Nonprofit and For-Profit Hospitals Essay -- Health Care, Long Term Car

Describe the differences between nonprofit and for-profit hospitals. William & Torres provided a table to reflect hospitals ownership, and noted that some hospitals, while owned by one type of entity, may be operating under a contract by another entity, such as a hospital management company (Williams & Torrens, page 185). Some of the largest groups of hospitals in the nation are nonprofit community hospitals (Williams & Torrens, page 185). Nonprofit entities, including hospitals, function under special provisions of corporation law in each state, and under federal and state tax provisions that recognize their community service function (Williams & Torrens, page 185). The nation has approximately 1 million nonprofit entities of various sorts and hospitals have long been a traditional service provider in the nonprofit sector (Williams & Torrens, page 185). Nonprofit entities are generally exempt from most taxes at the federal, state, and local levels including income and property taxes (Williams & Torrens, page 185). These facilities are govern ed by a community based board that has ultimate authority for running these entities. Sponsorship for a nonprofit can come from various organizations, unlike other hospitals with traditional religious sponsorship (Williams & Torrens, page 185). A small percentage of the nation’s hospitals are operated by for-profit businesses (Williams & Torrens, page 186). For-profit hospitals have owners and issue stock to those owners to reflect their equity position (Williams & Torrens, page 185). For-profit hospitals are not just accountable to the community but must also provide a return on investment to the shareholders; they expect to generate a profit to pay a return to the equity inves... ... pays for 47 percent of all nursing facility care, and residents and their families pay for one-third. (Williams & Torrens, page 205). As for as the hospital, Medicare and private insurance are the primary payers from hospital services, with individuals paying relatively little from their pockets (Williams & Torrens, page 205). Critique the current state of long-term care policy in the U.S. After reviewing the current state of the long-term care policy from the United States, it appears to be slowly moving toward extinction. Public policy is not likely to provide any over- arching continuity for long-term care in the near future (Williams & Torrens, page 218). I agree with the idea of Americans engaging in personal planning. Personal planning will assure individual that if he or she needs long-term care it will be available.

The Birds :: essays research papers fc

Satire defined is 'A composition in verse or prose holding up a vice or folly to ridicule or lampooning individuals… The use of ridicule, irony, sarcasm, etc, in speech or writing for the ostensible purpose of exposing and discourage vice or folly'; (Johnston, 5). In other words, satire is the use of humor to expose moral behavior of man. In the Aristophanes' play The Birds, satire is used to mock the common Greek's dream of ruling the gods that they worship. It mocks the power that they seek to become the supreme ruler of the world. To understand Aristophanes use of satire, one must first understand the role satire plays in sending out its message.   Ã‚  Ã‚  Ã‚  Ã‚  At the basis of satire is a sense of moral outrage. This outrage is wrong and needs to be exposed. The goal of a satire is to correct this misconduct of man in a humorous way that makes the audience relate to the problem and try to correct it. Satire 'seeks to use laughter, not just to remind us of our common often ridiculous humanity, but rather to expose those moral excesses, those correctable sorts of behavior which transgress what the writer sees as the limits of acceptable moral behavior'; (Johnston, 5). In exposing these foibles, one could discover not to behave in such a manner by realizing his or her mistakes.   Ã‚  Ã‚  Ã‚  Ã‚  When setting up a satire, one must do so in a few steps. The first step is setting up a target which will symbolize the conduct that the satirist wishes to attack. In The Birds, the target is the average Athenian citizen, seeking power Pisthetaerus or in Greek translation, 'companion persuader'; (Luce, 300). Pisthetaerus is upset with his current living conditions and sets out to seek a new place, far better than his existing residence.   Ã‚  Ã‚  Ã‚  Ã‚  Adding exaggeration and distortion to the target, the satirist then emphasizes the characteristic he wishes to attack. 'The target must be close enough to the real thing for us to recognize what is going on, but sufficiently distorted to be funny, an exaggeration, often a grotesque departure from normality'; (Johnston, 17). After deciding to create a city strategically located between heaven and earth, so the birds can rule god and man, Pisthetaerus eats a magical root that has the powers to give birth to wings. Although it is evident that humans growing wings is not imaginably possible, the birth of wings does give birth to the power that Pisthetaerus craves more of.

