Books vs. Movies

Books remain among the oldest and the most valuable inventions of the humanity and have a long and dynamic history, which started in those times when people felt a necessity to create lasting and easily accessible records of some important information. The first books appeared in Ancient Egypt, soon after invention of papyrus technique. Even in the beginning of the 20th century books were the most popular sources of information and the only carriers of literary works of any genres. There were millions of booklovers around the world, who enjoyed reading and developing own personality by obtaining knowledge from the books.But in the first decade of the 20th century a lot of changes took place, and one of the reasons of those was a revolutionary invention of cinematography. The first motion picture films started appearing, the first studios in the Hollywood area were founded and world’s cinema industry started developing. Nowadays, movies of different genres, from comedies to doc umentaries, became a corporate part of our life. It is hard to find someone who does not like watching movies, but the opinions whether they are better than the books, differ.This work is an attempt to examine and contrast the differences between books and movies. The first and the most important difference is the opportunity to imagine and visualize the scenes of the plot. While reading a book, we can use the power of our own imagination to picture characters or the events in details. But when watching a movie, we have to accept the visualization of the events, which is offered by the director. Certainly, movies can be advantageous, because they are visually stimulating and loaded with numerous special effects.However, books usually have deeper influence and remain longer in our minds, because all the work on â€Å"visualization† of the events is done by us ourselves. Another significant difference between books and movies is being a source for one another. It is known that screenwriters and movie directors often create their masterpieces based on the plots of popular books, and the examples of this include a number of movies about Harry Potter and Hannibal Lecter, â€Å"The Lord of the Rings†, â€Å"The Da Vinci Code†, â€Å"Pride and Prejudice†, â€Å"The English Patient†, â€Å"One Flew Over the Cuckoo's Nest†, â€Å"The Godfather† and hundreds of others.Nevertheless, there are few incidents, when books are written on the plots of popular movies, because in such cases it is really difficult for the writers to offer something new and appealing. There are more differences. As a rule, reading books requires more time, as well as more attention and concentration of the reader. At the same time, watching a movie does not take long (about 2-3 hours) and frequently does not require being totally focused on it. In addition, it is only a personality and previous achievements of the author, which can attract attention of potential readers to a new book.As to a new movie, there can be personalities (and previous achievements) of the director, the screenwriter, as well as the names of one or a number of actors, which can attract public attention and make more and more people watch it. Yet another difference is availability of books and movies. It is possible to read a book almost everywhere. Books are light, small and can be even placed in a pocket (so called pocket-books). That is why they are, undoubtedly, the best solution to fill the time in a queue or during a plane trip. However, not everyone can afford watching movies at any time and place.Only those, who have laptops or portable CD/DVD players with monitors, can play movies wherever they wish. The majority of people are still bounded to cinemas, TVs, home cinemas, home PC stations, etc. Undoubtedly, everyone has own opinion regarding the advantages of reading books and watching movies, and the comments like â€Å"Books are better because they are more descriptive and seem more real,† or â€Å"Movies are just easier sometimes. They take less time and less concentration,† perfectly reflect the opposite viewpoints of young Americans on these two concepts (Stratta & Broderick, n. d. ).Nevertheless, I suppose that it would be better and really fair to understand books and movies as two different genres of entertainment and learn to appreciate them both. Outline I. Books A. Historical information B. Being the only source of knowledge II. Movies A. Cinema history B. Becoming everyday entertainment III. Differences A. Opportunities to use imagination and visualize the scenes. B. Being a source for one another C. Necessary time and concentration D. Personalities, who can contribute in promotion. E. Availability IV.Different opinions A. Comments of people B. Suggestion to enjoy the benefits of both books and movies Bibliography: †¢ Stratta, E. & Broderick, M. (n. d. ). Movies Sink in the Battle vs. Books. In Depth Page. Marian High School Official Page. Retrieved April 19, 2007, from . †¢ The Book vs. The Movie. (2002, November 11). CBS News Online. Associated Press. CBS Interactive Inc. Retrieved Apri 19, 2007, from: .

Romeo and Juliet Film and Text Analysis

Phonology What is phonology? Phonology is the study of the sound system of languages. It is a huge area of language theory and it is difficult to do more on a general language course than have an outline knowledge of what it includes. In an exam, you may be asked to comment on a text that you are seeing for the first time in terms of various language descriptions, of which phonology may be one. At one extreme, phonology is concerned with anatomy and physiology – the organs of speech and how we learn to use them. At another extreme, phonology shades into socio-linguistics as we consider social attitudes to features of sound such as accent and intonation. And part of the subject is concerned with finding objective standard ways of recording speech, and representing this symbolically. For some kinds of study – perhaps a language investigation into the phonological development of young children or regional variations in accent, you will need to use phonetic transcription to be credible. But this is not necessary in all kinds of study – in an exam, you may be concerned with stylistic effects of sound in advertising or literature, such as assonance, rhyme or onomatopoeia – and you do not need to use special phonetic symbols to do this. The physics and physiology of speech Man is distinguished from the other primates by having the apparatus to make the sounds of speech. Of course most of us learn to speak without ever knowing much about these organs, save in a vague and general sense – so that we know how a cold or sore throat alters our own performance. Language scientists have a very detailed understanding of how the human body produces the sounds of speech. Leaving to one side the vast subject of how we choose particular utterances and identify the sounds we need, we can think rather simply of how we use our lungs to breathe out air, produce vibrations in the larynx and then use our tongue, teeth and lips to modify the sounds. The diagram below shows some of the more important speech organs. Phonology This kind of diagram helps us to understand what we observe in others but is less useful in understanding our own speech. Scientists can now place small cameras into the mouths of experimental subjects, and observe some of the physical movements that accompany speech. But most of us move our vocal organs by reflexes or a sense of the sound we want to produce, and are not likely to benefit from watching movement in the vocal fold. The diagram is a simplified cross-section through the human head – which we could not see in reality in a living speaker, though a simulation might be instructive. But we do observe some external signs of speech sounds apart from what we hear. A few people have the ability to interpret most of a speaker’s utterances from lip-reading. But many more have a sense of when the lip-movement does or does not correspond to what we hear – we notice this when we watch a feature film with dubbed dialogue, or a TV broadcast where the sound is not synchronized with what we see. The diagram can also prove useful in conjunction with descriptions of sounds – for example indicating where the airflow is constricted to produce fricatives, whether on the palate, the alveolar ridge, the teeth or the teeth and lips together. Speech therapists have a very detailed working knowledge of the physiology of human speech, and of exercises and remedies to overcome difficulties some of us encounter in speaking, where these have physical causes. An understanding of the anatomy is also useful to various kinds of expert who train people to use their voices in special or unusual ways. These would include singing teachers and voice coaches for actors, as well as the even more specialized coaches who train actors to produce the speech sounds of hitherto unfamiliar varieties of English or other languages. At a more basic level, my French teacher at school insisted that we (his pupils) could produce certain vowel sounds only with our mouths more open than we would ever need to do while speaking English. And a literally stiff upper lip is a great help if one wishes to mimic the speech sounds of Queen Elizabeth II.  