Emma by Jane Austen Essay

The comic novel â€Å"Emma† by Jane Austen tells about smooth and roughs of a young lady Emma who is intelligent, but has nothing to do. Actually, the author ironically shows how Emma is trying to change her position in life. Nevertheless, the novel differs fro others Austen’s writings as Emma is financially independent and, therefore, she doesn’t want to marry because of money and better position in society. The author departs from her primary theme as in other works she focuses mostly on the quest for marriage. Therefore, â€Å"Emma† is lighter and more humorous than other writings. Emma is twenty one. She lives with her father who takes too much care of her. Emma’s live is comfortable as she has loving family and money, though she considers her life rather dull and empty. She is presented as determined young lady and throughout the novel we see that she mutedly protests against such life of wealthy lady. She is disappointed as she has no one to love and she is still childless. However, instead of marrying unpleasant man she prefers matchmaking. Firstly, she tries to match her friend Harriet Smith. The novel turns interesting when Frank Churchill arrives with Jane Fairfax. Emma starts thinking that she has to find something to do and to change her dull life. She sees that many young ladies have handsome couple and she tries to fall in love with Frank, but her old friend Mr. Knightly loves her. Harriet thinks that he is in love with her and Emma feels jealousy about that fact. Finally, she understands Mr. Knightly is her true love. When she makes her a proposal to marry him, she agrees. Harriet marries young farmer. Actually, the novel is provided with happy ending. As for me, I enjoy reading Austen’s novels as they raise important theme: to marry a person whom you love or who is wealthy. I think that it is still a matter of debates. Austen’s heroines are vividly shown leading us into new word of adventures, secret engagements and mysteries.

An Analysis of the soundtrack from “The Girl Can’t Help It”

The Girl Can't Help It was released in 1956, and was directed, produced and mainly written by Frank Tashlin, who was formally a Looney Tunes auteur. The film is a classic Hollywood comedy, which broadcasts a musical line-up of mostly contemporary teen-favoured rock hits set against a narrative background of the popular music industry. The storyline follows the scenario of a backstage musical where an alcoholic press agent Tom Miller (Tom Ewell) is ordered by former mobster Fats Murdoch (Edmund O'Brien) to turn girlfriend Jerry Ann (Jayne Mansfield) into a pop music sensation. Tashlin uses the film music in such a way that it shows clear cartoon like traits; these will be explored in greater depth along with a look at the main characteristics that the soundtrack provides for the film. Anahid Kassabin suggests that most music in narrative film functions to create a mood (2001, p. 56). The film's musical references are made up of both composed and compiled scores; both donate to the mood of the scene. The composed score is non-diegetic and in this instance it does not compete or interfere with the spoken voices. Claudia Gorbman supplements this by suggesting there is ‘subordination' to a story. Subordination means ‘classic narrative sound' films are constructed in such a way that the spectator often does not consciously hear the film score. This is based on the idea that the spectators' attention is focused on the narrative events in the film. (1997, p. 31) However there is still a reason why composed scores are used. In this case they create an atmosphere which makes it easy for the audience to relax, it also guides them on what direction the mood of the film is going and also how they should be feeling. The compiled score operates quite differently; the music is diegetic and it mainly functions as an insight into rock ‘n' roll of the fifties. The mass of compiled music is one of the main attractions of the film and also acts as a narrative; this will be discussed in greater detail later. The music also identifies the film in terms of era and location with the presence of the band or singer in most musical compiled scenes. The film starts with one of the main characters (Tom Miller) in evening clothes appearing in the centre of a shrunken screen. The picture is in black and white with a composed score in the background, which stops as the narrator starts to speak. As the narrator tells the viewers that this is to be â€Å"a story about music,† the music begins again, â€Å"but first†, the narrator stresses â€Å"this was photographed in the grandeuer of Cinemascope†¦ † the narrator pauses, expecting the screen to expand, as he does, the music copies. He then sighs and takes it upon himself to flick the screen into widescreen, and the music ‘mickey-mouse's' his actions with sound effects. He then carries on his speech, as does the music, and he continues to say â€Å"†¦ n gorgeous lifelike colour by Delux. † The narrator and the music then pause, waiting as the screen turns to colour contrasts. Kassabian makes the conclusion that composers consider music as background to dialogue and should be kept simple, subtle, and soft. However she also argues it depends on the importance of the dialogue to the film. (2001, p. 55) In this opening narrative scene the composed music is imitating the speech of the narrator. Miller often pauses to stress fairytale technical difficulties, whilst consciously (but supposedly unknown to the audience) boasting their new technical advances. Hanns Eisler argues how film music was forced to serve as what he identified as ‘hyper-explicit' illustrative function, where two or more happenings such as image, music, sound effects, and dialogue may mimic each other. (Cited in Flinn, 1992, p. 34) Rudolf Arnheim has labelled this as â€Å"paralleling†. An extreme example of this is ‘mickey-mousing' a technique that, as the name suggests, appears frequently in animated films. (Cited in Flinn, 1992, p. 34) In this scene the classical music mimics the character as it would in a cartoon. The narrator continues to inform the audience that the picture is about contemporary music, expressing â€Å"the culture, the refinement, the polite grace and the present day†¦ † the camera pans to a lit jukebox as Little Richard's title song, â€Å"The Girl Can't Help It,† (1956) blares, drowning out his remarks. The opener praises and mocks new conventions in one brief sequence. Throughout the film, new versus vis-a-vis values, lifestyles and music are the sequence. The story begins with the ever present musical accompaniment and the heavy drinking agent, Tom Miller, who spends a lot of time in night spots listening to rock acts. He receives an invitation by Fats Murdock which he accepts. In order to elevate himself into newsworthiness, Fats wants Ewell to make his girlfriend into a star. Obtaining a $10,000 advance, Miller accepts Fats' challenge. He celebrates in another nightclub with a band blasting â€Å"Ain't Gona Cry No More. † Here the lyrics relate to the narrative of the film, the song has just conveyed in simple terms the emotions of Tom Miller. The music also interacts with other aspects of the scene as the band is also playing in the night club whilst Tom Miller dances along. This is one of the main musical features of the film, where the lyrics mimic what a character is feeling or doing. This is also shown in the next scene where diagetic music is used to accompany Jerry walking down a street. On her travels ice melts, milk bottles burst open and reading glasses split as Jerry walks by three men to the title song â€Å"The Girl Can't Help It†. Again cartoon behaviours appear in this scene. As the song â€Å"The Girl Can't Help It† appears in the title credits and later in the film, it is functioning as a kind of