Critical Analysis of Descarte' Meditations - a comparison with two other thinkers.

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Faith is an inseparable essence of our existence, and as such, carries its authority without the burdensome responsibility of reason. However, humankind has an infinite capacity for doubt and questions matters that hang on the verge of our comprehension. The matter of God's existence lacks empirical evidence and hasn't grounds for substantive rational certainty. Nevertheless, faith and religion have occupied the minds of many for many a generation and despite their irrational foundation have provided for rational moral concepts that are the foundation of our civilization. To question the existence of God is natural. It is important to seek proof of the world. However, it is equally important and essential to choose the right method of reasoning and to evaluate assumptions as critically as possible to avoid doubting a greater unknown and accepting another in its place. Philosophers and thinkers throughout the ages have tried to approach the issue with the tools of thought (Descartes; Spinoza; Weils). Rene Descartes, in his Meditations offers one of the most appealing of arguments for the existence of God. In his book, Discourse on Method and Meditations, Descartes exercises the reasoning power of his great mind to foster a methodical effort of regression and analysis with an astounding conclusion of God's necessary existence. His method is profoundly tedious and essentially persuasive. Yet, the underlying premise remains questionable and not beyond reasonable doubt. The purpose of this paper is to critically analyze Descartes' Meditations and to compare his reasons for the existence of God with the ideas of two other prominent philosophers, Benedict de Spinoza and Simone Weils.

A more recent thinker, Simone Weil, has a different approach to explaining the existence and essence of God. In an essay The Things of the World Weil presents her views as a combination of perceptive categorical generalizations and perilous nostalgia. Her assumptions show a refined and perceptive conception, which despite all its appealing resonance and reverence of common belief, elude logical methodology. Another great thinker, Benedict de Spinoza, deriving somehow that in the universe no two things of the same substance can exist, came up with a slightly different, but equally thorough argument for the existence of God.

Rene Descartes First Meditation explains his plan in pursuit of knowable truths. His systematic breakdown of the set of things he previously claimed to know is typical and substantiated. In Meditation I, Descartes develops the groundwork for his instrumental philosophical thesis. The basic truths are merely the stones on which we base our existence and the existence of our world. In the final paragraph of the section, he comes down to what he believes is a necessary consideration in the search for some fundamental knowable truth(s) - he supposes the existence of an evil deceiver who may potentially deceive him in everything he appears to observe and think about. His consideration of this is valid and necessary. However the mere fact that he continues optimistically in his pursuits after the considerations in this section shows his implicit belief that he is not being deceived in his current or future deliberations on the matter. This simple flaw seems to contradict the very essence of this meditation. Descartes, whose elegant conclusion in Meditation II states, 'cogito ergo sum' begins to weave a distinctly tangible pattern of assumptions leading to a virile conclusion that God must necessarily exist. However, all that Descartes has really proved is that he has a mind. He has not proved that he has a body or that an external world exists or that the thoughts in his mind other than "I exist" are true. Ren� Descartes' major philosophical project was to sort out what we have good grounds for believing from that for which we have insufficient grounds. In Descartes Meditation , all but matters of religious faith, authority is rejected as the basis of belief. Ultimately, the logical grounds for belief are those characteristics shared by mathematical propositions, a certain clarity and distinctness. But before he could rest content with these grounds, Descartes believed he had to subject them to a severe test. Descartes project was to validate the use of the human faculties in gaining knowledge of the world. He was able to accept or reject various propositions at will. He concluded that it was possible to trust the use of rational intuition in establishing that he exists and that he is a thinking thing with an understanding and will. In Meditation 1, Descartes had held that God could deceive him about the truth of very simple matters, such as that + = 5. (Descartes 6-8) To show that these ideas were safe, Descartes had to prove that God exists and is no deceiver. There are two arguments in the Meditations for Gods existence. The first is an argument unique to Descartes. "I am an incomplete and dependent being, the idea of a complete and independent being, that is to say of God, presents itself with such distinctiveness…" (Descartes 1). The idea of God is that of an "infinite, perfect being' stems from the assumtion that perection could not have originated within our mind independent and is, therefore, a concept originating in God. He writes in the following statement "I, who posess this idea, am or exist, I conclude so evidently that God exists…" (Descartes 1-14) He claims that his method contains the computational / mathematical method of reasoning. And, it appears that there is no other method of reasoning or deducing the essential, basic known that can yield the same kind of certainty. However, a high degree of doubt concerning the motive and relevance of the argument exists. What if it is possible to conceive of the process of perfection without understanding what is perfect It is plausible, but not completely compelling, to conclude that Descartes is advocating the application of computational / mathematical reasoning to all topics. Whether he actually implements this tool to a necessary degree, or establishes appropriate measures of all variables remains to be a source of confusion.