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology So what happens? Mostly we use air that is moving out of our lungs (pulmonic egressive air) to speak. We may pause while breathing in, or try to use the ingressive air – but this is likely to produce quiet speech, which is unclear to our listeners. (David Crystal notes how the normally balanced respiratory cycle is altered by speech, so that we breathe out slowly, using the air for speech, and breathe in swiftly, in order to keep talking). In languages other than English, speakers may also use non-pulmonic sound, such as clicks (found in southern Africa) or glottalic sounds (found worldwide). In the larynx, the vocal folds set up vibrations in the egressive air. The vibrating air passes through further cavities which can modify the sound and finally are articulated by the passive (immobile) articulators – the hard palate, the alveolar ridge and the upper teeth – and the active (mobile) articulators. These are the pharynx, the velum (or soft palate), the jaw and lower teeth, the lips and, above all, the tongue. This is so important and so flexible an organ, that language scientists identify different regions of the tongue by name, as these are associated with particular sounds. Working outwards these are: †¢ †¢ †¢ †¢ †¢ the back – opposite the soft palate the centre – opposite the meeting point of hard and soft palate the front – opposite the hard palate the blade – the tapering area facing the ridge of teeth the tip – the extreme end of the tongue The first three of these (back, centre and front) are known together as the dorsum (which is Latin for backbone or spine) Phonology, phonemes and phonetics You may have known for some time that the suffix –phone is to do with sounds. Think, for instance, of telephone, microphone, gramophone and xylophone. The morpheme comes from Greek phonema, which means a sound. †¢ †¢ Telephone means â€Å"distant sound† Microphone means â€Å"small sound† (because it sends an input to an amplifier which in turn drives loudspeakers – so the original sound is small compared to the output sound) Gramophone was originally a trade name . It comes from inverting the original form, phonograph (=sound-writing) – so called because the sound caused a needle to trace a pattern on a wax cylinder. The process is reversed for playing the sound back Xylophone means â€Å"wood sound† (because the instrument is one of very few where the musical note is produced simply by making wood resonate) †¢ The fundamental unit of grammar is a morpheme. A basic unit of written language is a grapheme. And the basic unit of sound is a phoneme. However, this is technically what Professor Crystal describes as â€Å"the smallest contrastive unit† and it is highly useful to you in explaining things – but strictly speaking may not exist in real spoken language use. That is, almost anything you say is a continuum and you rarely assemble a series of discrete sounds into a connected whole. (It is possible to do this with synthesised speech, as used by Professor Stephen Hawking – but the result is so different from naturally occurring speech that we can recognize it instantly. And there is no perfect or single right way to say anything – just as well because we can never exactly reproduce a previous performance.  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology However, in your comments on phonology, you will certainly want sometimes to focus on single phonemes or small sequences of phonemes. A phoneme is a sound segment of words or syllables. Quite a good way to understand how it may indicate meaning is to consider how replacing it with another phoneme will change the word – so if we replace the middle sound in bad we can make bawd, bed, bid, bird and bud. In two cases here one letter is replaced with two but in all these cases it is a single vowel sound that changes. ) The first people to write in English used an existing alphabet – the Roman alphabet, which was itself adapted from the Greek alphabet for writing in Latin. (In the Roman Empire, Latin was the official language of government and administration, and especially of the army but in the eastern parts of the empire Greek was the official language, and in Rome Greek was spoken as widely as Latin. Because these first writers of English (Latin-speaking Roman monks) had more sounds than letters, they used the same letters to represent different sounds – perhaps making the assumption that the reader would recognize the word, and supply the appropriate sounds. It would be many years before anyone would think it possible to have more consistent spelling, and this has never been a realistic option for writers of English, though spelling has changed over time. And, in any case, the sounds of Old English are not exactly the same as the sounds of modern English. As linguists have become aware of more and more languages, many with sounds never heard in English, they have tried to create a comprehensive set of symbols to correspond to features of sound – vowels, consonants, clicks and glottalic sounds and non-segmental or suprasegmental features, such as stress and tone. Among many schemes used by linguists one has perhaps more authority than most, as it is the product of the International Phonetic Association (IPA). In the table below, you will see the phonetic characters that correspond to the phonemes used in normal spoken English. To give examples is problematic, as no two speakers will produce the same sound. In the case of the vowels and a few consonants, the examples will not match the sounds produced by all speakers – they reflect the variety of accent known as Received Pronunciation or RP. Note that RP is not specific to any region, but uses more of the sounds found in the south and midlands than in the north. It is a socially prestigious accent, favoured in greater or less degree by broadcasters, civil servants, barristers and people who record speaking clock messages. It is not fixed and has changed measurably in the last 50 years. But to give one example, the sound represented by ? is not common to all UK native speakers. In many parts of London and the south-east of England the sound represented by f will be substituted. So, in an advertisement, the mother-in-law of Vinnie Jones (former soccer player for Wimbledon and Wales; now an actor) says: â€Å"I fought ‘e was a big fug† (/a? f t i? w? z ? b? g fug/). You may also wonder what has happened to the letter x. This is used in English to represent two consonant sounds, those of k and s or of k and z. In phonetic transcription these symbols will be used. Consonant and vowel each have two related but distinct meanings in English. In writing of phonology, you need to make the distinction clear. When you were younger you may have learned that b,c,d,f and so on are consonants while a,e,i,o,u are vowels – and you may have wondered about y. In this case consonants and vowels denote the letters that commonly represent the relevant sounds. Phonologists are interested in vowel and consonant sounds and the phonetic symbols that represent these (including vowel and consonant letters). It may be wise for you to use the words consonant and vowel (alone) to denote the sounds. But it is better to use an unambiguous phrase – and write or speak about consonant or vowel sounds, consonant or vowel letters and consonant or vowel symbols. In most words these sounds can be identified, but there are some cases where we move from one vowel to another to create an effect that is like neither – and these are diphthongs. We also have some triphthongs – where three vowel sounds come in succession in words such as fire, power and sure. (But this depends on the speaker – many of us alter the sounds so that we say â€Å"our† as if it were are. For convenience you may prefer the term vowel glides – and say that â€Å"fine† and â€Å"boy† contain two-vowel glides while â€Å"fire† may contain a three-vowel glide.  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology IPA symbols for the sounds of English The examples show the letters in bold that correspond to the sound that they i llustrate. You will find guidance below on how to use these symbols in electronic documents. The IPA distributes audio files in analog and digital form, with specimen pronunciations of these sounds. Consonants – pip, pot p b – bat, bug t – tell, table d – dog, dig k – cat, key g – get, gum f – fish, ph phone v – van, vat ? – th thick, th thump, faith th ? – th these, th there, smooth th s – sat, sit z – zebra, zap ? – sh ship ? – treasure, leisure s s h – hop, hut t? – ch chip dge, dge d? – lodg judg dg dg m – man, mumm mmy mm n – man, pan n n ng, ng ? – sing wrong ng l – let, lips r – rub, ran w – wait, worm j – yet, yacht Short vowels ? – bit, silly i i ? – bet, hea e ead ea ? – cat, dad a a ? – dog, rotten o o ? – cut, nut u u ? – put, soo u oot oo ? – about, clever er Long vowels i? – crea eam, see een ea ee bur fir urn, ir irm ur – har far ard, ar ar – cor fau orn, au aun or u? – boo glue oob, ue oo Diphthongs a? – spice, pie i ie – wai fate ait, a ai – toy joy oy, oy oy – oa oats, note o a? – clow vow own, ow ow – bor ored, pour oured or our – dee pie eer, ie ier ee – hai bea air, ea ear ai – cur fue ure, ue uel ur  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology A phoneme is a speech sound that helps us construct meaning. That is, if we replace it with another sound (where this is possible) we get a new meaning or no meaning at all. If I replace the initial consonant (/r/) from rubble, I can get double or Hubble (astronomer for whom the space telescope is named) or meaningless forms (as regards the lexicon of standard English) like fubble and wubble. The same thing happens if I change the vowel and get rabble, rebel, Ribble (an English river) and the nonsense form robble. (I have used the conventional spelling of rebel here, but to avoid confusion should perhaps use phonetic transcription, so that replacements would always appear in the same position as the character they replace. But what happens when a phoneme is adapted to the spoken context in which it occurs, in ways that do not alter the meaning either for speaker or hearer. Rather than say these are different phonemes that share the same meaning we use the model of allophones, which are variants of a phoneme. Thus if we isolate the l sound in the initial position in â€Å"lick† and in the terminal position in â€Å"ball†, we should be able t o hear that the sound is (physically) different as is the way our speech organs produce it. Technically, in the second case, the back of the tongue is raised towards the velum or soft palate. The initial l sound is called clear l, while the terminal l sound is sometimes called a dark l. When we want to show the detail of phonetic variants or allophones we enclose the symbols in square brackets whereas in transcribing sounds from a phonological viewpoint we use slant lines. So, using the IPA transcription [l] is clear l, while [? ] is dark l. If this is not clear think: am I only describing a sound (irrespective of how this sound fits into a system, has meaning and so on)? If so, use square brackets. Am I trying to show how the sound is part of a wider system (irrespective of how exactly it sounds in a given instance)? If so, use slant brackets. So long as we need a form of transcription, we will rely on the IPA scheme. But increasingly it is possible to use digital recording and reproduction to produce reference versions of sounds. This would not, of course, prevent change in the choice of which particular sounds to use in a given context. When people wonder about harass (h? r? s) or harass (h? r? s) they usually are able to articulate either, and are concerned about which reveals them as more or less educated in the use of the â€Å"proper† form. For your information, the stress historically falls on the first syllable, to rhyme with embarrass – thus in both Pocket Oxford [UK, 1969] and Funk & Wagnalls New Practical Standard [US, 1946]. The fashion for â€Å"hu-rass† is found on both sides of the Atlantic and we should not credit it to, or blame it on, US speakers of English. ) Phonologists also refer to segments. A segment is â€Å"a discrete unit that can be identified in a stream of speech†, according to Professor Crystal. In English the segments would correspond to vowel sounds and consonant sounds, say. This is a clear metaphor if we think of fruit – the number of segments varies, but is finite in a whole fruit. So some languages have few segments and others many – from 11 in Rotokas and Mura to 141 in ! Xu. The term may be most helpful in indicating what non-segmental or supra-segmental (above the segments) features of spoken language are.  