The Advantage and The Detriments of Using Internet

The honourable headmaster, and staff of my shcool. The honourable the Juries and my English teachers. Ladies and Gentlemen. First of all, I want to say thanks for our almighthy God who has given us health so we can meet in this nice room today. And I don't forget to express my gratitude to the juries who have given me the opportunity to stand here for conveying a speech in front of you all.And then I say thank you very much for all the participants and the udience that give me support to deliver my speech. Ladies and Gentlemen. At this time I will convey a speech in front of you by little the Advantages and the Detriments of using internet. Internet is a program that has been created to connect the communication from one computer to all the computer in the world. Internet usually use by students, businessmen, and etc. Internet have many advantages for us. The advantages is we can find a lot of informations, knowledges, entertainments, nd business informations.Although Internet have a lot of advantages. Internet have many detriments too. The detriments arise because many people who abuse It like playing game too often, waste time, not take knowledge, hackers, dirty advertisements, look at pornography picture and waste money. I think It's enough for today. Thank you for all the Juries and all the audience. Last but not least, I give one statement for â€Å"Browse this world by Internet but don't forget for the consequence of Internet†.

Chanel’s Exhibition Compared to Vermibus Essay

Two exhibitions, both held during October 2012, will form the bases of this comparative essay. Chanel’s fashion photography exhibition entitled ‘The Little Black Jacket: Chanel’s Classic Revisited’ held at the Saatchi Gallery 12th October – 4th November 2012, and Vermibus’ display of appropriated adverts called ‘Unmasking Kate’ shown at the Moniker Arts Fair 11th -14th October 2012 will be used to explore the links each exhibition has to the themes of advertising and celebrity. ‘The Little Black Jacket: Chanel’s Classic Revisited’ is a celebration of the ‘timelessness’ (Saatchi, 2012) that is the Chanel jacket first introduced in 1953 (Armstrong, 2012), which Karl Lagerfeld, the creative director for Chanel, has revamped for the twenty-first century. ‘The Chanel jacket is a man’s jacket which has become a typical feminine piece†¦Ã¢â‚¬â„¢ (Lagerfeld cited Making of- The Video, 2012), co-writer and photographer for the exhibition Lagerfeld, articulates the versatility of the garment, which is a key theme expressed throughout the show. The exhibition consists of 113 photographs of celebrities modelling (Saatchi, 2012) the jacket to which the entire exhibition is a tribute to (Saatchi, 2012). In contention with the notion of product and brand celebration the Spanish-born artist Vermibus presented his ‘Unmasking Kate’ series at the Moniker Arts Fair, ‘†¦now in its third year, the fair†¦[of] contemporary artists with urban roots†¦[is] an assembly united by a desire to rebel’ (Spence, 2012). Amongst the rebels is street artist and ex-branding photographer turned contemporary artist (lamono, 2012), Vermibus. The principle of his work is the appropriation of designer advertising posters found publically, as a statement against the image of our materialistic consumer driven society (Finucane, 2012). The title of Vermibus’ current series ‘Unmasking Kate’ refers to both his method of appropriating the posters and to his subject, namely the model Kate Moss. Vermibus argues that he uses Moss’s image ‘†¦because she has been the flagship of fashion for the last 20 years’ (Lamono, 2012) and is therefore an easily recognizable icon of modern fashion and consumer society ‘Kate Moss †¦had to construct thousands of masks to hide her fears†¦ [she] internalized those masks from the beginning and we bought them all†¦Ã¢â‚¬â„¢(Lamono, 2012) Vermibus reveals his ideas about masks fueled by the advertising industry. He further uses Moss’ image to show, simultaneously, the vulnerability of the human subject and the medias exploitation of the notion of celebrity. This theme parallels the way Andy Warhol used Marilyn Monroe’s image after her death (Modern Masters: Andy Warhol, 2010). Likewise, the Chanel exhibition echoes some Warhol themes, yet using the celebrity image to celebration its brand and product originally from the 1950’s (Modern Masters: Andy Warhol, 2010). The exhibitions work on Warhol themes differently either to criticize or celebrate advertising and product branding (Modern Masters: Andy Warhol, 2010). The title of the exhibition ‘The Little Black Jacket: Chanel’s classic revisited’ uses a play on the now clichà ©d notion of ‘the little black dress’ this seemingly playful reference to an item that Coco Chanel