leitmotiv. Leitmotiv is a Wagnerian term where music refers to other musical events within a film and is memorable because the scene is structured to give a great deal of attention to the music. (Schroeder, 2003, p. 75) Theme songs are generally given a high degree of attention and often become attached to a film. This then creates audience connotations where a particular emotion or image becomes attached to a song. Identifying music often marks other features of a film. For instance, setting is often identified by quoted source music. Here the connotations of Jerry walking down the street are attached to this song as later in time it is used in the film â€Å"Pink Flamingos† (1972) where a transvestite is seen strutting down a street in the same way Jerry did. In the storyline, as a marketing ploy, Miller escorts Jerry on a nightclub crawl, displaying her to bistro managers. Little Richard is seen performing â€Å"Ready, Ready,† plus â€Å"She's Got It† where Jerry is strutting across the floor to get noticed by the manager. As Richard sings the lyrics â€Å"She's Got It† the camera cuts between Jerry and the reaction of the manager. The lyrics of â€Å"She's Got It† act as a narrative to the scene, also the manager mimics it in dialogue and says â€Å"she's got it all. † Throughout the night many musical acts are shown including The Three Chuckles, featuring Teddy Randazzo, performing â€Å"Lollipop Lies†; Eddie Fontaine performs â€Å"Rock Love†; and Abby Lincon sings the gospel tune â€Å"Spread the Word†. Kassabian stresses the drawbacks of using popular music in films and comments: â€Å"with their range of complete songs used just as they are heard on the radio, they bring the immediate threat of history. (Kasabian, 2001, p. 8-9) However in this particular film that is what was intended, the film acts as a type of historical document. Not many people of the Fifties got to see bands or singers so the cinema created a gateway for rock ‘n' roll music. Ernest Lindgren in The Art of the Film makes the point that â€Å"The use of well known music is†¦ distracting, and has the additional disadvantage that it often has certain associations for the spectator which may conflict entirely with the associations the producer wishes to establish the film. † (Cited in Flinn, 1992, p. 7) A certain level of distraction occurs in the film as one of the main reasons to see it was for the popular acts and when songs where cut short it left viewers wanting more. The dialogue, visuals and other elements are often scarce when such acts appear on screen, which makes it seem a deliberate ploy for attention to be on the music. The volume of the music is often lowered and the camera cuts to the characters when dialogue starts. The leitmotiv is used again in the film when Miller is in his apartment and he discovers a vision of Julie London (a former love) singing â€Å"Cry Me a River† (1953) which is about a lost love. Miller tries to escape her presence yet she appears wherever he goes but disappears as the music fades. This scene identifies he is in love with Julie London and again the music mimics the emotions of the character. Music used for identification does not always rule out the same music all together. Identifying music can convey or evoke all of the things mentioned in the definition of leitmotiv. The song â€Å"Cry Me a River† appears later in the film where Miller is looking for the hallucination of Julie London but instead sees Jerry. This conveys that the song not only has character recognition but the emotion of love also attached to it. The Girl Can't Help It presents teenage rock ‘n' roll in ‘adults only' venues. In a kind of variety show format, the rock ‘n' rollers are inserted into the narrative and given their one moment on screen. Interestingly, none of them are integrated into the plot. Stephen Heath, Ed Branigan, and Kristen Thompson have pointed out that in â€Å"historical enquiries on early cinema, color, and animated film, respectively, new technological developments in dominant cinematic representation do not contribute solely to greater â€Å"realistic effect. These inquiries suggest that it is the novelty of the technology that is celebrated for a while. † (Cited in Gorbman, 1997 p. 44) This is clearly the case in this film as many rock films in the Fifties put more emphasis on the use of popular bands to promote the film rather than the greatness of the plot. Kassabian suggests that there are uses of film music that link directly to other musical events. She calls this â€Å"quotation† which is the â€Å"importing of a song or musical text, in part or in whole, into a film's score. (2001, p. 49) David Shumway has suggested that the roots of these contemporary compiled scores can be found in early rock scores. (Cited in Kassabian, 2001, p. 49-50) In the mid 1950's teenagers' tastes in music were introduced as a separate segment of the mainstream, with rock ‘n' roll being the genre for that taste. The movie producer Samuel Z. Arkoff states â€Å"the oddity was that old people were afraid of rock ‘n' roll†¦ I don't know why but all adults thought that rock ‘n' roll was immoral. † (Coleman, 1997, p. 41) The Girl Can't Help It contributed to changing this, perhaps half of the featured performances such as Little Richard, Gene Vincent, Eddie Cochran and the Coasters are concessions to the teenage audience; the remainder Ray Anthony, Julie London, and Abby Lincoln are for the adults' tastes. The film premiered â€Å"attracting a large adult audience, the movie gave the much maligned rock ‘n' roll some respectability, though Films in Review it called it â€Å"a showcase for the leading purveyors of the jungle caterwauling known as rock ‘n' roll, and†¦ hereby a cultural debilitator our descendants won't forgive us for†Ã¢â‚¬  (Coleman, 1997, p. 141) The Girl Can't Help It showed that Hollywood was taking rock ‘n' roll seriously. In conclusion, the music was not only used to set the right ‘mood' using the composed score but to also set the scene with the compiled. Caryl Flinn suggests music reveals glimpses of a better, more unified world. It allows film to open doors to exotic locations and fantasy. It can also capture a sense of lost integrity and grandeur. 1992) As the film features mostly popular and jazz acts of the Forties and Fifties, Billboard reported on July 15 that the film â€Å"may lend an aura of rock ‘n' roll† to the movie. (Cited in Cloeman, 1997, p. 164) However the films reality is partly distorted from using such functions as ‘mickey-mousing' and ‘paralleling' yet the style of music does reflect the genre of the film. The storyline and music attracted both teenagers and adults by bringing adult themes and popular culture together, and portraying it in a way they could both enjoy. This was uncommon in the Fifties and Tashlin used Little Richard's music to â€Å"send up American attitudes towards sexuality and racism. † (White, 2003, p. 81) This film most probably would not have been a success without the rock ‘n' roll. Gorbman suggests that an argument runs that â€Å"sound, in the form of music, gave back to those â€Å"dead† photographic images some of the life they lost in the process of mechanical reproduction† (1997, p. 39) and in this case the film would be ‘dead' without the popular acts. Leonard B. Meyer argues â€Å"while the image itself is relevant to the music, the significance that it has for the particular individual is purely personal. (Cited in Kassabian, 2001, p. 56) Not only has the soundtrack shown clear musical technical advancements, but it also has a higher role to play in social advancements. It helps adults to understand the preferences of teenagers and offers a common ground between the two age groups. Rock ‘n' roll films also have a deeper meaning and start to touch on racial inequality by including black musicians as America's popular culture.

