北美作业代写：Media level marketing

下面为大家整理一篇优秀的essay代写范文- Media level marketing，供大家参考学习，这篇论文讨论了传媒水平营销。传媒水平营销，指的是传媒利用横向思维激发出原创性的理念，进而利用传媒资源开发出新的传媒产品或者市场。传媒水平营销的创新思路以横向思维为基础。随着传媒市场竞争的加剧，仅依靠传统纵向营销思维来应对已倍感吃力，基于横向思维的水平营销的提出为应对竞争提供了另一种可能。

With the intensification of media market competition, the traditional vertical marketing thinking alone to cope with the difficulties, and the proposal of horizontal marketing based on horizontal thinking provides another possibility to deal with the competition. New products or new markets may be discovered through horizontal replacement of the dimensions of demand, target and situation at the media market level by using techniques such as substitution. However, in the process of horizontal marketing innovation, attention should also be paid to the logic of innovation and the relationship with vertical marketing.

With the increasing number of new brands and new products, the commodity market tends to be fragmented and saturated, and the success rate of launching new products and new brands by traditional marketing approaches keeps declining. In this context, professor Philip kotler, the "father of modern marketing", jumped out of the box of traditional marketing, took Edward DE bono's lateral thinking as inspiration, reviewed the marketing behaviors of enterprises from a new perspective, and proposed the concept of horizontal marketing and the specific operational framework. In his book level marketing, Philip kotler and fernando DE bass level marketing is defined as: the level of marketing is a process, when it is applied to existing products or services, to create the demand does not cover, purpose, situation or target market innovative new product or service, as a result, it is to create a new category or market provides a great possibility. Level of marketing and the traditional vertical difference from the traditional vertical marketing is the enterprise starting from the demand analysis defines the market, and then in the selected within a particular market, there are logical sequence to a series of marketing activities, the result is the improvement of products and services, the purpose is to better meet has chosen market. Horizontal marketing, by making appropriate changes to the product or service, attempts to create new demands, new USES, new goals or new situations for the product or service, so as to restructure the market. It is a good strategy to solve the problem of excessive market segmentation.

Since the 1990s, China's media has entered the "buyer's market" from the "seller's market". In this period of rapid expansion, the number of competitors keeps rising and the pressure of competition keeps increasing. Under such circumstances, the marketing concept begins to enter the visual field of various media, and grows rapidly. Nowadays, media have been more and more aware of how to compete for audience resources with various marketing methods. In this era of media marketing, media market segmentation is inevitable. For example, newspapers have financial and economic, cultural news, consumption, sports and entertainment, and other newspaper market segments; The periodical industry has the high fashion magazine, the sports entertainment magazine, the literature magazine, the science and technology magazine and so on; Radio and television also appeared frequency specialization and channel specialization, respectively. No matter to which field, level marketing undoubtedly brings new ideas and winning approaches to the marketing of media, which is quite enlightening to the media already in the fierce competition. By Philip kotler, fernando DE paz, and many scholars pay more attention to domestic marketing research level is general physical commodity and the market, rather than the media field, combined with the characteristics of medium, the author thinks that the media level marketing refers to the media by using lateral thinking inspire original idea, and use of media resources to develop new media products or markets.

The traditional innovation idea is a kind of innovation originating from inside the market, that is to say, it does not change the essence of media products or services, but only improves media products or services. For example, to strengthen or weaken a certain basic feature of media products or services, the high-definition channels launched by various TV stations are the reflection of this idea. High-definition televisions bring more perfect audio-visual enjoyment to the audience by delivering clearer and more dynamic and lifelike images. Such as changing the intensity, frequency or appearance and design of media products or services, the specialization of channels implemented by TV stations and radio stations and the revision of relevant programs all follow this idea. These innovative methods can undoubtedly enhance the competitiveness of media products or services, expand the market scale and capture more audiences, which is a good innovation means for media. However, they cannot bring new media products or services. With the continuous evolution of media market segmentation, the media will feel more and more laborious if they stick to the original market with innovative ideas. Therefore, the media may wish to break out of the above innovative thinking, in a new way of thinking innovation.

The innovative idea of media level marketing is based on lateral thinking. Edward DE bono has come up with the concept of lateral thinking, which he defines as a set of processes that use information by subtly recombining concepts stored in the brain. In this way, the innovation of lateral thinking needs to go through three steps: choosing a focus; Horizontal replacement to create white space; Establish a connection. These three steps are illustrated with an example of a fake flower. Step 1: choose focus, the flowers. Step 2: transversal replacement. One of the basic characteristics of flowers is that they wither, and the result of transversal replacement is that flowers never wither. At this time, the connection between flowers and transversal replacement is broken. The third step is to use creativity and imagination to reconnect the two in a logical way, to think about what flowers never die, and the answer is fake flowers. This fills in the blanks and gives rise to the false flower, which has a new character that never fades.

