Roe v. Wade Essay Example | Topics and Well Written Essays - 1500 words

Roe v. Wade - Essay Example Justice Blackmun, writing for the majority, acknowledged that the state had an interest in regulating abortion as a way to reduce medical risk for women and to protect the lives of unborn children but argued that a woman’s right to terminate her pregnancy must be weighed against the rights of the state. As long as the fetus is not viable — the Court used an established definition of viability, which considered a fetus viable at the point it is able to live outside its mother, even if some artificial assistance is needed for it to do so — the state can only regulate abortions in ways that are reasonably related to maternal health. For abortions prior to the end of the first trimester, the Court held that the state should not interfere and should leave the decision-making to a pregnant woman and her doctor. Only for abortions during the third trimester of pregnancy, when the fetus is viable according to the Court’s definition, could the state prohibit aborti on and only then if doing so did not significantly threaten the health of the pregnant woman. Blackmun went on to state that in questions of abortion, there is no consideration of a fetus’s right to life under the protection of the Fourteenth Amendment because the Fourteenth Amendment protects only Americans who have been born. There is no Fourteenth Amendment protection for the unborn. Blackmon adds, in note perhaps to the spirit of the times, that the Court’s ruling is not intended to serve as an answer to the question of when life begins but only as a statement of the reach of the Fourteenth Amendment. Roe v. Wade remains a milestone case, setting the stage for countless arguments between those who support abortion and those who would do away with it. Though I agree with the gist of the Court’s decision — that a woman should be able to obtain a legal abortion, especially early in pregnancy — I find the legal basis for the Roe v. Wade decision a little shaky. Protecting the right to

Chicano Art Essay Example for Free

Chicano Art Essay Chicano art started in Mexican American communities within sustain of the civil rights society, suitable a national art progress with global span which includes CARA exhibition, Los fours and the other exhibitions. The appearance, institutional carry out the ritual though innovation, mythic construct; political and civilizing engagement. During the 1960’s there was a lot going on the world, not only did Chicano had to stand up for them. They wanted to find ways to express Chicanos, in searching of ways one popular movement came which is the art. First of all, phantom sighting after the Chicano movement was developed in the early 2000’s this exhibit wanted to still reveal about the Chicano society. The meaning of their exhibit was broken down into three reasons. According to the book, number one- Chicano art produces to be seen, does not exist in the art world. Number two- self identified Chicanos who refuse the category. Number three- homonym’s for sighting sitting, citing â€Å"actions that turn the apparitional into something real†. I agree with those terms, however this exhibit was made and feels modernize. In which the book, states that it is a visual of everyday life; therefore we have to understand that each of the artists will view the world differently. Further than a century of discrimination adjacent to one of the biggest alternative residing in the United States with the purpose of continues now. Hispanics are targets of unfairness and are not proffer equivalent opportunities in jobs and learning. The prejudice dates back toward the finish of the Mexican War while thousands of Mexicans became American citizens overnight. .according to history, this happened, because of the Treaty of Guadalupe Hidalgo. That helped them to settle in America. Unfortunately they had a rough time in America, and later than in the three generation of individual born in America Chicanos resolute to uprising. Secondly, another exhibition called Chicano vision American painter on verge, this exhibit consist majority of paintings. â€Å"They were Chicano looked and at the world though Chicano eyes† , during a reading came across this appealing quote. Hence it correlates with the book of this title. The book has come up with so many flaws and positive aspects. One issue was struggled to gain acceptance in the gallery world, as stated in the book. Rather than waiting around, the artists would go and display their works anywhere that has people, example the book said â€Å"in public places wall† this has grab viewers attention because most people think of tagging or graffiti. However that is not the reason, artists have reason to put such a mural or scene on the wall. They wanted to tell a story, and expressing how they felt. Wondering what types of influences did artists have? Music, expressionism, impressionism, and photorealism were the reasons as mentioned in the book. Glugio†Gronk†Nicandro one influence was listening to the Beatles; Carlos Almarez has painting style similarity as an expressionism. John Valdez has an excellent photorealism painting, called Car show; that painting could easily be mistaken as a photo, if the artist did not explain what medium was used. In the late 1960’s and 1970’s formed social and political literacy, according to the book; therefore 1965 there was a popluar civil right activist, Cesar E Chavez. Who is known to fight with the famers to gain respect and equality; the iconographic figure is sun mad by Ester Hernandez. One great example is frank Romero, who creates the death of Ruben Salazar the painting is remembering on Ruben Salazar’s death, because he was known as a writer and activist during the 1960’s involve with the Chicano movement. In addition, the Chicano Movement not just do the unruly early life of the 20th century form a strong alteration here the connotations linked with Mexican-Americans nevertheless they as well did sculpture, paintings, perform to outward appearance a cultural personality exceptional and definitely their hold. For the most part viewing on Southern California during the 1940’s to the current, Chicano Art looked into older ancestry from Mexican painters like Rivera, Siqueiros, and Kahlo, and they follow certain styles and images. Third exhibition, â€Å"Chicano Art: Resistance and Affirmation, 1965-1985toured major museums around the United States† as the author states, and known too CARA. This is an intriguing response from New York Times. â€Å"But where the Whitney show remains largely an attempt by art-world insiders to simulate an outsider art, Chicano Art: Resistance and Affirmation is the real thing, coming straight from the heart and mind of an entire culture, and having both the vitality and the limitations that such breadth of intention and intensity of feeling bring. † Agreement within the statement is highly recommended, those artists have work hard and fought for their place to put an art show; and illustrate to the world who are the Chicanos and what is going on in life. Overall all three exhibitions are admirable, but they each have similarities and differences. The exhibits discusses about these topics; people, culture, history and political aspects. Phantom sighting is view- conceptual over representative; that was stated in a lecture in class. Chicano Visions was look as creating an identity according to the book. CARA points of reasoning, is taken though all different ways such as â€Å"cultural studies, feminist theory, anthropology and semiotics† in which the author states.

The Importance of Setting in The Awakening Essay -- Chopin Awakening

The Importance of Setting in The Awakening  Ã‚        Ã‚  Ã‚  Ã‚  Ã‚     Ã‚   Setting is a key element in Chopin's novel, The Awakening  Ã‚   To the novel's main character, Edna Pontellier, house is not home. Edna was not herself when enclosed behind the walls of the Pontellier mansion. Instead, she was another person entirely-- someone she would like to forget. Similarly, Edna takes on a different identity in her vacation setting in Grand Isle, in her independent home in New Orleans, and in just about every other environment that she inhabits. In fact, Edna seems to drift from setting to setting in the novel, never really finding her true self - until the end of the novel.      Ã‚  Ã‚  Ã‚   Chopin seems highly concerned with this question throughout her narrative. On a larger scale, the author seems to be probing even more deeply into the essence of the female experience: Do women in general have a place in the world, and is the life of a woman the cumbersome pursuit to find that very place? The Awakening struggles with this question, raising it to multiple levels of complexity. Edna finds liberation and happiness in various places throughout the novel, yet this is almost immediately countered by unhappiness and misery. Even at the end, the reader is still left with the question of whether Edna has truly found a setting in which she can finally be herself.      Ã‚  Ã‚  Ã‚   Many readers would argue that Edna finds this niche in her seaside vacation home on Grand Isle. To Edna, the sea is a wide expanse of opportunity and liberation from the constricting socialite world of French Quarter New Orleans. Chopin's lavish descriptions of the sea give us an insight into its powerful effect on Edna:    The voice of the sea is seductive; never ceasing, whis... ...e Awakening." 1899. The Complete Works of Kate Chopin. Ed. Per Seyersted. Baton Rouge: Louisiana State UP, 1969. 881-1000. Delbanco, Andrew. "The Half-Life of Edna Pontellier." New Essays on The Awakening. Ed. Wendy Martin. Cambridge: Cambridge UP, 1988. 89-106. Gilmore, Michael T. "Revolt Against Nature: The Problematic Modernism of The Awakening." Martin 59-84. Giorcelli, Cristina. "Edna's Wisdom: A Transitional and Numinous Merging." Martin 109-39. Martin, Wendy, ed. New Essays on the Awakening. Cambridge: Cambridge UP, 1988. Papke, Mary E. Verging on the Abyss: The Social Fiction of Kate Chopin and Edith Wharton. Westport, CT: Greenwood, 1990. Seyersted, Per. Kate Chopin: A Critical Biography. Baton Rouge: Louisiana State UP, 1969. Showalter, Elaine. "Tradition and the Female Talent: The Awakening as a Solitary Book." Martin 33-55.