American Literature Essay

When the English preacher and writer Sidney Smith asked in 1820, â€Å"In the four quarters of the globe, who reads an American book? † little did he suspect that less than two hundred years later the answer in literate quarters would be â€Å"just about everyone. † Indeed, just a few years after Smith posed his inflammatory question, the American writer Samuel Knapp would begin to assemble one of the first histories of American literature as part of a lecture series that he was giving. The course materials offered by American Passages continue in the tradition begun by Knapp in 1829. One goal of this Study Guide is to help you learn to be a literary historian: that is, to introduce you to American literature as it has evolved over time and to stimulate you to make connections between and among texts. Like a literary historian, when you make these connections you are telling a story: the story of how American literature came into being. This Overview outlines four paths (there are many others) by which you can narrate the story of American literature: one based on literary movements and historical change, one based on the American Passages Overview Questions, one based on Contexts, and one based on multiculturalism. TELLING THE STORY OF AMERICAN LITERATURE Literary Movements and Historical Change American Passages is organized around sixteen literary movements or â€Å"units. † A literary movement centers around a group of authors that share certain stylistic and thematic concerns. Each unit includes ten authors that are represented either in The Norton Anthology of American Literature or in the Online Archive. Two to four of these authors are discussed in the video, which calls attention to important historical and cultural influences on these authors, defines a genre that they share, and proposes some key thematic parallels. Tracking literary movements can help you see how American literature has changed and evolved over time. In general, people think about literary movements as reacting against earlier modes of writing and earlier movements. For T E L L I N G T H E S T O R Y O F A M E R I C A N L I T E R AT U R E 3 example, just as modernism (Units 10–13) is often seen as a response to realism and the Gilded Age (Unit 9), so Romanticism is seen as a response to the Enlightenment (Unit 4). Most of the units focus on one era (see the chart below), but they will often include relevant authors from other eras to help draw out the connections and differences. (Note: The movements in parentheses are not limited to authors/works from the era in question, but they do cover some material from it. ) Century Fifteenth– Seventeenth Eighteenth Era Renaissance American Passages Literary Movements. (1: Native Voices) 2: Exploring Borderlands 3: Utopian Promise (3: Utopian Promise) 4: Spirit of Nationalism (7: Slavery and Freedom) 4: Spirit of Nationalism 5: Masculine Heroes 6: Gothic Undercurrents 7: Slavery and Freedom (1: Native Voices) 6: Gothic Undercurrents 8: Regional Realism 9: Social Realism (1: Native Voices) 10: Rhythms in Poetry 11: Modernist Portraits 12: Migrant Struggle 13: Southern Renaissance 1: Native Voices 2: Exploring Borderlands 12: Migrant Struggle 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity Enlightenment Nineteenth Romanticist Nineteenth Realist Twentieth Modernist Twentieth Postmodernist Each unit contains a timeline of historical events along with the dates of key literary texts by the movement’s authors. These timelines are designed to help you make connections between and among the movements, eras, and authors covered in each unit. 4 W H AT I S A M E R I C A N L I T E R AT U R E ? Overview Questions The Overview Questions at the start of each unit are tailored from the five American Passages Overview Questions that follow. They are meant to help you focus your viewing and reading and participate in discussion afterward. 1. What is an American? How does literature create conceptions of the American experience and American identity? This two-part question should trigger discussion about issues such as, Who belongs to America? When and how does one become an American? How has the search for identity among American writers changed over time? It can also encourage discussion about the ways in which immigration, colonization, conquest, youth, race, class, and gender affect national identity. 2. What is American literature? What are the distinctive voices and styles in American literature? How do social and political issues influence the American canon? This multi-part question should instigate discussion about the aesthetics and reception of American literature. What is a masterpiece? When is something considered literature, and how is this category culturally and historically dependent? How has the canon of American literature changed and why? How have American writers used language to create art and meaning? What does literature do? This question can also raise the issue of American exceptionalism: Is American literature different from the literature of other nations? 3. How do place and time shape the authors’ works and our understanding of them? This question addresses America as a location and the many ways in which place impacts American literature’s form and content. It can provoke discussion about how regionalism, geography, immigration, the frontier, and borders impact American literature, as well as the role of the vernacular in indicating place. 4. What characteristics of a literary work have made it influential over time? This question can be used to spark discussion about the evolving impact of various pieces of American literature and about how American writers used language both to create art and respond to and call for change. What is the individual’s responsibility to uphold the community’s traditions, and when are individuals compelled to resist them? What is the relationship between the individual and the community? 5. How are American myths created, challenged, and re-imagined through this literature? This question returns to â€Å"What is an American? † But it poses the question at a cultural rather than individual level. What are the myths that make up American culture? What is the American Dream? What are American myths, dreams, and nightmares? How have these changed over time? T E L L I N G T H E S T O R Y O F A M E R I C A N L I T E R AT U R E 5 Contexts Another way that connections can be made across and between authors is through the five Contexts in each unit: three longer Core Contexts and two shorter Extended Contexts. The goal of the Contexts is both to help you read American literature in its cultural background and to teach you close-reading skills. Each Context consists of a brief narrative about an event, trend, or idea that had particular resonance for the writers in the unit as well as Americans of their era; questions that connect the Context to the authors in the unit; and a list of related texts and images in the Online Archive. Examples of Contexts include discussions of the concept of the Apocalypse (3: â€Å"Utopian Visions†), the sublime (4: â€Å"Spirit of Nationalism†), and baseball (14: â€Å"Becoming Visible†). The Contexts can be used in conjunction with an author or as stand-alone activities. The Slide Show Tool on the Web site is ideal for doing assignments that draw connections between archive items from a Context and a text you have read. And you can create your own contexts and activities using the Slide Show Tool: these materials can then be e-mailed, viewed online, projected, or printed out on overhead transparencies. Multiculturalism In the past twenty years, the field of American literature has undergone a radical transformation. Just as the mainstream public has begun to understand America as more diverse, so, too, have scholars moved to integrate more texts by women and ethnic minorities into the standard canon of literature taught and studied. These changes can be both exhilarating and disconcerting, as the breadth of American literature appears to be almost limitless. Each of the videos and units has been carefully balanced to pair canonical and noncanonical voices. You may find it helpful, however, to trace the development of American literature according to the rise of different ethnic and minority literatures. The following chart is designed to highlight which literatures are represented in the videos and the units. As the chart indicates, we have set different multicultural literatures in dialogue with one another. Literature African American literature Video Representation. 7: Slavery and Freedom 8: Regional Realism 10: Rhythms in Poetry 13: Southern Renaissance 14: Becoming Visible 15: Poetry of Liberation Study Guide Representation 4: Spirit of Nationalism 5: Masculine Heroes 7: Slavery and Freedom 8: Regional Realism 9: Social Realism 10: Rhythms in Poetry 11: Modernist Portraits 13: Southern Renaissance 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity 6 W H AT I S A M E R I C A N L I T E R AT U R E ? Native American literature 1: Native Voices 5: Masculine Heroes 14: Becoming Visible. 1: Native Voices 2: Exploring Borderlands 3: Utopian Promise 4: Spirit of Nationalism 5: Masculine Heroes 7: Slavery and Freedom 8: Regional Realism 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity 2: Exploring Borderlands 5: Masculine Heroes 10: Rhythms in Poetry 12: Migrant Struggle 15: Poetry of Liberation 16: Search for Identity 9: Social Realism 12: Migrant Struggle 16: Search for Identity 9: Social Realism 11: Modernist Portraits 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity 1: Native Voices 2: Exploring Borderlands 3: Utopian Promise 4: Spirit of Nationalism 5: Masculine Heroes 6: Gothic Undercurrents 7: Slavery and Freedom 8: Regional Realism 9: Social Realism 10: Rhythms in Poetry 11: Modernist Portraits 12: Migrant Struggle 13: Southern Renaissance 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity 2: Exploring Borderlands 5: Masculine Heroes 10: Rhythms in Poetry 11: Modernist Portraits 12: Migrant Struggle 13: Southern Renaissance 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity Latino literature 2: Exploring Borderlands 10: Rhythms in Poetry 12: Migrant Struggle 16: Search for Identity Asian American literature 12: Migrant Struggle 16: Search for Identity Jewish American 9: Social Realism literature 11: Modernist Portraits 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity Women’s literature 1: Native Voices 2: Exploring Borderlands 3: Utopian Promise 6: Gothic Undercurrents 7: Slavery and Freedom 8: Regional Realism 9: Social Realism 11: Modernist Portraits 12: Migrant Struggle 13: Southern Renaissance 15: Poetry of Liberation 16: Search for