Tackling the same issue, but froma different front, Benedict de Spinoza stated that "God, or substance consisting of infinite attributes, of which each expresses eternal and infinite essentiality, necessarily exists" (Spinoza XI). Although it is difficult to consider God in terms of Spinozas substance, and ignorance plays an important role in this obstacle, it is possible to grasp the idea if one considers Spinozas previous prepositions. For example, in Preposition VII, Spinoza states that "Every substance is necessarily infinite." That in itself is not very convincing because observation suggests that there are things and substances with definite beginnings and ends, or at least as far as perceptions lead to understanding of the universe. However, Spinoza's approach uses the same regression analysis to deconstruct the material substance of our universe in an attempt to deduce the primary sourse of its creation.

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As a contrast, Simone Weil offers an entirely different view of God. Her ideas imply a great degree of divine revelation and leave the reasoning logic behind. It is not clear if her revelation is genuine or not. Her imagery and symbolism suggest a more common and more emotional understanding of God. She applies all effort to explain God as a benevolent being, whose essentially eternal nature cannot exist within our understanding of time. The image of God as a humble beggar certainly evokes a strong emotional response. (Weil 44). However, she relies on emotions and to some extent on popular generalizations to advocate her point. One clear distinction of Wiel's concept is the construct of Time. "Time, which is our one misery, is the very touch of his hand. It is an abdication by which he lets us exist." (Weil 45). To make her point clear, she offers an image of God as a beggar patiently waiting to receive those who choose to come to him. (Weil 44). It is an image of a benevolent God, whose eternal nature does not fit into the framework of our own concept of time. "The acceptance of time and of whatever it may bring-without any exception (amor fati) that is the only disposition of the soul, which is unconditioned in relation to time." (Weil 45). The finite and the infinite cannot coexist because while the eternal dwells in all time, the mortal can only exist in one period insignificant to the eternal. Still, Weil does not offer clear logical reasoning. Her approach is to present ideas in a metaphor designed to gain sympathy with popular beliefs. Her approach totally differs from Descartes. The French philosopher, while cautious of the religious authority of his day, attempts to doubt the popular assumptions to as much a depth as possible. Weil, in contrast, offers her views with the main assumption that there is no doubt about Gods existence. She gives the impression that faith is a natural extenuation and the existence of God is certain. Yet, her plea is not as appealing as some other precepts of religious revelation. There is an underlying current of frustration in Weil and little foundation of methodical reason such as offered by Descartes. This is not to say that Descartes' conclusions totally satisfy his purpose. Descartes makes astounding leaps into the metaphysical and abandons the empirical so often as to frustrate the modern intellect. For example, in Meditation Four he asserts that the concept of perfection could only come from a higher being. (Descartes 1). He assumes that being is God. This is an unreliable assumption because it is possible that the concept of perfection is a model of our own faculties and a natural extension of our imagination. Furthermore, it is also possible that the construct of perfection originated from a higher being, but not God. There is a fundamental overlap here between Descartes and Weil. As different as they are, both thinkers show a bias in attempting to confirm their expectation that God exists. Although Descartes states that he will doubt the existence of all things, there is a missing attempt to effectively deny God's existence. His whole exercise is to prove God exists and this bias prevents him from being totally objective. Likewise, and more definite, is Weils unwavering belief that God exists. Her conviction is strong and her concepts, therefore, reflect the fire of earlier Christian philosophers, whose goals were not so much the pursuit of truth, but a burning desire to protect the interests of the Church. She tells the readers what it means to love God. To give one's life for God is less noble than to die for the most miserable convict. (Weil 44). She seems to speak from a higher authority. However, it is impossible to tell if she herself is following a true God. The following statement shows how much bias is in Weil's argument "If a soul speaks of God with words of faith and love, either publicly or inwardly, this is no proof either for others or for itself. It may be that what it calls God is an impotent being, that is to say, a false God, and that it never really slept with God." (Weil 4). Perhaps her ideas are noble, but they are also presumptuous and ambiguous. She assumes to know without supporting her claims with reason. True, Faith is reason in itself. Weil's argument would have had merit in the thirteenth century, when faith had ultimate authority from the Church.

Reason may not be effective in determining God's existence. After all, the whole concept of revelation defies reason and yet establishes a profoundly firm foundation for faith. However, Weil's assumptions have some flaws. It is likely that revelation may reverberate in many manifestations and a revealed god may be false. Then, Weils assumptions have as much potential for error as do other religious dogmas. Surprisingly, her approach is more endearing, even if it alienates many true believers whose cultural traditions guide them to accept different names for essentially the same concept of religion. Descartes also makes many questionable assumptions. His concept of perfection, for example, may have meaning in terminology. However, there is a certain error in assuming that perfection is finite (as in the form of God). If perfection is infinite, then it is impossible to conceptualize it because of the ongoing process it naturally implies. Thus, it is possible to conceive of the ongoing process of perfection, but impossible to conceive total perfection. Descartes could not have conceived of a 'perfect being'. He could have only conceived of ongoing perfection, which is an infinite process. Perhaps reason has limits and will never reach as far as God. Reason is also an infinite process.