Drama Translation Essay

However, the mission of a translator of a dramatic work is slightly different from any other literary piece. A dramatic text is written in order to be performed on stage. The translator of such a text has therefore to bear in mind that the readers (i. e. the audience in this case) shall not only follow the written form of the script but also and primarily its spoken version. This fact influences the work of a translator to a great extent. He has to chose words that are easily pronounceable by actors and comprehensible to the audience. At the same time he ought to aspire to maintain the meaning and form of the original as much as possible so that the translation represents the goal and effort of the original author. Each translator aims at a maximal realistic authenticity, including both the inner (author’s and director’s notes) and outer language of the drama. â€Å"Translation, the surmounting of the obstacle, is made possible by an equivalence of thought which lies behind the different verbal expressions of a thought. No doubt this equivalence is traceable to the fact that men of all nations belong to the same species. When an Englishman is thinking of the woman whom he describes as ‘my mother’, a Frenchman is thinking of ma mere and a German of meine Mutter. Among normal people the three thoughts will be very similar and will recall the same memories of tenderness, loving care and maternal pride. In consequence ‘my mother’ can be perfectly translated by ma mere or meine Mutter. † (Savory 1957, p. 11) Savory (Savory 1957, p. 49) furthermore states twelve rules of a proper translation: 1. A translation must give the words of the original 3. A translation should read like an original work. 2. 4. 5. 6. 7. 8. 9. 10. 11. A translation must give the ideas of the original. A translation should read like a translation. A translation should reflect the style of the original. A translation should possess the style of the translator. A translation should read as a contemporary of the original. A translation should read as a contemporary of the translator. A translation may add to or omit from the original. A translation may never add to or omit from the original. A translation of verse should be in prose. 13 12. A translation of verse should be in verse. There is a close relationship between the author and the translator of a literary work. Both of them have their own style of writing and expressing their thoughts. Nevertheless, the translator shall always be subordinate to the author whose text is considered the base of a dramatic text and its further stage production. â€Å"A translation may include any of the idiomatic expressions which are peculiar to its language and which the translator sees fit to adopt; but it needs not, because of this, possess the style which the reader may expect. Style is the essential characteristic of every piece of writing, the outcome of the writer’s personality and his emotions at the moment, and no single paragraph can be put together without revealing in some degree the nature of its author. But what is true of the author is true also of the translator. The author’s style, natural or adopted, determines his choice of a word, and, as has been seen, the translator is often compelled to make a choice between alternatives. The choice he makes cannot be reflect, though dimly, his own style. What does the reader expect; what does the critic demand? One of the reasons for a preference for a literal translation is that it is likely to come nearer to the style of the original. It ought to be more accurate; and any copy, whether of a picture or a poem, is likely to be judged by its accuracy. Yet it is a fact in making the attempt to reproduce the effect of the original, too literal a rendering is a mistake, and it may be necessary to alter even the construction of the author’s sentences in order to transfer their effects to another tongue. † (Savory 1957, p. 54) 3. 1 THE INTENTION OF THE TRANSLATOR The sense of purpose of translator’s work is to maintain, depict and impart the  original text; not to create a new piece of work that has no precursor. Translation aims to reproduce. The art of translation is founded on replacement of one piece of language material by another and thus on an independent creation of all artistic means proceeding from the language. â€Å"Translation as a work is an artistic reproduction, translation as a process is an original creation, translation as a type of art is a case on the boundary of art of reproduction and originally creative art. † (Levy 1963, p. 49) In the development of the art of reproduction two norms have been applied according to Levy (Levy 1963, p.52): the norm of reproduction (i. e. requirement on authenticity and accurateness) and the norm of â€Å"art† (requirement on beauty). This basic aesthetic contrast proves contrapositive to translational authenticity and freedom. The authentic 14 method (i. e. the literal) represents a procedure of work of such translators who aspire to reproduce the original precisely, whereas the free method (adaptative) aims at beauty, i. e. the aesthetics and thought proximity to the reader, and creation of an original work in a target native language. For a realistic translation both  norms are necessary: the translation has to be as exact reproduction of the original as possible but above all it should be a valuable literary piece of work. Newmark depicts the intention of a translator as follows: â€Å"Usually, the translator’s intention is identical with that of the author of the source language text. But he may be translating an advertisement, a notice, or a set of instructions to show his client how such matters are formulated and written in the source language, rather than how to adapt them in order to persuade or instruct a new target language readership. And again, he may be translating a manual of instructions for a less educated readership, so that the explanation in his translation may be much larger than the ‘reproduction. ’† (Newmark 1988, p. 12) The translator is supposed to be creative although his creativity is limited by the field of language. He can enlarge his native literature by creating new expressions (neologisms) or by incorporating foreign expressions into the native background (exotic expressions). Borrowing foreign language means or creating Czech equivalents is not only restricted to the lexical units but also to the stylistic values. Levy (Levy 1963, p. 69) mentions blank verse, sonnet, ghazal, haiku, and blues in this context. 3. 2 THE TRANSLATION OF A DRAMATIC TEXT The translator of a dramatic text has to respect the speciality of a spoken word. Dialogues do not narrate and depict actions or situations as in prose but they form them. They do not narrate how people meet and make relationships but perform the people acting and communicating with each other. The structure of a sentence of a dialogue is simple as could be, the sentences are usually paratactically connected, often without conjunctions. Many unfinished sentences and ellipsis may appear. So-called contact words are very important as well. Various modal particles and expressions that might have multifarious context meanings are characteristic of language of a dialogue. In this case dictionaries shall not be that useful for the translator for the language of drama is very specific and often peculiar. 15 In the frame of the artistic translation we further distinguish translations of poetry, prose and drama, which corresponds to the traditional division of artistic genres  into lyric, epic and dramatic genres. What is the quintessence of a dramatic text? Prose narrates events but drama transfers them via speech. Generally, the entire content has to be transposed into dialogues (monologues, polylogues), being accompanied by facial gestures, gesticulation, stagy space and props. The language requirements are higher here than in prose: the direct speech that essentially addresses the spectator has to be able to express – even though indicatively – far more than a dialogue of a novel. Except for the function of characterization of the protagonists the direct speech substitutes the other items of prosaic text (narrating the past, author’s reflexion, lyric digression etc. ), and at the same time it should sound naturally, for it is intended for a direct audio-visual impact. Kufnerova and Skoumalova (Kufnerova, Skoumalova 1994, p. 140) mention two kinds of a dramatic translation: 1 A piece of drama is translated as a literary text, and is originally intended more or less to be published for readers. That would be the case of most of the classical texts from Ancient times till 19th and 20th century. The translator proceeds from the original text and attempts to keep the most of its specificity. He is the only responsible and independent creator of the target text. The translator forms the final version of the translation regardless of the potential stage realization. 2 The director asks the translator for translation of a particular play for the setting with original and sophisticated poetics. The target text is exclusively written in cooperation with the particular theatre company. The original text is not that important any more, production features and a complete director intention predominate. The directors and often the actors themselves consider the text (and often even the original work) a kind of half- ready text, which they adapt during rehearsing the play, not always with a positive result. They create a dramatic text, transform the drama situations and adapt the language. Newmark comes with another theory of translating a dramatic work. According to him, the main purpose of translating a play is to have it performed successfully. 16  Ã¢â‚¬Å"Therefore a translator of drama inevitably has to bear the potential spectator in mind though, here again, the better written and more significant the text, the fewer compromises he can make in favour of the reader. Further, he works under certain constraints: unlike the translator of fiction, he cannot gloss, explain puns or ambiguities or cultural references, not transcribe words for the sake of local colour: his text is dramatic, with emphasis on verbs, rather than descriptive and explanatory. Michael Meyer, in a little noticed article in Twentieth Century Studies , quoting T.Rattigan, states that the spoken word is five times as potent as the written word – what a novelist would say in 30 lines, the playwright must say in five. The arithmetic is faulty and so, I believe, is the sentiment, but it shows that a translation of a play must be concise – it must not be an over-translation. † (Newmark 1988, p. 172) Newmark furthermore mentions Meyer who makes a distinction between dramatic text and sub-text, the literal meaning and the ‘real point’: i. e. what is implied but not said, the meaning between the lines. Meyer believes that if a person is questioned on a subject about which he has complex feelings, he will reply evasively (and in a circumlocutory manner). Ibsen’s characters say one thing and mean another. The translator must word the sentences in such a way that this, the sub-text, is equally clear in English. Normally one would expect a semantic translation of a line, which may be close to a literal translation, to reveal its implications more clearly than a communicative translation, that simply makes the dialogue easy to speak. Whilst a great play must be translated for the reading public’s enjoyment and for scholarly study as well as for performance on stage, the translator should always assume the latter as his main purpose – there should be no difference between an acting and a reading version – and he should look after readers and scholars only in his notes. Nevertheless, he should where possible amplify cultural metaphors, allusions, proper names, in the text itself, rather than replace the allusion with the sense. When a play is transferred from the source language to the target language culture it is usually no longer a translation, but an adaptation. Newmark concludes his thought by suggesting that â€Å"some kind of accuracy must be the only criterion of a good translation in the future – what kind of accuracy depending first on the type and then the particular text that has been translated – and what the word ‘sub-text’ with its Grician implications and implicatures can be made to cover a multitude of inaccuracies. † (Newmark 1988, p. 172) Jan Ferencik (Ferencik 1982, p. 72) was one of Slovak linguistic theoreticians dealing with the field of translating, among others. He also analyses the translation of a 17 dramatic text and mentions that unlike translation of other genres the translation of drama is characterized by: 1) written character of the text and non-written form of its social realization 2) collective and multistage character of an interpretation of the original in the process of creating the final translation text, on the contrary from the other genres, where the interpretation of the translator is unique and final. 3) dissimilarity of each new social realization, especially on stage, not only in case of  various translators and stage producers but also in case of coincident text and coincident stage producers within repeated communication (Stanislavskij – theatre, emotions, improvisation, momentary psychical and biological dispositions of actors, etc. ) excluding the technique of reproduced performances such as television recording, film, sound recording, etc. A live spectator, who himself becomes one of the interpreters of the performed text, is the participant of communication during a stagy realization. 4) subordination of all the involved to the interpretation of the main concept, which  usually means a weaker creative participation of the translator in the resultant communication than while translating other pieces of text Furthermore, Ferencik mentions the chain of communication that relates author, translator, director and finally the audience of a dramatic work. â€Å"The communicative successiveness of translation of a drama, unlike another translational texts, is following: Author – Translator (Interpreter 1) – Dramatic adviser and Director (Interpreters 2) – another involved originators: Scenographer, Composer, Actor (Interpreters 3) – Spectator, Listener (Interpreter 4). This chain of communication represents the time sequence of creation of a text and its social realization. † (Ferencik 1982, p. 72) As I have already said, translator’s interpretation of a text is only a base of a scenic interpretation which is, in connection with the presentation of a play, sometimes called director-dramaturgical concept. Naturally, there are differences in the approach to a translational dramatic piece of work, depending on the kind of its scenic realization (professional theatre, amateur theatre, TV dramatization, adopted performance, film adaptation, radio play..) and on subjective characteristics of particular interpreters. I would like to conclude this sub-chapter by another feature of a dramatic work, which is a dialogue cohesion. Cohesion as one of the linguistic means is to be found in 18 most of text styles and represents a connecting feature. Newmark (Newmark 1988, p. 58) sees a mistake in neglecting the spoken language as part of a separate theory of interpretation. Translators are concerned with recordings of many kinds, particularly surveys, as well as the dialogue of drama and fiction. Moreover, cohesion is closer in  the give and take of dialogue and speech than in any other form of text. Here the main cohesive factor is the question, which may be a command, request, plea, invitation (i. e. grammatically a statement or a command or a question) and where the forms of address are determined by factors of kinship and intimacy, and, regrettably, class, sex and age. Apart from transposing the structure of the sentence (e. g. ‘Could you come? ’ might become Tu peux venir? or Bitte komm), each language has opening gambits semantically reserved for this exchange. Similarly, each language has marking words that signal a break or end of a subject, such as ‘Right’, ‘Well’, ‘Good’, ‘Fine’, ‘Now’, ‘I see’ (Ach so, Parfait, C’est vrai) and the internationalism ‘O. K. ’ Lastly, there are the tags that are used to keep a flagging conversation going: ‘isn’t it, ‘see’, ‘you know’, which require a standard response. The translator has to bear in mind the main differences between speech and dialogue: speech has virtually no punctuation (‘The sentence is virtually irrelevant in speech’: Sinclair et al. , 1975), is diffuse, and leaves  semantic gaps filled by gesture and paralingual features. As I was working on the translation of Butterflies are free, it has been especially challenging to find an adequate equivalent to various cohesive means. In English it is more natural to use such introductory cohesive links as â€Å"you know† and â€Å"I mean† whereas in Czech it sounds rather disturbing and that is why I attempted to omit or replace those by more accurate expressions of the Czech language background. 