Identity Gay and lesbian literature 2: Exploring Borderlands 5: Masculine Heroes 10: Rhythms in Poetry 11: Modernist Portraits 15: Poetry of Liberation 16: Search for Identity T E L L I N G T H E S T O R Y O F A M E R I C A N L I T E R AT U R E 7 Literature cont’d Working-class literature Video Representation 2: Exploring Borderlands 4: Spirit of Nationalism 5: Masculine Heroes 7: Slavery and Freedom 9: Social Realism 12: Migrant Struggle 16: Search for Identity Study Guide Representation 2: Exploring Borderlands 4: Spirit of Nationalism 5: Masculine Heroes 7: Slavery and Freedom 9: Social Realism 10: Rhythms in Poetry 12: Migrant Struggle 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity LITERATURE IN ITS CULTURAL CONTEXT When you study American literature in its cultural context, you enter a multidisciplined and multi-voiced conversation where scholars and critics in different fields examine the same topic but ask very different questions about it. For example, how might a literary critic’s understanding of nineteenthcentury American culture compare to that of a historian of the same era? How can an art historian’s understanding of popular visual metaphors enrich our readings of literature? The materials presented in this section of the Study Guide aim to help you enter that conversation. Below are some suggestions on how to begin. Deep in the heart of the Vatican Museum is an exquisite marble statue from first- or second-century Rome. Over seven feet high, the statue depicts a scene from Virgil’s Aeneid in which Laocoon and his sons are punished for warning the Trojans about the Trojan horse. Their bodies are entwined with large, devouring serpents, and Laocoon’s face is turned upward in a dizzying portrait of anguish, his muscles rippling and bending beneath the snake’s strong coils. The emotion in the statue captured the heart and eye of critic Gotthold Ephraim Lessing, who used the work as the starting point for his seminal essay on the relationship between literature and art, â€Å"Laocoon: An Essay on the Limits of Painting and Poetry. † For Lessing, one of the most common errors that students of culture can make is to assume that all aspects of culture develop in tandem with one another. As Lessing points out, each art has its own strengths. For example, literature works well with notions of time and story, and thus is more flexible than visual art in terms of imaginative freedom, whereas painting is a visual medium that can reach greater beauty, although it is static. For Lessing, the mixing of these two modes (temporal and spatial) carries great risk along with rewards. As you study literature in conjunction with any of the fine arts, you may find it helpful to ask whether you agree with Lessing that literature is primarily a temporal art. Consider too the particular 8 W H AT I S A M E R I C A N L I T E R AT U R E ? strengths of the media discussed below. What do they offer that may not be available to writers? What modes do they use that complement our understanding of the literary arts? Fine Arts Albrecht Durer created some of the most disturbing drawings known to humans: they are rife with images of death, the end of the world, and dark creatures that inhabit hell. Images such as The Last Judgement (below) can be found in the Online Archive. In Knight, Death, and the Devil (1513), a devout Christian knight is taunted by the Devil and Death, who gleefully shakes a quickly depleting hourglass, mocking the soldier with the passing of time. Perhaps the tension and anxiety in Durer’s print resonated with the American poet Randall Jarrell in his struggle with mental illness. In â€Å"The Knight, Death, and the Devil,† Jarrell opens with a description of the scene: Cowhorn-crowned, shockheaded, cornshucked-bearded, Death is a scarecrow—his death’s-head a teetotum . . . Jarrell’s description is filled with adjectives in much the same way that the print is crowded with detail. The poem is an instance of what critics call ekphrasis: the verbal description of a work of visual art, usually of a painting, photograph, or sculpture but sometimes of an urn, tapestry, or quilt. Ekphrasis attempts to bridge the gap between the verbal and the visual arts. Artists and writers have always influenced one another: sometimes directly as in the case of Durer’s drawing and Jarrell’s poem, and other times indirectly. The Study Guide will help you navigate through these webs of influence. For example, Unit 5 will introduce you to the Hudson River [7995] Albrecht Durer, The Last School, the great American landscape painters Judgement (1510), courtesy of the of the nineteenth century. In the Context focusprint collection of Connecticut ing on these artists, you will learn of the interCollege, New London. connectedness of their visual motifs. In Unit 11, William Carlos Williams, whose poems â€Å"The Dance† and â€Å"Landscape with the Fall of Icarus† were inspired by two paintings by Breughel, will draw your attention to the use of ekphrasis. Williams’s work is a significant example of how multiple traditions in art can influence a writer: in addition to his interest in European art, Williams imitated Chinese landscapes and poetic forms. When you encounter works of fine art, such as paintings, photographs, or sculpture, in the Online Archive or the Study Guide, you may find two tools used by art historians helpful: formal analysis and iconography. Formal L I T E R AT U R E I N I T S C U LT U R A L C O N T E X T 9 [3694] Thomas Cole, The Falls of Kaaterskill (1826), courtesy of the Warner Collection of the Gulf States Paper Corporation, Tuscaloosa, Alabama. analysis, like close readings of poems, seeks to describe the nature of the object without reference to the context in which it was created. A formal analysis addresses such questions as Where does the central interest in the work lie? How is the work composed and with what materials? How is lighting or shading used? What does the scene depict? What allusions (mythological, religious, artistic) are found in the work? Once you have described the work of art using formal analysis, you may want to extend your reading by calling attention to the cultural climate in which the work was produced. This is called an iconographic reading. Here the Context sections of the Study Guide will be useful. You may notice, for example, a number of nineteenth-century paintings of ships in the Online Archive. One of the Contexts for Unit 6 argues that these ships can be read as symbols for nineteenth-century America, where it was common to refer to the nation as a â€Å"ship of state. † The glowing light or wrecked hulls in the paintings reflect the artists’ alternating optimism and pessimism about where the young country was headed. Below are two possible readings of Thomas Cole’s painting The Falls of Kaaterskill that employ the tools of formal analysis and iconography. W R I T E R A : F O R M A L A N A L Y S I S In this painting by Hudson River School artist Thomas Cole, the falls that give the painting its name grab our attention. The shock of the white falls against the concentrated brightness of the rocks ensures that the waterfall will be the focus of the work. Even amidst this brightness, however, there is darkness and mystery in the painting, where the falls emerge out of a dark quarry and crash down onto broken tree limbs and staggered rocks. The descent is neither peaceful nor pastoral, unlike the presentation of nature in Cole’s other works, such as the Oxbow. The enormity of the falls compared to the lone human figure that perches above them also adds to the sense of power the falls embody. Barely recognizable as human because it is so minute, the figure still pushes forward as if to embrace the cascade of the water in a painting that explores the tension between the individual and the power of nature. W R I T E R B : I C O N O G R A P H Y I agree with Writer A that this painting is all about the power of nature, but I would argue that it is about a particular kind of power: one that nineteenthcentury thinkers called the â€Å"sublime. † Cole’s portrait of the falls is particularly indebted to the aesthetic ideas formulated by Edmund Burke in the eighteenth century. Burke was interested in categorizing aesthetic responses, and he distinguished the â€Å"sublime† from the â€Å"beautiful. † While the beautiful is calm and harmonious, the sublime is majestic, wild, and even savage. While viewers are soothed by the beautiful, they are overwhelmed, awestruck, and sometimes terrified by the sublime. Often associated with huge, overpowering natural 10 W H AT I S A M E R I C A N L I T E R AT U R E ? phenomena like mountains, waterfalls, or thunderstorms, the â€Å"delightful terror† inspired by sublime visions was supposed to both remind viewers of their own insignificance in the face of nature and divinity and inspire them with a sense of transcendence. Here the miniature figure is the object of our gaze even as he is obliterated by the grandeur of the water. During the nineteenth century, tourists often visited locales such as the Kaaterskill Falls in order to experience the â€Å"delightful terror† that they brought. This experience is also echoed in Ralph Waldo Emerson’s essay â€Å"Nature,† in which he writes of his desire to become a â€Å"transparent eyeball† that will be able to absorb the oversoul that surrounds him. The power that nature holds here is that of the divine: nature is one way we can experience higher realms. How do these readings differ? Which do you find more compelling and why? What uses can you see for formal analysis or iconographic readings? When might you choose one of these strategies over the other? History As historian Ray Kierstead has pointed out, history is not just â€Å"one damn thing after another†: rather, history is a way of telling stories about time or, some might say, making an argument about time. The Greek historian Herodotus is often called the father of history in the western world, as he was one of the first historians to notice patterns in world events. Herodotus saw that the course of empires followed a cyclical pattern of rise and fall: as one empire reaches its peak and self-destructs out of hubris (excessive pride), a new empire or new nations will be born to take its place. Thomas Cole’s five-part series The Course of Empire (1833) mirrors this Herodotean notion of time as his scene moves from savage, to pastoral, to consummation, to devastation, to desolation. This vision of time has been tremendously influential in literature: whenever you read a work written in the pastoral mode (literature that looks back with nostalgia to an era of rural life, lost simplicity, and a time when nature and culture were one), ask yourself whether