Diplomarbeit aus dem Jahr 2002 im Fachbereich BWL - Beschaffung, Produktion, Logistik, Note: 1,3, Hochschule für Angewandte Wissenschaften Neu-Ulm; früher Fachhochschule Neu-Ulm (Wirtschaft), Sprache: Deutsch, Abstract: Inhaltsangabe:Zusammenfassung: In der Automobilindustrie herrscht spätestens seit den 80er Jahren ein intensiver Verdrängungs- und Veränderungsprozess welcher durch zahlreiche Unternehmensübernahmen und Zusammenschlüsse nachvollziehbar wird. Die PKW-Märkte werden immer globaler und fragmentierter. Dies bedeutet gleichzeitig eine Individualisierung der Nachfrage. Hinzu kommt eine abnehmende Markenbindung und das gesteigerte Tempo bei der technischen Entwicklung. Dieser kann sich auch das automobile Premium- und Luxussegment nicht entziehen. Als Folge dieser Entwicklung ist eine formale Segmentierung des Marktes nach Größenklassen nicht mehr ausreichend. Die einfache Gliederung ist durch die Entwicklung von Nischenprodukten komplexer geworden. Es geht nun vielmehr darum, dem Kunden das Auto zu bieten, das seinen individuellen Wünschen und seinem Lebensstil weitgehend entspricht. Dies ist in Verbindung mit einer starken Marke, einer großen Heritage und einem nicht zu geringen Anspruch an Emotion ausschlaggebend für den Erfolg im gehobenen automobilen Segment. Eine Analyse des Volkswagen-Konzerns brachte hervor, dass der PKW Markt vor rund zehn Jahren lediglich in neun Marktsegmente gegliedert wurde. Bis heute hat sich die Zahl der wahrgenommenen Segmente verdreifacht. Anhand der Automobilmarke Bentley soll diese Arbeit einen Überblick über das automobile Luxus-Marktsegment sowie die Besonderheiten und Herausforderungen für die vertretenen Automobilkonzerne beispielhaft aufzeigen. Dabei geht die Arbeit auf den Begriff Luxus ein und trifft eine Abgrenzung zwischen Premium- und Luxusmarken. Kapitel 3 behandelt sowohl die Markenphilosophie als auch die Historie und Produkte von Rolls-Royce & Bentley Motor Cars. In Kapitel 4 dieser Diplomarbeit wird der Begriff Segmentierung sowohl für die Angebots als auch für die Nachfrageseite definiert. Zudem wird ein Überblick über die aktuelle Marktsegmentierung und deren Determinanten im Automobilbereich gegeben. Die Segmentierungsansätze im Bereich der automobilen Luxusklasse sind nicht klar definiert und werden daher unterschiedlich interpretiert. Deshalb erfolgt eine Überprüfung der Segmentierungsansätze. Aus dieser kritischen Betrachtung entwickelt die Arbeit eine praxisorientierte Segmentierung für den automobilen Luxussektor unter Berücksichtigung ökonomischer und psychographischer Gesichtspunkte. Aufbauend auf der erfolgten Segmentierung setzt sich die Arbeit in Kapitel 5 und 6 mit Prognosen über den Luxus-Automobilmarkt auseinander. Dabei wird, basierend auf den vorhandenen Informationen, eine Analyse über die potentielle Entwicklung des automobilen Luxussegmentes erstellt und für die Marke Bentley spezifiziert. In Kapitel 8 folgen Thesen bzw. Erfolgsfaktoren, die für die Marke Bentley und deren zukünftigen Erfolg als notwendig angesehen werden. Die Arbeit wurde im Rahmen einer Desk Research im Rolls-Royce & Bentley Motor Cars- European Head Office in Berlin erstellt. Durch das Ausscheiden der Marke Rolls-Royce aus dem VW Produktportfolio zu Beginn des Jahres 2003 sowie den bevorstehenden Launch des Continental GT Coupés fällt die Erstellungsphase der Arbeit in einen Zeitraum des Umbruchs für Bentley Motors. Inhaltsverzeichnis:Inhaltsverzeichnis: AbbildungsverzeichnisIV AbkürzungsverzeichnisVI 1.Einleitung1 1.1Ziel und Gang der Arbeit1 2.Luxus3 3.Marken in der Automobilwelt5 3.1Die Marke5 3.1.1Die Volumenmarke7 3.1.2Die Premiummarke7 3.1.3Die Luxusmarke . im Vergleich zu einer Premiummarke9 3.2Die Luxusmarke Bentley12 3.2.1Die Marke Bentley im Volkswagen-Konzern12 3.2.2Geschichtlicher...