WORKS CITED

Descartes, Rene Discourse on Method and the Meditations. Translated by F.E.

Sutcliffe, Penguin Books

Benedict de Spinoza, The Ethics (1677), translated from the Latin by R.H.M. Elwes

(188) Part 1 - [Scanned and proof read by Edward A. Beach, Department of Philosophy and Religion, University of Evansville.] ONLINE, The INTERNET http//www.knuten.liu.se/~bjoch50/works/spinoza/ethics.html

Weil, Simone The Things of the World Essay.

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Joan of Ark

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Joan of Ark

Joan of Ark was born Jeanne dÕ Arch, in 141 in a small French town

named Domremy to a tenant farmer. Joan had manlike qualities and was

persuasive and strong. Joan never learned to read and write she was Cheap custom writing service can write essays on Joan of Ark

clairvoyant, she had knowledge of the future without using the five senses. In

145 when Joan was 1 she began hearingvoices� of St. Catherine, St.

Michael, and St. Margaret. Believing them to have been sent by God. These

voices told her that it was her given mission to free her country from the English,

and help the Dauphin gain the French throne. These voices also told her to cut

her hair, dress in menÕs uniform and to pick up the arms. She persuaded Charles

(who would become King), to let her fight in the war against the English. She

persuaded Charles to to make use of her at Orleans, which had been under

English siege for months. On May 4th, 14, at only 17 she was sent as a captain

to Orleans where her army captured the city. After this victory Joan had

convinced Charles that now would be the time for him to take the crown but

before this she would lead the French to her greatest battle so far at Patay on

June 18th, 14. When Joan returned home Charles the VII was crowned the

new King of France.

During the Hundred years war, England had taken most of France,

however with JoanÕs many victories power had shifted back to France who

eventually won the war. Joan travelled to the town of Soissons with Renaud de

Charles and Louis I de Bourbon, a relative of the King. When they were refused

entry into the town Joan remained while the others left her to fight the

Burgundians alone with her troops. Joan was outflanked and eventually

captured by Burgundian troops before the town of Compiegne in May rd,140.

Joan was then handed over to the English occupants who decided to have her

judged as a witch by the French court so as to cast discredit on the crowning of

Charles the VII. The trial was headed by Bishop Cauchon and took place

behind closed doors. Joan was sentenced to be burnt at the stake after she

refused to submit to the authority of the church and to admit that the voices she

heard had simply been the fruit of her imagination. Joan was interrogated for

two days to answer to over 70 charges against her from blasphemy to

receiving direct commandments from God. On the morning of May 0th, 141

after 4 months in prison Joan had been led to the stake, and was burned at the

pyre. To the last she maintained that her voices were sent by God and had not

deceived her.

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Degas

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Edgar Degas

Edgar Degas was an inspiring Parisian painter who lived in the nineteenth century. He was one of the original artists defining Impressionists art. He painted everyday things. He painted ballerinas rubbing their ankles and rehearsals for a ballet performance. He would paint "women et toilette," women combing their hair or drying off after a shower. He also did a few landscapes, however, the hallmark of Degas art was world of theatre, dance and music (www.Gardens of the Sunlight-Edgar Degas 1). It is hard to talk about his pieces chronologically because many overlap. Today, even though he is not around, he still may be one of the most inspiring artists in the world.

Edward Degas was born on July , 184 in Paris. His father was a wealthy banker and his mother descended from French nobility. She was born in New Orleans. His mother died when he was thirteen. People speculated he never talked about his mother after her death because it hurt him too much.

When he was younger he spent many hours in museums, theatres, and concert halls. He received an education at Lycee Louis le Grand in Paris. He took an art class there where he received many honorable mentions. It was also at school where he formed a close relationship with Ludovic Halevy. Ludovic Halevy was also from upper middle class society and would become Degas' influential life long friend. Despite Degas' father's love for the arts, especially Renaissance painting, Degas' father did not want him to become a painter. In 185 Degas' father sent him to law school. Even there Degas would doodle instead of concentrating on his studies. Degas would visit the studios of artists, many of which were his fathers friends and frequent the Louvre. At age eighteen and a half Degas received permission to copy famous artists paintings from the Louvre. In order to develop their own skills, nineteenth century artists copied paintings by the old masters, study their drawings and technique (www.metmuseum. org /explorer/Degas/Html/life. Html 1). It was when Degas was in these places that he met Jean Auguste Dominique Ingres. Ingres was a world-renowned painter.

