Zongshen Group Essay Example for Free

Zongshen Group Essay Chongqing, a city in central southwestern China, had a heritage in heavy manufacturing, as it was one of the centers of the Chinese defense industry, especially for vehicles. In 1980s, when the Cold War slowed, the central government wanted to reduce defense expenditure and asked some of the state owned enterprises (SOEs) to begin manufacturing civilian products. At the beginning only SOEs could get license for the business but government permitted people to go into business for themselves but they could only work as individual business operators and could not set up companies. Many of the SOEs turned to parts production. Zuo Zongshen, being a former motorcycle repairer, decided to open a motorcycle repair business in 1982 with the present condition in China. Almost all of the motorcycle industry was producing imitations of Japan motorcycles at first as they could not afford any investments for research and development. By 1992, the regulations had changed and individuals were permitted to set up private companies, so Zuo quickly set up a company to assemble motorcycle engines from purchased parts which was capitalized at CNY500,000. The parts that were manufactured by SOEs were the copies of Japanese engines. There were several hundred of these suppliers and assemblers had to figure out how to select the right ones. Being a former motorcycle repairman, Zuo knew which factories made the good ones and what were the good brands. After 3 years of assembling, Zuo was dissatisfied with the approach as it was not easy to get parts from manufacturers as they were mainly responsive to large scale SOEs. He used to use his network and sometimes â€Å"red envelopes† to get the parts. With the experience he had, he has started to make core components in house and increased the number of the components in house production as his capabilities improved. He classifies the necessity to do this in three drivers; to make a differentitation, to guarantee the supply and also to upgrade the parts as a good start for innovation. In order to improve quality and reliability of parts that it produced as well as to reduce production costs, Zongshen started applying advanced technology tools such as computer aided design and computer aided manufacturing to its product development. Besides, Zongshen also sought manufacturing consultant from former Honda employees and visited its competitors and prospective partners like Harley- Davidson in the United State. As a result, Zongshen was stood out in the common manufacturers throughout the country. In 2000, Zuo decided to build up the company group structure. They splitted the responsibilities between the departments. Then they decided that they should tap into capital markets. Becoming a world class competitor would require a lot of capital, if the company could float its stock, it would have a source of equity capital. The technique that Zongshen used to raise its financial capital is very artful. Instead of following the tradition method which is through an initial public offering (IPO), Zongshen used another technique called â€Å"Reverse Merger† or â€Å"Backdoor Merger†. The technique can be described in detail that Zongshen had a target list of companies which had an existing list but lack of assets or liabilities. Once Zongshen could attain one from the list, it would merge its assets into. This technique is very critical for the success of Zongshen. In fact, when it became the largest shareholder of a Chengdu company, it divested the assets of the origina l company and inserted its own assets from the engine company. As the result, it turned into the largest engine manufacturer in the Chinese motorcycle industry. In 2004, Zongshen added its 3rd business, another listed company in Canada. Buying PEM Technologies through Norstar Venture in Canada led Zongshen to be able to control the technology manufacturing proton exchange membranes, a key element in producing hydrogen fuel cell. Having this technology, Zongshen became very successful in manufacturing and selling e-bikes. In fact, its two subsidiaries could produce 350,000 units of e-bike a year. Its sale volume increased dramatically from 50,000 units in 2007 to 220,000 units in 2008. Moreover, Zongshen enhanced its effectiveness by collaborating with other established firms. Piaggio, for instance, became its partner in exploring rural markets. The corporation set up a new company and planned to manufacture 100,000 scooters a year. As a part of the new joint venture agreement, Zongshen would supply the company with a significant amount of parts. In fact, by 2005, Zongshen provided 35% of accessories and components of the scooter. It was expectedly increased by 50% in 2006. In 2005 the Chinese motorcycle industry still had too many manufacturers, and they were introducing undifferentiated products to the same customers. As a result the margins were too low. Zuo studied W.Chan Kim and Renee Maugorgne’s book about â€Å"Blue Ocean Strategy† which argued that firms should go after uncontested â€Å"blue ocean† market, and look for some new demand instead of chasing existind demand in hyper competitive â€Å"red ocean† markets. Zuo decided not to produce imitations; instead Zongshen launched the cyclone project to develop products with technology in order to introduce differentiated products. The original production