WHAT: Your project, a presentation of a business plan, should be in the form of a PowerPoint presentation. You are the entrepreneur and will use this presentation to show where your business is now, where you plan to go, and how you are going to get there. Assume that this presentation is being made to potential investors.
Your presentation should be comprised of approximately 15-25 PowerPoint slides. Each slide should summarize the main points you are making, and additional details (those that you would be saying in your presentation) should be included in the “Notes” in PowerPoint (under each slide there is a “Click to add notes” feature). Your mock presentation should last approximately 20 minutes, so ensure that the PowerPoint contains sufficient information to guide you through this presentation to potential investors.
Be sure that your presentation includes all of the main parts of a business plan, and is not merely a copy of the business plan that you are using as a basis for the presentation.
• Choose your business and plan from the following site: http://www.bplans.com/sp/businessplans.cfm . Clearly label which business type and name you are using.
• Review your textbook and the Small Business Administration site: https://www.sba.gov/business-guide/plan-your-business/write-your-business-plan
• Before you begin writing your business plan, consider the four core questions:
- What service or product does your business provide and what needs does it fill?
- Who are the potential customers for your product or service and why will they purchase it from you?
- How will you reach your potential customers?
- Where will you get the financial resources to start your business?
'Of every one of his disasters, Othello is Shakespeare's generally tireless and painful' on the grounds that it 'focuses on the deliberate immolation of one man' contends Geoffrey Benet of the Antioch Review. Shakespeare's Othello is immersed with issues of envy, sexuality and sex as the crowd watches Othello fall into the pit of double dealing that his ensign, Iago, has burrowed. All through the play, Iago captures Othello with uncertainty of his significant other, Desdemona's dependability. In spite of the fact that there is no 'visual' proof that Desdemona has been backstabbing to Othello, Othello's restless manliness drives him to finish her life: a penance to the requesting manly guideline. For Othello accepts he is a piece of the rebuilding of request guaranteeing himself as 'a respectable killer' (V.ii.33). Othello's apparently silly acts are yielded not just from the control of his malicious ensign, yet additionally from Othello's profound seeded uncertainty in his manliness. Desdemona, at that point exists as a strong explanation against the manly standard and male controlled society. Indeed, even Iago's underhandedly persuading words couldn't have supplanted Othello's reliability and confidence in his adored Desdemona. There is something a lot further influencing everything: Othello is unreliable in his manliness which is shallowly situated in the male rule of the age. The consequence of which makes Iago's toxic words conceivable and carries Othello to uxoricide. Othello's restless manliness is the seed of catastrophe in Shakespeare's Othello" encouraged by the infiltrating lies of the not really legit Iago to uncover the ghastly idea of male centric society and the manly standard. Othello, the honorable Moore of Venice is a man of victory and experience 'of small margin scapes i'th' inevitable fatal rupture, of being taken by the ill bred adversary.' (I.iii.135'6). At the end of the day he is a man of accomplishment and certainty. Significantly regarded and believed commander utilized by Venice, Othello is called to obligation whenever there's any hint of contention. In the primary scene of the play, Othello is called to take up arms against Cyprus (I.iii). In war he is known as a man of obligation, administration and sure authority. Michael Cassio, Othello's lieutenant, takes note of that Othello isn't effectively pained' he is a man of intensity and courage. These characteristics at first draw in Desdemona to Othello. Othello notes, 'she adored me for the risks I had passed,/And I cherished her that she pitied them' (I.iii.166'7). Striking Othello likewise shows up only positive about the devotion of his better half as the play starts; a similar sort of certainty he appears in military success. At the point when Desdemona's dad cautions Othello that since she tricked her dad in wedding him, she may likewise mislead him as well. Othello reacts 'my life upon her confidence.' He puts his total trustworthiness in his better half's reliability at his very own similar estimation life. However, over the span of the play, one sees how Othello's appearing certainty is really hidden weakness. Some would contend that the primary issue in Shakespeare's Othello isn't man controlled society and on edge manliness however bigotry. Guaranteeing that the preference and bigot pressure demonstrated to much for Othello. Othello was first acted in 1604, which as per Martin Orkin was a period in which shading bias existed in England (Orkin, 167). In 1601, Queen Elizabeth grumbled about 'the extraordinary number or 'Negars and blackamoors' which are crawled into the domain… ' (166). Orkin cites V.G. Kiernan expressing Europe was 'going up against boorishness' (167). Obviously in the time Shakespeare's Othello arrived at the phase there was an incredible level of racial strain in Europe. 