there is an implicit optimism or pessimism about what follows this lost rural ideal. For example, in Herman Melville’s South Sea novel Typee, we find the narrator in a Tahitian village. He seeks to determine if he has entered a pastoral or savage setting: is he surrounded by savages, or is he plunged in a pastoral bliss? Implicit in both is a suggestion that there are earlier forms of civilization than the United States that the narrator has left behind. Any structural analysis of a work of literature (an analysis that pays attention to how a work is ordered) would do well to consider what notions of history are embedded within. In addition to the structural significance of history, a dialogue between history and literature is crucial because much of the early literature of the United States can also be categorized as historical documents. It is helpful, therefore, to understand the genres of history. Like literature, history is comprised of different genres, or modes. Historian Elizabeth Boone defines the main traditional genres of history as res gestae, geographical, and annals. Res gestae, or â€Å"deeds done,† organizes history through a list of accomplishments. This was a popu- L I T E R AT U R E I N I T S C U LT U R A L C O N T E X T 11 lar form of history for the ancient Greeks and Romans; for example, the autobiography of Julius Caesar chronicles his deeds, narrated in the third person. When Hernan Cortes and other explorers wrote accounts of their travels (often in the form of letters to the emperor), Caesar’s autobiography served as their model. Geographical histories use travel through space to shape the narrative: Mary Rowlandson’s captivity narrative is an example of a geographical history in that it follows her through a sequence of twenty geographic â€Å"removes† into Indian country and back. Annals, by contrast, use time as the organizing principle. Information is catalogued by year or month. Diaries and journals are a good example of this genre. These three genres can also be found in the histories of the Aztecs and Mayans of Mesoamerica and in those of the native communities of the United States and Canada. For example, the migration legend, a popular indigenous form of history, is a geographical history, whereas trickster tales often tell the early history of the world through a series of deeds. Memoirists also mix genres; for example, the first section of William Bradford’s Of Plimouth Plantation is a geographical history, whereas the second half is annals. Today the most common historical genres are intellectual history (the history of ideas), political history (the story of leaders), and diplomatic history (the history of foreign relations). To these categories we might add the newer categories of â€Å"social history† (a history of everyday life) and â€Å"gender history† (which focuses on the construction of gender roles). Finally, history is a crucial tool for understanding literature because literature is written in—and arguably often reflects—a specific historical context. Readers of literary works can deepen their understanding by drawing on the tools of history, that is, the records people leave behind: political (or literary) documents, town records, census data, newspaper stories, captivity narratives, letters, journals, diaries, and the like. Even such objects as tools, graveyards, or trading goods can tell us important information about the nature of everyday life for a community, how it worshipped or what it thought of the relationship between life and death. 12 W H AT I S A M E R I C A N L I T E R AT U R E ? Material Culture [6332] Archibald Gunn and Richard Felton Outcault, New York Journal’s Colored Comic Supplement (1896), courtesy of the Library of Congress, Prints and Photographs Division [LC-USZC4-25531]. When you look at an object, it may call up associations from the past. For example, for the first-time viewer the clown figure in the image above may seem innocuous, yet at the end of the nineteenth century his popularity was so intense that it started a newspaper war fierce enough to spawn a whole new term for sensationalist, irresponsible journalism—â€Å"yellow journalism. † Objects such as this comic supplement constitute â€Å"material culture,† the objects of everyday life. In Material Culture Studies in America, Thomas Schlereth provides the following useful definition of material culture: Material culture can be considered to be the totality of artifacts in a culture, the vast universe of objects used by humankind to cope with the physical world, to facilitate social intercourse, to delight our fancy, and to create symbols of meaning. . . . Leland Ferguson argues that material culture includes all â€Å"the things that people leave behind . . . all of the things people make from the physical world—farm tools, ceramics, houses, furniture, toys, buttons, roads, cities. † (2) When we study material culture in conjunction with literature, we wed two notions of â€Å"culture† and explore how they relate. As critic John Storey notes, the first notion of culture is what is often called â€Å"high culture†Ã¢â‚¬â€the â€Å"general process of intellectual, spiritual and aesthetic factors†; and the second is â€Å"lived culture†Ã¢â‚¬â€the â€Å"particular way of life, whether of a people, a period or a group† (2). In a sense, material culture (as the objects of a lived culture) allows us to see how the prevailing intellectual ideas were played out in the daily lives of people in a particular era. Thus, as Schlereth explains, through studying material culture we can learn about the â€Å"belief systems—the values, ideas, attitudes, and assumptions—of a particular community or society, usually across time† (3). In reading objects as embedded with meaning, we follow Schlereth’s premise that â€Å"objects made or L I T E R AT U R E I N I T S C U LT U R A L C O N T E X T 13 modified by humans, consciously or unconsciously, directly or indirectly, reflect the belief patterns of individuals who made, commissioned, purchased, or used them, and, by extension, the belief patterns of the larger society of which they are a part† (3). The study of material culture, then, can help us better understand the cultures that produced and consumed the literature we read today. Thomas Schlereth suggests a number of useful models for studying material culture; his â€Å"Art History Paradigm† is particularly noteworthy in that it will help you approach works of â€Å"high art,† such as paintings and sculptures, as well. The â€Å"Art History Paradigm† argues that the interpretive objective of examining the artifact is to â€Å"depict the historical development and intrinsic merit† of it. If you are interested in writing an â€Å"Art History Paradigm† reading of material culture, you might look at an object and ask yourself the following questions, taken from Sylvan Barnet’s Short Guide to Writing about Art. These questions apply to any art object: First, we need to know information about the artifact so we can place it in a historical context. You might ask yourself: 1. 2. 3. 4. 5. What is my first response to the work? When and where was the work made? Where would the work originally have been seen? What purpose did the work serve? In what condition has the work survived? (Barnet 21–22) In addition, if the artifact is a drawing, painting, or advertisement, you might want to ask yourself questions such as these: 1. What is the subject matter? What (if anything) is happening? 2. If the picture is a portrait, how do the furnishings and the background and the angle of the head or the posture of the head and body (as well as the facial expression) contribute to our sense of the subject’s character? 3. If the picture is a still life, does it suggest opulence or want? 4. In a landscape, what is the relation between human beings and nature? Are the figures at ease in nature, or are they dwarfed by it? Are they one with the horizon, or (because the viewpoint is low) do they stand out against the horizon and perhaps seem in touch with the heavens, or at least with open air? If there are woods, are these woods threatening, or are they an inviting place of refuge? If there is a clearing, is the clearing a vulnerable place or is it a place of refuge from ominous woods? Do the natural objects in the landscape somehow reflect the emotions of the figures? (Barnet 22–23; for more questions, see pp. 23–24) Material culture is a rich and varied resource that ranges from kitchen utensils, to advertisements, to farming tools, to clothing. Unpacking the significance of objects that appear in the stories and poems you read may help you better understand characters and their motives. 14 W H AT I S A M E R I C A N L I T E R AT U R E ? Architecture Most of the time we read the hidden meanings of buildings without even thinking twice. Consider the buildings below: Above: [9089] Anonymous, Capitol Building at Washington, D. C. (1906), courtesy of Prints and Photographs Division, Library of Congress [LC-USZ62-121528]. Right: [6889] Anonymous, Facade of the Sam Wah’s Chinese Laundry (c. 1890 –1900), courtesy of the Denver Public Library. Even if we had never seen either of these buildings before, it would not take us long to determine which was a government building and which was a smalltown retail establishment. Our having seen thousands of buildings enables us to understand the purpose of a building from architectural clues. When first seeing a work of architecture, it is helpful to unpack cultural assumptions. You might ask: 1. What is the purpose of this building? Is it public or private? What activities take place within it? 2. What features of the building reflect this purpose? Which of these features are necessary and which are merely conventional? 3. What buildings or building styles does this building allude to? What values are inherent in that allusion? 4. What parts of this building are principally decorative rather than functional? What does the ornament or lack of it say about the status of the owners or the people who work there? 5. What buildings surround this building? How do they affect the way the building is entered? 6. What types of people live or work in this building? How do they interact within the space? What do these findings say about the relative social status of the occupants? How does the building design restrict or encourage that status? 7. How are people supposed to enter and move through the building? What clues does the building give as to how this movement should take place? L I T E R AT U R E I N I T S C U LT U R A L C O N T E X T 15 These questions imply two basic assumptions about architecture: (1) architecture reflects and helps establish social status and social relations; and (2) architecture i

