Journal articles on the topic 'Urdu Songs'

This qualitative study of Pakistani-Urdu wedding songs allows a closer look at the gender situation, and towards the understanding of the process of construction and perpetuation of gender-based stereotypes. However, the major concern of this study is to understand the portrayal of each gender along with the question that does such portrayal underlines the traditional gender roles and gender inequality. Taking a discourse analysis perspective, this study analyzes textual data from the lyrics of the seventeen wedding songs. The song selection was based on purposive sampling technique. The data were collected through transcription and recording of the audios of the songs. As a result of thematic analysis thirteen themes emerged, ten portraying the female gender and four portraying the male gender. These themes reveal important findings that support and reinforce the gender-based stereotypes and also reflect gender hierarchy, normative heterosexual relationships, kinship norms and gender subversions.

Urdu originated in the 12th century AD from the Upabharmsha region of northwestern India, which served as a linguistic system after the Muslim conquest. His first great poet was Amir Khosrow (1253–1325), who wrote duets, folk songs, and riddles in the newly formed speech, which was then called Hindu. This mixed speech was spoken in different ways in Hindi, Hindi, Hindi, Delhi, Rekhta, Gujari, Dakshini, Urdu, Mullah, Urdu, or Urdu only. The great Urdu writers continued to call it Hindi or Hindi until the beginning of the 19th century, although there is evidence that it was called Indian in the late 17th century. This article presents a research overview of Urdu language.

‘C-a-t, cat. Cat mane billi; r-a-t, rat mane chooha’ went a song from a Hindi film of the fifties (mane = ‘means’, billi = ‘cat’, chooha = ‘rat’). The song, enormously popular with Indian youth of that generation, was scoffed at by the then contemporary purists who found it hard to accept such ‘blatant’ dilution of the Hindi language. This song, like a few more of its times, was merely an exception to the largely acceptable language of songs, then largely a mix of Hindi, Urdu and Persian. English was, thus, used in songs either when it depicted (literally, since songs are acted out as autonomous scenes in Bollywood) a comic actor in a light-hearted situation or a semi-literate character desperate to accommodate to the urban ways of life. A celebrated song from Gopi, a Hindi film of the early seventies, goes a step forward with its novel coinage. The hero is a rustic who tries to impress his fellow villagers by dressing up in city (read English) style and sings:Gentleman gentleman, gentleman/London se aaya mein ban-than ke……Yeh dekh mera suita/Yeh dekh mera boota/Yeh dekh mera comba

This study highlighted the literary and poetry efforts of Daim Iqbal Daim. He spotted the love for his fields, hills, and plains in his poetry. He blended the traditions with new culture showing passion for patriotism and nationalism. Daim poetry consisted of Naat verses in all aspects with humbleness. Daim writings are in Urdu, Hindi, Punjabi and Persian on progressiveness with emphasizing on national, religious and ethical values. He also contributed in Naat, Manqabat and Karbala Nama. Daim translated the Persian writings into Punjabi and Urdu. His efforts and also in islamic preaching as well as efforts in Pakistan Movement. Daim Iqbal wrote on multifaceted in poetry including Naat, Poem, Ghazal, Songs, Kafi, C-Harfi, Translation, Elegy and storytelling.

Ginan bolore nit nure bharea;Evo haide tamare harakh na maeji.Recite continually theginanswhich are filled with light;Boundless will be the joy in your heart.Ginansare devotional songs rooted in the musical and poetic matrix of Indian culture. The term “ginan” carries a double significance: on the one hand, it means “religious knowledge” or “wisdom,” analogous to the Sanskrit wordjnana(knowledge). On the other hand, it means “song” or “recitation,” suggesting a link to the Arabicghannaand the Urdu/Hindighana, both verbs meaning “to sing.” For the past seven hundred years, Ismailis from the Indian subcontinent (Satpanth Khoja Ismailis) have been recitingginansas a part of their daily religious devotions at the congregational hall (Jamat Khana).