3. 3 THE TRANSLATION OF THE TITLE OF A LITERARY WORK Naturally, the title of any literary work is an essential part and that is why  translating the title represents a challenging process for the translator. We, as readers, may find out many important clues out of the title. I have been working with a dramatic text that was already translated by Ivo T. Havlu in 1972. He translated the title Butterflies are free as â€Å"Motyli†. Nevertheless, the title of this play by Leonard Gershe (1969) is based on a quotation by Charles Dickens and on a song sung by Don, one of the protagonists. Havlu leaves the song out but I attempted to 19 maintain the original version and therefore translated the song, with help of a lyricist, in  the rhymed form of Czech. We have finally translated the phrase Butterflies are free as â€Å"Motyli leti na oblohuâ€Å". Concerning the theoretical background of translating the title of a literary work, Newmark (Newmark 1988, p. 57) distinguishes between â€Å"descriptive† titles, which describe the topic of the text, and â€Å"allusive titles†, which have some kind of referential or figurative relationship to the topic. For serious imaginative literature, Newmarks thinks a descriptive title should be ‘literally’ kept (Madame Bovary could only be Madame Bovary), and an allusive title literally or where necessary, imaginatively  preserved. Kufnerova and Skoumalova (Kufnerova, Skoumalova 1994, p. 149) grant that the title, being a description, abbreviation or metaphor, is essential part of the translation. According to them every translator pays attention to the title and rarely makes a mistake there, knowing the whole piece of work. Translation of a literary title is often influenced by the period conception or fashion. In 1920’ there was an effort to naturalize the title, introduce it into the local background, especially in the field of proper names. The  influence of a cultural system of Czech language is displayed even in period habits, that is why it is sometimes necessary to adapt the syntactic structure of the title to the common native forms. Czech language prefers connections of action to nominal linkages. Differences in social mind, knowledge of life and institutions and other extralinguistic means represent a frequent reason for an adaptation of the original version of a literary work. Contemporary literary translation relatively respects the original version of the title of the work in correspondence with the principles of modern science of translation  and we can rarely encounter the shifts, alterations or changes. Literary translations occupy a better position than film works translations that often include mistakes and frequent interventions in the original version and thus substantiate the insufficient competence of young translators and their insufficient responsibility. 3. 4 THE SHIFTS OF MEANING WITHIN THE TRANSLATION OF A DRAMATIC TEXT Within the translation of any piece of text a space for shifts of meaning, stylistic, etc. develops between the source and target language. The shifts might be unconscious,  20 or intentional and conception. In the second case we speak about a renovation of a translation. The term renovation therefore does not only represent an adaptation of outdated or archaic language, but it also a conscious conception adaptation of a text in a diachronic way and an adaptation to a different cultural and social background as well as to a particular directorial interpretation. Temporal and spatial distance causes that some features of the original text stop being comprehensible in another society, they are not transmittable via common means and  that is why even the realistic translation often requires an explanation instead of a literal translation or only an indication clue. The explanation is necessary if the reader cannot understand a word, idiom etc. that was present in the original version. Levy (Levy 1963, p. 82) implies that it is not correct to explain an indication, continue and complete a pause, or to sketch in the situation that has not been intentionally made clear in the original. Usage of indication is hereafter appropriate if we cannot use a full expression because the language material has become the artistic means and thus can be preserved. Slovak linguist Popovic mentions the shifts of a translation within his theory of expression: â€Å"An elaboration of the theory of expression becomes a starting point for a systematic evaluation of shifts in the translation, forms a basis of objective classification of the differences between the original and the translation. The demand to identify in the text every stylistic means from the structural point of view helps us to estimate in theory of translation that which represents an equivalent. A system of means of expression enables us to evaluate linguistic means in the stylistic analysis in the context, i.e. not isolated, but in their relation to the system of qualities of expression. This must be assumed if we wish to undertake a theoretical investigation of conformities and differences that arise when an original work is translated. Such generalizing evaluation of means in the frame of the single categories an expression and of the qualities of expression makes it possible for us to qualify explicitly, more precisely and systematically, the shift of expression, the relation between the language of the original and that of the translation. † (Popovic 1968, p. 238) Within my translating I have encountered several shifts of meaning. As the play was written in the 1960’ it was very demanding to concentrate on renovating the language and at the same time on preserving the original features to a certain extent so that the shifts could not represent such an interference of the original (Jill, for example, is mentioning Beatles, Jimmy Hendrix and Rolling Stones as her contemporaries and I therefore could not transfer the whole script into the present time. ). 21 3. 5 THE  RENOVATION OF A TRANSLATION Every translation, not depending on the genre, gets outdated after a period of time. As the language develops, new words arise and are borrowed from other languages and it is therefore necessary to replace, renovate or adapt the original expressions. Renovation of a translation constitutes the total of the shifts – of time, place, semantics, composition etc. Depending on the extent of the shifts the final text might even lose its original character of a translation and become a text of different, new qualities. As I have already mentioned, the renovation is not a prerogative of dramatic texts only. No type of artistic translation can do without any level of renovation, especially without time-language shift. Every translation of a literary work which has not originated simultaneously with the original, which happens very often, requires a certain level of such shifts that may be called renovation. Renovation is a usual creative procedure which is not understood as a deconstruction of the semantic identity of the original. In case the translator extends the amount of shifts for a time – language reasons, such a procedure is perceived as deconstruction of subject composition and is thus called â€Å"modification†, â€Å"free translation†, â€Å"free processing†, etc. Is it conceivable to qualify the limits of renovation of a translation? Is it possible to say the extent of renovation shifts that are considered to be an acceptable translational procedure arising from a rationale concept? What are the limits of an arbitrariness of the translator and groundless deformation of a text? It is therefore necessary to approach the quality, legitimacy and artistic adequacy of each translation individually. Concerning the dramatic texts, it is essential to examine the interest of all interpreters in the final version of a text. Ferencik (Ferencik 1982, p. 79) suggests that the â€Å"artistic† time flies differently than the absolute â€Å"cosmic† time and the absolute time is not every time corresponding with the â€Å"social† time. That is why it might be useful to shift the time frame of the action forward and reach the physical time via the artistic and social time means after a  relatively short period since the composition of dramatic texts. It may also be necessary to shift the localization of the action and change the names of some characters, especially those that are conditioned by means of time renovation or real existence. 22 Finally, the critique has thus to judge the extent of translator’s and producers’ preservation, refinement or declension of the original intention of the author. It might happen that a dramatic work gets deformed because of ill-conceived renovation to such an extent that it becomes more an awkward parody of a comedy than a socially  impressive piece of work. Consequently it is essential to be very careful when choosing the appropriate renovation means, to maintain their level and choose such means that correspond to author’s poetics. Savory describes the renovation of a translation as follows: â€Å"Art, proverbially, is long, so that translation, in so far as it is an art, should be in like manner timeless, persistently reappearing as an inevitable response to the stimuli felt by succeeding generations. An artist in oils or water-colour does not refrain from making a picture of Mapledurham Mill because it has been drawn and painted so many times already; he regards this fact as one more reason for his, the latest, attempt. In the same way writers have always been ready to express in their own language the passages, from epigrams and couplets to epics and long books, originally written in other tongues. Of subsidiary importance is the fact that a fresh translation of any work of literary merit is welcomed because the existing translations sound antiquated, or are obsolescent; and this is a factor which cannot be neglected or forgotten. There are fashions in literature and changes in literary taste, so that a rendering of Virgil which satisfied the Elizabethans of the sixteenth century will not necessarily appeal to the Elizabethans of the twentieth. There should be small need for hesitation on the part of anyone who considers embarking on a worthwhile translation, and one of the most unmistakable signs of the literary interests and activities of the present day is the popularity and the plentifulness of new translations. † (Savory 1957, p. 28) Newmark (Newmark 1988, p.172) suggests that a translator of drama in particular must translate into the modern target language if he wants his characters to ‘live’, bearing in mind that the modern language covers a span of, say, 70 years. If one character speaks in a bookish or old-fashioned way in the original, written 500 years ago, he must speak in an equally bookish and old-fashioned way in the translation, but as he would today, therefore with a corresponding time-gap – differences of register, social class, education, temperament in particular must be preserved between one character and another. Thus the dialogue remains dramatic, and though the translator cannot forget the potential spectators, he does not make concessions to them. 23 3. 6 LANGUAGE AND STYLE As Newmark (Newmark 1995, p. 123) implies, for the translator, language is a code which he is well aware he will never break, a system he cannot wholly grasp, because it is lexically infinite. All he can do is make assumptions about it, in accordance with the benefits he derives from it, depending on the yield that suits the users at the time; the assumptions, like the sense of the words, will change continuously. â€Å"The translator is frequently faced with too little extralinguistic reality and too much linguistic ambiguity – words either too far out of their usual collocations or so frequently in them that they become meaningless cliche, fitting as loosely as yale keys in the huge locks of their context. † (Newmark 1995, p. 123) Concerning the Czech background, Kufnerova and Skoumalova (Kufnerova, Skoumalova 1994, p. 72) describe the Czech language as significantly different from other European languages that exist also outside Europe (Russian, English) in which we  cannot find general colloquial form of the language as in Czech. On the other hand, there are many informal expressions, dialects, slang and social dialects. Czech and partly German create a special area in Europe where general colloquial informal language is often used. In artistic translations this general colloquial Czech language does not appear without the stylization. That can be achieved via various techniques, but all of them tend to keep the appearance of such features in the text, so that they would fulfill their function and would not disturb the reader, or spectator. In my translation I have let Jill and finally also Don use such general colloquial Czech expressions although the original version had not always clearly stated those. I have done so in order to keep the unity and originality of the text. Slang represents a specific language field within each language and a specific problem of translators to be solved. It often includes emotional elements and thus characterizes the speaker. According to Knittlova (Knittlova 2000, p. 111) the collation of slang words that have various system relations in different languages is very difficult. In slang (especially of young people) we can notice an effort to be outlandish and to exaggerate expressive gestures. Slang wants to shock, provoke, it is a sign of revolt or disobedience. It is presented via overexposing some categories of expressions, hyperbole, metaphorical phraseology, colloquial metaphors, irony, comicality, folk expressions and above all playfulness with the language. Several studies have been written about English standard and sub-standard slang. The term â€Å"slang† denotes partly 24 a special diction, partly highly colloquial language or jargon of a particular social class,  a group or a period. In dictionaries the stylistic categorization of words or phrases that do not belong to a formal language is denoted by â€Å"slang†. However, the boundary between slang and colloquial English is rather movable and indistinct. Slang is an extract of colloquial language, it is not tied in with the rules of standard English, but it is rated as vivid, colourful, more full-bodied as for the diction and more flexible. It arises by a natural need of creation of new words that emotionally affect the utterance and express a subjective evaluation of the reality. Nevertheless, slang is not a secret code, an English speaker understands it easily but does not consider it something quite correct. Knittlova concludes that it is therefore a distortion of style if a translator replaces the English slang by offensive words or even by vulgarism. A style of any written piece of work is affected both by the personality of the writer and by the period of history he lives in. Translation includes the bridging of time as well as the bridging of space.