Feature pitch Assignment Example | Topics and Well Written Essays - 500 words

Feature pitch - Assignment Example Only one third of Australians take part in physical fitness activities and sports. Keeping fit and recreation are the main motivations for the Australians that exercise. This has serious implications not only health-wise but also on the level of professional sports in the country. This story; therefore, seeks to critically analyze this tendency with a view to proposing the way forward. There are other factors that motivate Australians to take part in sports and physical fitness programs. They include peer pressure and checking weight. Some people exercise because their contemporaries are doing it. This is especially the case for young adults. As for older citizens, their major concern is weight. They; therefore, exercise in order to reduce weight. However, the frequency at which citizens are exercising is a major point of concern. 34% of the research sample did not participate in any sports or physical fitness activity while another 6% took part only occasionally. Only 29% of the people interviewed exercised more than twice a week. Is Australian a physically unfit nation? Do these findings have any implications? What is the government’s role in ensuring that Australia is physically fit? What measures can be put into place to remedy this situation? Of course, every individual is responsible for their own health. However, they need an enabling environment to help them uphold healthy practices. In essence, the story will recommend the way forward, basing on available resources. 1. I have planned to hold an interview with Peter McKay, the Chairperson of the Standing Committee on Recreation and Sports Research Group, at Sydney Gardens on 20 May 2014 at 4.00pm. He heads the research group that investigated the factors that motivated or de-motivated Australians in relation to physical fitness and sports. 2. Will hold another interview with Marisol Freanken, the Administration Coordinator, at Kiwi Square on 20 May 2014. Mr. Freanken will shed

Landmines in Vietnam and War Research Paper Example | Topics and Well Written Essays - 1250 words

Landmines in Vietnam and War - Research Paper Example Claiming over five hundred victims a week, landmines are weapons of mass destruction in slow motion† (Relief Web 2011). It can be clearly seen that landmines have become a threat in the society and should be removed on humanitarian grounds. U.S participation in Vietnam was extremely controversial and consequently it was considered to be an awfully unstable country during the late 1950’s and 1960’s. All through the Vietnam War, landmines were utilized by the United States plus the North South Vietnamese military. Majority of the landmines were placed intentionally and were created commercially by china and the U.S, yet, as a minimum one- third of these were made spontaneously by locals. These landmines that Vietcong made were formed on the battleground with bamboos and volatile weapons of American armaments that did not detonate. Since the nature of the Vietnam War was guerilla, the conventional blockade theory of the landmine was no more applicable so as a result the armed forces invented a new use for those landmines. These landmines were released from the planes to occupy bigger areas as scattered landmine orderliness put in a new aspect to the grounds of mine war. According to Sarah Elizabeth â€Å"properly employed, scattered landmines provides the commander with a rapid, flexible and effective means for delaying, harassing, containing or canalizing the movement of enemy ground forces while simultaneously reducing the significant manpower and material requirement previously associated with the employment of landmines† this new method altered the use of landmines from being a protective and defending weapon to an offensive one. Landmines are distinctively ferocious in the time of recent or traditional war not just for the reason of their horrifying personal effect, but additionally because of their lasting societal and monetary obliteration. The Vietnam Battle rutted America opposed to communism and was an unforgettable model of a conflict that can be identified as a cold war. The mere thought of Vietnam beginning the procedure of changing to communism was unacceptable to America. As Johnson on 17, March, 1964 issued the national security memo that stated â€Å"to pressure an independent, non-Communist south Vietnam which is necessary to prevent all Southeast Asia from turning communist and prove to the rest of the world that communist wars of national liberation could be curtailed.† This statement eloquently provided the reason for the war in Vietnam and encouraged and intensified the American involvement (Smits 2007). By dropping these landmines from the plane the U.S military gained an advantage since they were able to scatter it over a large area. Moreover this new technique needed very less manpower since it only required a trained pilot. These landmines were positioned inside the territory of the enemy without the possibility of causalities of the American force. According to Mc Grath â€Å"usin g landmines as an offensive weapon by dropping them from airplanes enshrined the area-denial philosophy into military thinking.† The area denial viewpoint initially executed the region’s larger areas under war, futile to the opponent by layering it with weapons. It was anticipated that in 1965, seventy percent of sea killing was the consequence of the landmines and additional entraps created from these weapons. Vietnam

Status of Women in Islam Essay Example | Topics and Well Written Essays - 2000 words

Status of Women in Islam - Essay Example In India the widow was consigned to flames at the funeral pyre of her dead husband. The religious faiths given to asceticism regarded her as the source of sin, the door leading to transgression and contact with her was considered an impediment in spiritual development and salvation. In most civilizations of the world she enjoyed no place in society. [1] She was contemptible and despised in their estimate. She had no social and political rights. She could not exercise her own free will in any financial deal. She was under the tutelage of her father, later under the oppressive rule of the tyrant of a husband and lastly under the patronizing care of the male offspring. She was not permitted by long standing conventions to challenge their authority and she had no course of justice to appeal to by way of escape from tyranny and excesses--not even a breath of complaint. Undoubtedly she has at times been in the seat of authority in some parts of the world. And it is also on record in the world history that empires and governments have danced to her tune, even tantrums, and it has been a common occurrence that she has had ascendancy in familial, tribal and monarchial activities. In some uncivilized tribes she had enjoyed superiority and rule and there are remnants of it still to be seen. [2] Yet as female of the human species, there was little change in her status and she suffered in silence through the course of history and remained deprived of her due rights as usual. Role of Women in Religion Muslims seek guidance from Allah through His book, the Qur'an, and His messenger Mohammed. Muslims believe that the word of Allah is supreme and takes precedence over all traditions cultures. Muslim women were expected to participate in the prayer sessions as the Mosque along with that of the men. Not only were women granted equality like the men, the women were given the same spiritual status as men. "Whoever works righteousness, man or woman, and has Faith, Verily, to him will We give new Life, and life that is good and pure, and We will bestow on such their reward according to the best of their actions." (Koran, Sura 16, Verse 97) [3]. As the Islamic state and religion expanded, interpretations of the gender roles laid out in the Quran varied with different cultures. [4] In modern contemporary times, some Muslim women, as well as men, have rejected the limitations put on them and have begun to re-interpret the Qur'an. "I shall not lose sight of the labor of any of you who labors in My way, be it man or woman; each of you is equal to the other (3:195)" [5] "Spiritual equality, responsibility and accountability for both men and women is a well developed theme in the Quran. Understanding the spiritual equality of women in Islam is to understand that equality between men and women in the sight of God is not limited to purely spiritual, religious issues, but is the basis for equality in all temporal aspects of human life." [6] Independence and Freedom of Choice As for what Muslim feminists argue women should wear to conform to Islamic ideals: unlike Islamists, who maintain that the hijab stands as the very symbol of Muslim piety; the most important element for Muslim feminists appears to be the element of freedom of choice in interpreting the Islamic dress code. Mai

