【正文】 names and figuring out what to do with them for the brief time each week that I stand in front of them. I do not consider the challenges of learning to live here part of a purposeful life. I consider those issues existential in nature. One of the problems with my life in America was that I felt it had no purpose. I went to work every day and even did what I could to make my colleagues39。 he wondered how in the world he came to belong there. Indeed his penning and publishing this essay caused his exmunication from high society and also caused him a lot of legal trouble. The legal trouble came as a result of the fact that he was speaking out against the government. I like to reference such texts from time to time as an example both of the fact that history does repeat itself and that this world is not so big that what applies to one society does not in any way touch another society. On a much smaller scale,Emerson39。s to e and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an unfortable accent. They were obviously designed to appeal to an Englishspeaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly petent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the monalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has bee－h(huán)ow shall I put it?－a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emerson39。s president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast China39。t just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as red burgeon, and today39。s Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horsedrawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as AlmaAta, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers and take the caravan more than one year to plete. The caravan is expected to return to Jingyang in March 2016. Then they will e back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54yearold was born in Tongliao, in eastern Inner Mongolia and joined the troupe in says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. I can still recall the days when I toured with the troupe in the early 39。 cosmetics。Oreal cosmetics, L39。最后要感謝的是我的父母，他們不僅培養(yǎng)了我對(duì)中國(guó)傳統(tǒng)文化的濃厚的興趣，讓我在漫長(zhǎng)的人生旅途中使心靈有了虔敬的歸依，而且也為我能夠順利的完成畢業(yè)論文提供了巨大的支持與幫助。論文凝聚著他的血汗，他以嚴(yán)謹(jǐn)?shù)闹螌W(xué)態(tài)度和敬業(yè)精神深深的感染了我，對(duì)我的工作學(xué)習(xí)產(chǎn)生了深深的影響，在此我向他表示衷心的謝意。我國(guó)中小化妝品企業(yè)日化線營(yíng)銷戰(zhàn)略研究[D]. 天津大學(xué) 2006 [10]多品牌戰(zhàn)略在基金中的應(yīng)用——富達(dá)基金的啟示[J]. 山西財(cái)經(jīng)大學(xué)學(xué)報(bào). 2012(S3) [8]袁立洪.[J]。油歐萊雅的多品牌化戰(zhàn)略分析看中國(guó)品牌發(fā)展[J]。歐萊雅集團(tuán)在中國(guó)的品牌營(yíng)銷戰(zhàn)略與戰(zhàn)術(shù)研究[D]?？铺乩盏戎?王永貴等譯.《營(yíng)銷管理（第14版本文利用品牌營(yíng)銷的理論對(duì)我國(guó)化妝品市場(chǎng)營(yíng)銷的問題進(jìn)行分析，并針對(duì)這些問題，從市場(chǎng)的角度提出創(chuàng)新性的對(duì)策。，融入企業(yè)自身特色 在化妝品市場(chǎng)需求不斷增大的同時(shí)，消費(fèi)者需求和零售終端的營(yíng)銷模式也在不斷的改變。，改變零售終端營(yíng)銷模式，增強(qiáng)企業(yè)活力 在市場(chǎng)經(jīng)濟(jì)中，企業(yè)的效益高低受其發(fā)展活力所影響，而增強(qiáng)企業(yè)活力的關(guān)鍵就在于提高管理水平，要以市場(chǎng)的需求為目標(biāo)進(jìn)行企業(yè)內(nèi)部和外部的管理。，將產(chǎn)品推向國(guó)際市場(chǎng)為了扭轉(zhuǎn)品牌形象給消費(fèi)者帶去的老、舊映象的局面，老品牌企業(yè)當(dāng)務(wù)之急是提高品牌的創(chuàng)新能力，做大做強(qiáng)品牌。今后化妝品企業(yè)的發(fā)展擴(kuò)大會(huì)需要更多在工程技術(shù)方面有深厚實(shí)力造詣的專家人員，而且要招攬和培養(yǎng)對(duì)企業(yè)發(fā)展有幫助的優(yōu)秀人才。企業(yè)要根據(jù)自身的情況對(duì)銷售渠道進(jìn)行創(chuàng)新，打造與時(shí)俱進(jìn)，適合企業(yè)自身的渠道。因此迫切需要擴(kuò)大現(xiàn)有的銷售渠道，提升企業(yè)的盈利能力，提供更廣闊的發(fā)展空間。這大大限制了企業(yè)對(duì)市場(chǎng)領(lǐng)域的拓展，導(dǎo)致公司的盈利能力在很大程度上受到限制，導(dǎo)致了一系列的負(fù)面影響。中國(guó)地域遼闊，人口眾多，市場(chǎng)的需求潛力不可同日而語(yǔ)，正是這些因素吸引了外國(guó)企業(yè)的進(jìn)入。在日常生活中化妝品已經(jīng)由奢侈品變成必需品，消費(fèi)者對(duì)產(chǎn)品的質(zhì)量，以及售后服務(wù)等方面的軟服務(wù)需求越來(lái)越看重。而且化妝品與其他工業(yè)產(chǎn)品的性質(zhì)不同，它從原材料到變成成品的環(huán)節(jié)比較簡(jiǎn)單。，制定有效的營(yíng)銷策略 因?yàn)橄M(fèi)者的注意力主要集中在美容效果，并且因?yàn)樾睦碚J(rèn)同原因的干擾，國(guó)內(nèi)中高檔品牌市場(chǎng)大部分被技術(shù)先進(jìn)實(shí)力雄厚的國(guó)外品牌占據(jù)。二是依托品牌知名度反向提升品牌資產(chǎn)。因此，在利用多品牌策略時(shí)，要注意各個(gè)品牌市場(chǎng)占有率的大小及變化趨勢(shì)，適當(dāng)撤除市場(chǎng)份額較低的品牌，阻止品牌自身形成競(jìng)爭(zhēng)。三、避免統(tǒng)一品牌下的負(fù)面株連效應(yīng)。這種情況下，一個(gè)企業(yè)在兼容支持不同消費(fèi)者的需求，企業(yè)運(yùn)作就會(huì)出現(xiàn)問題，就很難拓展市場(chǎng)的寬度。圖32歐萊雅多品牌戰(zhàn)略模式圖