Thursday, January 12, 2012

Hush Puppies Men's Hawkins Oxford,Black,14 M US

Hush Puppies Men's Hawkins Oxford,Black,14 M US Review


Hush Puppies Men's Hawkins Oxford,Black,14 M US Feature

  • Waxy distressed leather/suede
  • Durable hand stitching
  • Padded collar, fabric lining
  • Cushioned footbed
  • Shock-absorbing, traction rubber sole

Hush Puppies Men's Hawkins Oxford,Black,14 M US Overview

H12896002-14-M (Medium) Color: Black Tumbled Leather / Suede, Size: 14, Width: M (Standard) Available in Multiple Colors! Hawkins Oxford by Hush Puppies Features: -Men's Hawkins Oxford in Black Tumbled Leather / Suede. -Available in whole and half sizes. -Available in Medium, Wide and Extra Wide width. -The outsole is constructed out of two color rubber. -The upper is constructed out of waxy distressed leather mixed with suede and textile. -Part of the Core Explorer collection. -Hand-stitching and reverse outward seams. -Fully lined with a soft textile provides moisture wicking away from the foot. -Cushion polyurethane footbed. -Soft polyurethane section in the heel of outsole for extra shock absorption. -Outsole designed to provide excellent traction in rugged outdoor conditions. -Available in Black Tumbled Leather / Suede (H12896002) and Red Brown Tumbled Leather / Suede (H12896022). A relaxed oxford for with hand-stitched seam. Lined with a breathable, moisture wicking fabric. Shock absorbing outsole and cushioned footbeds for comfort. Tread design provides exceptional traction for the outdoors. Need help finding or measuring the right size for you? Need to convert your size between country standards? Click here to see our Size Guide!

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*** Product Information and Prices Stored: Jan 12, 2012 11:51:04

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Friday, January 6, 2012

Licensing: Help To Grow Existing Product Lines

!: Licensing: Help To Grow Existing Product Lines

The attraction of licensing trademarks for business intentions appears to be at an all-time high, mostly in the fashion arena where consumers are buying more licensed products and brand names than ever before. For retailers, licensing opportunities provide them with a point of difference from their competitors.

Licensing is leasing a legally protected property (like trademarked or copyrighted name, logo, likeness, character, phrase or design) to another party in combination with a product, service or promotion. It is a process which lays stress on consumer management, development of brand equity in line with international imagery, providing right shopping ambience and perhaps is less about manufacturing. Licensing is a way of growing with an already established brand. It provides the brand recall benefits, which are not achievable in case one comes out with a brand new image.

There are many types of licensing business like art & design, corporate brands, events, fashion brands, food & drink, institutional, magazine brands, music, personalities, sports and television licensing to name a few.

The advantages of licensing for licensors

The main advantage for a licensor is the facility to use and develop its brand or property.
Licensing can achieve this by:

. Improving its brand existence at a retail or distribution outlet.

. Making further brand perception to support its core products or services.

. Providing and increasing its core values through various links with the licensed products/service or category.

. Coming into new markets (consumer or geographical) which were unfeasible with its own strengths.

. Making new revenue flows, often with little involvement or additional financial resources

The advantage of licensing for licensees

The main advantage for a licensee (particularly manufacturer or retailer) is the capability to considerably upsurge consumer interest in and sales of its products or services.
Licensing can achieve this by:

. Shifting the values and consumer favour towards the licensed product or service.

. Providing added value and differentiation in the competitive market.

. Offering additional marketing support or speed from the core property's activity given by the licensor.

. Attracting new target markets who have not been paid attention in a licensee's product or service.

. Providing credibility for shifting into new market sectors through product extension.

. Attaining additional retail space and favor.

Licensing: The increasing scenario worldwide

Reviewing the year-after-year worldwide retail sales from 2000 to 2004, the licensing business this year has shown an increase. In general, 2004 anticipated worldwide retail sales of licensed business increased 1.5 per cent to 5.3 billion against 2003 2.7 billion, with the USA making nearly 0 billion (nearly .805 billion in royalties) and Europe billion. In UK, the brand licensing industry is worth approximately £7billion in retail and £368million in royalties.