AbstractIn the aftermath of 1857, urban spaces and cultural practices were transformed and contested. Regional royal capitals became nodes in a new colonial geography, and the earlier regimes that had built them were recast as decadent and corrupt societies. Demolitions and new infrastructures aside, this transformation was also felt at the level of manners, sexual mores, language politics, and the performing arts. This article explores this transformation with a focus on women's language, female singers and dancers, and the men who continued to value their literary and musical skills. While dancing girls and courtesans were degraded by policy-makers and vernacular journalists alike, their Urdu compositions continued to be circulated, published, and discussed. Collections of women's biographies and lyrics gesture to the importance of embodied practices in cultivating emotional positions. This cultivation was valued in late Mughal elite society, and continued to resonate for emotional communities of connoisseurs, listeners, and readers, even as they navigated the expectations and sensibilities of colonial society.

When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were in both European and Indian forms. This hybrid nature is particularly apparent by the end of the century when the Methodist press published a hymn-book containing ghazals and bhajans in addition to hymns and Sunday school songs. The inclusion of a separate section of ghazals was evidence of the influence of the Muslim culture on the worship of Christians in North India. This mixing of cultures was an essential characteristic of the hymnody produced by the emerging church in the region and was used in both evangelism and worship. Indian and foreign evangelists relied on indigenous music to draw hearers and to communicate the Christian gospel.

Elegy started its journey from Arabic Language. Its first creator was Hazrat Adam (AS) at sorrowful murder of his sons Habeel. This article is about the origin and meaning of the word “Elegy”, Elegy in Urdu language its evolution and beginning. In Urdu language, Elegy started from Dakkan.Elegyhad been divided into three types which were conventional, personal and religious or KarbalaiMarsiya.But later on, it became specific for Karba. We can come across personal elegies in Urdu but whenever we mention elegy our attention goes to Karbala. Therefore, in this article Elegy has been discussed in this context. Elegy in differentlanguagesof the world like Greek, Latin, English, French, Italian etc. is also part of this article

Due to the easy access of internet and smart devices, people are becoming habitual to give their feedback on what they hear or watch, online. These reviews are very valuable for all sorts of users. Due to the widespread online activities, the count of these reviews has raised tremendously. This fact makes it humanly impossible to analyse them manually. So it needs time that reviews to be analysed and use patterns to be found and explored through the automated channel. This led to a new field of research known as Sentiment Analysis. This paper is targeting to design a model to perform sentiment analysis of Roman Urdu text using the reviews of Pakistan Super League’s official song. To perform this analysis five different techniques-- Naïve Bayes Kernal, Random Forest, Logistic Regression, K-Nearest Neighbour and Artificial Neural Network, are applied. Naïve Bayes Kernal and Logistic Regression correctly predicted 97.00% reviews.

This essay explores the loop of translations and re-translations of ‘Eastern poetry’ from Asia into Europe and back into (South) Asia at the hands of ‘Oriental translators’, translators of poetry who typically used existing translations as their original texts for their ambitious and voluminous enterprises. If ‘Eastern’ stood in all cases for a kind of exotic (in the etymological sense of ‘from the outside’) poetic exploration, for Adolphe Thalasso in French and E. Powys Mathers in English, Eastern love poetry could shade into prurient ethno-eroticism. For the Urdu poet and translator Miraji, instead, what counted in Eastern poetry was oral, rhythmic and visual richness – song.

This qualitative study of Pakistani-Urduwedding songs allows a closer look at the gender situation,and towards the understanding of the process ofconstruction and perpetuation of gender-basedstereotypes. However, the major concern of this study is tounderstand the portrayal of each gender along with thequestion that does such portrayal underlines thetraditional gender roles and gender inequality. Taking adiscourse analysis perspective, this study analyzes textualdata from the lyrics of the seventeen wedding songs. Thesong selection was based on purposive samplingtechnique. The data were collected through transcriptionand recording of the audios of the songs. As a result ofthematic analysis thirteen themes emerged, ten portrayingthe female gender and four portraying the male gender.These themes reveal important findings that support andreinforce the gender-based stereotypes and also reflectgender hierarchy, normative heterosexual relationships,kinship norms and gender subversions.Key words: Gendered discourse, gender roles, genderedstereotypes, wedding songs

Geetanjali, a collection of 103 songs, is among those spiritual works of Rabindranath Tagore on which he has been awarded with Nobel Prize in 1913 by London Society. When this book was published in 1912 by the name of “Song Offerings” in English, many people translated it in different languages. It is also translated many times in Urdu. Abdul Aziz Khalid was the first Urdu composer and translator of Rabindranath Tagore's "Geetanjali ". At the time of translating “Geetanjali", Khalid didn't have any authentic translation of the same book so that he might be at least guided and would adopted in translation. Khalid as a versatile and challenging writer had selected a new way which was completely new and strange but particularly its charm and eloquence could not be denied.