After leaving law school Degas spent 1854 through 185 in Italy studying art while staying with family. Degas was familiar with Italian art before his trip. In the nineteenth century there were no art schools and most painters went through apprenticeship with a master. Degas became apprentice to Lois Lamothe, who was one of Ingres' more advanced students. As a result of his contacts with the Italian masters he produced paintings on historical subjects, "genre scenes" and began to focus more on color and movement. The most famous genre scene is The Bellelli Family, an oil work on canvas (c. 1858-1860). Pictured are his aunt, her daughters and her husband. In the painting it shows the unhappiness between the husband and wife. The wife in the picture is in mourning as her father recently passed away (Degas' grandfather). It is speculated that the man in the framed drawing behind her is her deceased father. The work also shows Degas' use of asymmetrical compositions, a style he learned from studying photos of Japanese art. Degas admired the asymmetrical compositions and the concentration of surface pattern of the Japanese art. His paintings reflect these influences. Degas often cut out parts of the images in his paintings. For example, in this painting the dog's head was cut out of the picture and only the backside was showing.

While in Italy another important friendship Degas made was when he met Gustave Moreau. Moreau was a painter raised in the academic tradition who favoured large biblical or classical subjects, treated with great attention to detail (Copplestone ). Moreau drew pastels with bright colors and Degas was inspired by this. Many of Degas' finest works were pastels. It would not be an exaggeration to say that Degas was himself one of the finest of all pastellists (Copplestone ).

In 186 at his father's insistence Degas went back to Paris. Here his circle of friends was a group of artists who called themselves the Impressionists. They included Claude Monet, and Edmond Duranty, both well renowned painters. They thought that any work should be more revealing to a person's temperament, age, and as whether he was coming from work or a lovers rendezvous (Encyclopedia of art 168). It is at this time that Degas starts to paint more real life scenes instead of the classics. In Paris in 187 Degas had his first Impressionist exhibition with Monet and Renoir. The title of the show was called Exhibition of the Impressionists. An impressionist artist's aim was to create an impression of a scene or subject like a photograph. The Impressionists wanted to make it a picture of real life with no frill. It is a style of painting originally developed in France in the 1870's with Degas and his group of artist friends. At this showing Degas work received mixed reviews. Some critics detest them, while others write about him favorably and name him the leading figure among the new group of artists (www.metmuseum.org. Chronology of the artists life 4).

Degas did not consider himself an Impressionist. He liked painting urban surroundings and the human body in motion while the other painters liked to paint nature. Many of the Impressionists thought that impressionist art required one to work outdoors, directly in view of nature in order to get truthful light and atmosphere. Degas actually mocked this idea that an impressionist artist had to work outside. Degas is reported to have said "Why would I painting is not a sport" (Coppelstone 1). But like the Impressionists he painted and drew the real world in a real, truthful light as if from a photograph.

Degas developed many interests that affected his work but one of the most significant was Horse racing. Horse racing started in France and the exclusive Jockey Club was founded in 18. In France, horse racing had the stigma of being very snobby and being a social activity for the rich. Of the Impressionist artists only Manet and Degas painted horseracing. This is probably due to the fact that none of the other impressionist artists could aspire to the required social level of the Jockey Club. Degas went to horseraces a lot but his paintings of jockeys and the races were done in the studio or from photos when available. The birth of photography was an aid and inspiration for Degas giving him visual information he hadn't had before. It captured the images for him so he could make compositions of them at a later date. Degas produced over 45 paintings, 0 pastels, 50 drawings, and 17 structures on horse racing. He painted At the Racecourse with Jockeys in Front of the Stands (C.186-187). Degas painted the practicing before the race so it would seem real. This painting is interesting because it shows Degas use of natural light by his painting of the silhouette of the horses and the riders.

In 1870 Degas work was interrupted by the Franco-Prussian war where he volunteered to serve in the artillery. As a result Degas believed he got an eye disease. This eye disease slowly affected his work and eventually blinded him.

In the 1870's Degas started to paint Ballerinas. He was attracted to ballet because of his passion for music and he was always at the opera and concerts. The opera house provided unusual viewpoints like light and dark artificial lighting. He liked juxtaposition of illusion and reality. Degas would paint the dancers rubbing their ankles or fixing their tutus. He would always paint something that let you know that it is just a performance without special effects and without magic. He would draw the orchestra or a man standing backstage waiting for his part stretching. Degas would let you know the real life story. Degas never had known relationships with women but some say he may have had relationships with ballerinas. One of his most famous paintings is The Dance Class (c.187-1875). Here the dancers are supposedly watching the dance master while reading letters and scratching their backs. The water can under the piano gives the picture humor. The picture is interesting and it shows what a real dance class was like back in the late 1870's. Degas used little color in this painting. The only color he used was the color of the sashes around the dancers waists. Another creation he made was the sculpture of the Little Dancer Aged Fourteen (c.1880-1881). When it was exhibited it received mixed reviews. Some people loved it while others thought it was a poorly dressed ratty-looking girl. This sculpture was made with real ribbon and tutu.

Degas had no financial necessity to sell his works but when he did he might ask for them back to make some changes and he would forget to return them. Some people think he would do that on purpose because he did not like to part with his work. Once in a letter to his friend Ludovic Halevy, Degas complains that he has to draw ballerinas over and over because of the demanding public. However, Degas never painted dogs or flowers because he had asthma.