'Barbarian traditions, sexual bashes and savagery… were related with obscurity in the Elizabethan personality, a shading that, thusly, proposed invalidation, soil, sin and demise' (Vaughan, 52). Dull skin was related with evil tendencies and unreasonable sexuality. This is the social setting confining Othello. The racial strains of England in the mid sixteen hundreds is unmistakably reflected in Othello as the main issue, some would contend. Othello is over and again described by the idea of his skin. In the main scene of Othello Iago murmurs to Barbantio, Desdemona's dad, that ' an old dark slam/Is tupping your white ewe (I.i. 89). Proceeding, Iago considers Othello a 'Barbary Horse' (I.i.122). The theme of racial preference can't go overlooked in Othello. It is hard to envision that the groups that assembled to watch were nonpartisan to the subject of race given the chronicled setting. Note Iago's vulgar remarks that middle around interracial marriage. As above noted, Iago discusses Othello with unusual creature symbolism. He often connects Othello with the unrefined demonstrations of creatures. Iago isn't the main character who talks about Othello in such silly terms. Roderigo drives Barbantio with news that Othello and Desdemona have stolen away. First bringing up Othello's 'thick lips' (I.i.66) he argues to Barbantio, to spare his little girl from 'the gross catches of an indecent Moor"' (I.i.137). Barbantio's supremacist and xenophobic demeanors are touched off by Iago and Roderigo's defamation. He also is tainted with the age's xenophobia and prejudice for he can't settle on feeling of his little girls choice to wed Othello aside from if there was dim enchantment included. He blusters, 'Damn'd as thou workmanship, thou hast charmed her… in the event that she in chains of enchantment were not bound' she could never have raced to 'the dirty chest' (I.ii. 283). For to Barbantio, nothing else except for black magic could be affecting everything for Desdemona to adore Othello. Regardless of all these vindictive terms, the Venetian court is resolute, delineating the bigotry of the hour of Othello. In any case, Othello is no more bizarre to the criticisms of bigotry. He shared stories 'Of being taken by the disrespectful enemy/And offered to servitude, of my recovery thus' (I.3.137'138). From this we can presume that Othello has one after another been oppressed by enemies and sold into administration. However he conquered the obligations of subjection. The theme of bondage proceeds as scenes disentangle alongside Othello's significant serenity as Iago keeps on ambushing Othello's position. At the point when Othello requests that he talk uninhibitedly to him Iago attacks, 'however I am bound to each demonstration of obligation/I am not bound to that all slaves are allowed to' (III.iii. 1782'1783). All things considered, Othello stays unaffected by Iago's words. Othello's life is evidence that he has conquered harmful disdain toward his race and culture, it is hard to accept that partiality is the essential purpose behind Othello's debilitated mental state toward the finish of the play. Nothing seems to terrify Othello with the exception of the unfaithfulness of Desdemona. Othello rushes not to guard himself of having taken Desdemona from her dad, nor of doing as such by utilizing black magic. He confesses to having 'ta'en away this elderly person's little girl, It is generally valid; genuine, I have hitched her' (I.iii.417'418). Unshaken by Barbantio's allegation, Othello even energetically expresses that he will depict 'of my entire course of adoration; what drugs, what charms, What conjuration and what may enchantment… I won his girl' (I.iii.431'434). Clearly, Othello is neither astounded nor worried about the idea of the allegations brought against him in court. Rather than urgently arguing his case stating that he won Desdemona's heart. However in the event that this story was insufficient for the court, Othello requests that they bring Desdemona into the court. His certainty is accordingly, that on the off chance that he is discovered 'foul in her report,' not to just remove his office as general yet additionally his very own life. Indisputably Othello can't be shaken from the way that Desdemona adores him. Subsequently, it can't be that bigotry prompts Othello's destruction nor that the partiality that encompasses him yields his passing. Orkin states that 'Shakespeare is expounding on shading preference and… is working deliberately against shading bias..' (Orkin, 170). For Othello goes up against Barbantio's words. Notwithstanding these words don't break his certainty nor lead to his ruin. It is most intriguing that the bias found in Othello is an impression of the racial strain of England during the time the play initially showed up. Andreas states that the way that Othello is fixated on racial clash would doubtlessly have been plainly obvious to Shakespeare and his peers (Andreas, 40). In his article 'Othello's African Progeny,' Andreas clarifies 'crowds never again required Iago lashing up supremacist feelings… Such hazardous previously established inclinations were instilled in the minds of playgoers a long time before landing at the theater' (41). In this lies the contention that bigotry and shading preference is the chief purpose behind Othello's disentangling, for it mirrors the estimations of the time. However, for Othello to have sought after and hitched Desdemona makes plain Othello's strength. For Othello isn't doubtful to the time's racial preference. A man of such high status, having gotten away from bondage and to be conceded the title of general of the Venetian armed force, would have overseen against extraordinary resistance. Regardless of the bigotry of the time, Othello has obtained incredible regard. Considered the 'honorable Moor,' and 'all adequate.' Hero, and hero, Othello is ground-breaking, articulate and regarded. Racial slurs don't upset his quality. Plainly Othello has expelled himself from the issue of race. He is effective and joyfully hitched to the cherished Desdemona. However unmistakably there is a more prominent issue having an effect on everything. For Iago's torment alone couldn't carry the incomparable Othello to crumple. Underneath the facade or Othello's sure masculinity is uncertainty. Restless manliness and the male chief lead to his defeat. This profound weakness and on edge manliness is apparent in the quick weakening of Othello's trust in his adored Desdemona. 'Legit' Iago rapidly brings Othello's weakness into light through his>GET ANSWER