Recently many international textile-garment-apparel manufacturing companies are in news due to their licensing agreement with many other companies.

Everlast Worldwide Inc, which is a men's and women's apparel and accessories seller, recently announced signing a new four-year license agreement with Jacques Moret Inc of New York City. As of January 1, 2006, this new agreement grants Moret, a major supplier to the US apparel market, a license for Everlast men's activewear, sportswear, outerwear and swimwear in the United States. Moret will partner with M. Hidary and Company Inc for design, development and sales of the activewear portion of the license. M. Hidary has achieved great success with its vast experience in the men's branded activewear business. They will purchase certain men's apparel inventory owned by Everlast and assume other transitional costs associated with the men's business. Additionally, certain key sales, merchandising and operational personnel will join the new group.

Burnaby, B.C.-based ID Wear, a group of Pimlico Apparel, has recently received the sole license for the manufacture, design and sale of the Playboy brand of high-end denims for the North American market. Pimlico produces denim products for its own brands, ID Wear and private labels such as Nordstrom's and Harley-Davidson. Moreover, ID Wear is the first North American company to provide laser logoing on its garments.

Marvel Enterprises, Inc., a global character-based entertainment licensing company, recently declared that it is strengthening its important apparel licensing business with leading partners Kids Headquarters (as master apparel licensee) and Mad Engine (which will spearhead t-shirts and tops). This statement means a brand new partnership with Kids Headquarters and an expanded relationship with Mad Engine.

Juicy Couture has partnered with Sàfilo Group for a full eyewear collection that it will introduce in spring 2006. A budget-priced set of sunglasses and ophthalmic eyewear for men will also be introduced via an agreement between fashion brand Haggar Clothing Co. and The Feldman Corporation's I-dealoptics division.

Aviation and military-inspired leather outerwear and sportswear brand Avirex signed a multi-year license agreement with Kids Headquarters for sportswear and outerwear for boys.

Outerwear and Sportswear Company G-III Apparel Group obtained privately held outerwear companies Marvin Richards and Winlit Group Ltd. G-III now possesses licenses for Calvin Klein and Guess men's and women's outerwear, Tommy Hilfiger leather outerwear, London Fog and Pacific Trail.

Top 5 Children's Apparel Character Licenses: 2004

1. Winnie the Pooh & Friends

2. Disney Princess

3. Spider-Man

4. Mickey Mouse & Friends

5. SpongeBob SquarePants

Sesame Workshop and Pearl Izumi, an athletic-wear producer, have tied up to launch Sesame Street cycling jerseys and socks. Through a licensing agreement with plus-size apparel manufacturer Bodywaves, Inc., Champion has set up Champion Plus, a full line of women's activewear that covers both performance fitness and "ath-leisure" styles. Warner Bros. Consumer Products and Tunk Limited., a CINQ Group brand, have partnered to make tops, jackets and headwear.

Licensing practice in India on a rise.

Nowadays, many Indian textiles companies are entering into licensing agreements with international brands, leading to the growth of the concept of business through licensing.

Gokaldas Images Ltd, which owns and markets the apparel brand Weekender, has signed an agreement with the World Wrestling Entertainment (WWE) for licensing and marketing the apparels with the WWE logos in the domestic market. A successful form of licensing - sports licensing, has developed into a multi¬billion dollar systematic business and has increased its scope to sporting events like WWE, the Olympics, EURO, Cricket and Soccer World Cups. It is estimated that one fifth of the WWE's $ 300 million per annum profit is achieved by licensing. Moreover, Weekender - Gokaldas Images Ltd. markets the Enamour lingerie as well.

Character and entertainment licensing too has benefited in last few decades, making billions of dollars of profits each year.

S. Kumars is planning to introduce six new international brands into the country and it is looking towards a long-term partnership with these international textile brands.

