婚庆公司盈利模式

1、the main verb (shown in capitals) occurs in mid-parallelism and forms a concealed center of gravity, balancing subject against predicate. it is obviously the aesthetics of form that tends to attract the readers attention here rather than the meaning. we might plausibly say that lyly has embroidered

2、an elaborate garment round the simple idea “eupheus was a young dandy.” if “adornment” is to be identified in linguistic patterns which have little semantic function, we can point to the alliterations clustered in the end of the third sentence. we can also point to grammatical parallelism which, tho

3、ugh not devoid of content, seem merely to play a role of embellishment, providing further examples of a concept already expressed: “the sweetest rose hath his prickle” already conveys the meaning “even the best things are alloyed with bad,” and thus the repetition of the pattern in “the finest velve

4、t his brack, the fairest flower his bran is redundant. lyly might not have, then, added the last piece of pattern unless he had elaborated on the alliterative function of “holiest head” and “wicked way.” however, the elaboration of form will inevitably bring an elaboration of meaning. the repetition

5、 of parallel of examples from different experience (“rosevelvetflowerwithead”) spurs our association with the generality of a didactic principle which is otherwise seen to be particular. the repetition in “witwealthwisdom” is not mere repetition but a progression implying an increasing weightiness o

6、f the qualities listed. the parallelism of “inferior to none in pleasant conceits” and “superior to all in honest conditions” gives a schematic balance to the image of something light (“pleasant conceits”) being weighed against something heavy (“honest conditions”), underlining the faulty logic of e

7、upheuss youthful mind. so the schematism of form aims at the ideas being presented. a more general and tenable definition of style is the “manner of expression”: every writer necessarily makes choices of expression, and it is in these choices, in his/her “way of putting things,” that style resi

8、des. this definition of style abides by the belief that there can be different ways of conveying the same content and draws parallels with other art forms such as music, painting and architecture, and to varied activities such as playing the piano or playing tennis for elucidation. in such activitie

9、s, there some invariant rules that must be followed, but there are also variant ways in which the individual may perform them. such an analogy is employed by richard ohmann:  a style is a way of writing.in general, style applied to human action that is partly invariant and partly variable.now t

10、his picture leads to few complications if the action is playing the piano or playing tennisbut the relevant division between fixed and variable components in literature is by no means so obvious. what is content, and what is form, or style? the attack on a dichotomy of form and content has been pers

11、istent in modern criticism; to change so much as a word, the argument runs, is to change the meaning as well. this austere doctrine has a certain theoretical appeal.yet at the same time this doctrine leads to the altogether counterintuitive conclusion that there can be no such thing as style, or tha

12、t style is simply a part of content.  to put the problem more concretely, the idea of style implies that the words on page might have been different, or differently arranged, without a corresponding difference in substance. (“generative grammars and the concept of literary style”, 1964) to

13、 back up his argument that there are different ways of saying the same thing, ohmann offers the following paraphrases of “ after dinner, the senator made a speech”: when dinner was over, the senator made a speech. a speech was made by the senator after dinner. the senator made a postp

14、randial oration. and points out that these are variants of the original in a sense which is not true of, say, “columbus was brave” or “columbus was nautical.” the differences among (1)-(3) are chiefly grammatical; and the grammatical, rather than lexical, aspect of style is the one on which ohm

15、ann concentrates. thus in the analysis of a writers style in a work of fiction, we should study what the writer has written against the background of what he /she might have written; we should search for some significance, which we may call stylistic value, in the writers choice to express his/her s

16、ense in this rather than that way.  the above notion of style as “dress of thought” or as manner of expression” consists in the assumption that there is some basic sense that can be preserved in different renderings of words or sentence structures. this is not likely to be challenged in everyda

17、y uses of language. but in literature, particularly in poetry, paraphrasing becomes problematic. for example, the metaphor in “come, seeling night, / scarf the tender eye of pitiful day” (macbeth, iii. ii. 46-47) denies us a paraphrase in either a literal sense or a hidden meaning. any paraphrase wo

18、uld devoid it of its richness of implications that induces us to find interpretations beyond the meanings captured by paraphrasing. such a metaphor, as terence hawkes says, “is not fanciful embroidery of the facts. it is a way of experiencing the facts.” (metaphor, 1972) literary devices, in additio

19、n to metaphor, such as irony, ambiguity, pun, and even images, poetry. with deliberate consideration of this fact, some theorists, especially the new critics, reject the form-meaning dichotomy and they tend to see sense and style as one thing, as wimsatt asserts:  it is hardly necessary to addu

