A Comparison of The Jewel in the Crown and Wuthering Heights Essay

Shared Elements of The Jewel in the Crown and Wuthering Heights The Jewel in the Crown, by Paul Scott, and Wuthering Heights, by Emily Bronte, are romantic tragedies which dish push through many common elements. Although written in cardinal vastly different time periods, the shared elements reveal the continuity of romantic tragedies over time. Wuthering Heights, a nineteenth century realistic fiction, shares the same kind of passionate, violent and emotional characters as The Jewel in the Crown, a post colonial modernist fiction. Both stories contain a love triangle which subsequently end in death. In both stories, Catherine and Daphne are much alike in that they are the point around which the two men in their lives dance circles around. Catherine and Daphne are both willful, doing as they please, Catherine fostering her love for Heathcliff, and Daphne secretly seeing Hari Kumar. At fifteen, she Catherine was the queen of the country-side she had no peer, and she did turn ou t to be a haughty, headstrong creature (WH, p. 51). And of Daphne, She had to make her own marvelous mis...

freeaw Not Ready for Freedom in Kate Chopins The Awakening Essay

Not Ready for Freedom in The Awakening In Kate Chopins The Awakening, the main character, Edna Pontellier makes a very long, atrocious journey into her inner self. At the end of this journey she discovers that she is not strong enough to adopt a support in which a woman is her give birth woman and lives for herself. This forces her to choose the only other option available to her. I think the propriety with which Edna struggles (and most often gives in to) as she begins to discover who she is and what she wants creates a thick, almost suffocating atmosphere of tension. So much so that I was relieved that she decided to take her own lifetime, as it had evolved into a torturous existence. I thought it unfair that Edna was portrayed as a somewhat neglectful mother. It was clear that she adored her children, albeit a fondness that was in ...an uneven, impulsive way. (p. 59) It is important to tenseness on the time this story was written---the choices available to women in 1899 ( the year The Awakening was printed) were extremely limited, and Edna Pontellier, all things considered, actually made a good life for herself, on the surface by making a marriage with Leonce. The material trappings in life that Leonce provided were comfortable, extravagant, actually, and the luxurious life of servants (quadroons), and more than one home appeared to be a life of perfection. Buried within the text are a multitude of hints, suggestions, and in some cases blatant statements concerning the state of mind of Edna Pontellier. The reader is introduced to the possible action that Edna may have a healthy curiosity of the absence of prudery due to her fascination with the lives of Creole women. These women of French descent have far les... ...se population. Edna Pontellier was a lady of ladies, yet she had a will stronger than any iron-clad vessel that plowed the Mississippi River. Her awakening was at once liberating and devastating. Her anger (throwing the vase and her we dding band) was a offspring of her confusion and inability to comprehend the society that insisted she receive guests on Tuesday (her husband Leonce was appalled that she left one day and did her own thing), be a wife and mother first, and love only one man. Although her demise was indeed tragic, the point is that Edna was not entirely ready to absolutely adopt the Creole way of life---the life in which a woman is her own woman and lives for herself, stands up to the world and insists on having life on her terms. In the end, Edna could not reconcile herself to a life that stepped outside the boundaries of propriety.