Recently, Indus Clothing Ltd signed a licensing agreement with Disney cConsumer Products (DCP) to produce its kids' wear brand Disney cJeans in India. This deal will permit Indus Clothing Ltd to venture into standalone retail stores for the complete product line covering the Disney brand. The company intends to invest about Rs. 21 crore to establish 20 standalone Disney jeans outlets by the end of 2007 and 50 outlets the following year. Their main focus is to put up a strong retail network for the brand and subsequently plan to develop and maintain a consistent brand image. Indus Clothing Ltd is also the licensee for Lee Cooper apparel to market their products in India.

Madura Garments possesses the world license for three brands namely, Louis Philippe, Allen Solly and Peter England. It has now also come into a strategic tie-up with the fast-growing brand Esprit, with an objective of strengthening its brand portfolio in key segments like women's segment, premium relaxed clothes segment and accessories. An Italian brand that is synonymous with MTV, UMM (Underground Music Movement) has joined Pantaloon, one of India's largest retail chain stores.

American innerwear brand Jockey entered the Indian market in 1998 through a marketing arrangement with Bangalore based Page Apparels. Besides the normal production and distribution rights in India, the brand also has a buyback arrangement with the parent company.

The Shirt Company (TSC) has been granted the license by the owner of the Barbie brand - Mattel, to make and retail Barbie apparel in India. For this it works closely with Smith & Brooks, the official licensee for Barbie clothing in the European market. Moreover, the apparel division of the Forbes Gokak Group is the licensee for brands like Daks, Trussardi and Savile Row.

Tommy Hilfiger entered the Indian market through a joint venture between the Murjani Group and the Arvind Mills. Called the Arvind Murjani Brands Private Limited, AMB has the licensing agreement for marketing and distributing Tommy Hilfiger apparel in India. The Murjani Group, located in New York, was established in 1930 by B K Murjani. By 1958, with a production of over 10 million units per annum, Murjani's became one of the biggest apparel producers in the world.

It was in the early 1970s, when Murjani initiated brand name development and marketing. Over the years, the group has widened and introduced a range of major global brands, such as Gloria Vanderbilt, Coca-Cola Clothes and Tommy Hilfiger. Fashion retailer French Connection UK has firmed its plans to launch the brand in India. The company is assumed to be in talks for the licensee deal with Vijay Murjani, Murjani Group.

Many companies prefer licensing in order to reinforce brand image, create recognition and build brand equity. Licensing is the business arrangement in which the proprietor of the 'product', 'trade mark' or 'brand' allows some other group to use its brand name in return for specified royalties or payment.

Recently, the government of India has approved the UK-based kids' care retail chain Mothercare Plc's offer to set up a 100 per cent subsidiary in India with an investment of Rs 32.25 crore. The Indian division will find and purchase textile and garments from local traders and would promote the same in India through franchise operation with third party business associates.

Mothercare has already provided a license to Shopper's Stop to use its trade mark and brand name on the products to be supplied by its Indian subsidiary to the retail major for sale and distribution in India.

Indian players have used the licensing practice after the huge success of the strategy in the international market. The inclination for making business through licensing has assisted many companies to post some big alternations of the otherwise 'own brand extension' concept. Oxford Industries, Inc. is an illustration of how a company can get bigger with licensing. The company is a diversified international producer, licensee and wholesale marketer of branded and private label apparel for men, women and children.

Oxford offers retailers and consumers with a huge variety of apparel products and services to suit their individual requirements. Its major brands cover Tommy Bahama, Indigo Palms, Island Soft, Ben Sherman, Ely and Walker and Oxford Golf. These brands are offered in national chains, specialty catalogues, mass merchants, department stores, specialty stores and Internet retailers. The company also has exclusive licenses to make and sell several product categories under the Tommy Hilfiger, Nautica, Geoffrey Beene, Slates, Dockers and Oscar de la Renta labels.

Fashion licensing is largely divided into two categories: apparel brands and designer names. The priority of fashion licensing is brand extension, which is mainly obtained by designers through licensing products other than their main apparel lines. Calvin Klein remains one of the premier examples for this type of licensing agreement, as its income tripled after adopting such a marketing strategy.