20、ce proof that the doctrine of identify of style and meaning is today firmly established. the doctrine is, i take it, one emphasis mine from which a modern theorist can hardly escape, or hardly wishes to. (the prose style of samuel johnson, 1941.) it is to be noted that the emphasis upon the art

21、istic integrity and inviolability of their works is echoed not only in poets but also in many prose writers, and we can find an articulation in tolstoys words: “this is indeed one of the significant facts about a true work of artthat its content in its entirety can be expressed only by itself.” crit

22、ics holding such as idea about style tend to look at a work of fiction as a verbal artifact. they believe that in such a verbal artifact there can be no separation of the authors creation of the plot, character, social and moral life, from the language in which they are portrayed. as david lodge put

23、s it: “the novelists medium is language: whatever he does, qua novelist, he does in and through language, lodge is ready to see no difference between the kind of choice a writer makes in calling a character “dark-haired” or “fair,” since all the choices a writer makes are a matter of language. lodge

24、 also argues that there is no essential difference between poetry and prose and that the following tenets apply to both:  it is impossible to paraphrase literary writing; it is impossible to translate a literary work; it is impossible to divorce the general appreciation of a literary

25、work from the appreciation of its style. perhaps lodges statements sound rather arbitrary since we do have a great number of translated literary works in various languages, including poems, in which the essential artistry remains (though something must have been lost), and paraphrasing sometime

26、s can be said to be one of important methods for a basic understanding and appreciation of the essential literariness of a literary work and is often employed in the teaching of literature. whatever notion a person may have towards style, it is important to understand that language in fiction is the

27、 focus in our analysis of style. at the same time language is used to project a world beyond language itself, and our analysis of language can never exclude our general knowledge and understanding of the real world. therefore, a linguistic approach to style is frequently employed in stylistic s

28、tudies. among such practices, critics generally try to determine the features of style, or style markers, the linguistic items that only appear or are typical or most or least frequent in a work of fiction. we thus need to make comparisons and contrasts so as to find out the differences between the

29、normal frequency of a feature and its frequency in the text or corpus. of course, features can register on a readers mind in his/her recognition of style, and doubtlessly the degree to his /her recognition of these features as they are salient will vary, and the degree to which the reader responds t

30、o these features in a given reading will also vary according to a number of factors, such as his/ her attentiveness, sensitivity to style markers and previous reading experience. (leech and short, style in fiction, 1981)  foregrounding foregrounding, artistically motivated deviation or def

31、amiliarization of language or structure or other basic elements, according to russian formalists, makes a literary work literary. by determining what is foregrounded or defamiliarized we can distinguish a grounding may be qualitative, -a breach of some rule or convention of english such as the prese

32、nt tense of the link verb “be” in jesus words in the authorized version of st johns gospel: “before abraham was, i am” and the use of “now” in a sentence of past tense in the beginning paragraph of hemingways “a clean, well-lighted place”: “and now at night it was quiet” or it may be simply quantita

33、tive, ie. deviation from some expected frequency, for instance, the repetition of “nada” in the older waiters monologue in hemingways “a clean, well-lighted place.” and quantitative foregrounding of a prominent pattern of choice within the code may shade into qualitative foregrounding which changes

34、the code itself. for example, the quantitative foregrounding of long compound sentences (clause plus clause plus clause) of simple words, sometimes joined with “and,” in hemingways narrative produces the effect of listening to speech, which is a mark of quantitative foregrounding in hemingways writi

35、ng. thus what is foregrounded may soundly be taken as a distinctive feature of style of a piece of fiction. as the foregrounding of language in a story is concerned, it may be useful to make a checklist of features which may be significant in a given text, though the features which recommend th

36、emselves to the attention in one text will not necessarily be important in another text by the same or different author. leech and short (style in fiction, 1981) list four headings of stylistic categories, which may be helpful in our analysis of the style of a story: lexical general: is th

37、e vocabulary simple or complex? formal or colloquial? descriptive or evaluative? general or specific? how far does the author make use of the emotive or other associations of words ,as opposed to their referential meanings? does the text contain idiomatic usages, and if so, with what kind of registe

38、r (language variation beyond dialectical differences, such as differences between polite and familiar language; spoken and written language; scientific, religious, legal language, etc.) are these idioms associated? is there any use of rare or specialized vocabulary? are any particular morphological

39、categories noteworthy (eg rare compound words, words with particular suffixes)? nouns: are the nouns abstract or concrete? what kinds of abstract nouns (eg nouns referring to events, perceptions, processes, moral qualities, social qualities) are used? why do proper names occur? collective nouns

40、? adjectives: to what degree of frequency are the adjectives used? to what kinds of attributes do the adjectives refer (eg physical, psychological, visual, auditory, color, referential, emotive, evaluative, etc)? are the adjectives restrictive or non-restrictive? attributive or predicative?