Based on the horizontal marketing theory taught by professor Philip kotler at the market level, the media market can be decomposed into multiple dimensions such as demand, target, location, time and situation, and then the six techniques of substitution, inversion, combination, exaggeration, removal and sequence are used to conduct horizontal displacement of the above market dimensions. Because substitutions are simpler and easier to use than reversing, removing, or changing, this paper mainly USES substitution techniques to illustrate them.

The newspaper office sorted old news into historical databases. The value of news lies in its "newness". Therefore, if the news in the newspaper has already eliminated the time to become "old news", they will be worthless in the eyes of many people. So how to revive old news that has lost its need? A good idea is to organize it into a kind of historical database. If your database is larger, the longer and more comprehensive it is, the more valuable old news will be. The New York times, for example, was born in 1851 and has been here for more than 150 years. Over the past century and a half, the New York times has witnessed and recorded the changes and development of American society. If all the contents it has published are put together, they will become a thick and detailed American history. We all think "old" news is worthless, but we all know that "history" is humanity's most valuable asset.

Hunan TV's entertainment show super girl is a good example. For a long time, entertainment programs mostly adopt the mode of "star performance", and brand programs like "the same song" mostly invite stars to perform. However, ordinary people also have a need to perform. Hunan TV's "super girl" captures the performance desire of ordinary audiences. Its slogan is "regardless of age, appearance or singing", thus attracting a large number of ordinary girls who have strong desire to perform but are struggling to achieve it without a stage.

The success of focus media, which many in the industry regard as a miracle, stems from its replacement of the time dimension. Before focus media, when did viewers watch TV shows and advertisements? The first thing that comes to mind may be the "prime time" in the evening, when viewers sit comfortably on couches in their homes or hotels, watching TV shows and commercials. Focus media has another answer - the amount of time people spend waiting and taking the elevator in business buildings. The liquid-crystal TV set that focus media has installed in the elevator doors of numerous commercial buildings and repeats the program every day captures the average three minutes and one second that people wait for and ride in the elevator.

TV advertisements always appear before or after TV programs, but product placement is different. It is embedded in the specific situation of TV programs and integrated with the whole program to become a part of TV programs. Take the 2010 CCTV Spring Festival gala as an example. During his magic show, liu qian poured juice into the cup and took a drink, saying it was huiyuan juice. In the skit "home has a graduate", the "yanghe blue classic" as a prop got a full four seconds of close-up. In another skit, "fifty dollars", actors wear aprons with advertisements for luhua cooking oil on them these ads are placed in various situations and achieve their purpose without the audience noticing them.

The Beijing traffic radio program has made a breakthrough by combining the program with the experience of the audience who drives. If the audience is stuck in a traffic jam, the FM103.9 program is bound to be light-hearted fun. In order to alleviate the anxiety of the audience's traffic jam, the host will make some jokes to adjust the atmosphere. If the audience encountered snow days while driving, the program introduces the experience of driving on snow days. If it's late afternoon driving home, the program focuses on life messages to suit the mood of the audience.

After learning about the innovative ideas of media-level marketing, we may think it is very simple. But to make it a long-term, stable source of innovation, we need to be clear about the following:

The innovation of horizontal marketing does not come out of nowhere. It follows a basic operating framework from the selected focus, replacement and generation of blank space to connection blank space. Moreover, although the thinking mode of horizontal marketing is unconventional, it is also traceable, and is not a wild fantasy. In fact, the innovation process of horizontal marketing is to break the routine with lateral thinking, and then to break the bond with rigorous logic thinking. This process actually requires us to have very rich imagination and very strong logical thinking ability, creativity. It would be wrong to think of any sudden whim as an innovation in horizontal marketing, or to hope for an occasional whimsy.

To be sure, compared with traditional innovation, horizontal marketing can create original new media products or new markets. Horizontal marketing is a more exploratory, possible and probabilistic innovative thinking. However, the innovation of horizontal marketing cannot succeed without the support of traditional innovation. This is because the traditional innovation can improve the existing media products or services by adopting market segmentation and positioning strategies, so as to achieve the diversification of media products or services, so as to expand the media's share in the media market, win more audiences and better compete in the market.

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Assignment代写：Tim burton's fairy tale elements

下面为大家整理一篇优秀的assignment代写范文- Tim burton's fairy tale elements，供大家参考学习，这篇论文讨论了蒂姆·波顿的童话元素。蒂姆·波顿的电影常被称为电影童话，是好莱坞电影中极其特殊的存在。虽然有人批评其电影作品情节简单、缺乏深度，但更多的人欣赏其瑰丽想象、怪异荒诞和心灵触动力。蒂姆·波顿电影作品的童话元素是他在好莱坞独树一帜的法宝之一，这种特色的形成源于他个人的成长经历和对童话的独特理解与运用，正是童话元素和表现手法成就了他那些深受欢迎的经典电影。

Tim burton's films are often praised as "fairy tales" or "adult fairy tales" because they contain many elements of western classical fairy tales, as well as their symbolic meaning and immediate sensibility, which always immediately touch the hearts of the audience, just as fairy tales are always easy to attract children. However, bolton's "fairy tales" are often marked by the word "black". They are marked by their obvious weirdness, darkness and terror, which are different from other fairy tales in Hollywood. This personal style is derived from his love of fairy tales from his childhood and his profound and unique fairy tales.