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology The sounds of English Vowels English has twelve vowel sounds. In the table above they are divided into seven short and five long vowels. An alternative way of organizing them is ccording to where (in the mouth) they are produced. This method allows us to describe them as front, central and back. We can qualify them further by how high the tongue and lower jaw are when we make these vowel sounds, and by whether our lips are rounded or spread, and finally by whether they are short or long. This scheme shows the following arrangement: Front vowels â⠂¬ ¢ †¢ †¢ †¢ /i? / – cream, seen (long high front spread vowel) /? /- bit, silly (short high front spread vowel) /? / – bet, head (short mid front spread vowel); this may also be shown by the symbol /e/ /? – cat, dad (short low front spread vowel); this may also be shown by /a/ Central vowels †¢ †¢ †¢ / /- burn, firm (long mid central spread vowel); this may also be shown by the symbol / / /? / – about, clever (short mid central spread vowel); this is sometimes known as schwa, or the neutral vowel sound – it never occurs in a stressed position. /? / – cut, nut (short low front spread vowel); this vowel is quite uncommon among speakers in the Midlands and further north in Britain Back vowels †¢ †¢ †¢ †¢ †¢ /u? / – boob, glue (long high back rounded vowel) /? – put, soot (short high back rounded vowel); also shown by /u/ / / – corn, faun (long mid back rounded vowel) also shown by /o? / /? /- dog, rotten (short low back rounded vowel) also shown by /o/ / / – hard, far (long low back spread vowel) We can also arrange the vowels in a table or even depict them against a cross-section of the human mouth. Here is an example of a simple table: Front High Mid Low Central Back ? i? ? ? ? ? ? u? ?  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology Diphthongs Diphthongs are sounds that begin as one vowel and end as another, while gliding between them. For this reason they are sometimes described as glide vowels. How many are there? Almost every modern authority says eight – but they do not all list the same eight (check this for yourself). Simeon Potter, in Our Language (Potter, S, [1950] Chapter VI, Sounds and Spelling, London, Penguin) says there are nine – and lists those I have shown in the table above, all of which I have found in the modern reference works. The one most usually omitted is / / as in bored. Many speakers do not use this diphthong, but use the same vowel in poured as in fraud – but it is alive and well in the north of Britain. Potter notes that all English diphthongs are falling – that is the first element is stressed more than the second. Other languages have rising diphthongs, where the second element is stressed, as in Italian uomo (man) and uovo (egg). Consonants Some authorities claim one or two fewer consonants than I have shown above, regarding those with double symbols (/t? / and /d? /) as â€Å"diphthong consonants† in Potter’s phrase. The list omits one sound that is not strictly a consonant but works like one. The full IPA list of phonetic symbols includes some for non-pulmonic consonants (not made with air coming from the lungs), click and glottal sounds. In some varieties of English, especially in the south of Britain (but the sound has migrated north) we find the glottal plosive or glottal stop, shown by the symbol /? / (essentially a question mark without the dot at the tail). This sound occurs in place of /t/ for some speakers – so /bot? l/ or /botl/ (bottle) become /bo l/ or /bo? l/. We form consonants by controlling or impeding the egressive (outward) flow of air. We do this with the articulators – from the glottis, past the velum, the hard palate and alveolar ridge and the tongue, to the teeth and lips. The sound results from three things: †¢ †¢ †¢ Voicing All vowels must be voiced – they are caused by vibration in the vocal cords. But consonants may be voiced or not. Some of the consonant sounds of English come in pairs that differ in being voiced or not – in which case they are described as voiceless or unvoiced. So b is voiced and p is the unvoiced consonant in one pair, while voiced g and voiceless k form another pair. We can explain the consonant sounds by the place where the articulation principally occurs or by the kinds of articulation that occurs there. The first scheme gives us this arrangement: voicing – causing the vocal cords to vibrate where the articulation happens how the articulation happens – how the airflow is controlled  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology Articulation described by region †¢ †¢ †¢ †¢ †¢ Glottal articulation – articulation by the glottis. We use this for one consonant in English. This is /h/ in initial position in house or hope. Velar articulation – we do this with the back of the tongue against the velum. We use it for initial hard /g/ (as in golf) and for final /? / (as in gong). Palatal articulation – we do this with the front of the tongue on the hard palate. We use it for /d? / (as in jam) and for /? / (as in sheep or sugar). Alveolar articulation – we do this with the tongue blade on the alveolar ridge. We use it for /t/ (as in teeth), /d/ (as in dodo) /z/ (as in zebra) /n/ (as in no) and /l/ (as in light). Dental articulation – we do this with the tip of the tongue on the back of the upper front teeth. We use it for /? / (as in think) and /? / (as in that). This is one form of articulation that we can observe and feel ourselves doing. †¢ †¢ Labio-dental articulation – we do this with the lower lip and upper front teeth. We use it for /v/ (as in vampire). Labial articulation – we do this with the lips for /b/ (as in boat) and /m/ (as in most). Where we use two lips (as in English) this is bilabial articulation. Articulation described by manner This scheme gives us a different arrangement into stop (or plosive) consonants, affricates, fricatives, nasal consonants, laterals and approximants. Stop consonants (because the airflow is stopped) or plosive consonants (because it is subsequently released, causing an outrush of air and a burst of sound) are: o o o †¢ †¢ Bilabial voiced /b/ (as in boat) and voiceless /p/ (as in post) Alveolar voiced /d/ (as in dad) and voiceless /t/ (as in tap) Velar voiced /g/ (as in golf) and voiceless /k/ as in (cow) Affric ates are a kind of stop consonant, where the expelled air causes friction rather than plosion. They are palatal /t? / (as in cheat) and palatal /d? / (as in jam) Fricatives come from restricting, but not completely stopping, the airflow. The air passes through a narrow space and the sound arises from the friction this produces. They come in voiced and unvoiced pairs: o o o o Labio-dental voiced /v/ (as in vole) and unvoiced /f/ (as in foal) Dental voiced /? / (as in those) and unvoiced /? / (as in thick) Alveolar voiced /z/ (as in zest) and unvoiced /s/ (as in sent) Palatal voiced /? / (as in the middle of leisure) and unvoiced /? / (as at the end of trash) †¢ Nasal consonants involve closing the articulators but lowering the uvula, which normally closes off the route to the nose, through which the air escapes. There are three nasal consonants in English: o o o Bilabial /m/ (as in mine) Alveolar /n/ (as in nine) Velar /? / (as at the end of gong).  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology †¢ †¢ Lateral consonants allow the air to escape at the sides of the tongue. In English there is only one such sound, which is alveolar /l/ (as at the start of lamp) Approximants do not impede the flow of air. They are all voiced but are counted as consonants chiefly because of how they function in syllables. They are: o o o Bilabial /w/ (as in water) Alveolar /r/ (as in road) Palatal /j/ (as in yet) Syllables When you think of individual sounds, you may think of them in terms of syllables. These are units of phonological organization and smaller than words. Alternatively, think of them as units of rhythm. Although they may contain several sounds, they combine them in ways that create the effect of unity. Thus splash is a single syllable but it combines three consonants, a vowel, and a final consonant /spl+? +? /. Some words have a single syllable – so they are monosyllables or monosyllabic. Others have more than one syllable and are polysyllables or polysyllabic. Sometimes you may see a word divided into its syllables, but this may be an artificial exercise, since in real speech the sounds are continuous. In some cases it will be impossible to tell whether a given consonant was ending one syllable of beginning another. It is possible, for example, to pronounce lamppost so that there are two /p/ sounds in succession with some interval between them. But many native English speakers will render this as /l? m-p st/ or /l? m-p sd/. Students of language may find it helpful to be able to identify individual syllables in explaining pronunciation and language change – one of the things you may need to do is explain which are the syllables that are stressed in a particular word or phrase. Suprasegmentals In written English we use punctuation to signal some things like emphasis, and the speed with which we want our readers to move at certain points. In spoken English we use sounds in ways that do not apply to individual segments but to stretches of spoken discourse from words to phrases, clauses and sentences. Such effects are described as non-segmental or suprasegmental – or, using the adjective in a plural nominal (noun) form, simply suprasegmentals. Among these effects are such things as stress, intonation, tempo and rhythm – which collectively are known as prosodic features. Other effects arise from altering the quality of the voice, making it breathy or husky and changing what is sometimes called the timbre – and these are paralinguistic features. Both of these kinds of effect may signal meaning. But they do not do so consistently from one language to another, and this an cause confusion to students learning a second language.  