fragrance advertising using linguistic and visual cues actually has the power to affect consumer expectations and convey the scent of the advertised fragrance. Ellen and Bone (1998) showed that the addition of a more congruent scratch-and-sniff panel to a fragrance advertisement improves attitude toward the ad or the brand.Lambiase and Reichert (2003) used rhetorical analysis to explore sexually oriented appeals in fragrance advertisements. Moriarty (2006) showed how semiotics can be used in advertising to create meaning that does not naturally exist and Clare (1998) demonstrated the usefulness of semiotic analysis for mens fragrance advertising and showed that signs or cues in the ad provide a favorable image of the product. Studies from the Advertising Educational stand (2006) as well as Ellen and Bone (1998) discuss the growing emphasis on olfactive cues for differentiation in modern advertising. 3.Methodology The objectives of this paper are to investigate (1) how fragrance advertisers are using visual appeals to generate sensory product expectations and (2) the relationship between the product expectations resulting from the ad and the corresponding product evaluations. This task is just about complicated by the subjective nature of the meanings generated by the visuals in the ad as well as the scent of a fragrance. To addres s this issue, we will use the same set of literary attributes when assessing and comparing viewers product expectations based on an ad with their subsequent product evaluation of the fragrance.The extent to which consumer expectations based on the ad exceed their subsequent product evaluations can be viewed as a form of visual exaggeration, or perhaps visual puffery. This basic rationale, that puffery may be conceptualized and even quantified as the extent to which expectations of a product arising from an ad exceed subsequent product evaluations depends reasonable. A like approach has been used in other studies, including McQuarrie and Mick (1999). Visual claims that, if believed, result in expectations on the part of viewers that exceed the capabilities of the product fit the veritable definition of puffery.As mentioned previously, in this study we assess visual puffery in magazine advertising using a multi-method approach. First, we use a text-interpretative approach by means of a semiotic analysis to identify, capture and to generate the corresponding literary attributes that describe the most prevalent signs within the visual message (ad system). This gives us the descriptors of product attributes and therefore the literary attributes to be evaluated and on which visual puffery was assessed. Second, we use a reader-response approach by means of personal interviews to assess the meaning that consumers draw from the ads (human system).In addition, these findings are supplemented with an actual product test by means of a subterfuge olfactory evaluation of the fragrance. This multi-method approach builds on previous studies to show the value of this approach for consumer research (McQuarrie and Mick, 1999). 3. 1 Semiotic Analysis The literary attributes were developed using a semiotic analysis of the three ads chosen. Semiotic analysis can be used to decode the meaning of advertisements. It is an approach that seeks to interpret messages in terms of their signs and patterns of symbolism (Moriarty, 1995).Everything in an advertisement, such as the models hair and clothing, the ads color palate, the lighting and the objects featured in the advertisement, functions as a physique of something else. All forms of semiotic analysis consider each aspect of the ad in question to be important for the generation of meaning. Semiotic analysis begins with the listing of all of the signs, structures, and codes embedded within the text (Lawes, 2002). some other important part of semiotic analysis involves looking at contrasts and implied contradictions.The structural methods employed by many semioticians involve the study of paradigms as binary or polar oppositions (Chandler, 2001), and there are many distinguish pairs that can be recognized in advertisements. Male/female appears to be the most central opposition, since male and female sexuality is connoted from their pairing in the advertisements. The objective of an advertisement, for example , could be to bring male and female unitedly through the use of the product by the woman to attract the male. The subsequent power the woman has over the man, or vice-versa, leads us to the next noticeable opposition dominant/ aid.The woman can dominate the subordinate man, or the contrary may occur. Black/white and mind/body are also binary oppositions the text or background is presented in black and white. And of course, the reverse may also be true. The researchers used a semiotic analysis of the three ads and the following attribute- adjectivals pairs were generated that describe the range of meanings of the three selected ads. These are adjective pairs and not polar opposites in the literary sense and are meant to be, to some degree, synonyms rather than antonyms, describing similar, not opposite aspects of the ads.The selected pairs of adjectives were used to