facility was converted to a RD center and Zongshen contracted with Nova design to assist with new product designs. After spending CNY300 million, they launched first Cyclone products in 2007 and 2008. But in the markets that change was not succesfull. Consumers and retailers had doubt that Zongshen could make such good products and the blue ocean products failed. So they decided to launch â€Å"Purple Ocean† products with a higher quality than red ocean products and of course with higher prices, but still lower than blue ocean products. The â€Å"Purple Ocean† products coincided sharp rebound in profitability. Improved quality and styling helped products such as ZS250 to gain popularity. One key change for the company was implementing a new performance evaluation and incentive scheme that linked all employees’ base salary to the breakeven point of the company. For the e-bike market, traditionally lead acid batteries were used. While inexpensive and mature technology, lead acid batteries were heavy and had alimited lifetime to deep discharge cycles. Zongshen PEM was using either lead acid or lithium ion batteries. The latter gave the e-bike longer range and stronger climbing capability. As there were many entrants to the market it is easily seen that the base skills for e-bike were not hard to develop but Zonghsen was determined not to compete in high volume, so the question was differentiation. The key differentiators in e-bike industry were in several categories, and the challenge was to have required skills. The company launched a tool called â€Å"Master Apprentice agreement† with about 40 key personnel and managerial positions. Zuo was personally ta king care of those personnel and helping them to build skills and giving gifts. Also there was a career development plan for those employees. While talent had always been a challenge for Zhongsen, it is now very critical as they want to transform to e-bikes.   How did Zongshen acquire the capabilities to produce motorcycles? As noted above, Zou was a motorcycle repairer in the past. As many of the SOEs turned into manufacturing of civilian products, with the change of the laws and permissions he first became an individual business operator. After 1992, the regulations has changed and indivuduals were permitted to set up companies so Zuo set up the company. As he had experience and and was not coming from the trenches, he knew to select the best parts and Zongshen became a good assembler. After some years of assembling he decided to produce some critical parts in house and gradually he has started to manufacture more parts. He classifies the necessity to do this in three drivers; to make a differentitation, to guarantee the supply and also to upgrade the parts as a good start for innovation. Zongshen also adopted the comp uter aided design relatively earlier than the others.

Romeo and Juliet: Joseph A. Bryant’s Considerations :: Romeo and Juliet Essays

William Shakespeare’s Romeo and Juliet has always been a very popular play. Joseph A. Bryant states this in his introduction, but there was never really contention. Most likely written in 1595, we learn from Bryant that this is thought to be one of Shakespeare’s more mature works that shows the pinnacle of his creativity (xxviii-xxx). Because of this creativity, audiences love Romeo and Juliet. However, Bryant also tells us that "[a]mong professional scholars the play has sparked less enthusiasm" (xxiii). For even though the play possesses an "ingenuity of the language" and has a particular "brilliance of the characterizations" (xxiii) , Bryant informs us that critics are upset by the importance Shakespeare places on pathos, and therefore feel that the play lacks real ethics. Bryant also concerns his introduction on the aesthetics of Romeo and Juliet with special consideration on the structure, the language, and the characters of the play, as well as how good of an exa mple of a tragedy the play is. Many readers may feel that Romeo and Juliet relies too much on pathos; that it’s just a tear-jerking love story. However, Bryant’s answer to those who think that the play lacks real ethics is that they are looking at it from a modern standpoint. The play really needs to be looked at from the point of view of the Elizabethan audience of 1595. Bryant tells us that "[t]hey knew by training what to think of impetuous young lovers who deceived their parents and sought advice from friars" (xxiv). Elizabethan audiences also knew that suicide was a sin (xxiv). This was common sense knowledge, and if looked at through the conventions of society at this time then, as Bryant states, the play "must have had automatically an abundance of ethical import" (xxiv). Bryant also commends Shakespeare for not attacking these commonly held ethical conventions, even though today’s readers can clearly see that Shakespeare thought nothing wrong with the relationship and did not even hold Romeo and Juliet entirely responsible for the consequences (xxiv). But some modern readers, Bryant tells us, are also uncomfortable with the numerous references to fate and destiny, and assume "that Shakespeare meant the play to be deterministic" (xxiv). Bryant tells us that Shakespeare does promise "in the Prologue to show the ‘misadventured piteous overthrows’ of a ‘pair of star-crossed lovers’" and then lets his characters continue to refer to destiny for the rest of the play (xxv).