There are many typical fairy tale elements in burton's films in terms of time, background, event and narration. This paper only focuses on three elements that embody its characteristics: the blending of reality and fantasy, the loss of parents' image and the loss of sex.

The blending of reality and fantasy is the core fairy tale element in burton's films, which endows the audience with a real and unreal aesthetic feeling and profound symbolic experience. Taking big fish as an example, it reflects burton's perfect application of this element. It has two story lines, one is realistic -- the father is going to die, the son comes back to explore the father's life, and finally realizes the spiritual communication with the father, and gets the revelation of the truth of life; The other, the main one, was the traditional fairy tale line, in which all his friends became characters as his father went through the most bizarre adventures and achieved the most romantic love in his boastful tales. The intense dreamy color makes the audience as confused as the sons in the film. Why does a real person do this when he is hiding behind an unreal fantasy story? In the end, we found that each of my father's stories had a kernel of truth. Life was full of hardships and commonplace. Why not tell the story of life in a more beautiful and soothing way, so that others could face it optimistically and willingly? A large number of fantasy elements in the film not only enhance the beauty, but also reveal the truth of family and life in a metaphorical way, making it the brightest and most "uplifting" film works of bolton's hue.

There is a common phenomenon in the classic fairy tales: the lack of parents' image, or the defective parents' image. Bolton's use of this element makes his film unique lack of beauty. His characters rarely have mothers, and if they do, she doesn't matter much to the story, the sort of nurturing, soothing female element missing from his fairy tales. The creators of the protagonists are mostly fathers, and they are always the cause of their sons' unhappiness and even misery. These fathers are always flawed in one way or another, and as a result they cannot properly nurture their children, who are almost spiritually and psychologically abandoned. This lack of love or the trauma of abandonment inevitably translates into the juxtaposition and conflict of the forces of light and dark in their children. So, pure Edward will become a terrible killing machine, and wonka will quietly and even proudly punish those he does not like.

The most authentic "innocence" of burton's film fairy tales is that no matter how violent and dark they are, there is no "sex" element, which is also a typical feature of fairy tales. Bolton all movies are not actually "sex" elements, which is rare in contemporary Hollywood, can imagine he is considering the film classification, don't want to let the young audience rejected and in so doing, but we prefer to think that he is a young filmmakers, always like a fairy tale and has been influenced by the fairy tale, the effect is small, entrenched -- love in the fairy tale, but no sex.

In the classic fairy tale, the stepmother is always bad, the eldest son is always bad or incompetent, and the hero is always kind and lucky. The characters in burton's movies and fairy tales also have the characteristics of typology. They are often not understood or misunderstood by people, and they are at odds with the surrounding environment. They are hampered by a certain degree of duality, but their hearts are pure, persistent and kind. The typed characters make many people believe that Mr Bolton's character is his own, he repeatedly with film in its own growing experience and feelings, it makes sense, because bolton is autistic lonely growing up at a young age, parents don't understand and youth in Disney animation person's struggle and anguish to him indeed had a profound effect, director of career in the future, but he chose to use typed fairy tale characters to express or into his own feelings because he preferred use of fairy tale characters mainly symbolic significance, in this article in the first place.

The plot of the classic fairy tale is almost formulaic: the protagonist leaves home -- on an adventure or quest -- and returns home. Their theme is almost the same: the protagonist encounters people and events that are significant to life in the process, and either realizes a wish or achieves happiness. Such similar or repeated plots and themes are also typical features of bolton's fairy tales. From the perspective of plot, his protagonist often enters the unknown world from the world they are familiar with, meets strange characters, experiences changes in life, and finally returns to his own world. "" zombie bride," "" "Alice in wonderland "" and so on.

Due to stereotyped characters, similar plots and repeated themes, bolton's films are often criticized for their weak characterization, lack of plot, thin story, lack of depth of thought, etc. From one aspect, it is true that his movie fairy tales only seem to be satisfied with providing the audience with visual enjoyment and a story that they can understand immediately. But on the other hand, these defects and the cause of his audience: visual, characters, narrative and the subject's consistent style formed a kind of "efficiency" and "unexpected", to the audience in a kind of familiar feeling, like a child always know then what will happen in fairy tales, this makes "his best movie like all the good folk stories have the immutability, hitting the basic human emotions."

Bolton admits his films are all similar: "" I'm amazed that some people can go from one genre to another, and every film seems to be different, and I need some kind of connection. He also showed that the connection was his preference for fairy-tale patterns and coherent use: "I don't think anyone would have seen any of my films without immediately recognizing that it was mine. It has obvious clues, recurring themes and ideas That's why I always like the fairytale program because it allows you to explore different ideas in a very symbolic way, through less literal, more sensory images." This seems to be a self-justification for his criticism of people, and also an emphasis on the symbolism and sensibility of his work, for whom fairy tales are clearly the best medium for achieving this goal.