Loss of Innocence in the Puritan Society

In the Scarlet Letter, Nathaniel Hawthorne hones in on the contrast between good versus bad and the loss of innocence that defies that line. Hester Prynne is a symbol of shame and sin to the puritan society, however she once was an innocent and honorable woman. On page 76, Hawthorne repeats the phrase â€Å"At her, child of honorable parents†¦ At her, mother of a babe†¦ At her. † This repetition emphasizes the way Hester was once viewed as a symbol of purity and honor in the puritan community.Hawthorne also uses phrases like â€Å"Child of honorable parents†, â€Å"mother of a babe† and â€Å"had once been innocent† to contrast Hester’s sin with the innocence that she once had. This is also an example of pathos because the author is reaching out to the reader and making a point of the difference between Hester as a symbol of innocence and purity, and Hester as a symbol of shame and mistake. These phrases create a fine line between what is good and what is bad in the puritan community.Hawthorn later uses phrases like â€Å"heap of shame†, â€Å"misery†, â€Å"frailty†, â€Å"sinful passion†, â€Å"doom† and â€Å"alien† to make an example of Hester and emphasize her terrible actions. The diction in these phrases expresses the negative outlook toward Hester in society. She made a bad decision that haunts her and causes society to view her loss of innocence as a symbol of sin and dishonesty, to a point where they alienate her from the community. Hawthorne also uses the phrase â€Å"It may seem marvelous†¦ It may seem marvelous†¦ It may seem marvelous,† over and over again.This repetition also draws a contrast between the things that haunt Hester in her community and her desire to remain where she lives rather than pack up and move away. The author is saying that with all of the hatred and shame that haunts Hester in Boston, it is marvelous that she chooses to st ay rather than flee. Something about her sin and guilt there makes her want to stay instead of running from it. This shows the moral strength and integrity in Hester as a character. Although she made a terrible decision and has lost the innocence that she once had, there is no clearly defined line in her character between good and bad.Sometimes good people make bad decisions. In this case, Hester is such a strong willed character that she chose an individual freedom over the conformity in the puritan era when she committed her crime. In conclusion, Hawthorne makes an example of Hester Prynne in the puritan era to show the conformity and honor that society lived by. When Hester committed that sin, she became a symbol of shame and loss of innocence to the puritan community. Through the use of repetition, pathos, and diction, Hawthorne discusses the line between good versus bad in the puritan era and how loss of innocence effects that balance.

Free Essays on Marilyn Monroe

Marilyn Monroe known as the blonde bombshell was the beautiful star of the 1950’s. Close friend Eve Arnold said,† Many people followed her career and life† â€Å"Most people felt like they knew her† (â€Å"Marilyn† 2000 pg.1) In fact most people had no idea what really influenced her Marilyn’s life and career. Marilyn Monroe's life was greatly influenced by her need for attention. Marilyn's actions and decisions throughout her life reflect on her great need for attention. As a child Marilyn was starved for attention. Marilyn’s childhood was filled with drama filled stories to fo-fill her need for attention. Day to day Marilyn would create and over exaggerate stories so that she would receive attention. She did this throughout her childhood. Marilyn's first strive for attention was at the early age of eight. One day Marilyn ran crying uncontrollably throughout the hall of her orphanage. She ran into her room and slammed the door. Alarmed the superintendent came in and asked her what was wrong. Marilyn told her a very fabricated story. She told her that she was sitting on her bed alone in her room, when her grand mother entered. She then said that her grandmother violently pushed her head against the bed and tried to smother her with a pillow. (Rollyson, Carl 1897, pg.10) The superintendent new the story was a lie but comforted her anyway. Clearly Marilyn made this story up. Her Grandmother Della was an old fragile lady, and was thought to be ve ry friendly. Marilyn had made up the story in an act to receive attention. She told this story throughout out her childhood, changing it now and then. Marilyn embellished in this story. Author Rollyson refers to Marilyn's story as â€Å" Such traumatic events it was worthy of inclusion in a Dickens novel. Yet another story Marilyn managed to fabricate for attention was one of rape. Marilyn at age nine was living in the foster home that also took in boarders. There was an old man that the ... Free Essays on Marilyn Monroe Free Essays on Marilyn Monroe Marilyn Monroe known as the blonde bombshell was the beautiful star of the 1950’s. Close friend Eve Arnold said,† Many people followed her career and life† â€Å"Most people felt like they knew her† (â€Å"Marilyn† 2000 pg.1) In fact most people had no idea what really influenced her Marilyn’s life and career. Marilyn Monroe's life was greatly influenced by her need for attention. Marilyn's actions and decisions throughout her life reflect on her great need for attention. As a child Marilyn was starved for attention. Marilyn’s childhood was filled with drama filled stories to fo-fill her need for attention. Day to day Marilyn would create and over exaggerate stories so that she would receive attention. She did this throughout her childhood. Marilyn's first strive for attention was at the early age of eight. One day Marilyn ran crying uncontrollably throughout the hall of her orphanage. She ran into her room and slammed the door. Alarmed the superintendent came in and asked her what was wrong. Marilyn told her a very fabricated story. She told her that she was sitting on her bed alone in her room, when her grand mother entered. She then said that her grandmother violently pushed her head against the bed and tried to smother her with a pillow. (Rollyson, Carl 1897, pg.10) The superintendent new the story was a lie but comforted her anyway. Clearly Marilyn made this story up. Her Grandmother Della was an old fragile lady, and was thought to be ve ry friendly. Marilyn had made up the story in an act to receive attention. She told this story throughout out her childhood, changing it now and then. Marilyn embellished in this story. Author Rollyson refers to Marilyn's story as â€Å" Such traumatic events it was worthy of inclusion in a Dickens novel. Yet another story Marilyn managed to fabricate for attention was one of rape. Marilyn at age nine was living in the foster home that also took in boarders. There was an old man that the ...