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology Prosodic features †¢ Stress or loudness – increasing volume is a simple way of giving emphasis, and this is a crude measure of stress. But it is usually combined with other things like changes in tone and tempo. We use stress to convey some kind s of meaning (semantic and pragmatic) such as urgency or anger or for such things as imperatives. Intonation – you may be familiar in a loose sense with the notion of tone of voice. We use varying levels of pitch in sequences (contours or tunes) to convey particular meanings. Falling and rising intonation in English may signal a difference between statement and question. Younger speakers of English may use rising (question) intonation without intending to make the utterance a question. Tempo – we speak more or less quickly for many different reasons and purposes. Occasionally it may be that we are adapting our speech to the time we have in which to utter it (as, for example, in a horse-racing commentary). But mostly tempo reflects some kinds of meaning or attitude – so we give a truthful answer to a question, but do so rapidly to convey our distraction or irritation. Rhythm – patterns of stress, tempo and pitch together create a rhythm. Some kinds of formal and repetitive rhythm are familiar from music, rap, poetry and even chants of soccer fans. But all speech has rhythm – it is just that in spontaneous utterances we are less likely to hear regular or repeating patterns. †¢ †¢ †¢ Paralinguistic features How many voices do we have? We are used to â€Å"putting on† silly voices for comic effects or in play. We may adapt our voices for speaking to babies, or to suggest emotion, excitement or desire. These effects are familiar in drama, where the use of a stage whisper may suggest something clandestine and conspiratorial. Nasal speech may suggest disdain, though it is easily exaggerated for comic effect (as by the late Kenneth Williams in many Carry On films). Such effects are sometimes described as timbre or voice quality. We all may use them sometimes but they are particularly common among entertainers such as actors or comedians. This is not surprising, as they practise using their voices in unusual ways, to represent different characters. The performers in the BBC’s Teletubbies TV programme use paralinguistic features to suggest the different characters of Tinky-Winky, Dipsy, La-La and Po.  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology Accent Everyone’s use of the sound system is unique and personal. And few of us use sounds consistently in all contexts – we adapt to different situations. We rarely adapt our sounds alone – more likely we mind our language in the popular sense, by attending to our lexical choices, grammar and phonology. ) Most human beings adjust their speech to resemble that of those around them. This is very easy to demonstrate, as when some vogue words from broadcasting surf a wave of popularity before settling down in the language more modestly or passing out of use again. This is particularly true of sounds, in the sense that some identifiable groups of people share (with some individual variation) a collection of sounds that are not found elsewhere, and these are accents. We think of accents as marking out people by geographical region and, to a less degree, by social class or education. So we might speak of a Scouse (Liverpool), Geordie (Newcastle) or Brummie (Birmingham) accent. These are quite general descriptions – within each of these cities we would differentiate further. And we should also not confuse real accent features in a given region with stereotyped and simplified versions of these which figure in (or disfigure) TV drama – Emmerdale, Brookside, Coronation Street and Albert Square are not reliable sources for anything we might want o know about their real-world originals. And the student who hoped to study the speech of people in Peckham by watching episodes of John Sullivan’s situation comedy Only Fools and Horses was deeply misguided. Thinking of social class, we might speak of a public school accent (stiff upper lip and cut glass vowels). But we do not observe occupational accents and we are unlikely to speak of a baker’s, soldier’s or accountant’s accent (whereas we might study their special uses of lexis and grammar). This is not the place to study in detail the causes of such accents or, for example, how they are changing. Language researchers may wish to record regional variant forms and their frequency. In Britain today (perhaps because of the influence of broadcasting) we can observe sound features moving from one region to another (like the glottal stop which is now common in the north of England), while also recording how other features of accent are not subject to this kind of change. Studying phonology alone will not answer such questions. But it gives you the means to identify specific phonetic features of accent and record them objectively.  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology Received Pronunciation Received Pronunciation (or RP) is a special accent – a regionally neutral accent that is used as a standard for broadcasting and some other kinds of public speaking. It is not fixed – you can hear earlier forms of RP in historical broadcasts, such as newsreel films from the Second World War. Queen Elizabeth II has an accent st close to the RP of her own childhood, but not very close to the RP of the 21 century. RP excites powerful feelings of admiration and repulsion. Some see it as a standard or the correct form of spoken English, while others see its use (in broadcasting, say) as an affront to the dignity of their own region. Its merit lies in its being more widely understood by a national and international audience than any regional accent. Non-native speakers often want to learn RP, rather than a regional accent of English. RP exists but no-one is compelled to use it. But if we see it as a reference point, we can decide how far we want to use the sounds of our region where these differ from the RP standard. And its critics may make a mistake in supposing all English speakers even have a regional identity – many people are geographically mobile, and do not stay for long periods in any one place. RP is also a very loose and flexible standard. It is not written in a book (though the BBC does give its broadcasters guides to pronunciation) and does not prescribe such things as whether to stress the first or second syllable in research. You will hear it on all the BBC’s national radio channels, to a greater or less degree. On Radio 3 you will perhaps hear the most conservative RP, while Radio 5 will give you a more contemporary version with more regional and class variety – but these are very broad generalizations, and refer mainly to the presenters, newsreaders, continuity announcers and so on. RP is used as a standard in some popular language reference works. For example, the Oxford Guide to the English Language (Weiner, E [1984], Pronunciation, p. 45, Book Club Associates/OUP, London) has this useful description of RP: â€Å"The aim of recommending one type of pronunciation rather than another, or of giving a word a recommended spoken form, naturally implies the existence of a standard. There are of course many varieties of English, even within the limits of the British Isles, but it is not the business of this section to describe them. The treatment here is based upon Received Pronunciation (RP), namely ‘the pronunciation of that variety of British English widely considered to be least regional, being originally that used by educated speakers in southern England. ’ This is not to suggest that other varieties are inferior; rather, RP is here taken as a neutral national standard, just as it is in its use in broadcasting or in the teaching of English as a foreign language. † Accent and social class Accent is certainly related to social class. This is a truism – because accent is one of the things that we use as an indicator of social class. For a given class, we can express this positively or negatively. As regards the highest social class, positively we can identify features of articulation – for certain sounds, upper class speakers do not open or move the lips as much as other speakers of English. Negatively, we can identify such sounds as the glottal stop as rare among, and untypical of, speakers from this social class. Alternatively we can look at vowel choices or preferences. For example, the upper classes for long used the vowel /? / in cases where /? / is standard – thus Coventry would be /k? v? ntri? /. C. S. Lewis in The Great Divorce depicts a character who pronounces God as â€Å"Gud† – â€Å" ‘Would to God’ he continued, but he was now pronouncing it Gud†¦Ã¢â‚¬  We may think of dropping or omitting consonants as a mark of the lower social classes and uneducated people. But dropping of terminal g – or rather substituting /n/ for /? / was until recently a mark of the upper class â€Å"toff†, who would enjoy, huntin’, fishin’ and shootin’. We can find a celebrated literary example in Dorothy L. Sayers’ Lord Peter Wimsey. Among real life speakers in whom I have observed this tendency I would identify the late Sir Alf Ramsey. I do not know whether Alf Ramsey, who managed the England football team, was brought up to speak in this way or acquired the habit later. ) Investigating the connection can be challenging, however, since social class is an artificial construct. Assuming that you have found a way to identify yo ur subjects as belonging to some definable social group, then you can study vowel choices or frequencies. Even the most cursory attention tells us that the Queen has distinct speech sounds. But can we explain them in detail? Does she share them with other members of her family? Do other speakers share them?  