Fairy tale is an abstract, symbolic, the meaning of their emotional, mental, and spiritual touches is direct and strong, good fairy tales don't need wisdom explanation can be understand, bolton and admire for the evaluation of his movies so it does - "like any good fairy tale, in emotional level rather than at the first glance touches people wisdom level." When watching scissorhands, the audience would sympathize with the innocent Edward, instead of regarding him as a terrible killer. I can see from Edward's transient happiness and happiness how cold and hypocritical the secular small-town residents are, and feel the grief of his misunderstood heart that lovers can never get married. Edward's "scissorhands" -- symbols of the socially inept young man's "untouchable, uncommunicative" and "neither belong nor belong" -- caused the audience to produce deep psychic grief like him.

In addition, the connotation of burton's film fairy tales is as simple and rich as the excellent classic fairy tales, which is never reduced to superficiality due to the simplification of plot and the typology of characters. In the case of big fish, it is often seen as a fairy tale about love and understanding, but far from that, it is a fairy tale about the complexities of everyday life -- what is true and what is not; What is realistic and what is fanciful; What is life and fate? My father's stories reflect the hardships of life, the courageous exploration of life that never stops, the higher pursuit of success and happiness, the persistent pursuit of love, and so on. Each vivid fragment of color has different symbolic significance, and people of different ages and experiences will get inspiration and inspiration from it.

As for the criticism that his films, and even his cartoons, are too dark or scary, with too much violence and death, bolton has repeatedly used fairy tales in interviews. "Life is strangely complex," he says. But admit it in a way that is far from true. So I think it's more true." As a child, burton sought comfort in the creation of fairy tales by writers such as horror films, monster movies, comic books, classic folk tales, Dr. Seuss and roald dahl, so his knowledge and perception of fairy tales had distinct personal qualities, unlike most people who believe that fairy tales are just synonyms for warmth and beauty. He sees the harsh side of fairy tales, believing that they are basically horror stories Grimm's fairy tales, for example, are perhaps closer to films like "the undead brain," which are more brutish, harsh and full of strange symbols." Bolton USES dark elements to express such a creative idea: there are many imperfect things in life, there are many dark and abstract things, and the way to understand these things is to explore them. His films, like fairy tales, offer both a window into the harshness of life and a way to release pent-up anxiety, acting as a catharsis and a relief. That's how bolton came to be, and so, at least for the children's audience, was his original intention.

Bolton's preference for and use of classic fairy tale elements and themes in film production is almost instinctive, first of all, because he always likes good fairy tales and stories with symbolic meaning. This sincere love enables him to constantly have the impulse to create fairy tales. Secondly, his working experience as an animation artist makes him focus on the sensibility and symbolism of the film in his creation, while the fairy tale form is undoubtedly the most economical and emotional means. Fairy tale into black for bolton is not overthrow of classic fairy tale, because it is a dark fairy tale, but he did not abandon the traditional virtues such as fairy tale of true praise, so his films, though there are many dark fairy tale elements still can give people the warm heart and inspiration of life, this is the concept of fairy tale that he gave his practice in the creation of the film. Bolton believes that fairy tales are an important part of culture. He once said that America is a young country that lacks fairy tales, and he is willing to create them with people. So the phrase "his films are full of extreme, symbolic images that have become part of our cultural landscape" is a nod to his efforts and success.

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Essay各部分写作详解

Essay是留学生最常见的作业形式，虽然难度不大，但想要写好并没有那么简单，特别是初到国外留学的同学们。其实写作Essay，最关键的就是要保证论文的每个部分都写好就行了。那么Essay各部分该怎么写呢？下面就给大家讲解一下。

1. Abstract

essay的abstract部分，一般只有1-2段，字数要求也有一定的限制，一般而言，占文章字数的10-15%即可。但是也会有些学校对此有特殊要求，这个需要注意。

此外，在写作abstract的时候，一定要知道abstract的目的是什么，简而言之，一个合格的abstract要简短，并且能够让读者第一时间知道你在文章中写了什么。因此，在写作abstract的时候，首先要对文章的题目进行总结概括并进行相关解释，接下来要概括地讲解你文章中的具体内容，每个论点进行简单介绍即可，一般而言，两到三句话就可以了。最后，abstract要对你文章中的所有论点和论文标题进行概括地总结延伸，这是abstract的重要一步，要给予充分重视。但是，我们要知道，并不是每篇essay都要写abstract，如果需要写，大多数老师都会提前说明。

2. Introduction

essay的introduction部分，一般字数要求为文章总字数的10%即可，一段内容足矣，切忌分成两段来写。Introduction在写作的时候，第一句和第二句需要对文章的题目进行详细的解释说明，接下来要介绍文章题目的写作背景，接下来，就需要写你文章中将要写的内容，对所有的论点简单概括一下，需要注意的是，论文题目选择后要有侧重地写，文章范围铺的越宽泛写作越缺乏针对性，导致文章内容分散，观点不集中，内容不深入，思想不深刻。