Studienarbeit aus dem Jahr 2010 im Fachbereich Amerikanistik - Literatur, , Sprache: Deutsch, Abstract: Cattle being driven through a lush, green valley, a cowboy sitting on his horse with his back to the audience looking out into the open range of Americäs Midwest, only limited by the horizon, dark clouds gathering on the far left side of the picture; these are the first images the viewer gets from Kevin Costner¿s 2003 Western movie, Open Range . And, in fact, this is all the audience needs, to know what this movie is going to be about. Open Range is made in the tradition of a classic Western. The cinematography of the opening sequence already establishes that. During these long shots the camera literally dwells in the scenery, showing Americäs open range, at its best ¿ one could add. The symbolic meaning is conveyed immediately, since the audience recognizes the movie¿s frontier setting. Since the Western genre has undergone a freefall since the late 1970s not only in public interest, which is shown in box office rates, but also in its critical reception, it is interesting, that director Costner refers back to the Western¿s grand age in Open Range, even more so if one considers the public, as well as, the critical success of the two most prominent Westerns of the 1990s. Both Clint Eastwood¿s Unforgiven and Dances With Wolves also by and with Kevin Costner offered a new interpretation of the classic Western, to be honored with an Oscar for best picture in the process. So why does Costner then in Open Range take on the classic model of the Western again? The purpose of this paper is to try to give an answer to this question. To do so it is first necessary to investigate in how far Open Range can be considered a classic Western movie and how deviations can be interpreted. Having done so, we will have to read our findings against the political and cultural context of the time of production of Open Range, since movies are cultural products and especially in the case of the Western trigger certain expectations, which in our case address the central idea of American self-understanding, the frontier myth. The story told in the Western hence becomes a ¿cultural story¿ .

Seminar paper from the year 2003 in the subject American Studies - Literature, grade: 2,0 (B), University of Dusseldorf "Heinrich Heine" (Anglistics Institute), course: Melville's Short Novels, language: English, abstract: Almost everyone has heard of the novel ¿Moby Dick¿. Less people though know that it was Herman Melville who wrote the world famous best-seller. Yet even less people can name other books and stories written by the American. One important story cycle he published in 1856 is called ¿The Piazza Tales¿ and it includes the short novels ¿Bartleby, The Scrivener¿, ¿Billy Budd¿ and ¿Benito Cerone¿. This paper deals with the first one. In the process of my work I will try to present a short overview about the story and give a brief summary. Nevertheless it is assumed that the reader of this paper is already familiar with the text. I will focus on the formula ¿I prefer not tö which Bartleby frequently uses as his only way to communicate with his environment. In a first step I will examine the influence that the usage of this formula has on the lawyer. Furthermore I will present the reactions of the office clerks and of other people to this phrase. The second part of this paper then is devoted to the opinions and interpretations of famous Melville critics who put the weight of their argumentation on very contradictory points. This criticism is essential in order to understand the story. In traditional forms Bartleby is ¿unreadable¿. The text becomes meaningful, framed and structured only by taking account of the according criticism. Of course, there are many and very different ways to criticize the story. I though think that dealing with the famous phrase is the form of interpretation that is closest to the text and therefore the most easily to follow. With all these critical views and opinions, including my own argumentation, I will show that Bartleby never had a chance to survive. His chosen style of living just did not fit into the world back in these days. Does it today? I will come back to this thesis in the end and try to find an answer.

Studienarbeit aus dem Jahr 2010 im Fachbereich Amerikanistik - Literatur, , Sprache: Deutsch, Abstract: Cattle being driven through a lush, green valley, a cowboy sitting on his horse with his back to the audience looking out into the open range of Americäs Midwest, only limited by the horizon, dark clouds gathering on the far left side of the picture; these are the first images the viewer gets from Kevin Costner¿s 2003 Western movie, Open Range . And, in fact, this is all the audience needs, to know what this movie is going to be about. Open Range is made in the tradition of a classic Western. The cinematography of the opening sequence already establishes that. During these long shots the camera literally dwells in the scenery, showing Americäs open range, at its best ¿ one could add. The symbolic meaning is conveyed immediately, since the audience recognizes the movie¿s frontier setting. Since the Western genre has undergone a freefall since the late 1970s not only in public interest, which is shown in box office rates, but also in its critical reception, it is interesting, that director Costner refers back to the Western¿s grand age in Open Range, even more so if one considers the public, as well as, the critical success of the two most prominent Westerns of the 1990s. Both Clint Eastwood¿s Unforgiven and Dances With Wolves also by and with Kevin Costner offered a new interpretation of the classic Western, to be honored with an Oscar for best picture in the process. So why does Costner then in Open Range take on the classic model of the Western again? The purpose of this paper is to try to give an answer to this question. To do so it is first necessary to investigate in how far Open Range can be considered a classic Western movie and how deviations can be interpreted. Having done so, we will have to read our findings against the political and cultural context of the time of production of Open Range, since movies are cultural products and especially in the case of the Western trigger certain expectations, which in our case address the central idea of American self-understanding, the frontier myth. The story told in the Western hence becomes a ¿cultural story¿ .