Bonsai: Japanese Tree Art Essay

Many people in the contemporary society have always expressed their desire to connect with nature especially by cultivating certain plants in their compounds but the urban living conditions cannot allow. These, especially in towns have little space around their houses for growing flowers or trees and this greatly applies to those who live in apartments which are compacted or multistoried (Pilgrim, par 1). Did you know that one can actually grow trees in his or her house? Thanks to a Chinese ancient Art in tree planting where one can afford to have a tree plant in a pot. This art is called Bonsai. This word is pronounced as ‘bone-sigh’ which if directly translated from Japanese it means ‘tree in pot’ (Kenney, par 1). A bonsai tree is just an ordinary tree which has been sculpted and a healthy one can live for 100 years (Curley, par 1). This essay seeks to trail through the events that have characterized this Art from the time of its inception, the art process, its significance in relation to the society and how it has changed overtime. What Is The History Behind Bonsai Art? China is believed to have been the original home or the birth place of this art which began more than a thousand years ago. It was originally called Pun-sai and it involved growing trees in small pots and one pot could only have one tree. The Chinese Bonsai had twisted branches which resembled different animals for example birds or even reptiles like snakes and other imaginary creatures like dragons which were associated with some legends and myths. The shape of the Bonsai depended on the artist’s imagination. The Chinese regarded trees as the best way of expressing nature and for them, the growing of these trees was one way of bringing tranquility to ones mind (Pilgrim, par 5). Later, in the 12th century around a period called Kamakura, the Japanese adopted it. The exact time that this happened cannot be indicated but it is believed to be around 1195 AD. This happened when Zen Buddhism was being spread in Japan and in the process; the Chinese tradition of Bonsai trees was also spread through some monks who established their monasteries in Japan. They are the ones who were actively involved in the Art thus advancing it. Afterwards, the aristocracy picked up the art as a hobby and it became a sign of wealth thus spreading through the upper class (Hubik, par 1). For the Japanese, they regarded Bonsai as a symbol of honor and prestige and by 14th century, the art was regarded as a highly refined form of art. During those times, the Japanese elite used to have those occasions where they could display their Bonsai trees on special shelves (Hubik, par 1). Originally, many Japanese grew the trees outside their houses but when they decided to throw a party, the trees would be taken inside for people to enjoy the sight (Olsen, par 3). The nobility in Japan perceived Bonsai as peace among three things, that is man, spirit and nature (Curley, par 4). Later, in the 19th century, after spending more than 230 years in isolation, Japan opened its doors to the rest of the world and thus the outsiders accessed this art. Travelers from European countries could not believe what they saw: mature tree plants in ceramic pots and this seemed something worth to adopt. From then onwards, they spread the gospel to other western nations and in 1900, in Paris world exhibition, the art was introduced to the whole world. This was followed by subsequent exhibitions in London and Vienna (Hubik, par 7). Myths Associated With Bonsai Art There are various misconceptions about Bonsai trees. Some people have always misconstrued this Bonsai technique as a dwarfing process. Traditional techniques for growing Bonsai should never be termed as dwarfing of trees which employs certain manipulations which are genetic. Genetic manipulation is not involved anywhere in cultivating these trees but natural seeds are used instead. Other techniques are also employed such as grafting, pruning, defoliation, potting and root reduction (Pilgrim, par 3). Some people believe that, the Bonsai trees are kept that short by some cruel techniques. This is actually not true. In fact, if they are watered well and are exposed to enough air, light and also good nutrition, they can live for long, more than full grown trees belonging to the same species. The techniques are just the same as the ones used on other horticultural plants. Some also hold onto believe that a Bonsai tree is just few centimeters tall which is not true however if compared with their full grown brothers, they are small, ranging between 25 centimeters and 1 meter (Bonsai Site, par. 1). The Process of Bonsai Tree Art Typical plants and trees can make up Bonsai but those which have small leaves are regarded as suitable. In Japan, trees like pine, bamboo and plum have been used. Seeds and cuttings from these trees can be used to develop Bonsai trees and also stunted trees which occur naturally that can be grown in containers. One may ask how they come to be that small. Well, these trees are trained to