3. Body

essay的body部分，也就是文章中需要重点写作的部分，是文章的主体部分，这部分需要对文章中的论点进行详细大家解释说明，一般要求每个论点的解说分为一段，还有一点需要注意，body部分的人称不能使用i，she，he，当然，如果涉及到举例子是可以使用的。Body部分的写作需要注意，每一段话都需要包括introduction，explanation，examples三个部分，Introduction部分主要是介绍论文的论点或ideas；Explanation主要对论点进行解说；Examples主要是通过举例子的方式来支持论点；

4. Conclusion

essay的conclusion部分，也就是文章的结尾部分，一般为文章总数的10%即可，conclusion要求简短，概括性强，一段足矣。首先用一两句话对文章的题目进行总结，并结合题目说说自己的看法和想法，接下来需要重点总结文章中所出现的论点，每个论点都要总结到，但是总结需要简短，一个论点一句话就可以了。conclusion的最后可是加以适当延伸，但是，延伸并不意味着出现新的观点，conclusion最后一句要延伸一下，但是在conclusion里不能出现新的论点。

以上就是关于Essay写作的讲解，同学们要尽可能地把每一篇论文写好，这对自己的成绩是非常有帮助的。

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Paper代写：British parliamentary system

本篇paper代写- British parliamentary system讨论了英国议会制度。英国议会制度可以追溯到13世纪，迄今已有近800多年的历史。发展到现在，英国议会制度已经改革了很多次，促使着英国的议会制度走向进一步的成熟和完善。尽管英国议会在实际活动中受到许多人的批评，但是从历史和长远看，我们仍然能够发现英国议会活动的高效率，从而保证了国家的稳定和发展。本篇paper代写由51due代写平台整理，供大家参考阅读。

The early parliament was a way for the emerging social class to try to share power, just as the king's advisory body, which gradually evolved into one of the three powers of the country's public power separation and balance. The modern parliament is a legislature of a sovereign state or region whose members are known as "parliamentarians". Members can be directly or indirectly elected or appointed. In general, parliament has the power to sign diplomatic treaties, declare war or ratify peace talks, elect or overthrow the government, and approve government budgets in addition to legislation. In some countries parliament and the power to elect a head of state are the means by which parliamentarians exercise democratic rights on behalf of citizens. The United Kingdom is the initiator of the parliamentary system. As a thing of universal social, political and economic value, the parliamentary system has been recognized, adopted and learned by most countries in the modern world, and has become one of the modern ways of exercising democratic rights. Therefore, the British parliamentary system is called the "mother of parliament".

The British parliamentary system dates back to the 13th century and has a history of nearly 800 years. In 1258, king Henry's intervention in the Italian war, regardless of the crop failure and famine, asked the aristocrats to pay one-third of their income for military expenditure, which aroused the aristocrats' dissatisfaction. King Henry iii's cousin and brother-in-law, Simon? DE? Baron DE montfort led armed soldiers into the palace, forcing Henry to agree to a meeting to sign the Oxford ordinance, which limited the crown. According to the Oxford ordinance, the power of the state is in the hands of a council of 15 men controlled by the aristocracy. A new special term "Parliament" was introduced. The word comes from French and means "consultation", and later in English means parliament. The Oxford ordinance states that the king shall not make any decision without the consent of the council. During the reign of Henry iii, the assembly attended by the monastic and secular aristocracy became the name of parliament, but the king was not willing to lose power and often provoked trouble. In 1264, with the support of the nobles, knights and citizens, DE montfort fought and captured the king. In January 1265, DE montfort, in the name of the regent, convened a meeting under the magna carta of liberty, known as the great conference. Thus began the rudiments of the British parliament. As the representative body of the feudal aristocracy, the grand council consisted of five earls and 17 barons, two more knights and a few lower priests in each county, and citizens were represented in several large cities. However, the parliament at that time could not be equated with the modern parliament.

In 1295, king Edward I summoned a parliament, history says the "model parliament", Kings, nobles, knights and affluent urban citizens political coalition formation, besides big nobility and priest, this session of parliament is fixed to send two knights from each county on behalf of, each two citizen representatives to participate in the big cities, and therefore "grand meeting" a step forward. As the knight and citizen representatives are closely related to each other in fundamental interests and have more common topics, they often gather together to exchange information and discuss countermeasures when such a parliament is held. From 1343, they began to meet alone in Westminster Abbey, gradually forming a house of Commons. Nobles and church elders also form the house of lords. The British bicameral system originated from this. But neither the model parliament, nor the parliament of both houses in 1343, is the modern parliament of universal suffrage.

In 1297, parliament obtained the power to approve taxation. By the 14th century, parliament had gained the power to enact laws. Parliament is also the highest arbiter of political affairs and especially of malfeasance committed by the king's ministers. The formation of the parliament made the king's feudal advisory body gradually become the representative body of the state. The participation of city representatives and the formation of the house of Commons are of great significance to the future development of British history. The rising class of citizens united with the lower nobles, using the power of parliament to approve taxes and pass bills, to limit the power of the crown.