Emotions are vital for communication in daily life and their recognition is important in the field of artificial intelligence. Music help evoking human emotions and brain signals can effectively describe human emotions. This study utilized Electroencephalography (EEG) signals to recognize four different emotions namely happy, sad, anger, and relax in response to bilingual (English and Urdu) music. Five genres of English music (rap, rock, hip-hop, metal, and electronic) and five genres of Urdu music (ghazal, qawwali, famous, melodious, and patriotic) are used as an external stimulus. Twenty-seven participants consensually took part in this experiment and listened to three songs of two minutes each and also recorded self-assessments. Muse four-channel headband is used for EEG data recording that is commercially available. Frequency and time-domain features are fused to construct the hybrid feature vector that is further used by classifiers to recognize emotional response. It has been observed that hybrid features gave better results than individual domains while the most common and easily recognizable emotion is happy. Three classifiers namely Multilayer Perceptron (MLP), Random Forest, and Hyper Pipes have been used and the highest accuracy achieved is 83.95% with Hyper Pipes classification method.

Qateel shifai is a great poet of Urdu language. Based on sublimity of his poetry, he represented Pakistan abrod for a long time. Qateel shifai experiment on various types of poetry but got popularity for his songs (Geet) and odes (Ghazliyat).He mostly wrote his odes (Ghazliyat) in rhythmic and melodic meters.Here only one „Bahr‟ out of his practiced “buhoor” named “Bahr-eHazaj” is under discussion.Qateel shifai has written as sum of about 108 odes (Ghazliyat) in eleven meters (Awzaan) of this “Bahr” which are included in his different collection. Among them 29 odes (Ghazliyat) are in “Hazj Musamman Salim measurement” while 79 are in ten different variants (Zuhaaf) of this “Bahr”

Film offers different trends, ideas and traditions. Overall, a film has great impact on public minds and can change their behavior towards a specific issue. Film has the power to create and shape ideas, customs, and styles of viewers on a range of various subjects Accordingly, the contents presented in films including good audio-visual elements can instill better influence on different communities across the globe. Thus, film can form and reform opinion of its publics. The basic objective of the study underhand is to observe the dominant belief among educated audience towards patriotism as learnt from patriotic films. The quantitative methodology was employed for this study and survey was used as a research technique. The Provincial Capital City of Lahore was selected as population of study with four leading universities of the City as Sample. Around 400 respondents both male and female students were selected based on convenient sampling and descriptive statistical analysis was made through SPSS for inferences. It was hypothesized that the views of the audience determine their feelings after watching patriotic films i.e., they are filled with pride, happiness, emotions, motivation and sensitive. The study further aimed to explain the phenomenal change in the behavior of the audiences of patriotic movies. The study explored that the audiences liked various elements presented in movies including music, songs, actions, direction, characterization, dialogue delivery of patriotic orientation etc. The findings of the study further explored that patriotic Urdu movies in Pakistan have a constructive and everlasting influence on viewers e.g., the audience feel entertained and motivated after watching such genre of movies. Most of the respondents believed the patriotic movies which have strong script, dialogues and direction attract the audience the most. The researchers believe that the study underhand may work as a contributing agent and open new horizons for future researchers in this phenomenon.