Monet essays

Monet essays His work started a major artistic movement in France during the late 19th century and still today his painting are revered across the world by people of all ages. Claude Monet's distinctive style of using small strokes of color to simulate light became known as Impressionism. The name comes from one of his most famous paintings, Impression: Sunrise, which was completed in 1872. Monet was born November 14, 1840 in Paris. Struggling with poverty, his family moved a few years later to the coastal city of Le Havre. This is where Monet developed his love for the outdoors and began to study with Eugene Boudin, one of the biggest influences on his painting. Boudin introduced him to him to the absurd concept of "open-air" painting. At the age of 16, after his mother's death, Monet moved to Paris to pursue his painting career. During this time, he was introduced to a woman named Camille Pissarro, who would later become the subject of many of his painting as well as his wife. His family was so opposed to his decision to be an artist, they even offered to buy him out of military service if he gave up his studies and came back home. He of course did not accept and spent the next several years with a cavalry division stationed in North Africa. After suffering from typhoid fever, his family pooled their money to get him out of the army. The 60's were a very difficult period for Monet, his paintings were not selling well and he was very poor. Some of his paintings were displayed in exhibitions; his most notable was a portrait of his mistress Camille. In 1862 he entered the studio Gleyre and there met the painters who would help bring about the Impressionist movement: Pierre-Auguste Renoir, Alfred Sisley, and Frederick Bazille. His paintings of the late 1860's were mainly seascapes including The Beach at Sainte-Adresse, La Grenouillre, and The Beach at Trouville. The year 1870 brought along big changes in Monet's life. To escape ...

Second Grade Math Worksheets

Second Grade Math Worksheets The following 2nd grade math worksheets address the basic concepts taught in the second grade. Concepts addressed include: money, addition, subtractions, word problems, subtraction and telling time. You will need the Adobe reader for the following worksheets. 2nd Grade Word ProblemsAddition - 2 more than.Ten MoreHundreds Chart ActivitiesCounting by 5 WorksheetsAdding DoublesAdding 5 more than.Mixed addition.Mixed addition.Mystery boxes.Number Sentences to 20.Addition: vertically.2 Digit Adding With Regrouping3 Digit Addition - No RegroupingWord Problems.More Word Problems.Basic Subtraction FactsSubtraction Facts with Missing Blanks2 Digit Subtraction - no regroupingBeginning FractionsCounting US coins to 50 centsShow the Money AmountsCounting Canadian coins to 50 centsTelling Time WorksheetsI Have, Who Has Math Game   Second-grade worksheets have been created to emphasize understanding of the concept and should not be used in isolation to teach a concept. Each concept should be taught using math manipulatives and many concrete experiences. For instance, when teaching subtraction, use cereal, coins, jelly beans and provide many experiences with physically moving the objects and printing the number sentence (8 - 3 5). Then move to the worksheets. For word problems, students/learners should have an understanding of the computations required and then exposure to word problems are necessary to ensure they can use the computation in authentic situations.    When beginning fractions, many experiences with pizzas, fraction bars and circles should be used to ensure understanding. Fractions have two components for understanding, parts of a set (eggs, rows in gardens) and parts of the whole (pizza, chocolate bars etc.)   I have, who has, is a fun game to enhance learning.

Standardized testing - Cons Research Paper Example | Topics and Well Written Essays - 1750 words

Standardized testing - Cons - Research Paper Example since then it has been a debatable topic. It has become one of the most controversial topics in the education field where educationists have presented different views about this type of testing. Initially, the standardized testing was used to enhance the thinking skills and was seen as a way to expand the education system, but as soon as this type of testing became a persistent aspect of higher education, the educationists criticized it, and argued that this is not the basis of education. A standardized test is measured and administered in a consistent manner. It usually comprises of multiple choice or true and false questions, it does not encourage critical thinking or analytical study, and rather it repeats the same mindless facts. The standardized tests are needed by schools in order to meet their federal funding. When a school knows that some percentage of their students needs to pass the standardized test in order to ensure their funding, they give this test immense importance (Downing and Haladyna, 2006). There are test curriculums given to the teachers which include the basic and important items that are featured in this test. According to that, the teachers have to plan their lessons. There is further pressure to get all the material that is needed in order to introduce to the class before the test so that any confusion or trouble of the student can be resolved (Downing and Haladyna, 2006). This system is at times referred to as the system to test the progress made by the teachers and school management rather than addressing to the students’ abilities and learning (Assessor, 2011). Educationists have long debated on the fact that whether standardized testing is fair. Standardized tests are hence, referred as unfair and unhelpful evaluation tools. In these exams, all the questions are either multiple choice or true and false. All the test takers answer the same questions on the same conditions. These tests reward to quick answers and usually

Racial & Sex Discrimination in the Medical Profession Essay

Racial & Sex Discrimination in the Medical Profession - Essay Example category within the social domain, then racism has all the rights to be a simple derivative originating from race as well as the resultant that arises from the experiences happening on a social front. The Webster’s New American Dictionary has defined racism as a distinctive belief that holds weight for different races having superiority in nature over each other. Thus to understand racism one needs to get deep down inside the very basics of this stigma in essence. It surely is a hot topic the world over and one which has caused quite a roar amongst the relevant circles. It has also made its due round of controversies every now and then and lingers on as a divide between the racially superior fraternities and the inferior lots. Similarly sex discrimination is a touchy topic, more so for the gentler gender. Sex discrimination, much like racial aspects has been the bane for so long now that the world has become sick of such topics emanating from all angles time and again. Governments do not directly take an active part in detailing their views to all about the racial differences that their charter has in accordance with the law of a particular country but they, every now and then, take certain significant steps, which help in curtailing racial discriminations from emanating in their respective societies. Their efforts in the field of health and providing basic first aid though are not that concrete at the best of times yet are overshadowed by a sudden outburst of racial fighting and hatred for each other which lead to the abandonment of any such proper healthcare that there was available in the first place. Racial and sex discrimination can give rise to domestic violence across towns; suburbs, cities and even on a national level whereby the whole country can get affected due to it. People get disturbed, as do their families and the whole religious/race group feels knocked out at the hands of the suppressing party. Racial discrimination leads to hatred within the

Corporate Social Responsibility Programs Marketing Managers Essay

Corporate Social Responsibility Programs Marketing Managers - Essay Example While obeying law and economic interest, a social responsible business is involved in social activities that improve society. It does not appear that the responsibilities of a corporation to society, their employees, customers, suppliers, and the communities or shareholders in which they service are in practice According to Robbins, a social responsible business pursues long goals that are good for society and cause no harm. Marketing managers, as moral agents, are required to make practical and as well as ethical decisions. In doing so, managers have to do what is right because it is their responsibility. Why do marketing managers need to ensure that their companies operate visible Corporate Social Responsibility programs (CSR) CSR should be of high priority. This will give managers the opportunity to display their value throughout the company. Public opinion supports corporations pursuing economic and social goals. Social responsible companies tend to have secured long run of profits. Social responsible activities are simply the right thing to do. Seeking social goals create an attractive public image for businesses. Involvement in social programs helps to solve social problems. Addressing social problems before they become serious and costly will definitely benefit the society as a whole. A socially responsible corporation can normally expect minimum government regulations. Regarding stockholder interests, being social responsible will increase a corporation's stock prices in the long run. And many successful businesses have huge profits that will support charitable projects that n eed funding (Robbins, 2005, Page102). Elfren Sicangco Cruz states that there many definitions of corporate social responsibility. According to the World Business Council for Sustainable Development, CSR is a continuing commitment by business to behave ethically while contributing to economic development; improving the quality of life for workers and their families; the local community and society at large. Mallen Baker suggests that corporate management business processes are to make an overall positive impact on society. The International Organization of Employers says CSR is a voluntary positive initiative by businesses that look beyond legal aspects in economic, social, and environmental areas. Michael Hopkins, in A Plantary Bargain: CSR Comes of Age, goes on to say that corporate social responsibility is the treatment of stakeholders both in and outside the corporation. Corporate social responsibility (CSR) is fundamental to a long term, comprehensive approach to business success. CSR has become one of the benchmarks of an organization's overall success. Corporations as well as their marketing managers need to ensure that every aspect of their performance reflect the values, interests and expectations of society. Why Social responsible activities affect a company's economic performance. There are findings from research studies that can fully explain the importance of corporate social responsibility programs. In such studies, there appears to be little evidence that a company's social activities harm long term economic performance. Companies are reporting that there is positive relationship between social responsibility and economic performance. Marketing managers should, however, certainly consider social goals as they plan, organize, lead and control their company's operations. Corporation can implement CSR at many levels.