be small by the process of pruning whereby their branches and roots are trimmed. Other methods include repotting which is done periodically, new growth can also be pinched and if one desires the plant to grow in a particular shape, then one will be required to wire the tree into the desired shape (Bonsai site, par 3). The tree has to have a trunk which is well tapered and should also have branches all over; this is to give it a visual depth (Black, par. 5). The container in which the Bonsai tree is grown is independent from the earth. The tree should not be at the centre of the container. It was always believed that in that container, heaven and earth are one and in the centre is where they meet thus nothing is allowed to occupy that space and that’s why the tree is not supposed to be planted at the centre. Triangular pattern is so much encouraged to add to the beauty. Truth, beauty and goodness are three virtues which are believed to be necessary for the creation of a Bonsai tree (Bonsai Site, par 4). These containers are primarily kept outside excluding those ones for trees which are trained to grow indoors. There are no rules regarding the development of Bonsai because they are personalized by individuals and more so if it is for one’s enjoyment. It doesn’t require so much but ones patience and endurance. A person’s commitment will also force him to dedicate much of his time and skill to the Bonsai tree (Bonsai Site, par 7) Watering of Bonsai is considered the most important factor in the process and it is also a skill to be learnt because watering varies with different Bonsai trees, types of soil used and pots. Always ensure that the trees do not dry out and to check this, one can insert a tooth pick in the soil to see if there is any moisture (Squidoo, par. 2). As mentioned earlier, pruning is also involved but it is usually not done on young Bonsai trees but those ones which have grown a bit. Pruning just involves trimming the tree into a desired shape and thus there is no guideline on how to prune correctly. One should also ensure that the tree is exposed to enough light, if not so artificial light should be provided to compensate for the sunlight which is not available for the plant. Fertilization also depends with the type of Bonsai thus it is not a major requirement in the art. One recommendation is that one is not required to fertilize unhealthy dry Bonsai (Squidoo, par. 7). Repotting is another major caring technique for a Bonsai plant. It is usually done after two years which also depends on the pots size and the growth of the plant. Repotting helps the plant to develop good rooting system and also supplying it with fresh soil (Squidoo, par 7). Bonsai wiring is another technique which is required in this process to shape them. It involves wrapping tree branches and trunks with the wire until the tree is in a position to maintain the shape and that is when the wire can be removed. All these tools which are used in this process can be supplied by anyone who specializes in Bonsai tools. One can use plain silver wire, copper or brown Bonsai wires and if one cannot access these, any other can do so long as it is bendable and can be easily removed. Thicker wires are the most appropriate in Bonsai and if one cannot get these ones, he or she must involve double wrapping (Squidoo, par. 12-13). To sum up, there are no specific guidelines which can apply to all Bonsai trees hence different species of Bonsai need to be treated differently, In Japan, the process is considered to have no end as long as the plant is alive. One is supposed to treat the plant with respect and love and the act of caring for the tree is in itself a meditation (Black, par. 6). What is the Significance of Bonsai Art in Relation to the Society? To the Japanese, they associated the plant with their faith in Zen Buddhism where man and nature are one and are thus joined through meditation and expression. In the modern world however, this process is more of a hobby. This is important as it helps to understand nature and being part of it and also enhancing the beauty of the gardens (Bonsai Site, par 1-2). Bonsai trees have also been regarded as symbols of harmony among three things; that is man, nature and soul while the monks associate them with prestige and honor (Curley, par. 4). The act of shaping the tree and viewing it was understood to be one way of uniting nature and spirit. It also signified the Japanese philosophy and refinement in that, by pruning; the unwanted and unnecessary parts were done away with thus refining the tree. This view is still held in Japan and that is why during every New Year, families in Japan display their Bonsai trees which have been decorated. The ornamentation of the Bonsai to decorate it is referred to as Tokoma (Bonsai site, par 10). Once it was associated with the elite but nowadays, it is observed by all; this is because, the art symbolizes their culture and ideals (Curley, par. 4). How Has The Art Changed Overtime? In the modern world, the art has taken an interesting twist in that; most people