Man the Hunter Revisited Essay -- Anthropology, Hunting

gentlemilitary personnel the Hunter RevisitedIn 1966, a group of about fifty anthropologists met in Chicago for a conference that would posterior known as the hu while race the Hunter meeting. The meeting contrasted with earlier scholarship and presented a Hollywood approach to the topic of early man, one where our ancestors were strong, powerful, and in meet of their environment. Anthropologists Sherwood L. Washburn and C.S. Lancaster (1968), both present at the conference claimed, our intellect, interests, emotions, and basic social lifeall are evolutionary products of the success of the hunting adaptation. The book Man the Hunter that emerged from the conference forced a re-evaluation of human subsistence strategies and the role of the hunter in human society. Although the idea of man as hunter, and thus exclusive provider, was initially disproved when it was shown that humans also relied on scavenging and were indeed hunted, the theory maintains relevance in modern anthropol ogy. The theory itself pushed researchers to challenge prior assumptions regarding the role of females in society and helped civilise the hunter-gatherer by sex theory that remains in place today. Importantly, whereas the original man as hunter thesis was groundbreaking because it challenged the scientific communities prior impression in an ancient man who was primitive and weak, modern researchers have built off of the man the hunter thesis and now debate the motivations for men to hunt. season our human ancestors may not have been the strong, bloodthirsty, killers once imagined by Raymond Dart, new studies conducted by modern anthropologists have revived this famous, yet once discarded theory. The authors who contributed to the Man the Hunter text (1968) concluded, to assert th... ... from a more balanced perspective. Given the importance of the theory and its affect on how modern humans view our transmittable past, the studies themselves have exposed the depth of which cultur al bias can affect scientific outcome. The male dominated research of the 1960s produced an image of ancestral man akin to a comic superhero, large, brawny, and dominant. In response, the female literature of the 1970s and 1980s discredited the ideas and placed emphasis on the woman gatherer in early society. Likewise, modern research has attempted to distance itself from the bias of the past, however even today assumptions make there way in to the research. While the man the hunter theory may not be headline news in this modern era, present day research approaching our past from a more scientific approach appears to have restored credibility to the once tarnished model.

Rates of Reaction - The concentration of hydrochloric acid and the rate of reaction with sodium theosulphate :: GCSE Chemistry Coursework Investigation

Rates of Reaction - The preoccupancy of hydrochloric harsh and the rate of reply with sodium theosulphateIntroductionDuring a chemical reaction, particles collide with each other. Thiscollision causes certain bonds to break and new aces to be formed. Acertain amount of energy is needed to allow a reaction to take place.This is called the activation energy its the minimum quantity ofenergy that is required. There atomic number 18 certain factors that freighter affect therate of reaction. These are surface area, temperature, assiduousnessand catalysts.The surface area is a very big factor in the rate of reaction.Reactions only spend on the surface, because this is where thecollisions ordain occur. If a solid is broken into smaller pieces, thesurface area is increased. This leaves more area where the reactioncan take place, thus change magnitude the rate. If the reactant is in theform of one large solid, the reaction leave alone take longer, and sodecreasing the rate.The temperature is also a major factor. When the temperatureincreases, the particles consequently heat up. This causes the kineticenergy in them to increase, therefore they move around faster. Thismeans that the rate in which they collide with one another willincrease.By increasing the concentration of something, more particles areintroduced in the same volume. This would mean that the likelihood ofcollisions will increase. This would increase the rate of reaction. Onthe opposite angle, the lower the concentration, the less chance ofcollisions. and then the rate of reaction will decrease.Catalysts can be found in the form of transition metals. These speedup the rate of reaction. However, the catalysts themselves are notuse up.AimOur aim is to incur how the change in concentration of hydrochloric acidmight affect the rate at which it reacts with sodium theosulphate.PredictionWhen sodium theosulphate and hydrochloric acid react together, manyproducts are created.Na2 S2 O3 (aq) + 2HCl ( aq) 2NaCl (aq) +H2O (l) + SO2 (aq) +S (s)The equation above shows all the products of the reaction betweenhydrochloric acid and sodium theosulphate. The products are sodiumchloride (aqueous solution), wet (liquid), sulphur dioxide (aqueoussolution) and sulphur (solid).The sulphur, macrocosm a solid, turns to liquid cloudy and opaque. Acertain amount of sodium is needed to turn the solution cloudy aboundingto be opaque.Increasing the concentration of a liquid increases the amount ofparticles therefore there will be more successful collisions. Becauseof this, more sulphur will be produced.Overall, the higher the concentration, the more sulphur will beproduced. Therefore, the liquid will become opaque quicker.I predict that my graph will scent like this (below) when I eyepatch theRates of Reaction - The concentration of hydrochloric acid and the rate of reaction with sodium theosulphate GCSE Chemistry Coursework InvestigationRates of Reaction - The concentration of hydrochlori c acid and the rate of reaction with sodium theosulphateIntroductionDuring a chemical reaction, particles collide with each other. Thiscollision causes certain bonds to break and new ones to be formed. Acertain amount of energy is needed to allow a reaction to take place.This is called the activation energy its the minimum quantity ofenergy that is required. There are certain factors that can affect therate of reaction. These are surface area, temperature, concentrationand catalysts.The surface area is a very big factor in the rate of reaction.Reactions only occur on the surface, because this is where thecollisions will occur. If a solid is broken into smaller pieces, thesurface area is increased. This leaves more area where the reactioncan take place, thus increasing the rate. If the reactant is in theform of one large solid, the reaction will take longer, thereforedecreasing the rate.The temperature is also a major factor. When the temperatureincreases, the particles consequently heat up. This causes the kineticenergy in them to increase, therefore they move around faster. Thismeans that the rate in which they collide with one another willincrease.By increasing the concentration of something, more particles areintroduced in the same volume. This would mean that the likelihood ofcollisions will increase. This would increase the rate of reaction. Onthe opposite angle, the lower the concentration, the less chance ofcollisions. Therefore the rate of reaction will decrease.Catalysts can be found in the form of transition metals. These speedup the rate of reaction. However, the catalysts themselves are notused up.AimOur aim is to see how the change in concentration of hydrochloric acidmight affect the rate at which it reacts with sodium theosulphate.PredictionWhen sodium theosulphate and hydrochloric acid react together, manyproducts are created.Na2 S2 O3 (aq) + 2HCl (aq) 2NaCl (aq) +H2O (l) + SO2 (aq) +S (s)The equation above shows all the products of the reacti on betweenhydrochloric acid and sodium theosulphate. The products are sodiumchloride (aqueous solution), water (liquid), sulphur dioxide (aqueoussolution) and sulphur (solid).The sulphur, being a solid, turns to liquid cloudy and opaque. Acertain amount of sodium is needed to turn the solution cloudy enoughto be opaque.Increasing the concentration of a liquid increases the amount ofparticles therefore there will be more successful collisions. Becauseof this, more sulphur will be produced.Overall, the higher the concentration, the more sulphur will beproduced. Therefore, the liquid will become opaque quicker.I predict that my graph will look like this (below) when I plot the