arguably made ubiquitous in 1926 (Fritz, 2012) as ‘a uniform for all women of taste’ (Crystal, 2007) carries the suggestion that the redesigning of the Chanel jacket has caused the garment to become as revolutionary and versatile as the little black dress and thus deserves the same universal appeal and fashionable credibility. This is further reflected in the exhibition’s promotional use of words such as ‘classic’ (Armstrong, 2012), ‘iconic’ (Saatchi, 2012) and ‘timeless’ (The Exhibition Opening – The Film, 2012), phrases often made in reference to the little black dress, conveying the item as an essential part of both a man and woman’s collection, in this way almost surp assing the success of the little black dress. Despite their difference, the most prominent connection between both exhibitions is the use of fashion photography. While Vermibus appropriates already publish photographic based adverts, Lagerfeld endeavours to create a series of fashion photographs, seemingly ready for an advertising campaigns (fig:1) sans the alluring taglines and buyer information. However, perhaps text is not necessary in conveying advertising messages: ‘As advertising has become so subject to the influence of photography that in some cases it is nothing other than fashion photography in its pure form.’ (Zahm, 2003 p.267) Lagerfeld’s photography could, therefore, be read as adverts for the Chanel jacket. This is illustrated in the use of a shallow depth of field added to the blank studio backdrop, uniform in all of Lagerfeld’s shots and reminiscent of many advertising campaigns. The technique seems to encourage the viewer to read the model as the main focus of the shot. The positioning of the models, strictly following the rule of thirds in all displayed images, seems actively styled to further accentuate the Chanel jacket as it is after all the subject of the photographic exhibition and perhaps the product to be endorsed. Looking at the images from this angle makes the work seems more sinister; putting the gallery viewer in the position of a consumer. Vermibus’ acquired advertising posters are often comparable in style and content to those featured in the Chanel exhibition. The Vermibus technique involves the systematic removal of layers of gloss and colour from the face of the models (fig:2) using solvents such as white spirit ‘in a unique painting counter-action’ (Open Walls Gallery, 2012) creating gestural, painterly brush marks reminiscent of Lucian Freud ‘s ‘naked’ series (fig:3). This method of working directly on to the photographic image creates an interesting juxtaposition between the flat, glossy, original photographic elements left untouched in the clothe and hair of the advert compared to the textured, painterly brush marks and colours crated by the solvents application on the glossy flesh of the models image (Finucane, 2012). This all helps to convert the adverts ‘†¦flawless and sanitized icons†¦into harrowing and contorted figures evocative of ‘Francis Bacon’s seminal works’ (Finucane, 2012) (fig:4). Through this treatment Vermibus is trying to uncover the essence of the figures by ‘dehumanizes those figures †¦ trying to find the aura of the individual, the personality that was lost†¦Ã¢â‚¬â„¢(Moniker Art Fair, 2012) in the world of advertisement, which seems in direct contention with the image and brand driven concept of the Chanel exhibition. Nonetheless, a form of distortion is also evident in the instillation part of the Chanel exhibition (fig:5), large glass etched version of selected prints create intertextual connections to the work of pop artist Roy Lichtenstein (fig:6) namely in the use of the pixelated bendy dots and primary colours. Through pixelating the benday dots Lagerfeld seems to marry a nostalgic past of image reproduction with modern-day digital innovations. This mirrors the merging of past and present in fashion exhibition. The link to Pop Art is further contextualised as the original Chanel jacket would have debuted around the time that the pop art movement was emerging (Gersh-Nesic, 2012). Unlike many Pop artists and Lagerfeld’s work, Vermibus eradicates branding from his work. Then returns the adverts to their original places in the advertising shelters as ‘gifts for the passers-by’ (Moniker Art Fair, 2012 p.19). As he stats that ‘private companies have taken over these spaces and what I want to do is return them to the public’ (Lamono, 2012). Chanel’s exhibition in this way also stands in contrast to the notion that a luxury brand ‘buys its way into our public spaces [and it] must be passively accepted as a one-way information flow.’ – (Klein, 2002). This is an argument held and expressed within the work of Vermibus. Instead of following this traditional model of advertising which relies heavily and spend vast amounts of money on limited single-way communication advertising (Jackson, 2009), Chanel arguably used a credible gallery to advertise under the guise of culture enrichment; a ‘more interactive, experiential and customised communication’ (Jackson, 2009, p. 273). However, Anderson (2000) argues that shows like this ‘illustrates [the] approaches taken by those in the commercial sphere, who are completely unfettered by museological traditions’ (Anderson, 2000, p.386). However, the Saatchi gallery; was set up by Charles Saatchi like many ‘high net worth individuals who operate their collections like museums for the public’ (picassomio.com) thus needs not to uphold traditions of the museum and is not duty bound to provide advertisement-free exhibitions. This may seem like devious undercover advertising ‘†¦however visitors will construct their own coherence†¦.which may or may not comply with that of the curator†¦'(Hooper-Greenhill, 2000, p.7) thus the advertising undertones of the exhibition may be passively accepted or rejected by viewers. In this way Chanel opens the flow of communication, although, arguably ‘even the best fashion photography is still an industry in service of industry’ (Zahm, 2003, p.265). Therefore, in blurring the lines between free cultural experiences and marketing gimmicks Chanel is clearly attempting to increase their revenue, as Lagerfeld affirms ‘I am not a commercial person †¦ but the final complement is†¦when you buy [the product]’ (The World of Karl Lagerfeld, c.2010). The fact that Lagerfeld’s creative and corporate elements merge in the exhibition is sinisterly convenient ‘†¦it is undeniable that the motivations of designers to co-operate with curators in having their work displayed in museums are largely about prestige, self-promotion and profit’ (Anderson, 2000, p. 375) marring the impression of such exhibitions as nothing more than an oblique advertising campaign. The ‘anti-publicist’ (Lamono, 2012) Vermibus’ illustrates his distain for the advertising industry which Lagerfelds work seems to represent, ‘the brands goal is to remove the model’s identity†¦the model is not a person any more but an image whose only value is for selling’ (Finucane, J. 2012). Vermibus’ ideas are reminiscent of the Situationist International’s concepts of the spectacle (Debord, 1957-61) equally, Vermibus’ appropriated posters carry strong connections to their notion of detournement ‘reusing preexisting†¦elements in a new ensemble’ (Debord, 1957-61). Thus Vermibus’ symbolic use of white sprit on adverts, can act as an allegory for reestablishing identity from the spectacle. This notion of brands taking over ones identity is also suggested in the Chanel exhibition video ‘†¦and with each person’s personality the jacket lives through them †¦Ã¢â‚¬â„¢ (Chloe Moretz cited in ‘The Exhibition Opening -The Film’ 2012) presenting the consumer product as a sort of symbiotic parasite using and replacing the identity of the wearer. This relates further to Williamson’s (1995) argument that ‘people are made to identify themselves with what they consume’ (Williamsons 1995 p.13). People become use brands and styles to project their identity through non-verbal communication thus: ‘Advertisements are selling us something else besides consumer goods†¦in providing us with a structure in which we and those goods are interchangeable, they are selling us ourselves.’ (Williamson, 1995 p13) This would explain why so many of the videos produced by Chanel surrounding the Black Jacket exhibition continuously stress the versatility of the jacket ‘†¦ You can do a lot with it†¦it suits everyone’ (Carine Roitfeld cited in Making of – The Video, 2012) conveying almost subliminally that people need to have this item that can fit their already established style; ‘the bohemian look, the Victorian look, the more kinda [sic] fun Kate Moss look†¦Ã¢â‚¬â„¢ (Chloe Moretz cited in The Exhibition opening -the film’ 2012) further promoting its value and illustrating the ‘cannibalistic’ nature of fashion (Zahm, 2003 p. 266), which feed into the spectacle (Debord,1957-61) by assimilating and reproducing the same items and feeling of desire within society. The Chanel exhibitions use of celebrity images differs to that a Vermibus, as it seems to reflect the wider marketing idea that using celebrity endorsements is a ‘strong marketing plus†¦Ã¢â‚¬â„¢ (Jackson, 2009 p191). Along side the photographers the behind the scenes film presents testimonials from celebrities ‘I consider it [the Chanel jacket] a prized possession. I feel very lucky’ (Sarah Jessica Parker cited in Making of- The Video, 2012) enticing the viewer to desire the item. Atkin (2010) contend that this is because humans are prehistorically ‘hardwired’ to want to glean information about how to become successful