41、60;verbs: do the verbs carry an important part of the meaning? do they refer to movements, physical acts, speech acts (roughly utterances in the language which can be used to perform acts, or in which the speaker can seen to have performed some acts; for example “i name the ship the queen elizabeth.

42、”), psychological states or activities, perceptions, etc? are they transitive, intransitive, linking, etc? are they stative (describing states) or dynamic (describing actions)?  adverbs: are the adverbs frequently used in the text? what semantic functions do they perform (manner, place, directi

43、on, time, degree, etc)? is there any significant use of sentence adverbs (such as “therefore”, “however”; “obviously”, “frankly”)? grammatical sentence type: does the author use only statements, or does he/ she also use questions, commands, exclamations, or sentence fragments (such as sent

44、ences with no verbs)? if other types of sentence are used, what is their function? sentence complexity: do sentences on whole have a simple or a complex structure? what is the average sentence length? does complexity vary strikingly from one sentence to another? is complexity mainly due to (i)

45、coordination, (ii) subordination, (iii) juxtaposition of clauses or of other equivalent structures? in what parts of the text does complexity tend to occur? clause types: what types of clauses are favoredrelative clauses, adverbial clauses, or different types of nominal clauses? are non-finite

46、forms commonly used, and if so, of what types are they (infinitive, -ing form, -ed form, verbless structure)? what is their function? clause structure: is there anything significant about clause elements (eg frequency of objects, adverbials, complements; of transitive or intransitive verb const

47、ructions)? are there any unusual orderings (initial adverbials, fronting of object or complement, etc)? do special kinds of clause construction occur (such as those with preparatory it or there)?  noun phrases: are they relatively simple or complex? where does the complexity lie (in premodifica

48、tion by adjectives, nouns, etc, or in postmodification by preposition by prepositional phrases, relative clauses, etc)? verb phrases: are there any significant departures from the use of the simple past tense? for example, notice occurrences and functions of the present tense, of the progressiv

49、e aspect, of the perfect aspect, of modal auxiliaries. other phrase types: is there anything to be said about other phrases types, such as prepositional phrases, adverb phrases, adjective phrases? word classes: having already considered major word classes, we may consider minor word classe

50、s (eg functional words), such as prepositions, conjunctions, pronouns, determiners, auxiliaries, interjections. are particular words of these types used for particular effect (eg demonstratives such as this and that, negatives such as not, nothing)? general: note whether any general types of gr

51、ammatical construction are used to special effect (eg comparative or superlative constructions, coordinative or listing constructions, parenthetical constructions, interjections and afterthoughts as occur in causal speech). and see to the number of lists and coordinations. figures of speech

52、0;here we consider the features which are foregrounded by virtue of departing in some way from general norms of communication by means of the language code, for example, exploitation of deviations from the linguistic code.  grammatical and lexical schemes (foregrounded repetitions of expression

53、): are there any cases of formal and structural repetition (anaphora, parallelism, etc) or of mirror-image patterns (chiasmus)? is the rhetorical effect of these one of antithesis, reinforcement, climax, anticlimax, etc? phonological schemes: are there any phonological patterns of rhyme, allite

54、ration, assonance, etc? are there any salient rhythmical patterns? do vowels and consonant sounds pattern or cluster in particular ways? how do these phonological features interact with meaning? tropes (foregrounded irregularities of content): are there any obvious violations of or neologisms f

55、rom the婚庆公司盈利模式在市场竞争日益残酷的商业时代，一切新商业模式都将被快速复制，靠点子取胜已成为十分幼稚的想法。这也导致许多蜂拥而上的婚庆公司，或纷纷落马、或惨淡维持。今天在业界已独具特色的重庆亮点婚庆公司，其女老板曹婉清创业的曲折经历与成功打造的“亮点”，或许能在怎样做婚庆行业的市场推广，如何应对残酷的市场竞争和低价冲击，以及婚庆行业未来的发展方向和下一步的盈利点等方面，给我们一些启迪新手入行的弯路当曹婉清的亮点婚庆公司在重庆南坪地区的商业中心最好的写字楼里开业时，她满怀着希望。在此之前，曹婉清对婚庆行业还一无所知。开婚庆公司源于一次偶然的发现她和丈夫到广州旅游，偶然从当地的报纸上