In the early years of the Tudor dynasty, the despot strengthened the role of parliament to some extent. The social foundation of the tudors was the new aristocracy and the new urban bourgeoisie, and the alliance of the crown with these new bourgeoisie and the new bourgeoisie was strengthened by the house of Commons, composed of the middle aristocracy and some representatives of businessmen, while the house of lords was weakened. With the support of parliament, Henry viii carried out a religious reform that freed the church of England from the control of the Pope. The parliament, following the king's will, passed bills which were good for the king and for the new aristocracy and the bourgeoisie, and its activities were expanded. At that time, the parliament was still the king's instrument, and the expansion of the parliament also meant the strengthening of the autocratic monarchy. By the 17th century, this practice of passing various ACTS by parliament, assisted by parliament, had become the legal basis for the bourgeois and new aristocracy to oppose the throne. During queen Elizabeth's reign, when the monopoly of many goods on her minions was so detrimental to the development of industry and commerce, there was an outcry in parliament. The queen reluctantly agreed to stop selling exclusivity to appease parliament. Parliament was also dissatisfied with the king's religious policy. In the 1670s and 1880s, the number of puritans in England increased greatly, and they demanded to leave the church of England, create their own church groups, and guarantee the full independence of the new bourgeoisie in church affairs. And Elizabeth was extremely hostile to puritans, and puritans were persecuted like catholics, but the number of puritans continued to increase. This heralds a rift in the alliance between the authoritarian monarchy and the bourgeoisie. Some of the pilgrims later migrated to North America.

In the mid-17th century, with the progress of the revolution of the new class in Britain, the royal opposition was formed in the parliament, with the industrial and trading class as the main force. They took the parliament as a front, leading workers and peasants to fight against the feudal monarchy, and finally established their own rule through the civil war. However, the feudal forces did not completely disappear from the British political arena since then, and various vassal states remained. The bourgeoisie and the new aristocracy also feared that the populist revolution would finally shake their rule. Therefore, the two parties reached a compromise and formally established the constitutional political system through the "glorious revolution" in 1688.

In 1689 and 1701, the bill of rights and the law of succession were passed, and parliament was confirmed as the highest legislature above the king, marking the true establishment of the parliamentary system in England. Over the next two centuries, the bourgeois revolutions of England and France and the reforms of Prussia and Russia finally brought an end to the feudal autocracy, with parliamentary systems mushrooming above the ruins of feudal royalty and modern parliamentary democracy at its peak.

In the international political practice, many countries are satisfied with the institutional arrangement of the UK, believing that the national machinery has been very perfect and there is no point to it, especially the parliamentary system. But Britain, as the "mother of parliament", is not stagnating, but changing and perfecting the parliamentary system. In addition to the three major changes I have highlighted here, there have actually been several changes and changes in the British parliamentary system. In 1529, a bills committee was formed; In 1554, the voice and the count went together; The third reading of the bill of 1581 was established; James I and Stuart dissolved parliament three times, and even ordered the arrest of members of parliament; In 1628, Charles I's petition of power established the principle of the protection of private property, again emphasizing the supreme power of parliament over taxation; At the end of the 20th century, the upper house reform passed and so on. All this has promoted the further maturity and perfection of the British parliamentary system.

As walter reed, an English scholar, put it, In his letter to the economist in 1865, he argued that Britain's parliament was not "a mysterious entity, but an invention of reason. The advantage of it is simply that it achieves some good objectives, and therefore parliament can be improved by adhering to these objectives and carefully shaping the British constitution towards them. There is no reason to think that our laws, political institutions and governance should not be made to operate like a scientific machine.

Although the British parliament has been criticized by many people for its numerous procedures, complicated procedures, red tape and low efficiency in practical activities, on the other hand, it should be well established and well-formed, and its activities and results can stand the test of time. As the exercise of state power, the handling of public affairs, broad and far-reaching power activities, people have to be cautious, not cautious. In fact, historically and in the long run, we can still find the high efficiency of parliamentary activity in the UK, thus ensuring the stability and development of the country.

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Essay代写：The reasons for Britain's decline

下面为大家整理一篇优秀的essay代写范文- The reasons for Britain's decline，供大家参考学习，这篇论文讨论了英国衰落的原因。英国是世界上第一个现代化的国家，但由于没有一部成文的宪法，使得英国人在面临各种新的挑战时不能立即做出有效的反应，而且在新的发展机遇中又慢了半拍，所以导致英国逐渐开始衰落。虽然英国仍然是强大的，经济仍然是繁荣的，但人们对英国的进步速度和衰落情况的估价却是十分悲观的。

The specific manifestation of Britain's decline is first of all an economic phenomenon, mainly due to a series of negative factors that come with the loss of the status of "world factory". The original advantages begin to turn into some heavy burdens, including the old production department, stereotyped technology, backward management mode and so on. The old production sector refers to the traditional industrial sector which has long dominated the British economy, while the new production sector has been slow to develop. The basic attitude of the British business community has been conservative for a long time. It is unwilling to adopt foreign advanced technology and pays no attention to technology education, so that there is a lack of innovation and conformity in technology. The backward mode of operation and management refers to the traditional operation and management that the British economy has long maintained in the early stage of capitalism. Both the scale and organization of the enterprise and the management of the enterprise are far behind that of the United States and Germany. All this has not only undermined the international competitiveness of British industry but also accelerated capital outflows from the UK. The premature rush of capital abroad, in turn, affects the UK's growth rate, further diminishing the role of British industry in world competition.