have taken it up as a profession (Bonsai Site, par. 3). The art has really developed to new forms where the pot and the tree complement each other in various aspects such as shape, texture and also color. The tree has to be shaped and not left to grow the way it would naturally. These changes have been experienced since the art began in China. The Chinese Bonsai still maintains its ancient styles and shapes which are traditional and sometimes these are usually perceived by the Europeans as crude. The Japanese one is much more natural and pleasing to the eyes because they are well taken care off and refined (Sinonewa, par. 4). They are the ones who perfected this art. Nowadays, Bonsai has taken different styles and shapes. Bonsai which can grow indoors are trained in classical styles which include windswept, slanted trunk among others. The Art which was originally by the Japanese and the Chinese is now practiced around the world and thus it is regarded as a way through which the spirit of nature is imitated (Black, par. 9). Lastly, artists started to incorporate other cultural elements into their plantings such as rocks and even small buildings thus displaying diverse possibilities in styles and thus the Art has evolved reflecting changes in time and tastes. Due to demand of this Art all over the world, artists have resulted to grow young plants, training them to appear the same as the Bonsai. Japanese decided to concentrate on this art and they opened nurseries to grow bonsai trees mainly for export. The range of plants used in this art also increased to suit different world climates and thus countries and cultures can pick up the art without any problem. (Bonsai Site, par. 8). Two modern artists who are involved with this art are Morten Albek and Artists from Austin Bonsai society. Source: Oriental Decor Source: Oriental Decor Work Cited Austin Bonsai Society. Modern Bonsai Artists, 21 March, 2010. Web. 1 May, 2010, . Black, Frank. Japanese Bonsai. China Town Connection, 2005. Web May 1, 2010, . Black, Frank. The Art of Bonsai Tree. Ezine Articles, 6 June 2006. Web. 1 May, 2010 . Oriental Decor. Japanese Bonsai Trees. 2010. Web. 1 May, 2010 . Curley. Karen. The Bonsai in Japanese Culture. EHow, 2010. Web. 1 May, 2010, . Hubik, Dan. A Detailed History of Bonsai. Bonsai Site, 2010. Web. 1 May, 2010, . Kenney, Kim. Definition of Bonsai. eHow, 2010. Web. 1 May, 2010 . Mortein, Albek. Modern Bonsai Artist. The Knowledge of Bonsai. Web. May 1 2010 . Olsen, Eric. Bonsai Tree Meaning. Bonsai Gardener, 2008. Web 1 May, 2010, . Pilgrim, Gray. Bonsai Tree History. Hub Pages, 2 March 2010. Web. 1 May 2010 . Sanunewa . Bonsai: Tree, History, Culture, Background. Hub Pages, 2010. Web. 1 May, 2010 . Site Bonsai. An introduction to Bonsai, 2010. Web. 1 May, 2010, . Squidoo. The art of Bonsai: the Bonsai tree care, 2010. Web 1 May, 2010 .

An Analysis of Wilburs Mayflies Essay - 1590 Words

An Analysis of Wilburs Mayflies Richard Wilburs recent poem Mayflies reminds us that the American Romantic tradition that Robert Frost most famously brought into the 20th century has made it safely into the 21st. Like many of Frosts short lyric poems, Mayflies describes one persons encounter with an ordinary but easily overlooked piece of naturein this case, a cloud of mayflies spotted in a sombre forest(l.1) rising over unseen pools(l.2),made surprisingly attractive and meaningful by the speakers special scrutiny of it. The ultimate attraction of Wilburs mayflies would appear to be the meaning he finds in them. This seems to be an unremittingly positive poem, even as it glimpses the dark subjects of human†¦show more content†¦17). More surprising yet, though surely emblems of the ephemeral (of the order ephemeroptera), they suggest by their choreographed life an interconnectivity in nature that transcends an individual?s mortality. Indeed, in the third and final stanza they become a foil for the spea ker?s own sense of ?separateness? and mortality ?as night close[s] in?(l.18). At a literal level the poem all along insists on the speaker?s separation, as ?witness?(l. 9), from this ?manifold/ And figured scene?(ll. 13-14). To see the dance so well, he has had to be stationed outside it. This exclusion, it would seem, is the poet?s classic occupational hazard. Yet this darker revelation is quickly eclipsed by one last happy irony, a revelation of sorts: the poem so artfully represents it subject, its conspicuous ingenuities of form so undulate and glitter like the mist of mayflies, that the poem itself becomes the mayflies?or means to come as close as language can take it. As a special way of seeing, the poem means to breech the gulf between seer and thing seen and thus forge a connection to the object world, the speaker?s own absence from which he ostensibly laments. That this attempt is successful seems implicit in the last lines of the poem. There, it occurs to the speaker that his sense of separateness and mortality can be allayed by the idea that he has been ?called? to be a poetic seer, ?one whose task is joyfully to see/ How fair