survivors by watching and copying the most successful in our society, i.e. the celebrities (Star Suckers, 2010). advertisers like Chanel are manipulating this evolutionary flaw to give ‘[a] product which initially has no meaning †¦.value by a person†¦who has a value to us†¦Ã¢â‚¬â„¢ (Williamson, 1995, p.31). In contrast, celebrities are utilized by Vermibus to liberate the human being from the celebrity ‘mask’ evoking sympathy from the audience however, it is not clear how much the celebrity image entices the viewer’s prehistoric urge and interest in Vermibus’ work. In conclusion the two exhibitions on the surface have very different and opposing motivations. However, on inspection both deal with similar themes of fashion photography, advertising and celebrity in different ways. Although it falls beyond the scope of this essay compare every element of the exhibitions it has attempted to demonstrate that Lagerfeld’s approach has strong advertising undertone, while Vermibus’ work is anti-publicist in nature. Therefore, despite displaying work at arts fair, with the purpose of promoting and selling his work, the artist maintains his anti-establishment ethos ‘Being at [an art fair] is another way to attack from within’ (Lamono, 2012) which conveys the fundamental difference between the two exhibitions; they both exploit the image of celebrities to draw attention to their work but while Vermibus’ ideology remains paramount it would seem that for Lagerfeld the financial gain is the principal purpose of the exhibition. References: Anderson, F (2000) ‘Museum as Fashion Media’, in Bruzzi, S. and Gibson, C. (eds.) Fashion Cultures: Theories, Exploration and Analysis. London : Routledge pp. 371-389. Armstrong, L. (2012) ‘Chanel’s Little Black Jacket: How Chanel split the fashion atom’, Telegraph [Online] Available at: http://fashion.telegraph.co.uk/news-features/TMG9602510/Chanels-Little-Black-Jacket-How-Chanel-split-the-fashion-atom.html (Accessed 3/12/2012 Crystal, (2007) Little Black Dress Quotes. Available at: http://no-white-marks.blogspot.com/2007/10/little-black-dress-quotes.html (Accessed: 3/12/2012) Debord, G. (1957-61) ‘Writings from the Situationist International’ in Harrison,C and Wood, P.J. (eds.) (2002) Art Theory 1900-2000. Oxford:Blackwell. pp.701-707 Finucane, J. (2012) New art New Ideas London: Moniker Arts Fair Fritz, M. (2012) A Short History of the Little Black Dress. [Online]. Available at: http://www.realsimple.com/beauty-fashion/clothing/dresses-skirts/little-black-dress-00000000046948/index.html (Accessed: 29/11/12) Gersh-Nesic, B. (2012) About.com. Available at: http://arthistory.about.com/od/modernarthistory/a/Pop-Art-Art-History-101-Basics.htm (Accessed: 08/11/12) Hooper-Greenhill, E (2000) Museums and Interpretation of Visual Culture London: Routledge Jackson, T. and Shaw, D. (2009), Fashion Marketing Hampshire: Palgrave Klein, N. (2002) No Logos. New York:Picador Lamono (2012) Vermibus, Attack From Within [Online]. Available at: http://lamonomagazine.com/hunter/vermibus-ataque-desde-dentro/ (Accessed 28/11/2012) Making of – the video,’ 2012, by Chanel [online] available at: http://thelittleblackjacket.chanel.com/en_GB/makingof (Accessed 16/11/12) Modern Masters: Andy Warhol – Documentary – Artist, (2010) by Alastair Sooke, UK [Online] available at: http://www.youtube.com/watch?v=sWU7I6fGpMI&feature=share&list=LLU15G_d3N4Dd14H85X-eCCg (Accessed: 08/11/12) Moniker Art Fair, (2012) Moniker Art Fair About. [Online] Available at: http://www.monikerartfair.com/2012/ (Accessed: 18/10/12) Open Walls Gallery (2012) Vermibus [Online] Available at: http://www.openwallsgallery.com/artist/vermibus (Accessed 15/11/12) Picassomio, General Art Articles[online]. Available at: http://www.picassomio.com/art-articles/what-is-the-difference-between-a-museum-and-a-gallery.html (Accessed: 28/11/12) Saatchi gallery (2012) The Little Black Jacket. [Online] Available at: http://www.saatchi-gallery.co.uk/current/the_little_black_jacket.php (Accessed: 15/11/12) Spence, R. (2012) ‘Go forth and multiply’, The Financial Times [Online] Avalible at: http://www.ft.com/cms/s/2/0a062f4c-1486-11e2-8cf2-00144feabdc0.html#axzz2EEPdaatD (Accessed: 14/11/12) Star Suckers, (2010) by Chris Atkins UK [DVD] The Exhibition Opening – The Film, (2012) by Chanel [Online] Available at: http://thelittleblackjacket.chanel.com/en_GB/exhibition/london (Accessed: 16/11/12) The World of Karl Lagerfeld, (c. 2010) by Anjali Rao China [Online] Avalible at: http://youtu.be/m0ljhBgy0Hc (Accessed 20/11/12) Williamsons, J (1995) Decoding Advertisements: Ideology and Meaning in Advertising. London: Marion Boyars Zahm, O. (2003) ‘On the Marked Change in Fashion Photography’, in Welters, L. and Lillethon, A. (eds.) (2007) The Fashion Reader. Oxford: Berg, pp. 263-269.