In 1997, licensing, which is responsible for more than 90 per cent of the label's sales, has now made the brand's global retail volume of about $ 5 billion from $ 2.1 billion in 1994. Many international brands catering to Indian players for licensing is a clear signal that a market which was premature a couple of years back, has now been accepted by the entire business community and will reach to its maximum level in the coming years. Licensing prospects now exist in all spheres. Leading international names that offer huge opportunities to harness the power of their name are Warner Bros, You and Me Baby, Nickelodeon, Barcode Kitties and BBC Worldwide, that is famous for operating brand names like Teletubbies, Tweenies and Fimbles.

Conclusion

In year 2004 licensing business shown tremendous growth, with notably 5.6 percent increment in entertainment, 3.8 percent in brands & trademarks and also showed good growth in other categories compared to 2003. So as character and entertainment licensing business showed a healthy growth in last few decades, and making billions of dollars of profits each year, the prospects of over all business, particularly fashion, textile and garment retailing will definitely have a bright future.


Licensing: Help To Grow Existing Product Lines

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Saturday, December 31, 2011

Learning Spanish Prepositions Other Than Por and Para

!: Learning Spanish Prepositions Other Than Por and Para

In this lesson we will cover the topic of learning Spanish prepositions other than por and para. Considering that there are so many prepositions and because they have so many rules, let's leave "por and para" for our next lesson. We will study all of the other Spanish prepositions in this lesson while paying attention to the examples.

A:

- Movimiento: We use "A" with verbs that indicate moving and destinations. For example: Viajar/Salir/Venir/Ir (To Travel/to go out/to come/to go)
"El viernes viajaré a Montevideo para asistir a una conferencia." (On Friday I will travel to Montevideo to attend a conference.)
• Indirect Object: Introduce "to who" in a sentence.
"Le lave las copas a mi madre." (I washed the cups for my mother.)
- Direct Object: Introduce the indirect object when the "qué" in a sentence is a person.
"Veo a Juan todos los días." (I see Juan every day.)
- Sometimes it is synonymous with "Para". When "para" is used as an objective, we can use "a".
"Vine a jugar con los niños." (I have come to play with the kids)
- Distancia: Mi casa está a 5 cuadras de aquí. (My house is 5 blocks away)

ANTE:

- Place: "Ante"is a preposition whose meaning is "in front of/before". But we can speak about a real position, presence or where we are in relation to a situation (I can see this situation).
"Habló ante 1.500 personas".(He spoke in front of 1.500 people)
"Ante un nuevo incidente laboral, su jefe decidió despedirlo".( Before a new work-related incident, his boss decided to fire him)
- "Ante todo": in first place. "Ante todo quiero decirles....." (First, let me tell you...)

BAJO:

- Inferior Position: As with "ante"we are speaking about a real position: "El boligrafo está bajo el libro" (The pen is under the book), or localized in a situation: "Estoy bajo las órdenes de mi jefe" (I am under orders from my boss).

CON:

- Using "Con" we are speaking about company.
"Vivo con mis padres" (I live with my parents), "Fui al cine con Ramón" (I went to the cinema with Ramón).
- Content: "Tengo una caja con fotos viejas" (I have a box with old photos).
- Instrument: "Lo escribió con lápiz" (She wrote it with a pencil).
- Mode: "Ella lo dijo con miedo" (She said it scared)

CONTRA:

- Versus: El domingo van a jugar un partido de fútbol River contra Boca. (On Sunday River will play against Boca in a football match. )
- Position: We use "contra"to indicate that something is against another thing. For example: "El sillón está contra la pared" (The couch is against the wall)

DE:

- Possession: "¿De quién es el gato? El gato es de Melina." (Who's cat is that? The cat is Melina's.)
- Origen: "¿De dónde son tus alumnos? Mis alumnos son de Oxford". (Where are your students from? My students are from Oxford) "La mesa es de China". (The table is from China)
- Material: "¿De qué material es la copa? La copa es de cristal" (What material is the cup? The cup is made of glass)
- De/a: "La clase es de 9 a 1, de lunes a viernes".( The class is from 9 to 1, from Monday to Friday)

DESDE:

- "Desde" is the starting point, in Time or Space.
"Estudio español desde 1998". (I have studied Spanish since 1998)
"He venido caminando desde mi casa". (I have come walking from my home)
- Desde/Hasta: "La clase es desde las 9 hasta la 1". "Desde el lunes hasta el viernes". ( The class is from 9 to 1, from Monday to Friday)

