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Business problem at SALAMA

1) Develop 5 research questions using relevant literature to identify the business problem at SALAMA. (5 Marks)

2) Construct research report concerning the role of technology and innovation in SALAMA types businesses. Use relevant references wherever required. (5 Marks)

3) Apply the following statistical tools for data analysis (based on the research questions and attached excel sheet) (10 Marks)

a. Descriptive statistics

b. Contingency Table

c. Hypothesis Testing

d. ANOVA testing (based on Gender)

e. Chi Square testing for goodness of fit (based on usage of channels by customers)

Sample Solution

As an ‘opening up’, the belief is that the signifiers of a Morality play are transparent, and that the exterior we observe is a faithful revelation of the interior: nothing can be hidden. This is the language of Eden, according to St Augustine, where words convey unambiguous meaning, allowing us to see right into the mind of the speaker. This is supposedly the language of pre-lapsarian Bussy, who, in these philosophical set pieces, stages his own sense of self (a staging Chapman uses the play’s choric commentators to reflect), believing that in so doing his inner virtue may extend past exteriors to be signified to others as clearly as it is to his own self. What Bussy and these others tell us is in contrast with what can actually be seen. Chapman has written his character into a piece of early modern drama, not a Morality play. The characters, no longer purely symbolic allegories, have hidden insides: ‘Persons and things inwardly are […] persons and things outwardly only seem.’ The interior is still essentialised, but now it is a hidden truth: ‘Tudor and Stuart polemicists against the theatre […] acknowledge the separability of a privileged, “true” interior and a socially visible, falsifiable exterior even as they decry that separation, emphasizing the obligation of “all men at all times … to seem that outwardly which they are inwardly”.’ This is because early modern theatre is fundamentally an ‘embodied medium, limited at the level of character to externalised words and actions’, where: ‘whenever a character does a thing – speak, think, move, exist – he or she must do so with the body in order for us to know about it’. ‘The moment a character enters until the moment he or she exits, the character is always communicating, always revealing, always converting a state of being into empirical signs’, and the onus is on the viewer to interpret them. Thus interiority can only ever be inferred, rather than presented, and no single moral vision can illuminate our understanding of the play. Bussy’s what-you-see-is-what-you-get heroic thus becomes anachronistic surrounded by the mode of representation of early modern theatre. It is ironised, criticised, undercut – brought out of the sphere of the super-human and theoretical and into the world of the spectator, made theatrical. This is never more apparent than during his death, in which his inner ‘essence’ comes into conflict with the reality of the presented body onstage. We are told previously that Nature: […] hath breathed a spirit Into thy entrails, of effect to swell Into another great Augustus Caesar, Organs and faculties fitted to her greatness; And should that perish like a common spirit, Nature’s a courtier and regards no merit.

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