identify the elements of visual imagery in the ads and subsequently also in the product evaluation. They are summariz ed in the following Table I. Table I. Adjective Pair Light/Understated Bold/ right on Arousing/Sensual Romantic/ maidenly Playful/Flirtatious hidden/Exotic Earthy/Musky nutlike/Tasty Medicinal/ bland Velvety/Creamy 4. Data Collection We gathered primary data by means of structured interviews (survey) of potential consumers. The first section of the questionnaire focused on purchasing habits and fragrance use.In the second section subjects were shown a copy of a fragrance ad and were asked to answer questions pertaining to that ad. The questions required subjects to describe how they envisioned the scent by identifying their expectations using the adjective pairs, resulted from the semiotic analysis, on a five point Likert scale anchored by strongly disagree and strongly agree. This process was then repeated with the be two ads. The third section tested subjects actual olfactory perceptions of each of the three fragrances. The subjects were asked to perform a blind olfactory eva luation of the fragrances.They were asked to describe each scent using the same adjective pairs and scale so that their actual product evaluations could be compared to their expectations. This procedure was then repeated for the remaining two fragrances. Respondents were provided a small vial of coffee beans to flavor between each fragrance sample, in order to clear the olfactory palate and minimize the likelihood of scents mixing or getting confused. The order of presentation of both the ads and the fragrances was arbitrarily selected to prevent any ordering effect. Finally, socio-demographic information was collected.Three different full-page advertisements for womens fragrances from trend magazine were selected for this study. Vogue was used for several reasons it is one of the oldest manner magazines in the market (since 1892), the maneuver audience is females, it is widely accepted as the Fashion Bible or Style Bible, and it is one of the most influential way magazines in the world (Weber, 2006). Moreover, it is among the top 10 magazines in the US in terms of ad pages and is also the leading magazine in terms of advertising revenue and circulation.The three advertisements used in this study were (1) vehement red-hot by DKNY, (2) Hypnose by Lancome Paris, and (3) Euphoria by Calvin Klein. Fragrances were selected as a product category because of the intensely visual imagery that is often utilized to communicate intangible product benefits as mentioned above. The specific ads were selected primarily due to the relative absence of verbal cues which may explain why these ads appeared not only in the US edition of Vogue but in many international editions as well (Vogue UK, Vogue France, and Vogue Australia, and Vogue Italy). The actual ads used in this research are reproduced in prefigure I.Take in Figure I Three ads were chosen for several reasons. First, we believed that multiple ads would provide a more broad inspection of our research objectives than a single ad. However, we were concerned that too many ads and their associated fragrances would overwhelm the respondents senses of smell and impair their ability to accurately evaluate the fragrances, a key objective in our research. Finally, related studies used similar number of ads per respondent (Kamins and Marks, 1987 Vanden Bergh and Reid, 1980b Rothfeld and Rotzoll, 1980 Wychkam, 1985 Ellen and Bone, 1998 Schmitt et al. 1995 McQuarrie and Mick, 1999 Cowley, 2006). The target audience of womens fashion and beauty magazines such as Vogue is generally fashion-conscious women under the age of 45. Vogue, specifically, reports that the average age is 34 and that 63% of its readership is between the age of 18-49 (Conde Nast Digital, 2009). In addition, approximately 75% of perfume purchases in the United States are made by women under the age of 25 (Busch, 2003). This suggests that young women are a representative and suitable sample for this research. It should be noted that many studies used student samples (e. . , Vanden Bergh and Reid, 1980b Kamins and Marks, 1987, McQuarrie and Mick, 1999 Cowley, 2006) compared to ours which is based on consumers. The survey instrument and procedures were pre-tested with a sample of sixteen women to identify problems prior to the actual interviews. Finally, 75 young women below the age of 25 were randomly interviewed after-school(prenominal) a major upscale shopping mall near a metropolitan city primed(p) in the southeastern part of the United States. Cronbachs alpha was used to assess the reliability of the beat items used.The overall alpha for all the scales was 0. 85. The alpha for the ad rating scales was 0. 72, and 0. 73 for the fragrance rating scales. This suggests the measuring scales exhibited acceptable reliability. 5. Results 5. 