And the ranks of the elite, which are crucial to economic life, are unstable in Britain. The poor economic treatment of the British business community has led to a regrettable exodus of engineering and management talent.

An important factor in Britain becoming the first industrialized country was its unique social structure. It was not a two-tiered social structure of the upper and lower classes, as in much of Europe at the time, but a strong middle class. It was this unique social structure that gave Britain the dynamism that no other European country had at the time, and the industrial revolution was driven by the ability of the middle class to engage actively in business. By the Victorian era, the middle class had won the victory, and the land aristocracy was losing its political and economic advantages. But this trend does not mean that the aristocracy has died out and been kicked out of history. In the first half of the 19th century, a series of political struggles surrounding the poor law finally enabled the aristocrats to reshape the image of their social masters, while the wealthy bourgeoisie had to modify the image of its nouveau riche and unconsciously drew closer to the values of the aristocracy.

One of the most important features of this is the enthusiasm of the middle class to buy property. Real estate is not purchased for new agricultural investment, for the development of agriculture, but purely for the enjoyment of the enjoyment of owning land. In other words, the formerly enterprising bourgeoisie is now moving towards the spiritual world of the landed aristocracy, which is gradually giving up the spiritual elements that made their predecessors successful, and accepting a new concept gentleman that has nothing to do with the competitive industrial spirit. And this concept is essentially the revival of old noble values in the new situation. As Russell put it, "a gentleman is a concept invented by the aristocracy to keep the middle class in order." Moreover, the British aristocracy was relatively loose and fluid, and this unique structure made it easier than other European aristocrats to absorb new elites into their own ranks. From 1837 to 1911, according to pomfrey's statistics, the number of people newly elevated into the British aristocracy increased, from about 10 percent in 1837 to 43 percent in 1911. Moreover, British industrialists began to "merge" with the aristocracy, and some of the British monopoly groups that emerged from this were characterized by the importance of the aristocracy. Industrialists began to be economically associated with aristocracy a century ago, and later more socially and culturally integrated, and the habit of having a knighthood adorning the boards of large corporations remains. Between 1978 and 1979, 31 jazz and 11 lords were selected to chair Britain's 50 largest industrial companies and 24 savings and trade Banks. When British entrepreneurs began to imitate the aristocratic way of life, the company's vitality was also lost.

Britain attaches great importance to the culture and lifestyle of gentlemen. An important characteristic of a gentleman is the pursuit of a pastoral life in the first place. When the middle class imitates the image of a gentleman as their own, he loses the industrial spirit on which he owes his success. As Sir Henderson put it: "the British way of life is to be absorbed in the leisure of life rather than work." Britain has been able to maintain its edge for a century, thanks in large part to the British spirit of innovation. This constant spirit of enterprise and innovation is the so-called industrial spirit. By the middle of the 19th century, smiths and others had regarded the industrial and agricultural revolutions as the greatest achievements in English history. But in modern English literature, the quintessential British ideal is a longing for an idyllic way of life, while industrialization is associated with "the devil factory of darkness". Many industrialists regard industrial and commercial activities only as a kind of part-time work. There are often some very successful entrepreneurs who have completely left the industrial and commercial industry. Such a mentality is most prominently reflected in the development of the family company in the UK, which was the first in history to produce a variety of family-based companies, but has been slow to form bigger monopoly companies of non-personal nature. Because these successful entrepreneurs, they have for their family to earn a comfortable environment, oneself also has an enviable social status, what he needs now is to have more time to enjoy the holiday weekend, go to all kinds of the recreation of a gentleman, no need to dwell on "action". As a result, they are more likely to view their social roles in a casual manner.