Introduction Tiffany and Co. is an American luxury jewellery and specialty retailer with its headquarters in New York City. Each piece of jewellery, symbolically packaged in a blue box and tied with a white bow, encapsulates the brand’s unique diamond pieces, symbolic origin story, branded historical contributions and representations in culture. Cultural brands are those that live and thrive in the minds of consumers (Holt). Their brand promise inspires loyalty and trust. These brands offer experiences, products, and personalities and spark emotional connotations within consumers (Arvidsson). This case study uses Tiffany & Co. as a successful example to reveal the importance of understanding consumers, the influential nature of media culture, and the efficacy of strategic branding, advertising, and marketing over time (Holt). It also reveals how Tiffany & Co. earned and maintained its place as an iconic cultural brand within consumer culture, through its strong association with New York and products from abroad. Through its trademarked logo and authentic luxury jewellery, encompassed in the globally recognised “Tiffany Blue” boxes, Tiffany & Co.’s cultural significance stems from its embodiment of the expected makings of a brand (Chernatony et al.). However, what propels this brand into what Douglas Holt terms “iconic territory” is that in its one hundred and seventy-nine years of existence, Tiffany’s has lived exclusively in the minds of its consumers.Tiffany & Co.’s intuitive prowess in reaching its target audience is what allows it to dominate the luxury jewellery market (Halasz et al.). This is not only a result of product value, but the alluring nature of the “Tiffany's from New York” brand imagery and experience (Holt et al.), circulated and celebrated in consumer culture through influential depictions in music, film and literature over time (Knight). Tiffany’s faithfully participates in the magnetic identity myth embodied by the brand and city, and has become globally sought after by consumers near and far, and recognised for its romantic connotations of love, luxury, and New York (Holt). An American Dream: New York Affiliation & Diamond OriginsIt was Truman Capote’s characterisation of Holly Golightly in his book (1958) and film adaption, Breakfast at Tiffany’s (1961) that introduced the world to New York as the infatuating “setting,” upon which the Tiffany’s diamond rested. It was a place, that enabled the iconic Holly Golightly to personify the feeling of being abroad in New York and to demonstrate the seductive nature of a Tiffany’s store experience, further shaping the identity myth encompassed by the brand and the city for their global audience (Holt). Essentially, New York was the influential cultural instigator that propelled Tiffany & Co. from a consumer product, to a cultural icon. It did this by circulating its iconography via celebrity affiliations and representations in music, film, and literature (Knight), and by guiding strong brand associations in the minds of consumers (Arvidsson). However, before Tiffany’s became culturally iconic, it established its place in American heritage through historical contributions (Tiffany & Co.) and pledged an association to New York by personifying the American Dream (Mae). To help achieve his dream in a rapidly evolving economy (Elliott), Charles Lewis Tiffany purportedly brought the first substantial gemstones into America from overseas, and established the first American jewellery store to sell them to the public (Halasz et al.). The Tiffany & Co. origin story personifies the alluring nature of products from abroad, and their influence on individuals seeking an image of affluence for themselves. The ties between New York, Tiffany’s, and its consumers were further strengthened through the established, invaluable and emblematic nature of the diamond, historically launched and controlled by South African Diamond Cartel of De Beers (Twitchell). De Beers manipulated the demand for diamonds and instigated it as a status symbol. It then became a commoditised measurement of an individual’s worth and potential to love (Twitchell), a philosophy, also infused in the Tiffany & Co. brand ideology (Holt). Building on this, Tiffany’s further ritualised the justification of the material symbolisation of love through the idealistic connotations surrounding its assorted diamond ring experiences (Lee). This was projected through a strategic product placement and targeted advertising scheme, evident in dominant culture throughout the brand’s existence (Twitchell). Idealistically discussed by Purinton, this is also what exemplified, for consumers, the enticing cultural symbolism of the crystal rock from New York (Halasz et al.). Brand Essence: Experience & Iconography Prior to pop culture portraying the charming Tiffany’s brand imagery in mainstream media (Balmer et al.), Charles Tiffany directed the company’s ascent into luxury jewellery (Phillips et al.), fashioned the enticing Tiffany’s “store experience”, and initiated the experiential process of purchasing a diamond product. This immediately intertwined the imagery of Tiffany’s with New York, instigating the exclusivity of the experience for consumers (Holt). Tiffany’s provided customers with the opportunity to participate in an intricately branded journey, resulting in the