1. Descriptive Statistics Table II presents basic descriptive statistics about the respondents that illustrate their similarity to the target market of these fragrances and ad vertisements. The age, household income, frequency of travel and enjoyment of cultural visits such as museums and the theatre are provided in the table.Table II. Descriptive Statistics Demographic Characteristic (n=75) Age 17 18 19 20 21 22 23 Household Income $0- $25,000 $25,001 $50,000 $50,001 $75,000 $75,001 $100,000 $100,001 and above Travel Never Percentage 1% 16% 36% 24% 12% 8% 3% 7% 20% 8% 15% 50% 4% Culture Visits Seldom Occasionally Often often Never Seldom Occasionally Often Frequently 12% 39% 20% 25% 3% 12% 36% 31% 18% The self-reported one-year household income was generally consistent with the average household income of the typical Vogue readership.The same applies to the travel habits as well as cultural activities, such as visits to museums, art galleries and theatrical performances. Overall, our analysis indicates that our sample is similar to the readership of Vogue. Ninety-two percent of our sample reported purchase a fragrance for themselves at least once e ach year and over 50% reported buying at least twice each year. Eightythree percent reported that they read a fashion/beauty magazine at least once each month and 55% reported reading one at least twice each month.This information suggests that the women in our sample appear to have substantial exposure to magazine fragrance advertising. 5. 2. viewing audience Expectations and Evaluations Since prior knowledge of, or experience with the ads or fragrances used in the experiment could have an partake on subjects expectations and product evaluations, we first asked respondents whether they had seen each ad and whether they discarded smelling each fragrance. The responses of the women who reported either comprehend one or ore of the ads or smelling one or more of the fragrances were compared to the responses of the women who reported no previous exposure to either the ads or the fragrances. in that location were no significant differences between the two groups. While this result a llows us to consider our sample as one relatively homogeneous group, it is at the same time somewhat troubling as this seems to suggest that prior exposure to the ads and/or the fragrances in this study did not affect subjects perceptions of either the ads or the fragrances.One explanation is that there are hundreds of different fragrances and ads out in the market, while our study is limited to three fragrances and ads. Furthermore, those subjects who were exposed to the ads and/or fragrances prior to our study either did not recall or recognize it, especially this might be the fact in the case of the blind olfactory test, or respondents did not integrate the prior ad and fragrance information into their consciousness based on the parameters established by our dependent measures.Table III summarizes the average rating of the subjects expectations resulting from the advertisement (Ad) as well as the average rating of the subsequent product evaluations (Fragrance) for the three ads a nd their respective fragrances. Table III. advertizement and Fragrance Evaluations Mean values Light/Understated Bold/Powerful Arousing/Sensual Romantic/Feminine Playful/ Flirtatious Mysterious/ Exotic Earthy/Musky Fruity/Tasty Medicinal/Bland Velvety/Creamy Red toothsome Ad Fragrance 2. 31 3. 41 3. 80 2. 81 4. 04 3. 31 3. 81 3. 51 4. 09 3. 61 3. 28 2. 65 2. 15 2. 43 3. 68 3. 41 1. 60 1. 97 1. 79 2. 28 Hypnose Ad Fragrance 3. 9 3. 04 2. 89 3. 13 3. 65 3. 11 4. 03 3. 55 3. 43 3. 12 3. 52 2. 95 2. 33 2. 65 2. 31 2. 47 1. 80 1. 93 2. 47 2. 61 Euphoria Ad Fragrance 2. 43 2. 60 3. 80 3. 60 4. 31 3. 28 3. 95 3. 49 3. 63 3. 17 3. 96 3. 15 2. 77 2. 72 2. 13 2. 53 1. 72 1. 89 2. 76 2. 40 Since subjects reported both their fragrance expectations and subsequent product evaluations using the same set of scale items, paired sample t-tests were used to consider whether the ads generated scent expectations that fell short, met, or exceeded subjects actual product evaluations. The tables that fol low summarize the similarities and differences between the xpectations that were generated in response to the ads and the subsequent product evaluations in response to the blind olfactory tests. 5. 3. Red Delicious Results Subjects responses to the Red Delicious ad/scent pairing indicated significant differences between subjects expectations and product evaluations in eight of the 10 adjective pairs. In five of the pairs, Bold/Powerful, Arousing/Sensual, Romantic/Feminine, Playful/Flirtatious and Mysterious/Exotic, the expectations generated in response to the ad exceeded the subsequent olfactory evaluation of the fragrance.In three pairs, Light/Understated, Medicinal/Bland and Velvety/Creamy the olfactory evaluation exceeded expectations. It appears that based upon their exposure to the ad, respondents expected the fragrance to be more powerful, sensual, feminine, flirtatious and exotic than they in the long run evaluated the fragrance to be. Conversely, the actual fragrance appea rs to have been lighter, more velvety and understated than subjects expected it would be. These results are summarized in Table IV below and are addressed at greater length in our tidings section.In the table, the expectation/evaluation pairs that differed significantly (p Fragrance (Visual puffery) Ad = Fragrance (match) Ad Fragrance Total Red Delicious 5 2 3 10 Hypnose