Comparing Two Views of Gay Marriage in America Essay -- Compare Contra

Marriage, by definition, is the institution whereby men and women atomic number 18 joined in a special kind of social and statutory dependence for the purpose of founding and maintaining a family. In todays society however, things are changing. People of all genders are forming bonds with one another, and homosexuals are vying for the powerful to have their manage established as join as well. Should men and men, and women and women, be allowed the right of marriage just like heterosexual couples in the States? Andrew Sullivan and William Bennett have opposing opinions on this subject, however are more alike in opinion than they know. Their articles tell contrasting stories, with the same general underlying tone. zippy people are people, just like everyone else. This is the argument that Andrew Sullivan is making in his essay titled Let Gays Marry. His argument is based mainly on logic and facts, and for the most part, it is strongly supported. Sullivan mentions in his article that gay people are citizens of our country and are entitled to the exact same rights as everyone else. He is not asking for any special treatment, just equal treatment. All that the gay community is asking for is the right to form a legally know union. He also points out that the definition of marriage has changed with the times. Women are no longer a mans property through marriage. People of protestent races can get married today and it is highly accepted. He is not asking that America changes heterosexual marriage at all, he is simply requesting that they be more open and accept homosexual bonds as marriages as well. Speaking for the other side of the spectrum is William Bennett. Using a very emotional argument, it is his belief that marriage should ... ... It is obvious that there are many differences between the two articles. Sullivan is fighting for his rights as an American, and as a human being, to be able to legalize the love felt between two people of the same sex. Bennett believes that marriage is a crucial part of our society, and that it is so special and important that it should stay as it is. They differ in opinions simply because they are looking for contrasting things. As you can see, the battle with homosexual marriage is one that is not going to be settled overnight. People will continue voicing their opinions on the topic until we can reach a middle ground. When you think about it though, are our ideas really that different? Both men are fighting for the same cause in a way. They are looking for the glorification of the loving bond of marriage they are just going about it in different ways.