Case Study Essay Example | Topics and Well Written Essays - 2500 words - 1

Case Study - Essay Example The operations manager is therefore supposed to work towards these objectives. For a company in the business of customs gear business, it is very important to; i. Provide a cost effective solution to the customer, as the gears are required for a pre-defined task for fulfilling the customer’s needs. A custom made product of course costs more than a product available off the shelf. But it certainly doesn’t mean that Eastern Gears Inc starts charging rates high enough for customer to be dissuaded for their second and subsequent dealings with the company. ii. Flexibility in operations according to the market demand or customer preferences is a prerequisite for any business to survive. It is the market force which ultimately decides the demand of the company and its product. Flexibility in a Gear business is of particular importance as it calls for a range of adjustments in the molding, casting and finalizing the product. A T Kearney (2004), a company that formulates strategic plans, states that Flexibility in general calls for extra capacity and inventory, which appears to be unlikely at present in case of Eastern Gear. As the company has already experienced in the past, customers often come out with request for changes many times after placing the order, Eastern Gear Inc will therefore have to be ready for such an eventuality, with as high flexibility as possible, provided it doesn’t become pain in the neck for the company. This becomes all the more crucial for large order business, as they are the one’s who provide mo re business to the company. iii. Delivery schedules are meant for being adhered to. Customers prefer to have realistic deadlines from the company. Eastern Gear Inc. has been experiencing some difficulties in meeting the delivery schedules owing to some complex procedures. But the company has also been able to meet