Monetary Policy of the FED during the Economic Crisis Essay

Monetary Policy of the FED during the Economic Crisis - Essay Example et operations by engaging in aggressive purchase of treasury securities and in December 2008, they extended the operations to the purchase of agency debt and mortgage-backed securities. By the end of 2008, the FED reported to have purchased agency mortgages backed securities worth US $1.25 trillion, and it increased its purchase of agency debt by up to US$ 200 billion. Thirdly, by mid 2009, the FED had purchased long-term treasury securities worth US $300 billion in order to improve the level of liquidity in private credit markets (Brezina, 123-127). The result of the open market operations is demonstrated in the chart below, which show that increase in the purchase of securities resulted in the increase of cash supply in the U.S economy. Figure: Impact of open market operations Reserve requirement In the writings by Timberlake, he stated that the reserve requirement is a method of credit control that is normally applied by the FED to control the money market by determining the level of cash that is available within the economy (89-95). The reserve requirement draws its basis from the fact that commercial banks keep cash reserves with the FED and then this reserve is maintained for the purpose of liquidity and for providing the means for credit control. Brezina stated that as a way of responding to the economic crisis between 2007 and 2009, the FED through the reserve requirement policy decreased the minimum reserve ratio that all commercial bank and other financial institutions offering the service of deposit taking keep at the FED’s reserve (198-202). This action was aimed at increasing the power of credit creation by the commercial banks so that the general economy can access more credit and therefore, plunge out of the economic recession. Discount rate According... This paper presents a comprehensive analysis of the monetary policy of the Federal Reserve System, carried out to mitigate the negative impacts of the financial crisis and to restore the economic growth in the United States. The three monetary policies are discussed and they are deemed effective in ensuring the increase in the circulation of money in the general economy, thereby resolving the liquidity crisis and facilitating more economic activities to continue or kick-start. One of the key functions of the Federal Reserve Bank (FED) is the regulation of currency or credit in order to reflect the needs of the business community and the general economy and for the purpose of carrying out the broad monetary policy adopted by the U.S government. Monetary policy is the action of a Central Bank, which influences the size and rate of growth of the money supply. The open market operations as the purchase or the sale of securities that include long-term and short-term in the open market by the FED. The reserve requirement is a method of credit control that is normally applied by the FED to control the money market by determining the level of cash that is available within the economy. The discount rate is the rate at which the FED normally discounts the first class bills or will advance loans to commercial banks. This discount rate affects the cost and availability of credit and in particular, a change in the rate of the discount leads to a corresponding change in the money market rate

J.C Penny New Challenges in the Changing Workplace Research Paper

J.C Penny New Challenges in the Changing Workplace - Research Paper Example J.C Penny experiences the challenge of attracting and retaining highly experienced knowledge workers, including, engineers, physical and computer scientists. Particularly, J.C Penny has had to struggle with increased labor turnover among the knowledge workers. Nevertheless, J.C. Penny has been aggressive in developing strategies for effective management of these knowledge workers. Firstly, J.C. Penny continues to provide effective reward systems that ensure that the knowledge workers are satisfied and motivated towards ensuring organization success. Secondly, J.C Penny provides intensive and specialized training for the knowledge workers with the aim of improving their effectiveness, productivity and ensuring that their skills do not become obsolete due to the highly dynamic technological environment. Another contemporary challenge that J.C Penny faces is the management of contingent and temporary employees within the workplace. Griffin (2012) defines contingent employees are those working for the organization in under different employment arrangements other than full-time or permanent basis. The biggest challenge for J.C. Penny is striking a balance between permanent and contingent workers, and designing differential reward and incentive strategy for these set of employees. J.C Penny has however implemented a number of strategies for effective management of contingent and temporary workers within the organization. Firstly, J.C Penny engages in careful planning before engaging and integrating these employees within the workforce. Secondly, J.C. Penny engages in continuous assessment and evaluation of the costs and benefits of engaging these employees before reaching major decisions on the composition of the human

Explain what is meant by effective managerial Essay

Explain what is meant by effective managerial - Essay Example It is very important for people working in a particular organization to communicate with one another in order to remain informed and updated regarding current changes taking place within the organization. An individual cannot solve all the issues he/she faces on their own and requires help of others to solve these issues; and in order to attain help they need to communicate with others about their concerns (Alvare, 2005, p.129). This communication will provide help for an individual as others will try to solve the issue with him/her. 1.2. Managerial Communication Managerial communication is regarded to be an element which assists managers with communication with individuals working in the same hierarchical positions, with individuals who are at the top level of the hierarchy and with individuals who occupy the lower levels of the hierarchy. Managerial communication is important for managers as it assists them with performing their main role of getting things done by others. Manageria l communication is said to be effective in nature when a manager is able to successfully get things done by others. Effective communication takes place when the message sent by the manager is clearly understood by the receivers of the message (Clampitt, 2010, p.260). A manager identifies that communication has taken place in an effective manner when the desired result of the message has been achieved or the feedback provided by the receiver is similar to the feedback expected by the manager. 2. Body 2.1. Importance of Effective Managerial Communication Managerial communication that is effective in nature is significant in order to exchange opinions and ideas between different employees as well as between the manager and its subordinates. Managers need to promote discussions that are healthy in nature within the organization in order to obtain effective and efficient results. Effective managerial communication helps managers with obtaining ideas from subordinates, and then these idea s are implemented as solutions into issues experienced by the organization. Effective managerial communication is essential in order to attain aims and objectives of the organizations in an effective and efficient manner. With the use of effective managerial communication, managers can help their subordinates understand the tasks they need to perform and to inform subordinates about the organization’s expectations. Effective managerial communication leads to decrease in duplication of work. When managers of different departments communicate with each other, they tend to share information regarding projects they are working on and due to this one manager will remain informed what others are working on and will work on some other aspect or objective of the organization. Effective managerial communication helps managers with motivating employees in order to attain the objective of getting work done by them. Managers who are empathetic towards their employees ensure that they are well aware of the issues experienced by the employees and these grievances can only be known if managers participate in communication in an effective manner (Dasgupta, 2013, p.180). Once the managers are aware of employee grievances, they can help them solve these grievances in order to motivate them to work hard. Effective managerial communication even assists with solving disputes among employees and among those individuals who are at the top level of management and the employees who are at the lower level of the

Is Internet Addiction Real Essay Example | Topics and Well Written Essays - 750 words