In the 1870's through 1880's Degas was fascinated with people doing daily chores. Degas was not poor so he had no financial necessity to do chores. Everything was done for him. Although much of Degas art depicts the working classes, or at least working women, he had little sympathy for or understanding of any class other than his own. His interest in working class-women was the detached curiosity of an anthropologist studying the ways of a primitive tribe (Bade 8).

In the 1880s Degas also started to paint "women et toilettes." He would paint women drying their hair or washing themselves. He painted things as if you were looking through a keyhole. He says "Hitherto the nude has always been represented in poses which presuppose an audience, but these woman of mine are honest, simple folk, and unconcerned by other interests than those involved in their physical condition" (Bade 0). In 1886, Degas created a painting called After the Bath, Woman Drying her Feet. The person viewing the picture is given the feeling that they are sneaking a glimpse of the person in the picture without their permission. This picture was shown in the Impressionist show of 1886.

Caf� concerts were amongst the most popular thing, of Parisian entertainments. Degas enjoyed going to them. At the Caf� concerts there were jugglers and magicians and prostitutes. He felt the concerts shared many visual features with the ballet paintings. There are the same striking divisions between the dark orchestra pit, audience and brightly lit stage; the same magical effect of gas footlights dissolving the solidity of forms on stage (Bade 6). One of the paintings Degas created is called Caf�-Concert, Les Ambassadeurs (c. 1876-77). This painting is a pastel over monotype. Monotype is using wet ink painted on a non-absorbent piece of material such as metal and then pressing it onto paper to make a print. It usually makes only one print. In this particular painting after Degas printed his monotype he colored over it with pastels. This picture shows a lively social life with singers and music. The picture suggests that people are having a good time.

In Degas later years he started to paint in a more cubist style and to paint and draw some landscapes. He became obsessed with photography as an aid to his art. He also had models come to his studio so he could copy them for his paintings and sculptures. One of the more cubist paintings he did was Landscape (c.18). This picture gives you the feeling of monotone and heaviness since it is done in black and white oil. A painting such as Landscape, presents the structure of the buildings in a way that seems to anticipate the cubist vision, (drawing through the use of cubes) thus underlining the point that even toward the end of his career Degas' approach to art was innovative (Sutton 01)

As Degas grew older and due to his failing eyesight, he started to sculpt and model with wax over metal armatures. These sculptures remained in his studio and it was not until after his death that they were they cast into bronze. He says to a friend" I'm always modeling with wax" (Encyclopedia of Art 17). At this stage of his life he also favored pastels over paint.

Throughout his life, Degas was always admired by friends and family for his great wit and charm but he could sometimes insult you or make fun of you in his humor. In his old age, he became very antisocial and he hated mankind. He was always anti-Semitic but he never let his racial opinions color his art. In his later years he was always lonely and had broken ties with his lifelong friend Ludovic Halevy due to his anti-Semitic views. He sometimes wished he had a wife and children. Degas stated he never married because "I would have been in mortal misery all my life of fear my wife would say, "that's a pretty thing" after he'd finished a picture" (Bade 5).

On September 7, 117 Degas died. He left his art to his friends and cousins. At one point in his life Degas had such a collection of artwork that he considered opening his own private museum. Much of his work was also auctioned successfully and purchased by museums. Degas hated conventional prettiness and there is great irony in the fact that dancers now adorn table mats, greeting cards, and jigsaw puzzles and have in fact become harmless and pretty (Bade5).

WORK CITED

Bade, Patrick. Degas. London Studio Editions, Ltd., 1.

Boggs, Jean Sutherland; Loyrette, Henry; Pantazzi, Michael; Tenterow, Gary,

Metropolitan Museum of Art and National Gallery of Canada.

"Chronology of the Artist's Life- Degas" Metmuseum. 4 March 001

http//www.metmuseum.org.

Coppelstone, Trewin. Edgar Degas. New York Regency House Publishing Limited,

18

"Degas, Edgar." New International Illustrated Encyclopedia of Art. 168 ed.

"Gardens of the Sunlight/Edgar Degas" Art.koti. 4 March 001 http//art.koti.com

Pioch, Nicolas. "Degas, Edgar," Webmuseum, Paris June 16. 4 March 001

http//www.ibiblio.org.

Sutton, Denys. Edgar Degas Life and Work. New York Rizzoli International

Publications, Inc., 186.

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Foreshadowing mrs emilys insanity

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The crime Miss Emily commits is grotesque. No person in their right mind would murder someone and then sleep with their dead corpse. In order for the reader to see this as reasonable Faulkner foreshadows Emily's insanity throughout the story. When the reader believes Emily's insane then the reader can believe the crime she commits.

In the first paragraph the reader is given a glance of the town's true opinion of Miss Emily. Even though everyone in the town goes to her funeral, Faulkner shows their presence is more out of curiosity than care. Following her father's death, the town feels sorry for Miss Emily and they see Emily as their "fallen monument". Perhaps the town doesn't appear truly concerned for Emily because they know something the reader doesn't.