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology Pronunciation and prescription The English Language List is an Internet discussion forum for English language teachers. Recently a student, not a native speaker but clearly a very competent writer of English, asked where he could get help to learn to speak in a standard British accent. Many of the responses came from people who were not answering his question but trying to persuade him to stick with his current accent (which he felt would disadvantage him in his business career). Yet we are not disparaging regional accents when we try to learn the neutral and prestigious standard form. (What the discussion never really revealed was how many of the list members would identify themselves as RP speakers. ) The prescriptive tradition in English grammar was unscientific and perhaps harmful. But setting down authoritative standard forms is not always so unwise. In spelling they are useful, and the same may be true of pronunciation. Dictionaries do not compel the reader to learn and use the pronunciations they show – but they do give a representation of the pronunciation according to RP. Some show variant pronunciations as well as the principal RP form. If you are a student (or even a teacher) you may find RP an unfamiliar accent – maybe you can see that the phonetic transcription indicates a pronunciation different from the one you normally use. No one is forcing you to change your own speech sounds, in which your sense of identity may be profoundly located. But you can become aware that the local norm is not the universal standard. Now that English is an international language, its development is certainly not controlled by what happens in the UK. So British RP may cease to be a useful standard for learners of English. Increasingly, language learners favour a mid-Atlantic accent, which shares features of British RP and the speech of the eastern USA. Language acquisition Very young children do not produce the sounds they will use as adults partly because they are unable to form them (physically their speech organs have not developed fully) and partly because they may not know exactly what the sound is that they wish to produce. Children may also be less subtle in controlling the flow of egressive air, so that they will continue speaking, rather than pause briefly, while drawing more air in. Young children may have a sense of stressed syllables as more important – so they may omit unstressed elements before or after. So, for example, a child may ask for a ‘nana rather than a banana. (Alternatively, the child may know that there is some repetition of sound here, but limit it to two syllables. ) I am supposing that the non-standard form is spoken by a child, but perhaps repeated back by adults. But one often observes adults (unhelpfully) using what they suppose to be an easier form of a word. On the other hand, some children have resisted this tendency. Though they may not articulate a word in full or exactly, they can recognize it as an incomplete or mistaken form when an adult repeats it back to them. We see this in this exchange between an adult and a four year old, recorded by George Keith and John Shuttleworth: Adult: What do you want to be when you grow up? Child: A dowboy. Adult: So you want to be a dowboy, eh? Child: No! Not a dowboy, a dowboy! The child cannot articulate the /k/ initial sound but knows that what he hears from the adult is not the form of the word he is used to hearing, so protests. Since children learn by imitation of examples it may be helpful when they begin formal education to give them such examples, but not by continually rebuking them for saying things â€Å"wrongly†. Children do not learn to articulate all sounds at the same stage in their development. Teachers of children in early years (nursery and reception) classes should be able to identify the few cases where there is a disorder or problem for which some specialist intervention is appropriate.  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology Language change Change happens in language – and the sounds of English are not exempt. Of course, basic sounds do not change in the sense that the phonemes represented in the IPA transcription will not go away. And it is rare, but not impossible, for speakers of a given language to begin to use phonemes they did not use before. Thus, most English speakers faced with French –ogne (as in Boulogne or Dordogne) anglicise to Boloyn (/b? l n/). And Welsh double l in initial position (as in Llanfair and many other place names) they sound simply as /l/ rather than a voiceless unilateral l. What does change is the choice of which sound to use in a given context – though choice may suggest that this is voluntary whereas the change normally happens unnoticed. At a very simple level we can see, from rhymes in poetry that no longer work, that one or more words has acquired a new standard pronunciation. So John Donne writes (1571-1631) â€Å"And find/What wind/Serves to advance an honest mind†. We have retained the vowel sound in wind (verb, as in wind up) but not in wind (noun, as in north wind). We can still observe vowel change. In my own lifetime envelope was pronounced with the initial vowel /? (as if it were onvelope). This pronunciation is becoming more rare, and persists mostly among older speakers. Turquoise was once commonly sounded as in French /t kw? z/ – but now it is more or less uniformly /t k z/ or /t k s/ (perhaps by analogy with tortoise). Far more common are changes in stress patterns. So research (more or less universal in the UK when I was a child) has given way to re-search. In the case of harass the stress has shifted the other way, giving harass. We cannot sensibly say that the new form is â€Å"wrong† or â€Å"bad English† (even if we prefer the older form). But we can observe the frequency with which the new form occurs, and see if it does come to supplant the older form or whether both forms persist. Change happens within regional varieties, too – so the glottal stop has moved its way northwards from London and southwards from Glasgow (where it has been found for 150 years). This is one feature of what Paul Kerswill calls dialect levelling. Similarly use of /f/ or /v/ in place of /? / and /? / is spreading north from London. Perhaps the most well documented change occurring now is in sentence intonation. This is especially common among younger people, but not exclusively so. The change lies in a tendency to use rising (question) intonation more frequently. What is not clear, in contexts that allow either, is whether the speaker intends to ask a question or means to make a statement. We cannot be sure if the rising intonation conveys meaning, or is habitual. One common way for pronunciation to change is by elision – compressing the word to remove a syllable. Once it was common to sound the –ed ending on past tense verbs, whereas now these verbs end with a /t/ sound. We do still sound the –ed ending on adjectives, even when these are formed from the past tenses – as in naked, wicked and learned. We can contrast the learned professor with what her pupils learned in the lecture. (The first has two syllables, the second only one. ) Police is often pronounced as a monosyllable /pli? s/ (for example by the newsreader Sue Lawley). Recently I have observed several newsreaders eliding the middle syllable of terrorist, producing the form /t? r st/ or sometimes /t? r? st/. On the other hand, literacy may alter pronunciation. The n in column is silent, and in the Second World War, people would often speak of the Fifth Columnist (/k? l? m? st/). But now broadcasters speaks of those who write columns in newspapers as /k? l? mn? sts/ – thereby sounding what was silent /n/.  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology Phonology for exam students Phonology as an explicit subject of detailed study is not compulsory for students taking Advanced level courses in English Language. But it is one of the five â€Å"descriptions of language† commended by the AQA syllabus B (the others are: lexis, grammar, pragmatics and semantics). In some kinds of study it will be odd if it does not appear in your analysis or interpretation of data. In written exams, you may want to comment on some features of phonology in explaining example language data – these may be presented to you on the exam paper, or may be your own examples, which illustrate, say, some point about language change, language acquisition or sociolinguistics. You may wish to use diagrams, models or the IPA transcription – and if you are able to do so, this may be helpful. But if you do not feel confident about using these, you can still make useful points about phonology – you can show stress simply by underlining or highlighting the stressed syllable. And you can show many aspects of phonology by using the standard Western (Roman-English) alphabet appropriately – as in contrasting pronunciations of harass as: †¢ †¢ ha-russ (first syllable stressed, vowel is a; second syllable unstressed vowel is neutral) or huh-rass (first syllable unstressed, neutral vowel; second syllable stressed, vowel is a) Phonetic symbols and electronic documents Representing phonetic symbols in electronic documents can be a challenge, unless you have the right software. Assuming that you have a word-processing program, you need to use special fonts that will represent the IPA symbols. These are either the SIL IPA fonts (such as SILdoulosIPA) or Unicode fonts (like Lucida Sans Unicode, which I have used in this document). If you are producing work that will be printed, then you can add things by hand later, but this is messy and best avoided. There is a lot of guidance on the IPA homepage about how to cope with this problem. If you do find a way to reproduce the symbols you need, it may make sense to paste them all at the end of the document on which you are working. Then, you can copy and paste as you need to use them. If you do not do this, then you will have to use he Alt key and the numeric keypad, since the keys on the normal keyboard will only give you the symbols that resemble ordinary letters. Different ways of representing sound Conventions of language science and lexicographers If you study reference works you may find a variety of schemes for representing different aspects of phonology – there is no single universal scheme that covers everything y ou may need to do. And many dictionaries may not even use the IPA alphabet, for the very obvious reason that the reader is not familiar with this transcription and can cope without it. The text on the left comes from the Pocket Oxford Dictionary – this shows a simple phonetic representation based on the standard Western alphabet, with accents to show different vowels. Look in any dictionary you have and you may find something similar.  