Advergaming and mobile advertising Research Paper

Advergaming and mobile advertising - Research Paper Example There has been need to have a different cereal than the usual wheat one and hence the introduction of the new chocolate cereals is needed, and the introduction is done through a medium that is liked by children: videogames. The traditional advertising includes the use of television, posters and billboards and children of nowadays do not bother checking out such mediums. All they are interested in is the video games and especially those that are online. Advertising the product online in a videogame is the best way to attract the market for the chocolate cereals whose target is mostly children. The company used Multi-Link Trunking (MLT) technology to help it access several links and servers in order to ensure that as many people as possible get the advertisement through the video game. Permission is not an issue but facilitation to the right channels is necessary when using the internet. Many people got to enjoy this product more since it was introduced to them through a medium they love. Sales of the Choco Krispis should therefore have gone very high due to the fact that the cereal box was fashioned to be used as the joystick in this advergaming. Taco Bell has launched yet another food product beefy nacho burrito and is still using the mobile phone to advertise it. The advert is running through smart iPhones and hence many people with the iPhone have access to the advert through the applications. These adverts have made many people aware of the product and are buying it to try it out (Hasen, 2012). There is need to have advertisements that will reach majority of the target group without the company struggling with the logistics of production of posters of billboards to attract attention of the presence of a new product. Taco Bell has therefore addressed the need for an easy to see advert that reaches majority of the target group with minimal effort. Many people are

Legal Environment Essay Example | Topics and Well Written Essays - 1750 words

Legal Environment - Essay Example In this case, an agreement was made to exhibit advertisement on the defendants' hotel for a period of seven years. During this time, Manchester Corporation, exercising statutory powers, acquired the hotel and demolished it. It was held that the defendant should have been aware of the risk of compulsory purchase, and must be taken to have implicitly accepted the risk. The contract could also have been discharged by frustration due to government interference. The government interfered causing a fundamental change of circumstance from the contemplated by the parties when the contract was made. This is because the government prohibited with immediate effect the manufacture and export of relevant weapons systems hence there was need for Maldrive to purchase the machine. This caused the termination of the contract. In this case, the defendant had agreed to construct a reservoir for the plaintiff. Before the defendants had done so, the government acting in pursuance of war-time powers, stopped it. It was held that the contract was discharged through government interference. A contract is discharged by breach; that is failure of one of the parties to perform his obligation under the contract. Every breach of contract provides remedies to the innocent party, and this does not necessary discharge the contract. Thus if a party breaks a term of contract going to its root, known as condition the other party will be released from his obligations under the contract. But if the term broken is one collateral to the main term of the contract, known as a warranty, the innocent party will not be released from performance and can only claim damages. Maldrive, the manufacturers of weapons systems for exports had agreed to buy a machine from Planright but failed to perform his obligation under the contract. Failure of Maldrive to buy the machine from Planright discharged the contract. Rights and Remedies available to Maldrive and to Planright if contract is terminated by frustration. Maldrive could recover his deposit of |1000 pounds and was not liable to pay the balance. The law reform (Frustration Contracts) Acts 1943 England, amended the common law rule and provides what shall happen if the contract is discharged by frustration: All money paid before discharge is recoverable Money which become payable before frustration ceases to be payable. The court allow the parties to recover sums of money paid out in expenses incurred in connection with the contract, or to retain such sums from money already received under the contract. Where one party has received benefits, other than the money payment, the court may permit the other party to recover a reasonable sum as compensation for such benefit on quantum Meruit. A relevant case

Advergaming and mobile advertising Research Paper

Advergaming and mobile advertising - Research Paper Example There has been need to have a different cereal than the usual wheat one and hence the introduction of the new chocolate cereals is needed, and the introduction is done through a medium that is liked by children: videogames. The traditional advertising includes the use of television, posters and billboards and children of nowadays do not bother checking out such mediums. All they are interested in is the video games and especially those that are online. Advertising the product online in a videogame is the best way to attract the market for the chocolate cereals whose target is mostly children. The company used Multi-Link Trunking (MLT) technology to help it access several links and servers in order to ensure that as many people as possible get the advertisement through the video game. Permission is not an issue but facilitation to the right channels is necessary when using the internet. Many people got to enjoy this product more since it was introduced to them through a medium they love. Sales of the Choco Krispis should therefore have gone very high due to the fact that the cereal box was fashioned to be used as the joystick in this advergaming. Taco Bell has launched yet another food product beefy nacho burrito and is still using the mobile phone to advertise it. The advert is running through smart iPhones and hence many people with the iPhone have access to the advert through the applications. These adverts have made many people aware of the product and are buying it to try it out (Hasen, 2012). There is need to have advertisements that will reach majority of the target group without the company struggling with the logistics of production of posters of billboards to attract attention of the presence of a new product. Taco Bell has therefore addressed the need for an easy to see advert that reaches majority of the target group with minimal effort. Many people are

Theory of Knowledge- To what extent does the vocabulary we have shape Essay

Theory of Knowledge- To what extent does the vocabulary we have shape what we know - Essay Example g with the first years of our lives we use words to express needs, dangers, feelings, to discover the use and practicality of the things surrounding us as well as to dive into the study of intellectual and scientific thought that has been developed and passed on to us for generations. Our vocabulary is not a simple collection of words and their meanings; it is also a complex tool that can shape what we can know through different areas of knowledge. Some may say though that words are unnecessary and of little importance in subjects such as mathematics, which expresses its reasoning through symbols, or the arts, which captures and conveys human feelings beyond verbal expression. However, I strongly believe that our vocabulary is an instrumental tool that shapes what we know and what we can know about the world we live in because it facilitates communication and it incorporates more meaning into our lives. I will discuss this statement in relation to three areas of knowledge: mathematic s, history and the arts. Mathematics is probably a subject that is least associated with the use of vocabulary. This is primarily because its core consists of developing certain ideas and principles through the use of numbers that connect though formulas, and which, at their turn, relate to one another in order to portray a logical picture of a certain phenomenon. Advanced mathematics can rarely find a direct application into the real world and it is mostly used for scientific development, because without the use of formulas and numbers we wouldn’t be at the technological level we are now. Some say that mathematics is a language by itself that claims universality. Therefore, one might state that our vocabulary has no power to shape what we know in this area of knowledge, that mathematics has made words obsolete and has raised above them. However, I believe that words are of outmost importance for children that learn basic mathematics. They learn how to add, subtract, multiply and

African-American Lynch Mob Essay Example for Free

African-American Lynch Mob Essay Author David Horowitz has written an article called African-American Lynch Mob. In the article Mr. Horowitz is expressing his frustration with the way African –American civil rights leaders, namely Reverend Jesse Jackson and Al Sharpton are inciting a lynch mob mentality in regards to the death of Trayvon Martin. Trayvon Martin, who was a 17 year old African-American male, was shot to death by George Zimmerman who happens to be Hispanic. Mr. Horowitz believes that the lynch mob racist, Reverend Jesse Jackson and Al Sharpton are leading the way for the African-American community to insinuate that George Zimmerman is a racist without any facts. First I take issue with Mr. Horowitz fallacy calling Reverend Jesse Jackson and Al Sharpton racist. Is it racist for an individual or group to stand up and fight against inequality and injustices? For many decades Reverend Jackson and Reverend Sharpton have helped those African-Americans who could not help themselves when the odds were stacked against them; providing a strong voice for the law and lawmakers to listen to, when the voices of the African-American citizens were not heard. Doing this does not make one a racist. As mentioned previously, Mr. Horowitz states that Mr. Zimmerman is being labeled a racist without any facts; this is a fallacy and not exactly true. Recently audio has been discovered that has Mr. Zimmerman’s making racial slurs, along with eyewitnesses stating that they personally heard him making racial slurs. The impending investigation will prove whether Mr. Zimmerman is a racist or not; however even in this early stage, investigator will have enough reasons to not rule out the cause of death by race crime. Mr. Horowitz belief that the evidence is irrelevant to the so call lynch mob is unfounded. The African-American protesters are only protesting because they believe there is enough evidence to warrant an arrest of Mr. Zimmerman. However, instead of being arrest Mr. Zimmerman is walking free. Mr. Horowitz calls the display of racial outrage over this case a national disgrace, and I disagree with that statement. The display of racial outrage over this case is not a national disgrace; the fact that African-Americans still have to protest because of injustice is a national disgrace. As I concluded the article it was pretty evident that Mr. Horowitz view point was a bit slighted. It seems to me that the views he has taken are based on his dislike for Reverend Jesse Jackson and Al Sharpton, and their way of obtaining justice for those who they lead and represent. Mr. Horowitz dislike for both of the reverends probably goes a long way back, and because of this, any point that he makes in regards to these two reverends should be taken with a grain of salt.