The Kodály Concept for Harp :: Music Learning Educatin Musical Essays

The Kodly Concept for Harp Motivation is one of the key elements in all teaching method. To motivate is to provide the student with an incentive for discipline the material being studied. In music teaching, this incentive for cultivation should be found in a joyful learning experience that can be achieved by using the appropriate teaching material combined with the proper teaching method. In Kodlys teaching method there is a balanced conspiracy of these two elements that is applicable from the very beginning of music studies to the most advanced professional level. For example, for young children, the desire to learn to play on their instruments the authentic immanent folk songs they know, understand, and sing combined with the application of a child development approach is a powerful motivator it is also one of the basic belief tenets of the Kodly Method. Listening or playing to complex music from early childhood may improve a childs ability to learn, memorize, think logically , and be more productive generally. Such is the belief engendered by the cutting edge of todays educational research. Much of todays published educational research centers around the development of a childs neurological potentiality to learn. For example, in Owensboro, Kentucky, all children in Daviess Countys elementary schools received piano lessons in the year 1997-98. The idea was to develop the mind, not strictly to make music. Everything in those schools - from learning to play chess, to being regularly exposed to the visual and performing arts, to learning the ABCs in Spanish as well as English - was calculate to increase neuron connections make uping the basic idea of the Graduation 2010 project. During the next 12 years, a research team at Western Kentucky University will follow up on this research in the hope that this project with a common sense approach will have a major come to on the students achievement and capacity to learn. In Hungary, similar research was done between the years of 1969-1973 focusing on the effect of the Kodly Method in teaching elementary school children. Among the research findings, it was determined that additional music education resulted in a combination of high creativeness with emotional sensitivity, greater thoroughness or exactness in the childrens school work, and inner control in the childrens personality. Furthermore, the research demonstrated that the Kodly musical training not only increased the students level of creativity but increased it to the level where it surpassed the level predicted by measures intelligence.

The Kodály Concept for Harp :: Music Learning Educatin Musical Essays

The Kodly Concept for Harp Motivation is one of the key elements in all teaching. To touch off is to provide the student with an incentive for diddleing the material being studied. In music teaching, this incentive for learning should be found in a jubilant learning experience that can be achieved by using the appropriate teaching material combined with the proper teaching rule. In Kodlys teaching method there is a balanced combination of these two elements that is applicable from the very beginning of music studies to the most advanced professional level. For example, for young children, the desire to learn to play on their instruments the authentic native folk songs they know, understand, and sing combined with the application of a child development approach is a powerful motivator it is also one of the basic principle tenets of the Kodly Method. Listening or playing to complex music from early childhood may improve a childs major power to learn, memorize, think logically, an d be more creative generally. Such is the belief engendered by the cutting edge of todays educational research. Much of todays published educational research centers near the development of a childs neurological capacity to learn. For example, in Owensboro, Kentucky, all children in Daviess Countys elementary schools received piano lessons in the year 1997-98. The idea was to develop the mind, non strictly to make music. Everything in those schools - from learning to play chess, to being regularly exposed to the visual and performing arts, to learning the ABCs in Spanish as well as English - was calculated to increase neuron connections following the basic idea of the Graduation 2010 project. During the next 12 years, a research group at Western Kentucky University forget follow up on this research in the hope that this project with a common sense approach will have a major impact on the students achievement and capacity to learn. In Hungary, similar research was done between th e years of 1969-1973 focusing on the effect of the Kodly Method in teaching elementary school children. Among the research findings, it was determined that additional music education resulted in a combination of broad(prenominal) creativity with emotional sensitivity, greater thoroughness or exactness in the childrens school work, and inner control in the childrens personality. Furthermore, the research demonstrated that the Kodly musical training not only increased the students level of creativity but increased it to the level where it surpassed the level predicted by measures intelligence.