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology Literary models In representing speech – for example in drama, poetry or prose fiction – some authors are interested not merely in the words but also in how they are spoken. One of the most familiar concerns is that of how to represent regional accents. Here is a fairly early example, from the second chapter of Wuthering Heights (1847), in which the servant Joseph refuses to admit Mr. Lockwood into the house: â€Å" ‘T’ maister’s dahn I’t’ fowld. Goa rahnd by the end ut’ laith, if yah went to spake tull him† Tennyson (1809-1892) has a similar approach in his poem, Northern Farmer, Old Style: â€Å"What atta stannin’ theer fur, and doesn’ bring me the aale? / Doctor’s a ‘toattler, lass, and ‘e’s allus i’ the owd taale†¦Ã¢â‚¬  Joseph comes from what is now West Yorkshire, while Tennyson’s farmer is supposedly from the north of Lincolnshire. Here is an earlier example, from Walter Scott’s Heart of Midlothian (1830), which shows some phonetic qualities of the lowlands Scots accent. In this passage the Laird of Dumbiedikes (from the country near Edinburgh) is on his deathbed. He advises his son about how to take his drink: â€Å"My father tauld me sae forty years sin’, but I never fand time to mind him. – Jock, ne’er drink brandy in the morning, it files the stamach sair†¦Ã¢â‚¬  George Bernard Shaw, in Pygmalion (1914), uses one phonetic character (? schwa) in his attempt to represent the accent of Eliza Doolittle, a Cockney flower girl: â€Å"There’s menners f’ yer! T? -oo banches o voylets trod into the mad†¦Will ye-oo py me f’them. † However, after a few sentences of phonetic dialogue, Shaw reverts to standard spelling, noting: â€Å"Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as u nintelligible outside London†. In Pygmalion Professor Higgins teaches Eliza to speak in an upper-class accent, so as to pass her off as a duchess. In the course of the play, therefore, her accent changes. The actress playing the part, however, may have a natural accent closer to that with which Eliza speaks at the completion of her education, so in playing the part she may doing the reverse of what Eliza undergoes, by gradually reverting to a natural manner of articulation. (Eliza’s pronunciation improves ahead of her understanding of grammar, so that at one point she says memorably: â€Å"My aunt died of influenza: so they said. But it’s my belief they done the old woman in. ) In Pygmalion Shaw does not merely represent accent (and other features of speech) but makes this crucial to an exploration of how speech relates to identity and social class. Charles Dickens is particularly interested in the sounds of speech. He observes that many speakers have difficulty with initial /v/ and /w/. Sam Weller, in The Pickwick Papers, regularly transposes these: â€Å" ‘Vell,’ said Sam at length, ‘if this don’t beat cock-fightin’ nothin’ never vill†¦That wery next house†¦Ã¢â‚¬â„¢ â€Å" Mr. Hubble, in Great Expectations does, the same thing when he describes young people as â€Å"naterally wicious†. Joe Gargery, in the same novel, has many verbal peculiarities, of which perhaps the most striking is in his description of the Blacking Warehouse, which is less impressive than the picture Joe has seen on bills where it is â€Å"drawd too architectooralooral†. In Chapter 16 of Our Mutual Friend, Betty Higden is proud of Mr. Sloppy (an orphan she has fostered) not only because he can read, but because he is able to use different voice styles for various speakers. â€Å"You mightn’t think it, but Sloppy is a beautiful reader of a newspaper. He do the Police in different voices. † Dickens also finds a way to show tempo and rhythm. In Chapter 23 of Little Dorrit, Flora Finching speaks at length and without any pauses: â€Å"Most unkind never to have come back to see us since that day, though naturally it was not to be expected that there should be any attraction at our house and you were much more pleasantly engaged, that’s pretty certain, and is she fair or dark blue eyes or black I wonder, not that I expect that she should be anything but a perfect contrast to me in all particulars for I am a disappointment as I very well know and you are quite right to be devoted no doubt though what am I saying Arthur never mind I hardly know myself Good gracious!  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/ Phonology Background reading on phonology There are very full accounts of phonology in both of Professor David Crystal’s encyclopedias. See his Cambridge Encyclopedia of Language, Part IV, The Medium of Language: Speaking and Listening (pp. 123175; ISBN 0521424437) and his E ncyclopedia of the English Language, Part IV, 17, The Sound System (pp. 236-255; ISBN 0521596556). For a very clear and succinct account, look at Howard Jackson’s and Peter Stockwell’s Introduction to the Nature and Functions of Language, 2. 1, Sounds and letters (pp. 11-23; ISBN 0748725806). There is a longer and more discursive account in Shirley Russell’s Grammar, Structure and Style, Spoken English (pp. 107-168; ISBN 0198311982) You can find lots of help online. The best place to start is the International Phonetic Association’s own Web site at: http://www2. arts. gla. ac. uk/IPA/ipa. html You will find some excellent resources from the languages department of the University of Victoria in British Columbia – start at http://web. uvic. ca/ling/ipa/handbook/ For a great introduction to Scots – with some excellent guidance on phonology – try Andy Eagle’s Wir Ain Laid (Our Own Language) at http://www. scots-online. org/grammar/index. htm For help with fonts go to the IPA Unicode site at http://www. phon. ucl. ac. uk/home/wells/ipa-unicode. htm and Alan Wells’ Unicode Resources at http://www. hclrss. demon. co. uk/unicode/index. tml. You could also try the Microsoft typography site at http://www. microsoft. com/typography/default. asp Apart from materials quoted from other sources, the copyright in this guide belongs to Andrew Moore. You are free to use it for any educational purpose, including making multiple copies electronically or by printing. You may not distribute it in any form other than the original, without the express permission of the author. andrew. [email  protected] net  © Copyright: Andrew Moore, 2001 http://www. shunsley. eril. net/armoore/

Business Model Re-Engineering: Myspace

————————————————- Business Model Re-engineering MySpace Date: November 4, 2011 ————————————————- Word Count: 3742 Introduction Nowadays, increasingly more industries, especially the media sector, are facing a continuous change. In the case of media, this is mainly a result of steadily developing digital technology. Even though a company’s business model might have been successful for many years, it suddenly can start to become weaker. The media market is quite competition-driven and hence a competitor with a new business model might alter the industry almost instantly (Business model re-engineering, n. d. ). In such a competitive market, the â€Å"strategy [†¦] is about being different. † (Eisenhardt & Sull, 2001, p. 116). This statement perfectly implies that companies and their products need to be so unique with such a well thought-out and innovate business model that they can create a competitive advantage. However, this adaption of the business model in an ever-changing media environment turns out to be quite a complex challenge, since now many companies face a decline of customers and revenue. A good example for a business model that could not survive the changing media environment in terms of online social networking is the one of Myspace. Consequently, I am going to propose a re-engineering of its business model. In this paper, I will focus on the problems of the current business model and carefully analyze the context of the market in order to propose a refreshed model that will help Myspace to survive and to compete more successfully in nowadays’ social networking market. Myspace needs a business model that provides value to its customers, guarantees a competitive advantage, as well as collects revenue (Teece, 2010). Myspace Myspace. com, which was founded in 2003 by Chris DeWolfe and Tom Anderson (Piskorski, Chen, & Knoop, 2008), is an online social networking ervice that is now owned by Specific Media LLC and singer Justin Timberlake (Specific Media Acquires Myspace, 2011). Specific Media LLC is a media company which sells advertising online with a technology that aims at targeting specific customer segments (Specific Media LLC, 2011). Specific Media LLC, however, has not been the owner of Myspace for long. In June 2011, the company bought Myspace for about $35 million and as part of the deal pop star Justin Timberlake took an ownership stake (Specific Media Acquires Myspace, 2011). Before, from 2005 until 2011, it was owned by Rupert Murdoch’s News Corporation (News Corporation to Acquire Intermix Media, Inc, 2005). From 2005 until 2008, Myspace was the most popular social networking website in the world, as measured by the visitors. But the number of 75. 9 million visitors per month in 2008 dropped to 34. 8 million in May 2011 (Gillette, 2011). Problems Is Facebook Myspace’s biggest problem? Since 2008, Myspace has been continuously losing members which was at the time when it was overtaken by Facebook (Mack, 2008). Myspace has been gradually losing its users which can be expressed by the declining members and visitors of the website. As from February 2010, the visitors decreased by 43. 