Due to historical factors, Britain has long pursued a liberal economic policy, which is beneficial to its development when Britain is the only industrial power in the world, because it is conducive to the dumping of its own products to other countries. It is a small island, the population in 1890 also however 37.4 million, rapid industrialization and urbanization makes 78% of its population is the urban population, thus more than its rivals in the industrial aspects of the working population, so the world's major powers such as America, Germany, France and Russia before the main rivals could challenge it. However, it was in 1870, at the acknowledged height of British history, that virtue and other industrialized countries began to catch up. Their goods not only solidified their home market, but also entered Britain's former sphere of influence. The protective tariff policy of Germany in 1870, and the same policy of France and the United States in 1890, both largely hit British export trade. Due to other constraints, the British government could not abandon the principle of free trade before the first world war. It is not only the responsibility of the government to make decisions, but also related to various industries in the UK. For example, the cotton industry relies on foreign markets for raw materials and finished products. The urban population of the UK is largely dependent on imported food. All these factors make it difficult for the British government to take drastic measures. The most fundamental reason, however, is the age-old British belief that government intervention is an activity that benefits only a few and serves vested interests. Under the restriction of such habit, the British government has failed to adopt some effective policies for development for a long time. The neglect of technology education, for example, prevented Britain from providing enough skilled workers in the late 19th century, as Germany and France did. For some important areas of scientific research, the government has failed to adopt active support policies, but left it to its own fate. Even in the 1990s, British vocational training was second to last among the 22 developed countries. It is even more incredible that there is not a single minister in the British government who is in charge of industry. Economically, the British government has failed to effectively help its industry development, but in foreign policy, the British government is intentionally or unintentionally increasing its economic burden. Despite the decline of Britain's national strength and the repeated declarations of its withdrawal from all parts of the world, it has yet to withdraw any of its colonies voluntarily. In this respect, the failure of British politicians to properly assess the strength of their country and to properly position themselves in international affairs has increased economic pressure on the UK and, to some extent, accelerated its decline.

The United Kingdom is a "free developing" industrial country, in its development process formed a number of interest groups.

However, these interest groups often put the interests of their own small groups in the first place, and in order to seek the interests of their own small groups by hook or by crook. Special interest groups mainly focus on the distribution area, and how to improve the production efficiency of the whole society is not a matter for individual interest groups to consider. This is particularly evident in the UK's Labour movement and Labour organisation. The struggle of the Labour movement was mainly aimed at the area of distribution. As the UK was the first industrialized country, its history of union structure and labor relations also had something special: there were no unions by sector in either France or Germany. A person's membership depends on his industry, not his industry. In this way, it is impossible for an industry in an industrial sector to seek its own interests at the expense of other industries or the whole enterprise. There are far fewer unions in France and Germany than in Britain, and the number of union members makes up a much smaller proportion of the workforce than in Britain. In other words, Britain's unique union structure makes it harder for employers and workers to reach a compromise. In addition, trade unions and similar organizations have reduced the ability of societies to absorb new technologies to reallocate resources in response to changing circumstances, thus lowering economic growth rates.

At the end of their development, these similar interest groups often develop an instinctive xenophobia. For example, if the number of surgeons is too large, the salary of doctors will decline. As a result, doctors' associations around the world have always instinctively limited their membership.

The formation of interest groups is inevitable in every society. How to eliminate the negative influence of these vested interests in the development is a problem that every society must face, and it is also a problem that has not been solved effectively by effective measures up to now. Relatively speaking, the longer a country has been in the stage of social development, the more difficult it is to remove these interest groups, and the greater the resistance it will encounter in the process of further social development. Britain was the first industrial country to carry the most weight.

Britain was the first modern country in the world, and in many ways it "crossed the river by feeling the stones". But Britain has been in history without a written constitution, results after the glorious revolution produced by the British government agencies or aristocratic, basically not only makes the British achievements in history without fixed in the form of law, and makes the British people have always when facing new challenges not immediately respond effectively. Former U.S. secretary of state John acheson once said that Britain had not found another role for itself after losing its empire, so that it was half way behind in new development opportunities. Although Britain is still strong, its economy is still prosperous, its people are still patriotic and British people still think that Britain is the most livable place in the world, but people's assessment of Britain's progress and decline is very pessimistic. Most people believe that no matter how much wealth they own, the fate of their country is unfortunate and getting worse.

The analysis of the causes of the decline of the United Kingdom suggests that the development of any nation needs a spiritual impetus and pillar, without which no development can be sustained. With the improvement of living standards, the original spirit of hard struggle will gradually fade, which is a social trend that does not change with the will of any individual. To ensure that the original spirit of struggle is not lost, change on the institutional level is inevitable. In other words, a nation's creative vitality depends on both its spiritual level and its institutional level. From the Angle of consolidating the victory achievements, the reform at the system level is more important.

At a deeper level, Britain's decline is a foregone conclusion. As a small island country, Britain first started the political and economic revolution of the bourgeoisie, and occupied quite a few colonies. At one time, Britain played a role that was not commensurate with its actual capacity, and became a so-called empire that never set foot on the sun, which is what we call a superpower. But this excessive expansion itself is abnormal, "detumescence" is only a matter of time. In this context, it can be said that no nation state can long "benefit" from historical opportunities. It can only and should only use the capabilities it actually has.

In other words, it is very difficult for any country to obtain improper interests for a long time by virtue of a certain advantage in today's world. This is the dialectic of history and the most important revelation we get in the process of discussing the causes of the decline of Britain. If we cannot properly position ourselves, we will always try to play a "role" in international affairs. We should regard international affairs as our domestic affairs, seek inappropriate interests and assume inappropriate obligations, and any great power will decline. In this sense, "superpower" is just a synonym for impending decline. Our leaders' assertion that China is not doing it now and will never be a superpower is a wise judgment with a deep historical perspective.

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