Drama Translation Essay

However, the mission of a interpreter of a striking work is slightly different from either other literary piece. A manoeuvretic text editionual matter is written in order to be performed on stage. The arranger of such a text has therefore to bear in mind that the withdrawers (i. e. the audition in this case) shall non completely follow the written form of the script only also and primarily its spoken version. This fact influences the work of a interpreter to a great conclusion. He has to chose words that atomic number 18 easily pronounceable by actors and comprehensible to the audience.At the same fourth dimension he ought to aspire to accommodate the meaning and form of the overlord as much as possible so that the interpreting re comprises the goal and effort of the original author. Each translator aims at a maximal realistic authenticity, including both the inner (authors and directors notes) and outer language of the manoeuvre. Translation, the surmounting of th e obstacle, is made possible by an equivalence of plan 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 charwoman 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 give be truly similar and will recall the same memories of tenderness, loving cargon 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) furtherto a greater extent states twelve rules of a proper interlingual rendition 1. A rendering must interpret the words of the original 3. A deracination 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 th e 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.thither is a well-nigh relationship surrounded by 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 infantryman to the author whose text is enumerateed the base of a dramatic text and its further stage production. A translation may include any of the idiomatic expressions which ar peculiar to its language and which the translator sees fit to adopt just it needs not, because of this, possess the style which the reader may appear.Style is the essential fla keistic of both piece of writing, the outcome of the writers personality and his emotions at the moment, and no single paragraph can be put together without revealing in near degree the nature of its author. But what is true of the author is true also of the translator. The authors 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 alter primevals. The choice he makes cannot be reflect, though dimly, his own style. What does the reader expect what does the critic take in?One of the rationalnesss for a preference for a literal translation is that it is likely to come ne arr 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 calculated by its accuracy. Yet it is a fact in making the attempt to reproduce the effect of the original, excessively literal a rendering is a mistake, and it may be needed to alter even the const ruction of the authors sentences in order to stir their effects to another tongue. (Savory 1957, p. 54) 3. 1 THE INTENTION OF THE TRANSLATOR The sense of purpose of translators work is to maintain, establish and imp finesse theoriginal 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 superstar piece of language significant by another and thus on an independent creation of all elegant mean proceeding from the language. Translation as a work is an chaste 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. need on authenticity and accurateness) and the norm of art (requirement on beauty). This basic aesthetic contrast proves contrapositive to translational authenticity and emancipatedom. The authentic 14 method (i. e. the literal) represents a turn of work of such translators who aspire to reproduce the original precisely, whereas the free method ( correctative) aims at beauty, i. e. the aesthetics and thought proximity to the reader, and creation of an original work in a localise native language.For a realistic translation bothnorms are necessary the translation has to be as exact reproduction of the original as possible barely above all it should be a valuable literary piece of work. Newmark depicts the intention of a translator as follows Usually, the translators 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 book of catch out outions 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 exposition 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 gist 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 interlingual rendition 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 track downing and communicating with each other. The construction of a sentence of a dialog is simple as could be, the sentences are usually paratactically connected, often without conjunctions.Many unfinished sentences and eclipsis may appear. So-called contact words are actually important as well. Various modal percenticles 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 genresinto 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 dialogu es (monologues, polylogues), being accompanied by facial gestures, gesticulation, stagy space and props. The language requirements are high 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, authors 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 configurations 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 overlord 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 special(a) 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- realise 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. correspond to him, the main purpose of translating a play is to have it performed s uccessfully.16Therefore 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 whole shebang chthonian certain constraints unlike the translator of fiction, he cannot gloss, explain puns or ambiguities or heathen 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 quintuple times as potent as the written word what a novelist would say in 30 lines, the playwright must say in five.The arithmetical 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 mak es 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 questi mavind on a subject about which he has complex feelings, he will reply evasively (and in a circumlocutory manner). Ibsens 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 plainly makes the dialogue easy to speak.Whilst a great play must be translated for the reading publics 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 r eaders 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 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 ch aracterized 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 ofvarious translators and stage producers but also in case of coincident text and coincident stage producers within repeated conference (Stanislavskij theatre, emotions, improvisation, flying psychical and biological dispositions of actors, etc. ) excluding the technique of reproduced performances such as television recording, film, sound recording, etc.A stretch forth 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 th e main concept, whichusually center 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.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, translators 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 appro ach 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 inthe 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 ex change over.Similarly, each language has marking words that indicate a break or end of a subject, such as Right, Well, Good, Fine, Now, I see (Ach so, Parfait, Cest vrai) and the internationalism O. K. Lastly, there are the tags that are used to keep a flagging conversation going isnt it, see, you know, which require a standard reaction. The translator has to bear in mind the main differences between speech and dialogue speech has some no punctuation (The sentence is virtually irrelevant in speech Sinclair et al. , 1975), is diffuse, and leavessemantic gaps filled by gesture and paralingual features.As I was running(a) 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 you know and 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 whytranslating 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 Motyli. Nevertheless, the title of this play by Leonard Gershe (1969) is found on a quotation by Charles Dickens and on a song sung by come in, one of the protagonists. Havlu leaves the song out but I attempted to 19 maintain the origin al version and therefore translated the song, with help of a lyricist, inthe rhymed form of Czech. We have finally translated the phrase Butterflies are free as Motyli leti na oblohu.Concerning the theoretical background of translating the title of a literary work, Newmark (Newmark 1988, p. 57) distinguishes between descriptive titles, which describe the topic of the text, and 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, imaginativelypreserved. 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. Translat ion of a literary title is often influenced by the achievement 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.Theinfluence 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 translationand we can rarely encounter the shifts, alterations or changes.Literary translations occupy a better position than film works translations that often includ e 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 inwardly 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 redevelopment 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 catching via common means andthat is why even t he realistic translation often requires an explanation instead of a literal translation or only an reference 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, strain 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 allow for 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 An elaboration of the theory of expression becomes a starting point for a systematic evaluation of shifts in the translation, forms a overlyshie 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 summary 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 mature 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 keep down 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 hurly burly 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 redevelopment 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 train 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 modification, free translation, 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 ad equacy 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 artistic time flies differently than the absolute cosmic time and the absolute time is not every time corresponding with the 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 arelatively 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 translators 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 sociallyimpressive 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 authors poetics. Savory describes the renovation of a translation as follows 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 approach 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 bo okish or passee 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. tout ensemble 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.The translator is frequently faced with too little extralinguistic reali ty 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 broad 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 wecannot find general colloquial form of the language as in Czech.On the other hand, there are many informal expressions, dialects, chamfer 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 trouble 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 suck up 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, fol k expressions and above all playfulness with the language. Several studies have been written about English standard and sub-standard slang.The term slang denotes partly 24 a special diction, partly highly colloquial language or jargon of a particular social class,a aggroup or a period. In dictionaries the stylistic categorization of words or phrases that do not belong to a formal language is denoted by 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 simulate 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 th at 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.