Seminar paper from the year 2003 in the subject American Studies - Literature, grade: 2,0 (B), University of Dusseldorf "Heinrich Heine" (Anglistics Institute), course: Melville's Short Novels, language: English, abstract: Almost everyone has heard of the novel ¿Moby Dick¿. Less people though know that it was Herman Melville who wrote the world famous best-seller. Yet even less people can name other books and stories written by the American. One important story cycle he published in 1856 is called ¿The Piazza Tales¿ and it includes the short novels ¿Bartleby, The Scrivener¿, ¿Billy Budd¿ and ¿Benito Cerone¿. This paper deals with the first one. In the process of my work I will try to present a short overview about the story and give a brief summary. Nevertheless it is assumed that the reader of this paper is already familiar with the text. I will focus on the formula ¿I prefer not tö which Bartleby frequently uses as his only way to communicate with his environment. In a first step I will examine the influence that the usage of this formula has on the lawyer. Furthermore I will present the reactions of the office clerks and of other people to this phrase. The second part of this paper then is devoted to the opinions and interpretations of famous Melville critics who put the weight of their argumentation on very contradictory points. This criticism is essential in order to understand the story. In traditional forms Bartleby is ¿unreadable¿. The text becomes meaningful, framed and structured only by taking account of the according criticism. Of course, there are many and very different ways to criticize the story. I though think that dealing with the famous phrase is the form of interpretation that is closest to the text and therefore the most easily to follow. With all these critical views and opinions, including my own argumentation, I will show that Bartleby never had a chance to survive. His chosen style of living just did not fit into the world back in these days. Does it today? I will come back to this thesis in the end and try to find an answer.

'A moving novel of strength and resistance in the face of evil but also an inspiring journey of resilience after loss' Erin Litteken 'I will never forget what the Nazi did to me. Never' 1940, Nazi-occupied Paris. A powerful story of love, tragedy and incredible courage, about one woman whose life is ripped apart by war and risks everything to seek justice. As Nazis patrol the streets of the French capital, Tiena is alone, desperate and on the run. After defending herself against the force of an officer, she must find a new identity in order to survive. An accidental meeting with members of the Resistance gives her a lifeline, as she is offered the chance to reinvent herself as perfumer Angéline De Cadieux. However Angéline will never forget what happened to her, and will do everything she can to seek revenge. But vengeance can be a dangerous game, and Angeline can only hide her true identity for so long before her past catches up with her, with some devastating consequences... Paris, 2003. When the opportunity arises for aspiring journalist Emma Keane to interview world renowned perfumer Madame De Cadieux about her life during World War Two, she is determined to take it. There are secrets from her own family history that she hopes Angéline may be able to help unlock. But nothing can prepare Emma for Angéline's story, and one thing is for certain - it will change her own life forever... An absolutely heartbreaking, unforgettable historical novel of war, sacrifice and survival, from the bestselling author of The Resistance Girl. Perfect for fans of Suzanne Goldring, Ella Carey and Catherine Hokin. Praise for Jina Bacarr: 'This was a brilliant story I couldn't put it down. The way it all fell into place was fantastic' Reader Review 'What an absolutely fantastic read this was. Very well written, you really become invested in the characters, especially madame and Emma. It really is a roller coaster of emotions reading it. Some funny parts that had me giggling to myself, and then the parts where the tears are flowing' Reader Review 'The Lost Girl In Paris is an epic read that totally consumed me from the perfumery in Paris to the resistance to the hell on earth, the reader witnesses the strength taken to try to survive' Reader Review 'This story balances action and introspection in an addictive way making this an absorbing and heartbreaking read' Reader Review 'For lovers of this period of fiction it has it all and is definitely a story that stays with you long after you have finished reading it' Reader Review