diamond embodiment which declared their love most accurately; a token, packaged and presented within an iconic “Tiffany Blue” box (Klara). Aligning with Keller’s branding blueprint (7), this interactive process enabled Tiffany & Co. to build brand loyalty by consistently connecting with each of its consumers, regardless of their location in the world. The iconography of the coveted “blue box” was crafted when Charles Tiffany trademarked the shade Pantone No. 1837 (Osborne), which he coined for the year of Tiffany’s founding (Klara). Along with the brand promise of containing quality luxury jewellery, the box and that particular shade of blue instantly became a symbol of exclusivity, sophistication, and elegance, as it could only be acquired by purchasing jewellery from a Tiffany’s store (Rawlings). The exclusive packaging began to shape Tiffany’s global brand image, becoming a signifier of style and superiority (Phillips et al.), and eventually just as iconic as the jewellery itself. The blue box is still the strongest signifier of the brand today (Osborne). Ultimately, individuals want to participate in the myth of love, perfection and wealth (Arvidsson), encompassed exclusively by every Tiffany’s “blue box”. Furthermore, Tiffany’s has remained artistically significant within the luxury jewellery landscape since introducing its one-of-a-kind Tiffany Setting in 1886. It was the first jewellery store to fully maximise the potential of the natural beauty possessed of diamonds, while connotatively reflecting the natural beauty of every wearer (Phillips et al.). According to Jeffrey Bennett, the current Vice President of Tiffany & Co. New York, by precisely perching the “Tiffany Diamond” upon six intricately crafted silver prongs, the ring shines to its maximum capacity in a lit environment, while being closely secured to the wearer’s finger (Lee). Hence, the “Tiffany Setting” has become a universally sought after icon of extravagance and intricacy (Knight), and, as Bennett further describes, even today, the setting represents uncompromising quality and is a standard image of true love (Lee). Alluring Brand Imagery & Influential Representations in CultureEmpirical consumer research, involving two focus groups of married and unmarried, ethnically diverse Australian women and conducted in 2015, revealed that even today, individuals accredit their desire for Tiffany’s to the inspirational imagery portrayed in music, movies and television. Through participating in the Tiffany's from New York store experience, consumers are able to indulge in their fantasies of what it would feel like to be abroad and the endless potential a city such as New York could hold for them. Tiffany’s successfully disseminated its brand ideology into consumer culture (Purinton) and extended the brand’s significance for consumers beyond the 1960s through constant representation of the expensive business of love, lust and marriage within media culture. This is demonstrated in such films as Gentlemen Prefer Blondes (1953), Breakfast at Tiffany’s (1961), Sleepless in Seattle (1993), Legally Blonde (2001), Sweet Home Alabama (2002), The Great Gatsby (2013), and in the influential television shows, Gossip Girl (2007—2012), and Glee (2009—2015).The most important of these was the film Breakfast at Tiffany’s (1961), and the iconic embodiment of Capote’s (1958) Holly Golightly by actress Audrey Hepburn (Wasson). Hepburn’s (1961) portrayal of the emotionally evocative connotations of experiencing Tiffany’s in New York, as personified by her romantic dialogue throughout the film (Mae), produced the image that nothing bad could ever happen at a Tiffany’s store. Thus began the Tiffany’s from New York cultural phenomenon, which has been consistently reiterated in popular media culture ever since.Breakfast at Tiffany’s also represented a greater struggle faced by women in the 1960s (Dutt); that of gender roles, women’s place in society, and their desire for stability and freedom simultaneously (Sheehan). Due to Hepburn’s accurate characterisation of this struggle, the film enabled Tiffany & Co. to become more than just jewellery and a symbol of support (Torelli). Tiffany’s also allowed filming to take place inside its New York flagship store to which Capote’s narrative so idealistically alludes, further demonstrating its support for the 1960s women’s movement at an opportune moment in history (Torelli). Hence, Tiffany’s from New York became a symbol for the independent materialistic modern woman (Wasson), an ideal, which has become a repeated motif, re-imagined and embodied by popular icons (Knight) such as, Madonna in Material Girl (1985), and the characterisations of Carrie Bradshaw by Sarah Jessica Parker, Charlotte York by Kristin Davis (Sex and the City), and Donna Paulsen by Sarah Rafferty (Suits). The iconic television series Sex and the City, set in New York, boldly represented Tiffany’s as a symbol of friendship when a fellow female protagonist parted with her lavish Tiffany’s engagement ring to help her friend financially (Sex and the City). This was similarly reimagined in the popular television series Suits, also set in New York, where a protagonist is gifted two Tiffany Boxes from her female friend, as a token of congratulations on her engagement. This allowed Tiffany & Co. to add friendship to its symbolic