Arguments of the death penalty Essay

Is remainder the justification of a murder or are we merely subduing ourselves by performing the same heinous act? This strain had been debated for many decades and although some feel that death is the answer to a murder, there are others that find it completely crazy. Through a careful analysis mingled with Edward Kochs Death and Justice and David Brucks The Death Penalty, I believe Koch had the better argument in claiming that death is the justification of a murder. I feel that if someone were to kill another person, we have all objurgates to sentence them to a death punishment to guarantee such a horrific villainy would not happen again.If someone had the courage to take the life of another then he/she should have the courage to face the consequences. Although many believed that the death penalty is barbaric, I believe if it is not done, it would hinder Americas goal in working toward a country that possesses the least crime place. In Kochs essay he compared cancer with th e death penalty. Today we are faced with the choice of letting the cancer spread withmethods that considered barbaricBut to give upwould certainly delay the discovery of an eventual cure. (Koch, paragraph 6) What Koch tried to convey to us is that certain methods of reducing cancer symptoms may be found barbaric but it is because of these methods we leave alone find an eventual cure. This applies to the death penalty as well. Although someone may believe the death penalty is barbaric, they can still brave it because if we create a society that does not tolerate the injustice of murder, incidents of murder will decrease.In Brucks argument he attacked back by stating that the death penalty was applied in a discriminatory manner through a man by the name of Ernest Knighton. Knighton had killed a gas station owner during a robberyWhy was Knighton electrocuted when almost everyone else who committed the same offense was not? Was it because he was black? Was it because his victim and a ll 12 members of the jurywere right? (Bruck, paragraph 10) Hes stating the jury was racist to Knighton because he was black and the death penalty does not serve justice.I believe that his isnt so because the appeals for each murderer are long and accurate. Our courts are made so that each case is handled effectively and thoroughly to bring forth justice in the case. Koch stated It is not justice to exclude everyone from the penalty of thelaw if a few are found to be so favored. Justice requires that the law be applied equally to all. (Koch, paragraph 11). It is not a racial matter because the appeals process is long and elaborate for every individual and a person will not be given any less attention due to their race.The death penalty served justice to people who had abused it. It will ensure a safer society because potential murderers would be afraid to kill because if they did, they would be executed as well. If we do not continue to practice this then murder rates would steadily increase. It is also not a racial issue because each case is observed with the full extent of the law. I believe the death penalty should continue to be instated because it will provide for a quicker progression to a murder-free America.