EN:

- Location: "El gato está en la cocina"(The cat is in the kitchen)
- Date: With "en"we can indicate a date. "Nos conocimos en 1998"(We met in 1998).
- Future: "Terminaré la facultad en 3 años". (I will finish university in 3 years)

ENTRE:

- Between: "Mi casa está en la calle Cabrera, entre Medrano y Figueroa" (My house is on Cabrera street, between Medrano y Figueroa).
- Cooperation: "Lo hicimos entre todos". (It was made by all)

HACIA:

- Direction: "Si vamos hacia el norte tenemos que llevar ropa de verano"( If we are going to the north we have to wear summer clothes)

HASTA:

- "Hasta" Is the Arriving Point in Space or Time: "Hay 10 minutos desde aquí hasta mi casa".( It is 10 minutes from here to my house).
- We use "hasta" frequently to say: see you tomorrow/later/ on Monday: " Hasta mañana/luego/el lunes."

SEGÚN:

- According to: "Según Freud los sueños son manifestaciones del inconsciente".( According to Freud dreams are manifestations of the unconscious)
- Depending: sometimes it is synonymous with "depends": "No sé si voy en auto o colectivo, según dónde sea"( I do not know if I will go by car or bus, it depends on where it is)

SIN:

- Without: "Tomo el café sin azúcar"(I drink coffee without sugar)

SOBRE:

- The topic: "Estamos hablando sobre la amistad entre el hombre y la mujer". (We're talking about friendship between man and woman)
- Place: "On". "El plato está sobre la mesa"( The dish is on the table)

TRAS:

- Behind: We are speaking about a position, or behind a situation.
"La policía se fue tras el ladrón".( The police went after the thief)
"Tras los robos, la policía decidió investigar".( After the robbery, the police decided to investigate)

For further help on this topic I recommend the book Practice Makes Perfect: Spanish Pronouns and Prepositions by Dorothy Richmond. For conjugating Spanish verbs you may want to try the Verbarrator software. And for very a comprehensive book on Spanish grammar in general, try A New Reference Grammar of Modern Spanish by John Butt.


Learning Spanish Prepositions Other Than Por and Para

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Thursday, December 22, 2011

How To Understand Cross-Cultural Analysis

!: How To Understand Cross-Cultural Analysis

Cross-cultural analysis could be a very perplexing field to understand with many different viewpoints, aims and concepts. The origins of cross-cultural analysis in the 19th century world of colonialism was strongly grounded in the concept of cultural evolution, which claimed that all societies progress through an identical series of distinct evolutionary stages.

The origin of the word culture comes from the Latin verb colere = "tend, guard, cultivate, till". This concept is a human construct rather than a product of nature. The use of the English word in the sense of "cultivation through education" is first recorded in 1510. The use of the word to mean "the intellectual side of civilization" is from 1805; that of "collective customs and achievements of a people" is from 1867. The term Culture shock was first used in 1940.

How do we define culture?

There are literally hundreds of different definitions as writers have attempted to provide the all-encompassing definition.

Culture consists of language, ideas, beliefs, customs, taboos, codes, institutions, tools, techniques, works of art, rituals, ceremonies and symbols. It has played a crucial role in human evolution, allowing human beings to adapt the environment to their own purposes rather than depend solely on natural selection to achieve adaptive success. Every human society has its own particular culture, or sociocultural system. (Adapted from source: Encyclopaedia Britannica)

Generally culture can be seen as consisting of three elements:

Values - Values are ideas that tell what in life is considered important. Norms - Norms consists of expectations of how people should behave in different situations. Artefacts - Things or material culture - reflects the culture's values and norms but are tangible and manufactured by man.

Origins and evolution of Cross-cultural analysis
The first cross-cultural analyzes done in the West, were by anthropologists like Edward Burnett Tylor and Lewis H Morgan in the 19th century. Anthropology and Social Anthropology have come a long way since the belief in a gradual climb from stages of lower savagery to civilization, epitomized by Victorian England. Nowadays the concept of "culture" is in part a reaction against such earlier Western concepts and anthropologists argue that culture is "human nature," and that all people have a capacity to classify experiences, encode classifications symbolically and communicate such abstractions to others.