Assess The Company Pixar Media Essay

Assess The Company Pixar Media Essay This report is going to assess the company Pixar from an innovation perspective. This report will focus on the good and bad points of the company to give an insight into its attitude towards innovation. A number of different methods were used to gather the information in this report, such as websites, interviews, articles and books. Steve Jobs (Apple CEO) purchased the computer graphics section of Lucasfilm Ltd in 1986 and called this new company Pixar. Pixar started as a very small company with only 44 employees. Pixar started making short animations films which were at the forefront of CGI technology. Pixar also created a number of adverts for companies such as Listerine in their early years. The first feature length movie Pixar created was Toy Story and it was the first fully computer generated animated film ever, Toy Story grossed $362 million worldwide. Pixar did not just create animations, they also developed a lot of the technology which allowed them to create their films. Work teams and some individuals won numerous awards from organisations like The Scientific and Engineering Academy Awards in fields such as Digital scanning and Direct input devices. One huge advantage Pixar has over other animation companies is their unique understanding of innovation in company structure and employee relations, this report will aim to discuss this in further detail. Section 2 Employee relations Pixar is a very organic company which disagrees with the structure of mechanistic organisations. A mechanistic organisation has a very hierarchical structure and the companies future is dictated by those in senior roles. Section 2.1 Brad Bird Steve Jobs hired Brad Bird into the company after its first three successful films, Jobs was worried that they had ran out of creativity and he did not want the company to go stale. Brad Bird understood that there was room for improvement in the companies creative process. Bird understood that every employees input is valid and has its use. He knew that communication is vital in the innovation process so everyone can help each other to create the best work possible. The main problem with this is that It is difficult to get employees to speak their minds as they are often afraid of criticism from their peers, and they have good reason to fear this as they are working with some of the best animators in the world. Birds solution to this problem was to get the employees in groups to look at the work each member had done that day. Bird wanted to encourage people to speak their minds, he talked about the strong and weak points of each persons work and praised people for challenging his cri ticisms. At first this did not work very well, before Bird was introduced to the company the animators were afraid to criticise any work as previous managers did not take kindly to criticism, however constructive it was. It took nearly two months for any of the employees to actively participate in these group discussions, however one employee finally did and the rest of the employees saw that Bird praised this employee for doing so as he knew it was the best way to get everyone comfortable with this process. Section 2.2 Open Philosophy Pixar has a very open philosophy towards its business. Pixar encourage employees across its company to interact with each other. They want employees of all levels to talk about their ideas and problems so the company can benefit through this interaction. Even the lowest level employees have the option to speak to the highest level employees as Pixar has an open door policy in its offices. This idea originated from the quotation below. Interaction = innovation Steve Jobs Pixar also has a open approach when it comes to their technology and advancements. Pixar encourages employees to publish their work in academic journals as they dont believe in hiding success. At first this may seem like a bad idea from a business perspective as they will be helping rival companies to better their productions. When you look at it more closely it starts to make a lot of sense. Pixar does this because it attracts talent to the company, talented individuals become aware of the new advances being made at Pixar and are often very keen to be hired by them so they can be at the forefront of this technology. Pixar is very interested in bringing new employees into the company as they challenge the status quo and often lead to new and exciting ideas. Section 2.3 Pixar University Pixar wants its employees to branch out and learn new things. Pixar University was created to allow its employees to do so. Every single employee is given up to four hours a week to take courses. Some of these courses are on related subjects such as animation and some are completely unrelated such as yoga. These courses bring employees from different corners of the company together and it helps them all learn new skills or it can simply help them relax. This scheme seems to have paid off as some employees have realised they have a certain talent in a new field and they switch to a different department where their skills are put to better use. Employees are allowed to reject work and meetings if they coincide with these courses, this shows how strongly Pixar feels about learning in their company. Section 2.4 Perfection holds back innovation Brad Bird brought a number of new things to Pixar and one of them has changed the company dramatically in the way it produces its films. Bird believes that perfection is something that holds back innovation. This is something that shocked employees when he joined the company, the below quotation shows exactly what he means. Look, I dont have to do the water through a computer simulation programà ¢Ã¢â€š ¬Ã‚ ¦ Im perfectly content to film a splash in a swimming pool and just composite the water in. Brad Bird (2008) This was a new innovative approach to how the animators worked. Before this, animators had always painstakingly created every part of an animation and never used shortcuts to create the same effect. Bird understood that some pieces of work needed to be perfect but for some pieces it was unnecessary as the same result could be achieved by different means. It was this kind of innovative thinking that helps the company produce at a faster and cheaper rate. Section 2.5 Concluding employee relations This section of the report has talked about how Pixar treats its employees and how it stimulates them to become better at their work. Its difficult to criticise Pixar from this perspective as they have an extremely good understanding of what employees want and how to develop their creative skills. It is evident that their approach to employee relations is working as they continue to create new and exciting films which could only be produced by employees who enjoy their work. Section 3 Environmental innovations Pixar has an unorthodox approach to the environment that their employees work in. The offices in which Pixar employees work are specifically designed to maximise creativity and interaction. Section 3.1 Cubicles The animators are allowed to completely customise their working cubicles. In a business as creative as Pixar you cant sit the employees in blank cubicles. (http://www.home-designing.com) Most of the employees like to give their cubicles a homely feel by bringing personal items and making the atmosphere as friendly as possible. This sort of environment is best for a creative business like Pixar. Section 3.2 Pixar HQ The building in which Pixar is based also has a slightly different design to conventional working spaces. Steve Jobs who as we mentioned earlier believes that interaction = innovation designed the office with this in mind. The main building has a large atrium situated in the centre of the office which people at first thought was unnecessary, but Jobs designed this atrium to contain the cafeteria, mailboxes and toilets. At first this seemed like a strange idea as everybody had to move from their individual areas to go to the bathroom or to collect mail. The reason for this was that people are essentially forced to see each other on a daily basis which leads to interaction which in turn leads to innovation. Section 3.3 Social environment The environment Pixar creates isnt just physical. There is also an important role in the social environment of the company. During an interview Brad Bird was asked Weve been talking a lot about how you promote innovation. What undermines it? (The Quarterly 2008) His response was the following Passive-aggressive people-people who dont show their colours in the group but then get behind the scenes and peck away-are poisonous. I can usually spot those people fairly soon and I weed them out. (Brad Bird 2008) Brad Bird made it his goal to get rid off people who hindered the innovation process as to him they were a cancer eating away at the creativity of the company. Section 3.4 Concluding environmental innovations The way Pixar designed its working space does seem very suited to the type of business that they are, a creative industry should have a creative environment. The idea of situating all the things people need on a daily basis in the atrium is essentially a good one, however it may not be to every employees liking as it may grow tiresome for people who have to take a long trip to just go to the bathroom. The social environment created by Pixar is very good as it is designed to embrace creative and happy people and it is also designed to eliminate people who bring innovative processes down. Section 4 Films Section 4.1 Films and reviews To date Pixar has produced 11 feature films which are listed below as well as ratings received by the popular movie critic website rottentomatoes.com. Toy story (1995) Rating 100% A Bugs Life (1998) Rating 91% Toy Story 2 (1999) Rating 100% Monsters, Inc (2001) Rating 95% Finding Nemo (2003) Rating 98% The Incredibles (2004) Rating 97% Cars (2006) Rating 74% Ratatouille (2007) Rating 96% WALL-E (2008) Rating 96% Up (2009) Rating 98% Toy Story 3 (2010) Rating 99% The above ratings show that Pixar have a tremendously good track record when it comes to producing films. You can also see that the latest films were produced much quicker. Since 2006 Pixar have been producing a film every year, this could be down to some of the innovative ideas from Brad Bird which were discussed earlier. Section 4.2 Cars In the rating system one film stands out from the crowd, and that films is Cars. (http://reponses.qctop.com) Every film Pixar has done has been rated over 90% except for Cars which received a much lower rating of 74%. There must be a reason for this dramatic drop in rating, and that reason is that Cars displayed a lack of innovation, the visual elements of the film were very good however the story lacked the Pixar magic a lot of critics refer too. The story was unoriginal and it was clear that something was missing when they were working on this film. While this film was being produced Pixar could have used an innovation method such as SWOT analysis to assess their strong and weak points. Below is an example of what they could have done to assess Cars. Strengths Good Animators Effective Marketing Strong Brand Productive work environment Weaknesses Bad basis for a film, Car racing is hard for a lot of people to relate too Unimaginative storyline compared to previous films Opportunities Further strengthen market position Huge profit potential Merchandise Threats Rival companies Growing dislike for cars as an environmental hazard. Above is a basic example of how SWOT analysis could have been used to ensure that Cars was received as well as all the other films they have produced. It would have been difficicult for this to have been performed by Pixar themselves as it is often hard to criticise your own work especially if it took 2 years to produce so an external person could have done the evaluation. Section 4.3 Attitudes towards money Some methods of analysis would not have worked in a company like Pixar such as The Boston Matrix which focuses on market growth and revenue. One of the key values that Pixar holds is that making profit can not be your focus in producing a good film. I dont make movies to make money-I make money to make movies. (Walt Disney) Above is Walt Disneys philosophy on making movies, Pixar as a creative organisation tries to adhere to this as they believe it will lead to greater success in the long term. Pixar has clearly learnt what they did wrong in Cars as the four movies they have produced since have all received above 96% which is an extremely high score. It is unclear what Pixar did, but it has worked. They may have used a method like SWOT analysis or maybe they hired new employees with a fresh perspective. Section 5 Conclusion Overall Pixar are a very good company to assess from an innovation perspective. Rival companies such as Dreamworks create similar films but often these films are overshadowed by the work of Pixar and this is down to the way that Pixar as a company works. Few companies are as organic as Pixar in their organisational structure and a lot of larger companies tend to have a mechanistic approach towards film making. You only have to look at the success that Pixar has had to realise how difficult it is to be critical of Pixar as a company. They are the worlds leading animation company who only have one film which let them down, and even that film was still extremely popular. Pixar are an extremely innovative company which is shown through their work and the dedication that the employees have towards their films. Pixar have had an incredibly good track record with their films and we can only wait to discover the new ways they will continue to spur creativity in their organisation. Section 6 References Pixars company history http://www.pixar.com/companyinfo/history/1986.html Interview with Brad Bird http://gigaom.com/2008/04/17/pixars-brad-bird-on-fostering-innovation/ Details of Pixar films and ratings http://en.wikipedia.org/wiki/List_of_Pixar_films Images references Title page http://userlogos.org/files/logos/AlexT/PixarLogoLight.png Work cubicles http://www.home-designing.com/wp-content/uploads/2008/10/pixar-494539.jpg Cars http://reponses.qctop.com/upload/FlashMcqueen-21976.jpg Section 7 Bibliography Books Capodagli, B. Jackson, L. (2009) Innovate The Pixar Way McGraw Hill Interviews Interview with Ed Catmull http://blogs.hbr.org/hbr/hbreditors/2009/02/creating_a_safe_haven_for_crea.html Websites http://corporatelearning.hbsp.org/corporate/assets/content/Pixararticle.pdf https://www.mckinseyquarterly.com/Innovation_lessons_from_Pixar_An_interview_with_Oscar-winning_director_Brad_Bird_2127# Pixars Brad Bird on Fostering Innovation http://benfry.com/writing/archives/179 http://consultaglobal.wordpress.com/2008/09/22/pixars-innovation-recipe/ http://www.irishideas.org/GreatJournal7.pdf http://www.getdriven.com/2008/01/pixar-university/