. As the story progresses, Faulkner continues to foreshadow Emily's insanity. When her father dies she refuses to accept his death and acts as if nothing were wrong. She keeps his dead body in her home for three days and refuses to allow the town to bury him. They don't say she is insane yet, only that she has to "cling to that which had robbed her". This is a second sign of Emily's insanity.

Emily's refusal to pay taxes is another sign of her insanity. Emily is regarded as "a tradition, a duty, and a care," a responsibility to the town. Emily believes she doesn't owe any taxes because of a promise made by Colonel Sartois. When the next generation of politicians tells her she has to pay, she merely says "see Colonel Sartois", who any sane person of the town would know had been dead for quite some time.

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Faulker then uses "the smell' to show an additional mark of Emily's insanity. Emily's house smells so terrible the town complains to the judge, asking him to order her to clean up the smell. Emily however doesn't seem to be disturbed by the smell. She continues to live her 'normal' life inside her house all day.

Foreshadowing her insanity, all through the story, gives the reader anticipation to keep reading. By observing Faulkner's strategy more closely, the reader is able to expect Miss Emily to commit a sickening offense.

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French Toast (be careful)

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I have no text. The house, in which I live, probably looks and to content on one neither is enough nor particularly spreads, but nevertheless much admitted river. In the summer ships go past, on which a historical student praises characteristics by the megaphone, so loud that one can hear it with open window into the dwelling. Also the behaebige house is sometimes mentioned, because it times sketched of an architect, whose name in the professional world has a good sound. It was finished 11; made themselves thereupon secret advice and physicians therein broadly. Physicians are still there, otherwise old ladies, a little younger people, few families and various Poland. Wine climbs the front highly, in the yard flowers to flowers, and visitors from less flowering parts of the city state gladly being astonished that it does not smell at all in the entrance hall after urine and is even the mail boxes in perfect condition, i.e. one can state, I lives easily preferentially here. Also the people in the house greet each other and lend easily two eggs and drill presses also. Only a bad old person disturbs the quiet harmony. An ill woman, who looks the dear day by the spyhole. As soon as one goes past, it tears equal the door up and tells that it was already 56mal in the hospital; which does not prevent it however, at night by the stairway to spirit and the student political stickers from the housing doors to to scratch with its witch fingers. May one drink also beverages in the morning? Interesting question! Here the correct answer Yes. At the best coffee. Freshly husbands and brewed, also little salt and a Ideechen zimt. May one add also still milk or the like? Interesting, but difficult question. Also here again the correct answer Yes. But Normal full milk waters the coffee, in particular from the unhaendlichen two-litre packings (bad to be dosedness). Coffee with h-Milch? That is the notorious group house Mittagssueppchen. For instance Kondensmilch? To strong self-taste, results in Grossmutters restaurant miracle economics. Impactsuspect? Too sahnig, coffee with fat eyes results in. Best , admits of vegetable coffee-white from the large aviation enterprises. Does not support the coffee taste, diluted however. Further questions? Yes, it there in the back with the sun glasses! Whether one may do also sugars into the coffee? Ugly, uninteresting question! Drive nevertheless to Italy, if it does not fit here you! Southern countries are full suessliche countries, from good humans, who maintain their plentifully existing culture with consideration and care, but no glow of correct coffee drinking have.

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'Consider, analyse, and evidence the relationship between factors that are part of a business organisation's external environment and it's non price decisions.'

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'The marketing mix consists of everything the firm can do to influence the demand for the product.' This is broken down into 4 components, ( of which I am to consider in this study) known as the 4 ps;

Product

Place

Promotion

And Price. In this assignment we will be looking at how the external environment effects the non-price decisions.

My chosen product is experienced in most of our day today lives. Whether it be ourselves consuming it or we watch an advert, pass a pub, or even go to a football game, it's everywhere, we are even aware of it at a very young age, when we are unable to consume it even!! It appears at almost every social activity, and is even used within religious ceremonies. We are told it is good for us in moderation, but bad when abused. The product I shall be looking at is alcohol;

Alcohol is consumed daily, in fact more than 10 billion units of alcohol are consumed in the UK each year. The retail market for alcohol is valued at £6.4 bn.

The consumption of different types vary throughout the year, however beer and lager consumption is relatively consistent throughout the year.

Lagers have overtook the domestic dark beers during the 0s, and now take more than 50% of the UK market. (keynote report; Breweries and the Beer Market 001)

For drinking levels of the adult population in the UK see fig appendix.

Product

The UKs largest brewers were Bass and Whitbread. However 'they recently put their brewing interests up for sale to concentrate on leisure activities and hotels.' (see fig 1. in appendix)

Bass and Whitbread were brought by brewing giant Interbrew, who are based in Brussels and are one of the oldest beer companies in the world.