A common theme in literature

Literature can produce so troopsy themes accumulated from different aspects of spirit. Authors around the world set about utilized al well-nigh each the possible concepts, ideologies and themes that could ever exist. As one reads a apologue, different comparisons can be made regarding other stories as well.Due to the bulky capability of literature, at that place are so umpteen possible similarities that can be well-correlated from stories after stories. Several stories aim to project one common theme.Though most are hidden behind all the well-written flowery words, most themes and concepts can be well realized as a boloney progresses. Upon reading a story, many readers can analyze the main message being tried to convey by an author.There are so many themes to choose from due to the commodious freedom of authors. In this paper, a recurring theme of illusion vs. reality can be concluded with regards to three different short stories, namely A Rose for Emily by William Faulkner , The well-situated Brother by Tobias Wolff, and A Pair of Tickets by Amy Tan.Illusion vs. Reality in A Rose for Emily by William FaulknerIn order to regard the whole message of this story, there is a need for the adequate provision of analysis. This story is about an eccentric spinster named Emily Grierson.Her aliveness is narrated bu an unnamed narrator who discusses her quaint relationship with her l everyplace, her father and with the whole town of Jefferson along with her hidden terrible secrets.The story seemed to be a very mediocre one non until the end. The repulsive conclusion had assisted readers on what the true persona of Ms. Emily Grierson really was. That twist in the ending made the whole beginning and middle part of the story become preparatory concurrences of the possible realizations.Linking the theme of illusion versus reality with this story can be very easily assessed. The whole reality positionor all relied on the essence of the changing generations and the spinning wheel of time that passed Miss Emily.The illusion part is the one where she still dwells in the past and so far resulting to violent death her love in order to stay at the past. She was just so lost with reality that she led her life more on the illusion side. Emily entirely lived her life stuck in the past. When the new Board ofAlderman approached her she exclaimed that Colonel Sartoris that she had no takes in the town of Jefferson merely during this occurrence, Colonel Sartoris was already dead for ten years. Her life revolved around in the past as if time did not exist.She locked herself inside her house in order to dwell on her own world that was unreal. Emilys desire of the past even off led him to murder Homer Barron to keep him in the past with her.This story reminds readers that such is the power of the mind that it can alter an individuals perception in life and even cause him or her to lead to doing horrendous actions.This reality of Ms. Emily was only e xisting in here point of view. The whole town re beared the present and the true reality, while Ms. Emily Grierson represented the past and a symbolic characterization of illusion.Illusion vs. Reality in The Rich Brother by Tobias WolffThe story behind The Rich Brother is about two familiars namely Donald and Pete. Pete is the older brother who is much more successful than his younger brother Donald. Pete is a typical middle-class man of success that has enough money due to real estate, a great wife, a couple of daughters, a beautiful house and a sailboat.His younger brother Pete on the other hand has no family and lives alone. His job is painting houses and he usually stays in an ashram in Berkeley. In terms of financial needs, Donald perpetually goes to Pete in times of needs. But other than this, Donald is a pure, kind-hearted, and spiritual type of guy.Its link to the concept of reality versus illusion is represented through the baffling doubt of which brother needs more of t he other brother? Who is the more independent than the other?In realistic terms, Pete seemed to be the more able brother who around has everything. while Donald on the other hand is a man who always seem to be in need and displays his dependence on his brother. But there is a huge difference on the true message of this story. In Petes dream, he was blind and he badly needs Donald to help him.Analyzing the story even more, the representation of the blindness of Pete is considered as blindness from faith. Though externally, Pete has been a wealthy man, almost having the resources that a normal man could ever have, he still is not as rich on the inside as Donald. Donald is the representation of a spiritual guide which in turn represents his importance to Pete.Illusion is contrasted with reality in this story through the aspect of Pete and Donalds inner and outer status in life. People are made to believe that Pete is the richer guy in a lot of things simply in reality, Donald has eve rything that a man could ever really need, faith.Illusion vs. Reality in A Pair of Tickets by Amy TanThis story is narrated through Jandales eyes. She is a Chinese-American woman whos onerous to gain more knowledge about her Chinese culture and the past of his mother. This story can be easily related to by women readers due to the fact that it is narrated by a woman and the story revolves around this character.This story largely revolves around the journey towards self-identification and cultural recognition. Before, Jandale never really understood her past, her roots and her individualism as half-Chinese and half-American. The journey helped her become a complete person and an individual of more knowledge about the world especially of her culture.Like many other quite a little who cant accept their past and their familys past, Jandale never really embraced her lifes history before. But still, that thought of accepting everything, even the past, has become the driving force for J andale to finally conclude that her life is complete.Her past, culture and her mothers past haunted her to realize it and achieve something that could make her feel at ease and make her mothers dreams complete.Her mother never got to see her two play off half-sisters which were abandoned due to their familys attempt to escape the Japanese. It was Jandales turn to provide to accomplish that missed dream of her mother.The link of reality versus illusion in this story tells that no matter what happens in life, the truth is that family will always be family and that we should not ignore our cultural heritage. Our lives may change from time to time due to many events that may alter it.But nonetheless, we cant escape the fact that there is a reality about who are family is and where did we really come from. Reality slaps us in the see and assists us to realize our lifes true essence and center.ConclusionIt is true that many stories that have been told through the years almost reflect a common message but expresses and narrates it in so many different ways. The stories A Rose for Emily by William Faulkner, The Rich Brother by Tobias Wolff, and A Pair of Tickets by Amy Tan, tell us that within the confines of everything, there is still the true reality that matters most in our life.Though in some cases, it would seem hard to find the true meaning of reality in our lives due to the many illusions that we impose in ourselves, truth be told, in the end, reality is all that weve got. We cant escape reality and we should never be blinded by illusions.With the characters of Emily, Pete and Jandale, we could see that there perceptions about reality may have been different from each other, but in the end reality wins over all the illusions and unrealistic perceptions in life. REFERENCESFallon, E., et. al. (2001). A Readers Companion to the Short Story in English. Westport, CT Greenwood Press.Faulkner, W. (n.d.) A Rose for Emily. Retrieved July 13, 2008, from, http//www.a riyam.com/docs/lit/wf_rose.html.