Suez Crisis :: Papers

Suez Crisis Anthony Eden was Prime Minister at the time of the Suez Crisis in 1956. His political career began in 1923 and by 1926 he had become a parliamentary private secretary at the Foreign Office. He was very involved with the League of Nations, believing in their principles and at the age of 38, became Foreign Secretary. At this time international affairs were seen as being aggressive and Anthony Eden was forced to resign from Neville Chamberlain's Government over his policy of appeasement. He joined the Government during World War Two and became Secretary of State for war under Churchill. After the war times were very difficult with the Cold War at its peak and trouble in the Middle East. Colonel Nasser became dictator of Egypt in 1954 after leading a successful revolution against King Farouk. British troops left Egypt for the first time since 1882, and as soon as they had gone, Nasser declared the Suez Canal to be the property of the Egyptian Government. The Suez Canal was a vital shipping route for oil being brought to Britain. Eden wrongly saw Colonel Nasser as the next Hitler and was determined to make a stand against him. "Nasser has a finger on our wind pipe", he remarked. Nasser was going to be taught a lesson. Nasser was seen as a nationalist who was determined to rid Egypt of foreign influence and make Egypt the Arab world's leading state. He had tried to buy arms from the West but eventually had to buy them from Czechoslovakia and western powers were concerned that Nasser was leading Egypt towards communism. His seizure of the Suez Canal was justified in his mind by the refusal of Britain and US to finance his ambitious project to build the Aswan Dam across the Nile. In Source A, Eden says Nasser is "not a man who can be trusted", and also "we all know this is how dictators behave and we all remember the cost of giving in to Hitler". This shows that Eden cannot help

Great Leaders: Are They Made or Born? Essay

Skills such as communications skills, strategic and leadership skills are often questioned whether they are learned or naturally born within a person. These debates are caused by the bipolar opposition of an individual’s growth as influenced by nurture and nature. Human behaviors are studied by psychologists and sociologists to explain the phenomena whether those behaviors are innate or learned and acquired. One of those phenomena is a person’s success in terms of leadership abilities. Leadership skills are enhanced and developed through performance, actions and experiences; thus, triumphant and great leaders are made, not born. Leadership is defined as â€Å"working with and through others to achieve objectives† (qtd. Goldsmith). It means that any person who is in a position and whose success and achievement entails the support of others, can play the role of a leader (Goldsmith). Leaders make possibilities (Avolio 3), so the belief of most psychologists then that leadership qualities are innate are now being debated because of several researches that show the other possibility: leadership skills can be mastered and developed (Avolio). It is not enough to believe in the â€Å"Great Man† theories, which assume that the ability for leadership is inherent and inborn–that great leaders are born, not made. The theories most of the time illustrate leaders as heroic, mythic and fated to ascend to leadership when needed (Wagner). However, it is important to note that it is misjudged and underestimated if people fail to gather and learn from life and personal experiences, which are said to have an impact on developing leadership skills (Avolio 3). Great leaders emerge in a number of forms; however, there are particular characteristics that are common to the quality of leadership–a process of influencing members of the organization to commit and to work hard towards achieving the organization’s goals. Leaders can either be task-oriented–leaders who are interested most in directing behavior, training, performance and winning–or person-oriented, leaders who are enthused more on the interpersonal relationship of the organization (Sugarman 1). On the other hand, in order for a person to be addressed as a â€Å"great† leader, he or she must be both task-and-people-oriented so that every aspect of the organization will be given focus. The quote â€Å"great leaders are people persons† (Banescu), implies that a great leader is someone who likes to be with people, listens to them, relates to them, knows how to communicate well, and speaks their language and does not talk down to them. Moreover, great leaders are knowledgeable and efficient administrators. It means that the leader comprehends the works that are being done in all the areas of the organization: how the areas and the people collaborate. The leader possesses a good understanding of the strengths and weaknesses of the people he or she administers. He or she devotes resources and time to correct the weaknesses and reinforce the strengths (Banescu). It is also essential to take into consideration that a leader needs to have the qualities that the organization is incorporating. For instance, if a leader desires his or her members to be confident and be disciplined, it is essential that he or she must first possess those traits. In order for a person to be called as a leader, he or she needs to lead by example. A leader serves as an influential model for all his or her members, so everything he or she does will be watched and looked at (Sugarman 1). Basically, the skills of a great leader revolve on his or her capacity to manage and lead the members of his or her organization, as well as to fulfill and do his or her own tasks while making sure that the organization functions well in achieving its goals and objectives. Great leaders’ qualities and abilities center on action rather than position. Leaders are in the position to supervise the organization and its members and to make sure that every aspect performs well. Leadership is not primarily about exercising one’s power and extending his or her dominion by abusing his or her authority and manipulating the members of the group. Thus, a leader guides the members of the organization, not rules them. He or she draws a course, bestows direction and enhances and develops the social and psychological milieu (qtd. Sugarman 2). Given the aforementioned premises, then, how great leaders are made? Being a leader especially a triumphant and great one is a matter of choice, a matter of priority and a matter of challenge. Of course, every individual desires to become a leader and sees him or herself as a catalyst of change. However, albeit the dreams and visions of becoming one, only those who follow their heart and who make the move have evolved to become leaders. Nevertheless, becoming a great leader is more challenging than just turning into an ordinary and usual leader. â€Å"Great† is a very powerful and strong adjective that describes the whole capacity and leadership abilities of a person. It is how a person makes use of his or her leadership capabilities as well as how he or she maximizes his or her strengths and potentials in order to manage and lead the organization properly. It is also about utilizing his or her leadership skills in order to create and discover new strategies and techniques. As what the old saying goes, â€Å"A gem cannot be polished without friction, nor a man perfected without trial;† this statement is very much suitable with regards to the explanation of making great leaders. It means that a person needs to learn from his or her personal experiences in accord to his or her leadership potentials. The acquired knowledge and experiences will definitely be of great help to an individual’s leadership development. So in order to become a great leader, a leader must first be beaten with a lot of trials and challenges during the process. Great leaders: are they made or born? That question has been commonly asked and has been studied for several decades. Psychologists then insist that great leaders are born because leadership skills are acquired from one’s ancestors. The leader’s abilities are intact on their genes. However, that notion with leadership is said to be dangerous because it promotes self-delusion and irresponsibility. It crafts an escape on one’s responsibility for taking action or for learning how to take action when he or she has seen the need of the organization or the community (Heifetz 20). On the other hand, current researches show and reveal that great leaders are made, not born. Because even though the person has been born with skills and abilities, but he or she fails to utilize them and fails to apply it in his or her experiences and leadership struggle, still, his or her innate capacities have no use. But if a person is already born with excellent skills on leadership and chooses to enhance and develop those skills, he or she has the power to transform him or herself into a person that he or she yearns for him or herself to be – a proficient leader. Great leaders are made because of several things that triumphant leaders accomplish. Such things involve getting 390 degrees feedback on his or her present effectiveness, picking the most essential behaviors for change, asking the members of the group for suggestions on how he or she can do a better job, listening to the members’ ideas, and following up and measuring change in efficiency over time (Goldsmith). Given that, an excellent leader provides a serene atmosphere where members can learn and grow. At the same time he or she gives responsibility to the group and fosters independence (Sugarman 2). Great leaders are made because they make use of their skills and abilities and apply what they have learned and what they have experienced in the course of their leadership process and development. They do not just sit on their table and order the members to do their jobs and to accomplish the organization’s goal; hence, triumphant leaders work together with their members. They motivate the group, not manipulate it. Great leaders are made because such leaders are open for crafting possibilities and achieving the unexpected. They make things happen by doing actions and taking responsibilities. They do not just allow a thing to materialize in itself; rather, they do something for it and they strive for it. Leadership is not a just a matter of choice; it is a matter of priority and willingness to act. Works Cited Avolio, Bruce. Leadership Development in Balance: Made or Born. London: Routledge, 2005. Avolio, Bruce. 1999. â€Å"Are Leaders Born or Made. † Psychology Today. 05 March 2009 . Banescu, Chris. 2007. â€Å"Key Characteristics of Great Leaders. † Orthodoxnet. com Blog. 05 March 2009 . Goldsmith, Marshall. 2008. â€Å"Great Leaders Are Made, Not Born. † Harvard Business Publishing. 05 March 2009 . Heifetz, Ronald Abadian. Leadership Without Easy Answers. United States: Harvard University Press, 1994. Sugarman, Karlene. 2008. â€Å"Leadership Characteristics. † Ottewell School. 05 March 2009 . Wagner, Kendra Van. 2009. About. com: Psychology. 05 March 2009 .