They like to be known as 'the worlds local brewer', and their strength is their brand portfolio. Stella Artois is the largest and most premium brand in the portfolio of Interbrew. And is the brand I will primarily be looking at in this report.

Interbrew aim to use their 'local marketing expertise as a vehicle to accelerate growth of their international flagship brand, Stella Artois, in selected markets around the world.' Stella is a classic European lager, which is bottom fermented blond pils. Alcohol content is 5.% ABV.

Stella Artois is currently marketed in 16 countries, and is 'continuing to roll out into additional markets.'

Sales volumes of Stella have grown 'at a compound annual growth rate of 8% from 10 to 18 and at a rate of 16% in 1 and % in the first half of 000.' (www.interbrew.com)

Stella has become a favourite worldwide and has been one of the most popular brands by sales both over the Christmas and summer periods in the Uk. (see fig 6. appendix)

Promotion

Recently public opinion regarding the portrayal of larger drinkers has forced a change in the way lager is promoted.

Interbrew a brewing giant 'has lambasted UK brewers for pursuing advertising that reinforces stereotypes of beer drinkers as session-drinking lager louts.' they also warned that if advertisers persist the nations favourite tipple will be taken over by wine in the nest ten years.

Latest market reports show that wine sales in the past 5 years have grown 5%, and are set to rise by a further 0% in 007.

In pubs the volume of beer sold has plummeted by about 00 million pints a year since 180, this is thought to be caused by the poor image it has in the UK, as it advertising causes it to become associated with 'session drinkers, larger louts and beer bellies.' See fig 7. in appendix)

Stella Artois is not the largest media-advertising spenders in the lager market, these figures (see fig 4. appendix) however might be affected by their most recent sponsorships mentioned below.

According to Mintel; 'exclusive research shows that drinkers claim not to be strongly influenced by advertising or sponsorship..' however..;

On 15th May, 00 - Interbrew, announced that Stella Artois would be an official partner of the Film Festival of Cannes 00.

'Interbrew has opted for film as the overall sponsoring theme for Stella Artois, one of its international brands. Selective and focused sponsoring is a part of Interbrews marketing mix for Stella Artois.' (www.stella-artois.co.uk) This has gained Stella Artois recognition and association which a completely different audience, as appose to football which lagers usually take up sponsorship with. Sport is not ignored however the Stella Artois tennis Championships have been being held at the Queen's Club, West London since 17 making it one of the longest running sports sponsorships in the UK. 1 of the last Wimbledon champions have played in The Stella Artois Championships.

Recent violence and trouble at football matches is perhaps on of the external reasons why Stella Artois promotion has preferably been linked to other activities, such as mentioned above the tennis championships and the film festival. A better image is being aimed for here.

Place

'Recent changes in the brewing industry have been more significant on the supply side than on the demand side.' (keynote) It is apparent that local breweries are far becoming phased out to create international 'giant breweries' such as Interbrew. International lagers are also widely dominating as the beer market, such as Stella.

There are diversions in the marketplace, which Stella Artois have taken full advantage of;

Packaging and presentation to the consumer; Stella Artois is available in many different formats to suit every occasion, all of which can be purchased off trade (take home trade) be it from a supermarket or the off licence; they are;

5cl cl 440m

500ml 568ml 660ml

The 568ml La Grande Biere is the latest addition to the range and is the equivalent to one full UK pint. (Source www.stellaartois.co.uk)

By providing the consumer with such a choice of formats it shows Stella Artois are fulfilling their customers changing needs.

Strength in alcohol and taste variations; Alongside the original Stella Artois full bodied 5.%vol, Also in the Stella Artois family we find;

'Stella Artois Dry - a luxury dry pils beer, blond in colour with a powerful yet light taste and a refreshing character without bitterness. It h as an alcohol content of 5.5% vol (Belgium), and should be served at ° C.

Stella Artois Light (.4% vol), a light beer in the Stella Artois tradition with a natural light taste and a thirst quenching character. It should be served at ° C.

And the Stella Artois beer for drivers is Stella Artois N.A - a highly refreshing alcohol free beer with a natural, tender flavour and an alcohol content of 0.5% vol. This is at its best when served cold at ° C.' (www.interbrew.com)

Decisions on where to sell the product are at the moment being affected as the 'take home' market is continually growing , as disposable incomes decline and people opt for fewer nights out on the town.

'According to Mintel, between 17 and 000 supermarkets saw a percentage rise in their share of the off-trade lager market of 8%, while off licences saw their market share drop by more than %.' (see fig. 8 in appendix)

A trend has recently been noted also that the clearly a preferred home consumption is actually that of lager.

The external environment of a market can also be described as PLEST, which stand for the following;;

Political

Legal

Economic

Social

Tecnological

These are all uncontrollable variables and are below I have concerned them with both lager and alcohol.

