Most of my students seem desperate to blend in, to look right, not to make a spectacle of themselves. (Do I have to tell you that those two students having the argument under the portico turned out to be acting in a role-playing game?) The specter of the uncool creates a subtle tyranny. It's apparently an easy standard to subscribe to, this Letterman-like, Tarantinolike cool, but once committed to it, you discover that matters are rather different. You're inhibited, except on ordained occasions, from showing emotion, stifled from trying to achieve anything original. You're made to feel that even the slightest departure from the reigning code will get you genially ostracized. This is a culture tensely committed to a laid-back norm.
Samsung charges high prices for their products due to the semiconductor technology integrated in their high quality products. This makes it hard for the company to target middle and low class people who form a larger portion of the consumer market. This forces the company to expand the target, which is only achievable in 2014. The weakness presents less or minimal effects to customers since the product quality is unsurpassed and to the consumer, concerned with quality than price the effect are none. However, financial conscious customers will compare the prices with others and resort to cheaper alternatives (Ferrell & Hartline, 2010).
So in terms of access, the new periodicals represented the popularisation of high literary culture: they showed middling class people the vocabulary, the ideas, the framework of reference that they needed to appreciate high literature. It gave them ideas, and it gave them opinions, all carefully presented in a conversational, approachable way to enable them to feel part of the republic of letters, which had up till now been associated with aristocratic gentlemen amateurs, men with the time and education to devote themselves to these rarified pursuits. But one of the interesting things about the Spectator was that in addition to these essays on how to approach ‘high’ literature, it also contained a series of essays on the English ballads, emphasising the existence of a native literary tradition that should be taken as seriously as that imported from classical Greece and Rome. We can see the influence of this kind of literary revival and antiquarianism in the many editions of ballads published later in the century. This was a time before ‘English Literature’ existed as a concept, let alone a discipline. It is only during the eighteenth century that people start to see Shakespeare, Chaucer, Spenser as literary greats, and start to take seriously the idea that there might be a tradition of English literature worth talking about. There definitely wasn’t a sense of the transition from Anglo Saxon, to Middle English, to the Renaissance that you have now. So it was a big deal to assert the literary merit not just of earlier English literature, but of popular cultural forms like the ballad. Those essays in the Spectator anticipate the wider take up of English ballads and popular tradition in the late 18C and romantic period, like Coleridge’s Rime of the Ancient Mariner , Wordsworth’s Lyrical Ballads , or Keats’s Eve of St Agnes , which are all rooted in a sense of the imaginative potential of native popular cultural forms. So we can see again that at the same time that satirists were policing the boundaries of the popular and the polite, there was also a groundswell of interest in the truly popular: ballad forms, earlier oral culture – and the ways in which it could be read as literature, rather than cultural detritus.