3 per cent (Arrington, 2011) and the members shrunk by ten million within one month at the beginning of 2011 (Stafford, 2011). This decline brings along a dramatic loss in revenues which are solely generated by advertising (Enders, Hungenberg, Denker, & Mauch, 2008). Facebook has now about 25 times more users than Myspace (Stafford, 2011) and it seems that members migrated from Myspace to Facebook, but there is other reasons for the failure of Myspace, mainly in terms of innovation. Myspace was performing really well at the time of News Corp’s acquisition and it barely had any competitors. However, with the rise of its first great competitor Facebook, the former leading social networking site had to confront one of its severest lacks: innovation! At the very beginning, Facebook entered a niche market, namely the one of college students. Firstly, it was available to Haravard students, then more and more universities wanted to join Facebook and today, almost everybody is using this social network, no matter if college student or not (Piskorski et al. , 2008). Today, around 600 million users enjoy keeping in touch with people all over the world via Facebook (Cauwels & Sornette, 2011). Facebook managed this great success because it was innovative. New features have been added all the time since it has been launched, hence people were involved and kept coming back as a result of new innovations such as the ‘news feed’ at that time (Stafford, 2011). While Facebook managed to be innovative all the time, Myspace failed to adapt to the market and did not add new features as Facebook did. Additionally, Myspace did not allow third party developers to create new features such as applications (e. g. Facebook – FarmVille etc. ), they rather kept everything behind closed doors. Therefore, Myspace lost the competition of controlling the market at the time between 2006 and 2008 and consequently it became boring (Stafford, 2011). Even though Myspace had certain features, they did not all work very well. For example, members were able to create their own backgrounds either themselves or they could download an existing design from many providers who specialized in creating Myspace profile designs. This feature turned into quite a mess, problems, and confusion regarding certain profiles. The whole competition resulted in a confusing mess and one could not be sure on what Myspace was focusing. Not only because of the customized user profiles but also because of some other flaws in the site’s design, Myspace was confronted with security issues. Results were spyware (Hesseldahl, 2006), phishing, and spam (Webb, Caverlee, & Pu, 2010). Another security fear was regarding the profile content. Users were concerned about trust and privacy and even law enforcement officials claimed, â€Å"MySpace is used by sexual predators to lure teenagers† (Dwyer, Hiltz, & Passerini as cited by Schrobsdorff, 2006, p. 5). The last problem I want to focus on is the revenue model. As previously mentioned, Myspace operates on revenues from advertising. Especially under the ownership of News Corp, the main focus was on generating revenue. It seemed that Rupert Murdoch solely focused on revenues and nothing else which is a great flaw for a social networking site, as it needs to focus on the onsumers. In 2006, Google pledged to pay News Corp as many as $900 million over three and a half years and in return Google was allowed to provide search services and advertising on Myspace (Piskorski et al. , 2008). For Myspace’s customer it seemed that the site was full of too much unorganized advertising, hence the website appeared unp rofessionally (James, 2009). The previously listed problems of Myspace are mainly problems of the time when Myspace lost the competition against Facebook, and reasons why Myspace is not successful anymore. With regards to the Business Model Canvas by Alexander Osterwalder (2009), I will focus on the problems based on the following elements: Value Propositions, Key Partners, Revenue Streams, and Media Channels. The element of value propositions â€Å"seeks to solve customer problems and satisfy customer needs with value propositions† (Osterwalder & Pigneur, 2009, p. 16). I consider this part to be Myspace’s greatest problem regarding the issues of trust, privacy, spam, spyware, and phishing. Furthermore, the lack of innovation was one of the major problems why Myspace lost that many users who constantly want to experience something new. With its lack of good and new features as well as its unclear point of focus, Myspace was not able to deliver value which would result in customers continue to use the social network. From my personal experience, I can say that Myspace faded into obscurity which can be backed up by the low number of users now, compared to the time of 2006 when Myspace was at its peak (Snyder, Carpenter, & Slauson, 2006). I was a Myspace user around 2006 as well, when I was 15 years old. It seemed to be a meeting point for teenagers and for me it was not any different from the German social networking site ‘Schuler VZ’ except that it is international. However, as time went by, I decreasingly used Myspace as for me it always was too confusing and it could not compete with the German social network. Besides, I got spammed with advertising, random men (who were not at my age) thought it was a dating service, and it simply became boring. Therefore, I can state that Myspace’s biggest problem is that it is not valuable enough for the users. Theory Firstly, I will focus on the value propositions as all the other elements, I chose to focus on, follow up on the value propositions. When looking at value propositions, I would like to consider the three types of value propositions according to Anderson, Narus, and van Rossum (2006), namely ‘all benefits’, ‘favorable points of difference’, and ‘resonating focus’. In the case of Myspace, it certainly would not be enough to â€Å"simply list all the benefits† (Anderson et al. , 2006, p. 2) since there are too many competitors in the Internet environment that share most of the benefits and values. The ‘favorable points of difference’ approach is promising in so far that it distinguishes the valuable points that the competitors do not offer. However, I believe that Myspace does not present many highly valuable aspects over their competitors and therefore it would be most convenient to concentrate on the ‘resonating focus’. With this approach, I will focus on â€Å"the one or two points of difference [†¦] whose improvement will deliver the greatest value to the customer for the foreseeable future† (Anderson et al. , 2006, p. 4). In connection to that, I will of course need to study the greatest competitors with regards to their value propositions in order to highlight Myspace’s most valuable points of difference. Furthermore, I will need to research what customers expect from online social networking, what they value about Myspace, and what they generally find lacking in the social networking environment in order to develop ideas for a possible niche market. Additionally, for this customer value research, I will need to conduct research on focus groups with regards to problems mentioned in the previous section (safety and innovation). Furthermore, the design is an important aspect of the value propositions as well. As I previously stated, the old Myspace design was quite confusing which resulted in safety problems. Hence, a new design is needed which is unified for every user, yet attractive and which does not allow bugs. Secondly, in relation to innovation, I will need to look at the Key Partners who will be part of the re-engineering of the Media Channels as well and concerning revenues. Through Media Channels, the company can communicate with its customers and deliver the value propositions (Osterwalder et al. 2009). Especially in the online environment, awareness can be raised with the help of other key partners. For example, you can share content from one website on another. Not so long ago, Myspace introduced connection opportunities to Twitter and Facebook (Myspace introduces mashup with Facebook, 2010) and also youtube allows sharing videos on myspace. Myspace’s connections to Facebook which will al so help to generate user-specific streams according to the user’s Facebook profiles. However, Facebook for example, does not allow a connection to Myspace. Accordingly, Key Partners are needed that would help promoting Myspace. Moreover, the former revenue model which only consisted of advertising, has proven to be quite annoying for the users, hence Myspace needs Key Partners who will not only make the website more appealing but also help to make revenue. Hence, research has to be done on Key Partners who are willing to help financing Myspace as well as who would be interested to offer for example applications (which then help the Key Partners as well). As I said before, Myspace faded into obscurity. For this reason, I will also need to look at other media channels such as campaigns and marketing strategies in order to bring Mypsace back to people’s minds. In that relation, research needs to be done on what marketing strategies worked for successful social networks such as Facebook and also what media channels can help to basically re-introduce a media product like Myspace. Assumptions & Best Practices Review First of all I need to mention that Myspace decided in 2010 to focus on music and entertainment (About Myspace, 2010). However, for now I will only consider online social networking sites as websites that focus on music and entertainment are not Myspace’s greatest competitors. Of course, I will need to take Facebook into account as Myspace’s greatest competitor and as today’s most popular social network which was the most visited website in June 2011 (Smith, 2011). Facebook first started in a niche market of college students and it got awareness from the very beginning. It did not use any special advertising campaigns to become popular but the promotion was rather by word to mouth (Mitchell, 2009). The popularity has then been covered by newspaper articles and television which reported on the success (Ibid). Mark Zuckerberg launched Facebook as a unique and intimate website and constantly added new features that kept the site interesting. Facebook is far more innovative than Myspace and therefore the members keep using it and promote it by word-of-mouth advertising. Similarly to Facebook, Twitter was initially successful in a niche market. At the beginning, primarily computer- and technology specialists as well as bloggers used Twitter for example to promote their blogs (How did Twitter become popular? 