Seminar paper from the year 2003 in the subject American Studies - Culture and Applied Geography, grade: 1, Ruhr-University of Bochum (Englisches Seminar), course: The Culture of the American Civil War, language: English, abstract: We are fortunate to have a lot of information about Schurz¿s life and political career in the United States from his own pen ¿ on the one side his Lebenserinnerungen (Reminiscences) and on the other side different letters he has written to his wife or his former fellow student Theodor Petrasch. But we also have to be careful with using these sources of information because one has to keep some aspects in mind. First, although Schurz claims that he has written down his Reminiscences only on request of his children and therefore only for them and his closer family and friends, he might still have had in the back of his mind that it would be published for a much larger audience as it was originally supposed to be. 1 Second, the same thought applies to the letters he has written to different people. He might already have know that he would turn so famous that his letters will be published and so he might have written down exactly the thoughts and stories the reader nowadays should read and remember. He might have reproduced only the world view the reader should get. I do not want to state that this compellingly is the fact, but one has to keep these assumptions in the back of his mind when relating to Schurz¿s letters and Reminiscences. It is also important to know that all of the letters Schurz had received and written to his wife during his military service were lost in a fire. So we do not have as much information about that time as we do have about the time before and after that. In the following pages I want to take a closer look on the relationship between Abraham Lincoln and Carl Schurz. Both men influenced each other in a way that is not negligible. It was a complex relationship in which both men respected each other with similar aims and the same ability to persuade and inspire an audience. They also had their differences and especially these differences are interesting and let us gain an insight into the way the two friends coped with each other. After the most important facts about the lives of Lincoln and Schurz I will take a closer look at the first meeting of the two, the Presidential Election Campaign in which Schurz was extremely involved, the time after the election with Lincoln in office and the development of his friendship with Schurz, the Civil War in which Schurz took over a command and acted as correspondent from the front to Lincoln, and last Lincoln¿s assassination and its impact on Schurz and the American people.

Seminar paper from the year 2003 in the subject American Studies - Culture and Applied Geography, grade: 1, Ruhr-University of Bochum (Englisches Seminar), course: The Culture of the American Civil War, language: English, abstract: We are fortunate to have a lot of information about Schurz¿s life and political career in the United States from his own pen ¿ on the one side his Lebenserinnerungen (Reminiscences) and on the other side different letters he has written to his wife or his former fellow student Theodor Petrasch. But we also have to be careful with using these sources of information because one has to keep some aspects in mind. First, although Schurz claims that he has written down his Reminiscences only on request of his children and therefore only for them and his closer family and friends, he might still have had in the back of his mind that it would be published for a much larger audience as it was originally supposed to be. 1 Second, the same thought applies to the letters he has written to different people. He might already have know that he would turn so famous that his letters will be published and so he might have written down exactly the thoughts and stories the reader nowadays should read and remember. He might have reproduced only the world view the reader should get. I do not want to state that this compellingly is the fact, but one has to keep these assumptions in the back of his mind when relating to Schurz¿s letters and Reminiscences. It is also important to know that all of the letters Schurz had received and written to his wife during his military service were lost in a fire. So we do not have as much information about that time as we do have about the time before and after that. In the following pages I want to take a closer look on the relationship between Abraham Lincoln and Carl Schurz. Both men influenced each other in a way that is not negligible. It was a complex relationship in which both men respected each other with similar aims and the same ability to persuade and inspire an audience. They also had their differences and especially these differences are interesting and let us gain an insight into the way the two friends coped with each other. After the most important facts about the lives of Lincoln and Schurz I will take a closer look at the first meeting of the two, the Presidential Election Campaign in which Schurz was extremely involved, the time after the election with Lincoln in office and the development of his friendship with Schurz, the Civil War in which Schurz took over a command and acted as correspondent from the front to Lincoln, and last Lincoln¿s assassination and its impact on Schurz and the American people.