Euphoria 4 5 5 4 1 1 10 10 Total 14 11 5 30 There is sparse evidence that the ads used in this research generated accurate expectations. Instead, there is more evidence that the ads generally resulted in higher expectations among subjects, expectations that were not met when subjects actually used the products. Almost half (14) of the paired comparisons resulted in significantly higher expectations than product evaluations.One interpretation of this observation is that the visual imagery in the ads communicated exaggerated claims about the product benefits. Across all three fragrances, the expectations generated b y the ads that related to the adjective pairs of Arousing/Sensual, Romantic/Feminine, Playful/Flirtatious and Mysterious/Exotic were all significantly greater than subsequent product evaluations. Interestingly, all four adjective pairs seem to be unambiguously favorable characteristics of perfume. A careful inspection of our results yields one additional intriguing observation.Each of the ten adjectives pairs can be categorized as pertaining to either concrete or abstract descriptors. The first six (Light/Understated, Bold/Powerful, Arousing/Sensual, Romantic/Feminine, Playful/Flirtatious, Mysterious/Exotic) are more abstract and symbolic descriptors, while the remaining four (Earthy/Musky, Fruity/Tasty, Medicinal/Bland, Velvety/Creamy) are more concrete. Across all three ad/fragrance pairs, we observed that in most cases, for the abstract descriptors the ads generated significantly higher expectations that exceeded the actual product evaluation.In contrast, for the concrete descrip tors we observe that the expectations in response to the ads fell short of actual product evaluation. We discuss this result further in the next section. 6. Discussion Readers of magazine advertisements may not overtly recognize the visual themes and messages in an advertisement that emerge from a semiotic analysis. However, if the visual and symbolic message of the ad is successfully delivered and therefore understood, implicitly or explicitly by readers, the ad can convey expectations of the product that exceed, fall short of, or match consumers subsequent evaluation of the product.To convey a weaker message risks developing expectations that may be insufficient to prompt consumers to consider purchasing the product. However, to convey expectations beyond the products ability to accomplish these expectations risks dissatisfied customers who try or purchase the product with certain expectations of its performance, but who in the long run learn that the product will not meet their expectations. Taken together, our results suggest that the visual imagery in magazine advertising for fragrances can be effectively used to make claims about product features and benefits that are not substantiated through actual trial of the product.This brings up the real and intriguing possibility that visual imagery can be used as a mechanism of puffery making superlative, exaggerated claims that are not substantiated. To our knowledge, the existence and effectiveness of visual puffery has not been previously investigated despite a call made already by Richards and Zakia (1981) in the early 1980s, that pictures and symbols should be regulated as vigorously as words as well as the decision of the 2nd U. S. District Court of Appeals in Manhattan which ruled that puffery can include visual depictions.Moreover, this also poses interesting questions for policy makers because, in contrast to verbal puffery, which according to FTC is recognizable by reasonable consumers and cannot lea d to deception (Kamins and Marks, 1987), visual puffery is not immediately recognizable. Typically, puffed claims have been expressed verbally, in the form of superlatives. verbal puffed claims are, at least in the United States, legal and acceptable because they are considered by the FTC as the language of advertising and consumers understand as much and are not deceived by puffed claims.This doesnt mean that there are any cultural, ethical or visual issues related to this (Borgerson and Schroeder, 2002 Schroeder and Zwick, 2004 Schroeder, 2005 Schroeder and Borgerson, 2005). As Schroeder and Borgerson (2003) noted, visual issues often are overlooked in advertising research despite their importance in meaning creation (p. 68). Our study is therefore noteworthy as it contributes and extends existing literature by suggesting the existence of another(prenominal) important form of puffery, which we refer to as visual puffery.In many cases, the visual cues and imagery in the ads used in this research appeared to generate product expectations that were not met when the product was used. This is both intriguing and perplexing and suggests potential legal implications as well. In short, while verbal puffery is legal in the United States because it is presumed to not be effective by FTC, visual puffery may be quite effective and might help marketers, and specifically in countries where verbal puffery is illegal, to use another means to reach consumers.This study provides a first shout toward understanding and assessing visual puffery and we encourage further research in that direction. Given