2009). Twitter could convince with its simplicity and real life experience. Real life experience in so far that people twittered news from certain events such as the Mumbai attacks or recently the uprisings in Tunisia as different to regular news channels (Ibid). The best practices that made Twitter and Facebook successful and popular are therefore word-to-mouth advertising and t he Internet itself. Word-to-mouth advertising only worked because of the convincing and interesting designs and usability. Both platforms are innovative, as they have been creating new features that make them enjoyable, flexible and interesting (The Success of Twitter, 2011). Those best practices worked for Myspace as well – in the beginning. However, the task now is to remake Myspace aware to people’s minds and the goal is that the users actually keep using Myspace because of the new design and value propositions. I would suggest sending a short and catchy email to the Myspace users which shortly introduces them to the new Myspace. Users might want to get to know the new Myspace and then tell people about their good experience. Additionally, since Myspace is focusing on music, an advertising campaign might help to make new bands aware of Myspace’s ability to promote their work. Facebook uses an aggressive innovation approach, meaning that it comes up with new features that users initially might not like but after a while they cannot imagine Facebook without those new features anymore. Furthermore, Facebook constantly adapts the privacy settings in order to meet the customers’ needs with regards to safety (Blodget, 2010). Innovation keeps Facebook interesting and worthwhile to continue using it. Another highlight it offers for their users are applications. Many software developers create applications for Facebook which make the site not only more interesting and entertaining but also help to generate revenues (Stone, 2007). With the help of key partners, Myspace can get help for its design as well as applications that help to make the site interesting. What is more, key partners help financing; hence Myspace would not only be dependent on advertising revenues. As users find the amount of advertising quite annoying, Myspace can focus on less but personalized advertising. Those steps would help to make Myspace more innovative and it can easier meet the users’ needs in terms of design, safety, new features that make it worth to use. Research Proposal – Method Myspace needs change! More specifically, Myspace needs a re-engineered business model. The previous statistics show that the numbers of Myspace users decline gradually. If this decline continues, the once most popular social network (Bains, 2009) will soon be almost unknown or at least unused. However, with further research on my previously stated ideas based on the problems of Myspace in relation to the Business Model, I will be able to help Myspace creating a new and innovative Business Model that will help to avoid further declining user numbers and to create competitive consistency in the environment of social networking. In order to study the value propositions carefully, I will conduct qualitative research. Only with qualitative research I will be able to gather in-depth understanding of the reasons why people do not use Myspace anymore. I can gather such information in two ways: through interviews and through an online research community. With the help of a qualitative research interview I will gather the facts as well as analyze the meaning (Kvale, 1996). As a result, I will be able to understand the values customers need as well as the reasons and problems which caused the failure of Myspace. By using an online research community, Myspace can put â€Å"the customer at the heart of [the] marketing strategy† (Simon, 2009). Such research communities allow efficient and deep qualitative research online. In such a community, members can discuss certain aspects such as new features and designs, and Myspace can adapt accordingly. Besides, a qualitative research online will probably bring more results since people rather take the time to discuss issues online. However, the qualitative Interview will also be needed because it is an additional in-depth analysis with face-to-face communication that enables immediate follow up questions and answers with high reliability. The qualitative research of both forms will be base on current or former Myspace users and also on general social network users in order to determine the general arget group’s values. Questions for both kinds of researches will for example include what they currently like about Myspace, what they do not like, why they use Myspace, or why they (stopped) using Myspace, what they generally value about Myspace, and their opinions about the competitors such as Facebook. For good measure a detailed research on the competit ors and their best practices is essential. This can be done by further online research on the competitor’s strategies in order to find out what could work for Myspace as well. Plan The following table provides an overview of the estimated time and costs for this project – subject to modifications. For now, I will conduct the research for three weeks, meaning that for example that the online community will be run for three weeks. Part| Time| Costs per hour| Costs per day| Creating online community(5 employees)| 8 hrs| EUR 10 (x5)| EUR 400| Leading discussion online(10 employees)| 3 wks (120 hrs)| EUR 8 (x10)| EUR 9600| Analyzing online community (10 employees)| 2 wks (80 hrs)| EUR 12 (x10)| EUR 9600| Developing questions for both onliny community and interview (4 employees)| 8 hrs| EUR 12 (x4)| EUR 384| Interviews (5 hrs per day)(10 interviewer)| 3 wks (75 hrs)| EUR 12 (x10)| EUR 9000| Evaluation Interview(10 employees)| 2 wks (80 hrs)| EUR 12 (x10)| EUR 9600| Total Costs for staff:| EUR 38584| Further costs: Possible travel costs (for interviewers):ca. EUR 300 Equipment (for Interviewers – recorders etc. ):ca. EUR 400 Technical equipment for online community:ca. EUR 10000 Total Costs:ca. EUR 49284 The additional costs might not apply if the equipment already exists. All prices are including value added taxes. Reflection In this paper I laid the foundation for a re-engineering of Myspace’s Business Model. Back in 2006 and 2007 I was a member of Myspace as well. However, I never liked this social network much since it was confusing, annoying because of all the advertising and I did not feel safe using it. Overall, it did not really work out. Now I am a Facebook user and I totally forgot about Myspace. Apparently, other social network users feel the same way which can be expressed by the declining number of Myspace users. Myspace became quite unpopular, fewer and fewer people visit that site and Facebook out-competed Myspace fast. Therefore I analyzed the problems that resulted in the failure of Myspace. The main overall problem is innovation. Myspace failed to add new features in order to make the platform interesting and worthwhile to keep using it. Myspace totally faded into obscurity wherefore it is essential to re-engineer at the media channels. Also, Myspace did not allow third party developers to help designing the page and add for example applications which not only would make the network more entertaining but also help generating revenues other than advertising. Instead, members were able to design their own profiles. This feature, however, resulted in an overall confusing design and safety problems. Safety problem arose from the bad software as it was easier to install for example spyware. Myspace could not meet the values that the customers need. Aside from bugs such as spyware, spam and phishing, users experienced a great lack of trust and privacy in that online network. To sum it up, I focused on the re-engineering of the following parts of the Business Model Canvas by Osterwalder and Pigneur (2009): Value Propositions, Media Channels, Key Partners, and Revenue Streams. All parts of the business model are connected though. That is why I analyzed all parts with regards to the others. My idea is that Myspace needs to be innovative. It can do so in analyzing both the values of customers and the best practices of the competitors and then adapt accordingly. With this method, Myspace can add new feature that will surely meet the customers’ desires. This is connected with a new design and key partners. Key partners can not only help with the design but also with innovation by adding applications that make Myspace more interesting. Furthermore, key partners would create another method of generating revenues. Then, Myspace would not only depend on advertising revenues and can reduce the annoying advertising to unostentatious, user-personalized advertising. After its changes, people need to be made aware of the new Myspace. This can be done with a short and catchy email to Myspace members who will then positively experience the re-engineered Myspace and spread the word. Additionally, television and Internet advertising campaigns might help to bring Myspace to the people’s minds. I am convinced that those methods and the further research, suggested in form of qualitative interviews, qualitative online community research and qualitative research on the competitors, would help Myspace to survive the competition in the online environment of social networks as well as stop a further downfall. References About Myspace. (2010). Retrieved November 1, 2011 from Myspace http://www. myspace. com/pressroom/2010/11/myspace-introduces-mashup-with-facebook/ Anderson, J. C. , Narus, J. A. , van Rossum, W. (2006). Customer Value Propositions in Business Markets. Harvard Business Review. Arrington, M. (2011, March 23). Amazingly, MySpace’s Decline is Accelerating. Retrieved October 29, 2011 from http://techcrunch. com/2011/03/23/amazingly-myspaces-decline-is-accelerating/ Bains, L. (2009). Facebook Overtakes MySpace as Most Popular Social Networking  Site. Retrieved November 2, 2011 from http://www. switched. com/2009/01/27/facebook-overtakes-myspace-as-most-popular-social-networking-sit/ Blodget, H. (2010). Ignore The Screams–Facebook's Aggressive Approach Is Why It Will Soon Become The Most Popular Site In The World. Retrieved November 2, 2011 from http://articles. businessinsider. om/2010-05-17/tech/29991115_1_ceo-mark-zuckerberg-facebook-s-pr-innovation Business model re-engineering. (n. d. ). Retrieved October 27, 2011 from AMR International http://www. amrinternational. com/services/corporate_and_business_unit_strategy/business_model_re-engineering Cauwels, P. , Sornette, D. (2011). Quis pendit ipsa pretia: facebook valuation and diagnostic of a bubble based on nonlinear demographic dynamics. Retrieved October 30, 2011 from Cornell University Library http://arxiv. org/abs/1110. 1319 Dwyer, C. , Hiltz, S. , Passerini, K. (2007). Trust and Privacy Concern Within Social Networking

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