A compendium of essential information for the modern security entrepreneur and practitioner The modern security practitioner has shifted from a predominantly protective site and assets manager to a leading contributor to overall organisational resilience. Accordingly, The Security Consultant's Handbook sets out a holistic overview of the essential core knowledge, emerging opportunities and approaches to corporate thinking that are increasingly demanded by employers and buyers in the security market. This book provides essential direction for those who want to succeed in security, either individually or as part of a team. It also aims to stimulate some fresh ideas and provide new market routes for security professionals who may feel that they are underappreciated and overexerted in traditional business domains. Product overview Distilling the author's fifteen years' experience as a security practitioner, and incorporating the results of some fifty interviews with leading security practitioners and a review of a wide range of supporting business literature, The Security Consultant's Handbook provides a wealth of knowledge for the modern security practitioner, covering: - Entrepreneurial practice (including business intelligence, intellectual property rights, emerging markets, business funding and business networking) - Management practice (including the security function's move from basement to boardroom, fitting security into the wider context of organisational resilience, security management leadership, adding value and professional proficiency) - Legislation and regulation (including relevant UK and international laws such as the Human Rights Act 1998, the Data Protection Act 1998 and the Geneva Conventions) - Private investigations (including surveillance techniques, tracing missing people, witness statements and evidence, and surveillance and the law) - Information and cyber security (including why information needs protection, intelligence and espionage, cyber security threats, and mitigation approaches such as the ISO 27001 standard for information security management) - Protective security (including risk assessment methods, person-focused threat assessments, protective security roles, piracy and firearms) - Safer business travel (including government assistance, safety tips, responding to crime, kidnapping, protective approaches to travel security and corporate liability) - Personal and organisational resilience (including workplace initiatives, crisis management, and international standards such as ISO 22320, ISO 22301 and PAS 200)Featuring case studies, checklists and helpful chapter summaries, The Security Consultant's Handbook aims to be a practical and enabling guide for security officers and contractors. Its purpose is to plug information gaps or provoke new ideas, and provide a real-world support tool for those who want to offer their clients safe, proportionate and value-driven security services. About the author Richard Bingley is a senior lecturer in security and organisational resilience at Buckinghamshire New University, and co-founder of CSARN, the popular business security advisory network. He has more than fifteen years' experience in a range of high-profile security and communications roles, including as a close protection operative at London's 2012 Olympics and in Russia for the 2014 Winter Olympic Games. He is a licensed close protection operative in the UK, and holds a postgraduate certificate in teaching and learning in higher education. Richard is the author of two previous books: Arms Trade: Just the Facts(2003) and Terrorism: Just the Facts (2004).

1984, published in 1949, is a dystopian and satirical novel. It revolves around Winston Smith, who lives in a nation called Oceania, in a province called Airstrip One, which represents present-day England. This state is controlled by the Party, headed by a mysterious leader who is addressed as Emmanuel Goldstein, also known as the Big Brother. The Party watches every single move that Smith and other citizens make. The nation's language and history is forcefully changed for the benefit of the Party. A new language, Newspeak, is being compulsively implemented to ensure works that have anything to do with political rebellion are omitted. In Oceania, even rebellious thoughts are illegal and are said to be the worst of all crimes. The people are suppressed and any form of individuality is not tolerated, including love and sex. Smith works as a low-ranking member of the Party who alters historical records. He hates the Party and thus buys an illegal diary in which he pens down his thoughts. He meets Julia, a coworker, who seems to been romantically inclined towards him. He however doubts that she is a Party spy who will get him imprisoned for his 'thoughtcrimes'. Her love turns out to be true and they have a covert affair. Smith's hatred for the Party grows day by day and he is convinced that a powerful Party official O'Brien is actually trying to overthrow the present government with the help of a secret group named the Brotherhood. As the story goes on, readers learn the twists and turns that life in Oceania has in store for Smith. He faces terror, betrayal, freedom, and a broken spirit. 1984 is the author's haunting vision of the future. The book has been adapted into television programmes, films, radio broadcasts and plays. In 2003, the book was number 8 on BBC's survey The Big Read. It was 6th and 13th on the reader's and editor's list of Modern Library 100 Best Novels, respectively. In 2005, it was added to the 100 Best English Language Novel from 1923 to 2005 by TIME magazine. ABOUT THE AUTHOR: Eric Arthur Blair, better known by his pen name George Orwell (1903-1950), was an English author and journalist. His work is marked by keen intelligence and wit, a profound awareness of social injustice, an intense opposition to totalitarianism, a passion for clarity in language, and a belief in democratic socialism. In addition to his literary career Orwell served as a police officer with the Indian Imperial Police in Burma from 1922-1927 and fought with the Republicans in the Spanish Civil War from 1936-1937. He was severely wounded when he was shot through his throat. Orwell and his wife were accused of 'Rabid Trotskyism' and tried in absentia in Barcelona, along with other leaders of the POUM, in 1938. However by then they had escaped from Spain and returned to England. Between 1941 and 1943, Orwell worked on propaganda for the BBC. In 1943, he became literary editor of the Tribune, a weekly left-wing magazine. He was a prolific polemical journalist, article writer, literary critic, reviewer, poet and writer of fiction, and considered perhaps the twentieth century's best chronicler of English culture. Orwell is best known for the dystopian novel Nineteen Eighty-Four (published in 1949) and the satirical novella Animal Farm (1945)-they have together sold more copies than any two books by any other twentieth-century author. His 1938 book Homage to Catalonia, an account of his experiences as a volunteer on the Republican side during the Spanish Civil War, together with numerous essays on politics, literature, language, and culture, are widely acclaimed. In 2008, The Times ranked him second on a list of 'The 50 greatest British writers since 1945'.