Typically anthropologists and social scientists tend to study people and human behavior among exotic tribes and cultures living in far off places rather than do field work among white-collared literate adults in modern cities. Advances in communication and technology and socio-political changes started transforming the modern workplace yet there were no guidelines based on research to help people interact with other people from other cultures. To address this gap arose the discipline of cross-cultural analysis or cross-cultural communication. The main theories of cross-cultural communication draw from the fields of anthropology, sociology, communication and psychology and are based on value differences among cultures. Edward T. Hall, Geert Hofstede, Fons Trompenaars, Shalom Schwartz and Clifford Geertz are some of the major contributors in this field.

How the social sciences study and analyze culture

Cultural anthropologists focus on symbolic culture whereas archaeologists focus on material and tangible culture. Sociobiologists study instinctive behavior in trying to explain the similarities, rather than the differences between cultures. They believe that human behavior cannot be satisfactorily explained entirely by 'cultural', 'environmental' or 'ethnic' factors. Some sociobiologists try to understand the many aspects of culture in the light of the concept of the meme, first introduced by Richard Dawkins in his 1976 book The Selfish Gene. Dawkins suggests the existence of units of culture - memes - roughly analogous to genes in evolutionary biology. Although this view has gained some popular currency, other anthropologists generally reject it.

Different types of cross-cultural comparison methods

Nowadays there are many types of Cross-cultural comparisons. One method is comparison of case studies. Controlled comparison among variants of a common derivation is another form of comparison. Typically anthropologists and other social scientists favor the third type called Cross-cultural studies, which uses field data from many societies to examine the scope of human behaviour and to test hypotheses about human behavior and culture.

Controlled comparison examines similar characteristics of a few societies while cross-cultural studies uses a sufficiently large sample that statistical analysis can be made to show relationships or lack of relationships between certain traits in question. The anthropological method of holocultural analysis or worldwide cross-cultural analysis is designed to test or develop a proposition through the statistical analysis of data on a sample of ten or more non literate societies from three or more geographical regions of the world. In this approach, cultural traits are taken out of the context of the whole culture and are compared with cultural traits in widely diverse cultures to determine patterns of regularities and differences within the broad base of the study.

Aims of cross-cultural analysis

Cross-cultural communication or inter cultural communication looks at how people from different cultural backgrounds try to communicate. It also tries to produce some guidelines, which help people from different cultures to better communicate with each other.

Culture has an interpretative function for the members of a group, which share that particular culture. Although all members of a group or society might share their culture, expressions of culture-resultant behaviour are modified by the individuals' personality, upbringing and life-experience to a considerable degree. Cross-cultural analysis aims at harnessing this utilitarian function of culture as a tool for increasing human adaptation and improving communication.

Cross-cultural management is seen as a discipline of international management focusing on cultural encounters, which aims to discover tools to handle cultural differences seen as sources of conflict or miscommunication.

How laypersons see culture

It is a daunting challenge to convey the findings of research and field work and discuss cross-cultural issues in diverse contexts such as corporate culture, workplace culture and inter cultural competency as laypeople tend to use the word 'culture' to refer to something refined, artistic and exclusive to a certain group of "artists" who function in a separate sphere than ordinary people in the workplace. Some typical allusions to culture:


Culture is the section in the newspaper where they review theatre, dance performances or write book reviews etc.

Culture is what parents teach their kids and grandparents teach their grandchildren.

"You don't have any culture," is what people say to you when you put your feet on the table at lunchtime or spit in front of guests.

"They just have a different culture," people say about those whose behaviour they don't understand but have to tolerate.

Different models of cross-cultural analysis

There are many models of cross-cultural analysis currently valid. The 'Iceberg' and the 'Onion' models are widely known. The popular 'Iceberg model' of culture developed by Selfridge and Sokolik, 1975 and W.L. French and C.H. Bell in 1979, identifies a visible area consisting of behaviour or clothing or symbols and artifacts of some form and a level of values or an invisible level.