Two assignments Assignment Example | Topics and Well Written Essays - 1000 words

Two assignments - Assignment Example This is not to downplay a department but to find the root cause. It is clear that it a manager must be cognizant of these elements and try to bridge any discrepancies that occur. In that efforts, the supervisor’s motives for wanting the information should not be retaliation but to improve the process overall. The focal point of all this should be to enhance the process itself into a seamless manner, not to point fingers at each other. â€Å"Successful leaders such as IT managers are excellent deflect attention away from them and encourage others to voice their opinions.† It is clear that the IT manager must lead their team to the right goals and understand this data to analyze for the well-being of the organization itself. As an IT manager, doing a case analysis is important even for security and social engineering purposes. When it comes to securing these elements, human flaws are always a huge issue. Social engineering has plagued many organizations because attackers have found constructive ways to loop into the system. Social engineering for user domains should be based on layering approach. For instead, spoofing is conducted on regular basis for a user account domain password, which can expose vulnerabilities in the system itself. The job of the IT manager therefore is to rectify these issues if it hurts the organization in any shape and form. This cannot be conducted without understanding the root cause of the department failures. Registration system stakeholders will be students, administrators, teachers and registration office. If a student drops the class, the registration gets affected because they have to pool this resource out to someone. If a teacher does not teach a class, students get affected because of the entity relationships that are created. In order to be very comprehensive in the interview process, it

Research methods assignment Paper Example | Topics and Well Written Essays - 2500 words

Methods assignment - Research Paper Example Mekonnen and Harris (2006) is an empirical investigation whether â€Å"cause-related† and â€Å"affinity marketing† enhances the product’s appeal and provides product differentiation (p. 135). In particular, the study investigated whether â€Å"linking a commercial organisation’s product with a non-profit organisation enhances the product’s appeal and provides differentiation from rival offers† (Mekonnen and Harris 2006, p. 135). Mekonnen and Harris (2006, p. 135) articulated that the purpose or aim of their study is to investigate the efficacy of the premise of â€Å"affinity marketing†. The research objectives were not explicitly stated but it can be surmised that, implicitly, the research objectives covered identification of values associated with the use of affinity cards and how they affect the likelihood of donation. 2.0. Literature Review Based on a review of literature, Mekonnen and Harris (2006, p. 136) claim that â€Å"there are significant gaps in understanding consumer attitudes† towards products being sold by â€Å"cause-related marketing† and â€Å"affinity marketing†. ... 136). Mekonnen and Harris (2006, p. 135) declared their work as a challenge to the assumption â€Å"that linking a product to a non-profit organisation enhances its appeal and provides a basis for differentiation.† For Mekonnen and Harris (2005, p. 135), â€Å"the efficacy of this premise depends on the type of cause or affinity group.† Unfortunately, however, the review of literature of Mekonnen and Harris (2006) does not amount to an illustration of the â€Å"significant gaps in understanding consumers’ attitude† in the literature. It is not clear from the review of literature what the various studies have made or the findings they have reached on the relationship between â€Å"cause-related market marketing† and â€Å"affinity marketing† on one hand and product sales on the other. Perhaps there was no empirical study done at all prior on cause-oriented and affinity marketing prior to their study but this is not clear from the review of lit erature. However, because of the failure to illustrate what empirical studies have done or to explicitly clarify at least that no study has been done, the review of literature fails to identify precisely or to justify precisely the significance of the Mekonnen and Harris (2006) endeavour in the overall literature on the subject. The review of literature narrated that cause-oriented marketing has been conventionally characterised as being focused on short-term campaign initiatives (Mekonnen and Harris 2006, p. 136). It also pointed out that the affinity marketing is a sub-set of cause-related marketing (Mekonnen and Harris 2006, p. 136). However, citing the work of Berger and others in 1999, Mekonnen and Harris (2006, p. 136) clarified that â€Å"affinity marketing can