Political

· The British brewery market recently has been under great reconstruction. It was actually regulatory measures that were introduced by the government during the 10s that forced two of the UKs national brewers (Bass and Whitbread) to sell their brewing divisions. Many of the UKs regional brewers too have now given up brewing. , or have merged into larger units.

· Alcohol limits have been put into place by the government which can affect alcohol consumption levels; 'In December 15, following a review of the issue by the Department of Health, the then Conservative Government announced that it had increased the sensible limits, and it was widely interpreted as meaning that it had increased them to 8 units a week for men and 1 units a week for women. However, the Government denied that this interpretation was correct and insisted that it wished to get away from a weekly limit in favour of a daily limit. The daily limit proposed was - 4 units a day for men and - units a day for women,'

Legal

· It is illegal in the UK for under 18s to purchase alcohol. However 'Young people drink more alcohol than older people. In the late teens and early twenties alcohol consumption is 40-50% higher. Despite the licensing laws about 60 per cent of 1 -17 year olds have bought alcohol in a pub or off-licence. In the 1 -16 year old age group about a third drink at least once a week.' (www.drugscope.com)

· It is an offence to be drunk and disorderly in a public place, including within licensed premises. It is also an offence to drive whilst unfit to do so because of drink. Anything more than 80mg of alcohol in every 100ml of blood is over the legal limit.

Economic

· 'If the continuing economic stagnation continues throughout 00, retail sales of alcohol may paradoxically grow .'

· Alcohol has significant impacts on the NHS. In 1 it was reported by Dr J Chick that in urban hospitals in Britain '15-0% of male medical and surgical patients, and 8-15% of women patients have alcohol problems.'

(British medical journal 7 November 1)

· 'Key note forecasts that the UK market for beer will increase in value by 8.8% between 001 and 005'.' (keynote report; Breweries and the Beer market 001)

Social

· Alcohol is known to be associated with a wide range of social problems, from crime to absenteeism and inefficiency at work

· Regular heavy alcohol consumption, is linked with a wide range of diseases and causes of premature death. One of the main medical complications linked with lager is obesity due to the high levels of calories lager contains.

· The proportions of men exceeding the limits has remained stable over recent years however, the proportions of women exceeding the limits have increased steadily. Proportions of over the limit drinkers are higher in the younger age groups. (see fig .appendix)

Technological

· Throughout the 0s an acceptance has grown for drinking(or swigging) beer/lager straight from the bottle, this has changed the format in which lager is produced with new sized bottles and cans being introduced. Stella Artois and Budweiser are the leading brands here.

· Distribution of lager has changed 'with the grocery multipliers. (E.g. Tesco, Sainsburys, Asda, Safeway and Morrisons.) now claiming over three quarters of all take home lager sales. Major brewers are now working hard to build partnerships with the supermarkets in order to improve business by developing

Strengths

-'Economies of scale are already well developed nationally, and are moving up to a multi national platform.' (keynote)

-'Brewers have been able to diversify and spread their risk across other industry sectors.' (keynote)

-'It is becoming standard that lager is a standard consumer product brought and taken home during the weekly shop.' (keynote)

Weaknesses

-Traditional British ales and lagers are being overtaken by more powerful, dominant international lagers (this is a strength for Stella Artois).

-Pressures from heath worries about alcohol and drink driving scares.

Opportunities

-The growth of the 'take home market' gives opportunity to expand product range.

-Licensing laws are forever changing, of late we have seen 4hour opening passed by the government. Alcohol is being sold more frequently, both on and off trade.

-'New types of outlet for leisure, eating and drinking out have created opportunities for brewing innovations.' (keynote)

Threats

-Manufacturers are concerned that with the increasing sales in wine, aisle space (which is currently used by beer and lager) will be threatened.

-Suppliers are now trying to link directly to supermarkets as oppose to linking brewers and pubs.

-'Government intervention is a constant threat.' (keynote)

As we can see from the extensive research and analysis above we can see that there is a clear relationship between the external environment of alcohol and lager, and Stella Artois non pricing decisions. All of its decisions are clearly determined by the external marketing environment. In fact there is very little decisions I myself can gather into price, as Stella Artois is such an established brand.

The next few years are going to be vital to the future of Stella Artois. As the popularity of wine and other alcoholic beverages grows, Stella will be fighting to keep the lager market out on top. And also fighting to keep the top spot in the popularity stakes within the lager market.

As it is a classic brand which has been around since 166 (in Belgium) I am sure it will have no difficulty, but in this ever changing world and environment who knows where the global flagship brand will end up.

Please note that this sample paper on 'Consider, analyse, and evidence the relationship between factors that are part of a business organisation's external environment and it's non price decisions.' is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on 'Consider, analyse, and evidence the relationship between factors that are part of a business organisation's external environment and it's non price decisions.', we are here to assist you. Your cheap custom college paper on 'Consider, analyse, and evidence the relationship between factors that are part of a business organisation's external environment and it's non price decisions.' will be written from scratch, so you do not have to worry about its originality.

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