repertoire (Manning), whilst still personifying a symbol of love in the minds of its consumers who were tactically also the target audiences of these television shows (Wharton).The alluring Tiffany’s image was presented specifically to a male audience through the first iconic Bond Girl named Tiffany Case in the novel Diamonds Are Forever (Fleming). The film adaption made its cultural imprint in 1971 with Sean Connery portraying James Bond, and paired the exaggerated brand of “007” with the evocative imagery of Tiffany’s (Spilski et al.). This served as a reminder to existing audiences about the powerful and seductive connotations of the blue box with the white ribbon (Osborne), as depicted by the enticing Tiffany Case in 1956.Furthermore, the Tiffany’s image was similarly established as a lyrical status symbol of wealth and indulgence (Knight). Portrayed most memorably by Marilyn Monroe’s iconic performance of Diamonds Are a Girl’s Best Friend (Gentlemen Prefer Blondes). Even though the song only mentions Tiffany’s lyrically twice (Vito et al.), through the celebrity affiliation, Monroe was introduced as a credible embodiment of Tiffany’s brand essence (Davis). Consequently, she permanently attached her image to that of the alluring Tiffany Diamonds for the target audience, male and female, past and present (Vito et al.). Exactly thirty-two years later, Monroe’s 1953 depiction was reinforced in consumer culture (Wharton) through an uncanny aesthetic and lyrical reimagining of the original performance by Madonna in her music video Material Girl (1985). This further preserved and familiarised the Tiffany’s image of glamour, luxury and beauty by implanting it in the minds of a new generation (Knight). Despite the shift in celebrity affiliation to a current cultural communicator (Arvidsson), the influential image of the Tiffany Diamond remains constant and Tiffany’s has maintained its place as a popular signifier of affluence and elegance in mainstream consumer culture (Jansson). The main difference, however, between Monroe’s and Madonna’s depictions is that Madonna aspired to be associated with the Tiffany’s brand image because of her appreciation for Marilyn Monroe and her brand image, which also intrinsically exuded beauty, money and glamour (Vito et al.). This suggests that even a musical icon like Madonna was influenced by Tiffany & Co.’s hold on consumer culture (Spilski et al.), and was able to inject the same ideals into her own loyal fan base (Fill). It is evident that Tiffany & Co. is thoroughly in tune with its target market and understands the relevant routes into the minds of its consumers. Kotler (113) identifies that the brand has demonstrated the ability to reach its separate audiences simultaneously, with an image that resonates with them on different levels (Manning). For example, Tiffany & Co. created the jewellery that featured in Baz Luhrmann’s 2013 cinematic adaption of F. Scott Fitzgerald’s novel, The Great Gatsby (1925). Through representing a signifier of love and lust induced by monetary possessions (Fitzgerald), Tiffany’s truthfully portrayed its own brand image and persuaded audiences to associate the brand with these ideals (Holt). By illustrating the romantic, alluring and powerful symbolism of giving or obtaining love, armed with a Tiffany’s Diamond (Mae), Tiffany’s validated its timeless, historical and cultural contemporary relevance (Greene).This was also most recently depicted through Tiffany & Co.’s Will You (2015) advertising campaign. The brand demonstrated its support for marriage equality, by featuring a real life same-sex couple to symbolise that love is not conditional and that Tiffany’s has something that signifies every relationship (Dicker). Thus, because of the brand’s rooted place in central media culture and the ability to appeal to the belief system of its target market while evolving with, and understanding its consumers on a level of metonymy (Manning), Tiffany & Co. has transitioned from a consumer product to a culturally relevant and globally sought-after iconic brand (Holt). ConclusionTiffany & Co.’s place-based association and representational reflection in music, film, and literature, assisted in the formation of loyal global communities that thrive on the identity building side effects associated with luxury brand affiliation (Banet-Weiser et al.). Tiffany’s enables its global target market to revel in the shared meanings surrounding the brand, by signifying a symbolic construct that resonates with consumers (Hall). Tiffany’s inspires consumers to eagerly exercise their brand trust and loyalty by independently ritualising the Tiffany’s from New York brand experience for themselves and the ones they love (Fill). Essentially, Tiffany & Co. successfully established its place in society and strengthened its ties to New York, through targeted promotions and iconographic brand dissemination (Nita).Furthermore, by ritualistically positioning the brand (Holt), surrounding and saturating it in existing cultural practices, supporting significant cultural actions and becoming a symbol of wealth, luxury, commitment, love and exclusivity (Phillips et al.), Tiffany’s has steadily built a positive brand association and desire in the minds of consumers near and far (Keller). 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