Trying to define as complex a phenomenon as culture with just two layers proved quite a challenge and the 'Onion' model arose. Geert Hofstede (1991) proposed a set of four layers, each of which includes the lower level or is a result of the lower level. According to this view, 'culture' is like an onion that can be peeled, layer-by layer to reveal the content. Hofstede sees culture as "the collective programming of the mind which distinguishes the members of one group or category of people from another."

Cross-cultural analysis often plots 'dimensions' such as orientation to time, space, communication, competitiveness, power etc., as complimentary pairs of attributes and different cultures are positioned in a continuum between these.

Hofstede dimensions to distinguish between cultures

The five dimensions Hofstede uses to distinguish between national cultures are:

Power distance, which measures the extent to which members of society accept how power is distributed unequally in that society. Individualism tells how people look after themselves and their immediate family only in contrast with Collectivism, where people belong to in-groups (families, clans or organizations) who look after them in exchange for loyalty. The dominant values of Masculinity, focussing on achievement and material success are contrasted with those of Femininity, which focus on caring for others and quality of life. Uncertainty avoidance measures the extent to which people feel threatened by uncertainty and ambiguity and try to avoid these situations. Confucian dynamism. This Long-term versus Short-term Orientation measured the fostering of virtues related to the past, i.e., respect for tradition, importance of keeping face and thrift.

Trompenaars dimensions to distinguish between cultures
Trompenaars and Hampden-Turner (1997) adopt a similar onion-like model of culture. However, their model expands the core level of the very basic two-layered model, rather than the outer level. In their view, culture is made up of basic assumptions at the core level. These 'basic assumptions' are somewhat similar to 'values' in the Hofstede model.

Trompenaars and Charles Hampden-Turner use seven dimensions for their model of culture:

Universalism vs Particularism (what is more important - rules or relationships?) Individualism vs Communitarianism (do we function in a group or as an individual?) Neutral vs Emotional (do we display our emotions or keep them in check?) Specific vs Diffuse (how far do we get involved?) Achievement vs Ascription (do we have to prove ourselves to gain status or is it given to us just because we are a part of a structure?) Attitude to Time Past- / present- / future-orientatedness
Sequential time vs Synchronic time(do we do things one at a time or several things at once?)


Internal vs External Orientation (do we aim to control our environment or cooperate with it?)

Criticism of current models
One of the weaknesses of cross-cultural analysis has been the inability to transcend the tendency to equalize culture with the concept of the nation state. A nation state is a political unit consisting of an autonomous state inhabited predominantly by a people sharing a common culture, history, and language or languages. In real life, cultures do not have strict physical boundaries and borders like nation states. Its expression and even core beliefs can assume many permutations and combinations as we move across distances.

There is some criticism in the field that this approach is out of phase with global business today, with transnational companies facing the challenges of the management of global knowledge networks and multicultural project teams, interacting and collaborating across boundaries using new communication technologies.

Some writers like Nigel Holden (2001) suggest an alternative approach, which acknowledges the growing complexity of inter- and intra-organizational connections and identities, and offers theoretical concepts to think about organizations and multiple cultures in a globalizing business context.

In spite of all the shortcomings and criticisms faced by the Hofstede model, it is very much favoured by trainers and researchers. There are two reasons for this. Firstly, it is a wonderful and easy to use tool to quantify cultural differences so that they can be discussed. Discussing and debating differences is after all the main method of training and learning. Secondly, Hofstede's research at IBM was conducted in the workplace, so Hofstede tools brings cross-cultural analysis closer to the business side of the workplace, away from anthropology, which is a matter for universities.

Bibliography and suggested reading:

Dawkins, Richard (1976). The Selfish Gene. Oxford University Press French, W.L. and C.H. Bell (1979). Organization development. New Jersey: Prentice Hall. Hofstede, Geert "Cultures and Organizations: Software of the Mind", 1997 Holden, Nigel 2001, Cross-Cultural Management: A Knowledge Management Perspective, Financial Times Management


How To Understand Cross-Cultural Analysis

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