Assess the effectiveness of a company’s leadership.
Discuss the basis of a company’s competitive advantage and the potential challenges to its strategy.
What growth strategies might a company pursue?
With the special cases of Dorotea and Zoraida, the ladies in the First Part of Don Quixote are feeble willed, subservient animals who depend on their spouses as experts. Nonetheless, even Dorotea charms and embarrasses herself keeping in mind the end goal to win back Fernando's fondness. Zoraida, then again, at first emerges as the one appearing exemption to this model, since she has the will to take from her dad so as to flee from home with the hostage. Zoraida, or Maria on the off chance that you lean toward, is "a female figure who is half Moor (the body) and half Christian (the spirit)" and "goes into purposeful outcast from her home culture so as to realize a covered up and purportedly European self" (Garrett 141). Zoraida surrenders her dad on an abandoned island during the time spent realizing her journey for the Christian world (Garrett 141). As a Moor, she can venture outside the limits of the regular parts overseeing the lives of Cervantes' ladies. Notwithstanding, Zoraida talks just once, and afterward it is in enlivened amendment of her name: "No, Zoraida no: Maria, Maria!" (Cervantes 353). Renamed Maria, Zoraida's Moorish personality would be supplanted by a Christian perfect of ladylike celibacy, yet her muteness symbolizes her absence of intensity. Consequently, despite the fact that her ethnicity and religious enthusiasm make her bizarre and recommend that she may fill in as the model for another sort of lady in the novel, she stays as much a question as the other female characters. The Captive's Tale features a lady's part in "present day" Spain. From the principal, Zoraida is spoken to as a question unfit to show a feeling of self. Rather than the hostage, who effectively connects with the motel's visitors and characterizes himself as a component of their locale, Zoraida is inactive and quiet and removed. She ends up unmistakable to her new friends simply after the hostage interprets for her for a particularly Christian group of onlookers. The achievement of Zoraida's multifaceted adventure relies upon the hostage. (Garrett 142) Zoraida enters Cervantes' content as an exacting portrayal of a sentimental maiden in-trouble. Her landing takes after Dorotea's pantomime of Princess Micomicona, a fanciful develop formulated by the cleric and the hairdresser to put a conclusion to Don Quixote's misfortunes (Garrett 142). An once extraordinary woman, the princess is said to require a knight's support of reestablish her and her family from the tyrannous hold of a "congested goliath" (Cervantes 274). In a fascinating parallel, Zoraida, having progressed toward becoming herself a lessened and helpless lady, gives a genuine mirror to the princess. An eager exile from her home culture, Zoraida enters the story in the wake of having been diminished by privateers of her bangles, pearls, and rubies, and showing up a really ruined Christian change over (Garrett 142). Her opportunity relied upon disloyalty, and after that treachery she lost her monetary and verbose power. At last, all that she holds is her charm as a Muslim lady looking for another country. Where the fanciful Micomicona is ensured by the frantically sentimental Don Quixote, Zoraida is secured by the Christian hostage. Together, Zoraida and the hostage touch base at the hotel as sensible figures of a cutting edge Christian knight and his purely quiet woman. Zoraida speaks to the potential for ladies' centrality in the meantime she uncovers the points of confinement of ladies' entrance to control. Both as far as financial matters and talk, she is contained subsequent to offering herself up for trade. In Cervantes and the Material World, Carroll Johnson recommends that "Zoraida ventures from semantic and monetary strengthening in protocapitalistic Algiers to voicelessness and destitution in feudo-agrarian Spain, where the old request triumphs and Zoraida is guaranteed, best case scenario, a situation as a below average morisca subject" (126). Cervantes utilized masculinist artistic models to shape his novel, yet he occupied with an altogether new sort of abstract action that contacted a developing perusing populace by "situating Zoraida at the focal point of the talk of race, class, and contrast in early current Spain" (Vollendorf 322). Zoraida can't steamed any class, for hers is the quintessential recorded account of change, dislodging, and quietness.>GET ANSWER