56、看见了广州一家婚庆公司生意火爆得需提早预约的信息。她眼睛一亮：当时重庆还很少见到这种专门为新人提供婚礼整体筹划服务的婚庆公司，曹婉清觉得这一行一定有很大的市场潜力;而开一家婚庆公司，只需租一个办公场所，购买简单的办公设备，以及支付几个员工的工资，几万元就足够;同时这个行业也不需要什么高科技或太多的专业知识，市场上有大量的兼职主持人、摄像师、化妆师、布景师以及租车公司、花店等可以利用。然而，半年下来，虽然她在公司内部装修上追加了投资，也尝试过登广告、发传单等广告宣传，但上门来的客户却寥寥无几。同时一个严峻的问题也摆在她面前，婚庆公司淡季旺季的业务悬殊较大。一般四五月份，810月都是生意很好的阶段

57、，春节也会有一个小高潮。而在剩下的淡季期间，公司就要出现赤字，一个月顶多两三场生意，所以一年的收入就靠旺季支撑。曹婉清意识到了问题所在：自己对婚庆公司的理解有误，婚庆公司属于服务行业，只有更直接贴近市场，才能够吸引消费者上门。于是，曹婉清走出了解决难题的第一步，主动“从天上跳到地面”，她不顾家人的反对，毅然放弃花了3万元精美装修的办公室，把公司从写字楼搬到南坪步行街上的一间上下两层共70平米的临街门面。结果在步行街上来来往往逛商店的女人们，果然被各种时尚的婚庆用品和墙上的主题婚礼照片所吸引。那些产生了更多兴趣的人，则被两位漂亮的礼仪小姐引上楼，或在化妆室中尝试做新娘子的感觉，或在办公室里观看各

58、种主题婚礼的dvd。而亮点婚庆的经理会选择恰当的时机，向这些潜在的客户宣传亮点婚庆公司会使他们的婚礼时尚完美，同时更省力省钱。点评婚庆服务公司的位置很重要。一般情况下，公司开在闹市区比僻静之地要强得多。然而，更重要的是广告运用，想方设法扩大公司的知名度，这是开业筹备中十分紧要的事，这样，才会有生意上门，财源广进。婚庆服务包括很多项目：婚庆咨询热线电话，新婚购物咨询服务，蜜月旅游服务，周年结婚纪念，生日祝寿活动，婚纱礼服出租，新婚美容美发，新婚摄影摄像，礼仪小姐送货上门，婚庆吉日咨询等。办好各个项目，必须全盘考虑，又要具体做好每一个项目。还要注意，开办这样一家公司投入很大，要量力而行。没有市场开

59、拓市场紧接着，曹婉清走出了解决难题的第二步，放弃了无的放矢的广告宣传，开展直接面向新人的特定市场营销推广她和公司的公关部经理分别到新人领结婚证的民政局、预订婚宴的大酒店、拍婚纱照的婚纱影楼等开展公关活动，向新人散发亮点婚庆公司的宣传资料。与此同时，公司也积极举办公益性的集体婚礼，这样就吸引了更多的潜在客户。“而更重要和最好的宣传广告是我们办好每一次婚庆。这绝不是一句空洞的口号。”曹婉清解释了其中的秘密：“来参加婚庆的每一位宾客都是我们潜在的客户，因为在他的家人中总有将来要结婚的。虽然这种效果一般较长时间才看得到，但是随着他对一场高质量婚庆的长久记忆，他对我们公司的印象也会比较深远。”而为了做好

60、每一次婚庆，曹婉清不但聘请了较高素质的员工，并且与数以百计的兼职人员保持定期沟通。半年后，曹婉清创业主初满怀希望的情况出现了：在结婚的旺季，她公司仅有的日名员工同一天要分赴8个婚礼现场，一天下来大家都瘫在办公室的沙发里站不起来。点评婚庆公司运营中要赚钱，就必须扩大公司的美誉度，赢得对方的信任，获得顾客的好感。具体操作上则要划分层次，拉开档次。婚庆市场所需要的红红火火，乐队伴奏，汽车接送，实况录像，鞭炮红花。选择饭店、宾馆的档次要讲究些，新婚一日旅游，也是必不可少的，婚庆服务的档次要拉开，可以分七八个档次，对于双方的学历、文化修养、素质、心理、家庭要有个面的分析和了解，对每一对新婚夫妇都力求安排一个新花样，这样可以吸引更多的顾客。没有特色发掘特色然而，红火的生意没有做多久，曹婉清恍然发现，似乎是一夜间重庆一下子