Computerized System Essay

7.1 Architectural Design7.1.1 Entity-Relationship DiagramFig. 7.1.1 Database modelOn the figure above, the table item_description contains information almost the items in the schedule. This is where the data for new items leave be stored and updating of information of existing items takes place. Notice that, the table censorious_items has only two attribute which is status that identifies the critical item if it is low or not. The transaction table is where the system stores data regarding individual transaction while item_trans table foc characters on list of items and its bestow price.7.2 governing body Function7.2.1 Physical Data Flow DiagramFig. 7.2.1 Physical DFDThe system mainly consists of functions for sales and inventory management. A customer orders an item and the system checks the inventory by accessing the master item table. New items can be worked by the management and the master item record is updated as such. A process computes the total price for the items ord ered by using the input from the customer and data(prices) from the inventory master table. After the transaction, receipt will be given to the customer and two the inventory record and sales record are updated. If the system detects any item to be at critical level, a notification will be sent to the management.7.2.2 User InterfaceFig. 7.2.2.1 Main MenuThis is the interface where the exploiter has access to every function of the system (Fig. 7.2.2.1). The first thing that will raise up when the user runs the system is the button with a text of V. When the user clicks the V button the five buttons and upon clicking the inventory and report button their gunslinger items will also appear and when the user clicks one of these buttons (Point of Sale, View Inventory, Update Inventory, Add Inventory, Critical Items, View Sales Report, and View Inventory report) the visibility of all buttons will be disabled and then the desired form of the user will appear on the gray space.The sub b uttons of Inventory is where the user reckon of inventory and critical items ( if theres any ), update, and adding of inventory. The sub buttons of reports is where the user views the sales and inventory report of the system, the help button mainly focuses on how to use it or what we call user manual and about the system.Fig. 7.2.2.2 Point of SaleLastly, this form is where the transaction between the manager and the customer takes place. First thing that the user will do is choose an item code and then the quantity for the item and it will automatically compute for the price after that, he will have to click the add item button then the item will appear on the white space on the right expression and then a meat will prompt if he want to add another or not if he doesnt want to add another item the uwser will require to input the customers payment and clicking the complete transaction button will prompt another message if the user is sure about the transaction. And then if the user is sure, the system will prompt another message if he want to print the receipt or not.