the ubiquitous use of imageryladen ads in the promotion of personal fragrances, the larger question may be why and how visual puffery, in which type of ads, other type of products and consumer particles, is effective? One plausible explanation is that fragrances are somewhat of a fancy product, intimately connected to the self-esteem or self-image and perceived desirability and attractiveness of the buyer.Consumers are not buying the fragrance alone, but the imagery that becomes intimately associated with the fragrance. While we offer some evidence in this paper related to fragrances, it is an idea that merits further consideration and research. It seems likely that the purpose of fragrance ads is to captivate attention, to stimulate interest and desire ultimately leading to purchase intention and behavior. It can also help to build brand awareness, to develop and reinforce brand image and brand personality.It is plausible that fragrance advertising leads to product trial, and product trial is then influenced by the imagery created in the advertising. In one sense, consistent with the concept of transformational advertising, we can argue that the visual imagery in the ad creates an intangible product benefit, the presence of which is either supported or refuted at the time of product trial. When consumers actually try the scent, they may associate the sce nt with the visual imagery that they have been previously exposed to.They may also associate the scent with the overall brand image, particularly if that image is well-established and understood, such as Calvin Klein. This suggests a somewhat symbiotic relationship between the visual imagery in the ad, the overall brand image and the actual fragrance of the product. A consumer who tries a fragrance in a store often does so with prior knowledge of the brand and after prior exposure to the ads or the fragrance. The scent of the fragrance might become closely associated with the brand image, the visual imagery in the ad, or both.The scent, therefore, becomes mysterious, or sexy, or exotic, because it is depicted that way in the ad and reinforced by the overall image of the brand. Future research should explore the existence of this symbiotic and interdependent relationship. 7. Conclusion This study contributes and extends existing literature by suggesting the existence of visual puffer y. Our results show that the visual cues and imagery in the fragrance ads appear, under certain conditions, to result in product expectations that exceed actual product evaluations, suggesting the existence of visual puffery.The adjective pairs that represented abstract descriptors accounted for nearly all of the instances in which expectations of the ad exceeded product evaluations. For Red Delicious it was 83%, for Hypnose and Euphoria it was 100% of the adjectives pairs which were significantly different. In contrast, for adjective pairs that represent concrete descriptors, in most instances (Red Delicious 100% Hypnose 100%, and Euphoria 50%) we observed that product evaluations exceeded the ad expectations.One interpretation of this result is that the evaluation of these attributes may be significantly more subjective and therefore more difficult than evaluating more concrete attributes. A second possible explanation has its origin in the work of Haan and Berkey (2002). Recall t hat in their research, only the weakest puffs, subjective claims, influenced claim believability. Respondents in their experiment found subjective claims to be more undreamed of than the other five types of puffery claims. In our research, respondents expectations regarding the abstract (subjective) descriptors were generally not met.We put forth this observation unless as an intriguing idea for future research investigating the relationship between the level of abstraction of a visual puffed claim and subsequent product evaluations. As with all research, there are certain limitations which must be noted. First, we used a carefully controlled setting, with one consumer product for one consumer segment, and based on three magazine advertisements. Our results cannot be generalized beyond the product category nor beyond the consumer segment used in this study in the context of magazine print advertisements.Future research should investigate other product groups (e. g. high versus lo w involvement products), consumer segments (e. g. , male vs. female), gender in ads, ads from different countries and in different cultural settings. Second, one unanswered question is whether the high expectations of viewers influence their purchasing intention and ultimately behavior and if so, to what extent. This research did not explicitly address this issue and future research should investigate that. Third, semiotics is a qualitative research method that is inherently subjective.By arguing for the presence of visual puffery, we are, in some sense, translating a legal term into behavioral variables that can then be identified and measured. We acknowledge that, granted the subjective nature of the analysis, other adjective pairs may have been identified by other researchers. 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