Is Internet Addiction Real - Essay Example Statistics further show that persons between the ages 19-29 cover has a high percentage of users an approximate of 91%. The time spent on the internet keeps increasing. Experts argue that time spent on the internet is a problem even in the workplaces workers tend to create time for internet surfing. The society is being warned for the rise in this issue because the children in their effort to learn computer skills are also exploring the internet. In view of all this, are people addicted to the internet? Experts describe the internet to be as destructive as drug craving and alcoholism. Yes, people have an addiction to the internet, however, to some it is a matter of choice, and this depends on an individual’s choice on how to utilize his extra time. The press has made many stories on the online situation; DeAngelis describes some of these stories, which include men fascinated by online pornography other stories that make headlines are women who abandon their families for online affairs, and people wasting their money on online gambling (DeAngelis 24). The attraction to the internet has led to pitiful situations such as problems in marriages work and even in social settings. However, researchers state that the problems caused by the internet are avoidable, but it depends on the user who if he or she desires can control the use of the internet. According to DeAngelis most of the internet addicts stated that they use the internet to regulate their mood. They also stated that once they were on the net they did lose control. In relation to the greater issue is that a 2010 report showed that the American kids face an obsession with the internet and the various forms of entertainment media. The estimates show that kids ranging from 8-18 years devoted an average of 53 hours a week to the use of the internet. It this devotion was for educational matters then there would be no problem. However, this time is spent on social networks and entertainment sites. The risk is that the network when, not under observation the children explore all sources of information which is unhealthy for these kids. Etengoff reports that 3 out of 10 children state that their parents restrict their use of the internet, watching TV and playing video games. Research proves that both men and women can fall addicts into internet use. Experts show that men and women get attracted to sites that fit behavioural typecast of their own sex. Men get attracted to sites that offer them sexual fantasies, whereas women become addicts to sites that offer them relationships and an area where they can interact. However, Isaac does differ with the issue of addiction he states that addiction is a matter of choice and people have the ability to chose not to become slaves to the internet. Isaac states that most people indulge on the internet due to, and idleness he gives a situation where one can use the time spent on chat rooms and social networks to make some money (DeAngelis 24). Acco rding to Isaac, if people took their job seriously and restricted themselves from surfing then the issue of addiction would not be an issue. He also thinks the choice is a critical part of trying to avoid falling to addiction to the internet. This is possible by avoiding spending free times on the internet. If one uses the internet as an escape to boredom or loneliness, then it is high time to choose a different activity that does not involve the internet.

Hamlet Essay Example | Topics and Well Written Essays - 500 words - 15

Hamlet - Essay Example Hamlet dresses badly and Queen Gertrude is displeased by his behaviour and more so because of the demise of his dad and her remarrying. Claudius orders Rosencrantz and Guildenstern to investigate the reasons for his son in law’s unusual behaviour (Shakespeare 41). Hamlet organizes a play The Murder of Gonzalo in which he reveals the ghost’s words to King Claudius of killing his father. The king behaves in a manner to suggest the words are true. Gertrude tries to stop Hamlet, but he reprimands her for remarrying. Hamlet bashes Polonius while listening to the scolding in arrears of the curtains (Shakespeare 86). The flicker resurfaces to Hamlet and instructs him to be gentle to Gertrude. Eventually, the queen ditches King Claudius. Later King Claudius is stunned by the news of Polonius’ demise (Shakespeare 92). The queen, however, defends Hamlet insinuating he is mad. Now scared, the king sends him to England and reveals his plans to kill him while in England (Shakespeare 95). Ophelia goes angry and later on pass away. The King informs Laertes that Hamlet was responsible for the death of his father, and they plan to kill him at a fencing match. During Ophelia’s funeral, Hamlet communicates to Horatio on how he escaped his planned death in England and in its place Rosencrantz as well as Guildenstern died (Shakespeare). Hamlet also says that he wanted to devour King Claudius Killed. The Queen perishes from drinking festering cup predestined for Hamlet (Shakespeare 140). Laertes poisoned sword cuts Hamlet hurdles against Laertes but, while about to die, Hamlet stabs Claudius with Laertes’ sword; instructs Horatio to reveal the story, and recommends Young Fortinbras as Denmark’s next King (Shakespeare line 142). This scene is vital in the play as helps in the establishment of not only the tone of the play but also the background situation of the play setting. This is essential as normally the there

Importance of work groups in organizations Essay Example for Free

Importance of work groups in organizations Essay Work groups help members to feel that they belong to a group that is unique and worthy to be in. the group belief that it can perform well as a team and be more effective than when they are apart. The groups develop positive attitude and good behavior which help them to trust each other as they continue contributing to the group. The team ability to face challenge is strengthened and the group feels safe and is able to explore and use their best skill and cooperate to get job well done. The ideas and opinions of group members are appreciated and they understand and respect the qualities that make each one of them unique from the others in order to understand what each one of them is supposed to do. WAYS WORK GROUPS ARE RELATED TO ORGANIZATION OUTCOME The resources available are used efficiently without wastage of any one of them. Time is used well to do the duties allocated to group members and the budget set is well utilized to balance the income and expenditure of the organization. There is increased productivity and less supervision of employees and employees are motivated to perform activities that lead to success of the organization. IMPACT OF MANAGEMENT PHILOSOPHY ON HUMAN RESOURCES MANAGEMENT Management philosophy helps to simplify activities which results to better performance because when the work to be done is simple, employees will be able to do it well and fast leading to high production. Costs go down in the purchase of raw materials and payment of workers and at the end of it all, profits margins will be high because revenue generated will be higher than the costs incurred in production. The basic skills help employees to do the job well and make contribution to the department they are assigned to work in because they will know what they are expected to do and do it perfectly. Employees will also have the full potential and are equipped to deal with changing demand in the organization. Good communication skills help to maintain safety in the work place and serve customers well. Employees are motivated and are satisfied with the job and problems are solved which results to growth in the organization. REFERENCE Odiorne George; Strategic Management of Human resource; Jossey-Bass, 1984.

Using Translation As A Means Of Interpretation English Language Essay

Using Translation As A Means Of Interpretation English Language Essay Translation is an activity comprising the interpretation of the meaning of a text in one language and the production, in another language, of a new, equivalent text, or translation. Its goal is to establish a relation of equivalence of intent between the source and target texts, while taking into account a number of constraints. These constraints and differences between an SL and a TL and the variation in their cultures make the process of translating a real challenge. Among the problematic factors involved in translation include context, form, the rules of grammar of both languages, meaning, style, their writing conventions, their figurative languages, such as proverbs, idioms, metaphors, euphemisms, and the like. One of the grammar/vocabulary areas that cause most problems for students of English is euphemisms. Euphemisms are words or phrases that are used to soften the reality of what are being communicated to a given listener or reader. They are a universal feature of language usage since all cultures typically use them to talk about things they find terrifying, for example war, sickness, and death. Euphemisms are powerful linguistic tools that are embedded so deeply in our language that few of us, even those who pride themselves on being 2 plainspoken, ever get through a day without using them (Rawson, 1981:1). The need for euphemism is both social and emotional, as it allows discussion of touchy or taboo subjects (such as sex, personal appearances or religion) without enraging, outraging, or upsetting other people, and acts as a pressure valve whilst maintaining the appearance of civility. Also, euphemisms are highly important expressive means of any language and are frequently used in everyday life. They make the speech more expressive, vivid, and colorful. This makes the euphemisms adapt speech to different situations. Thus euphemisms help people to fit to the proper context and to express ideas clearly. All these euphemisms appeared naturally in the process of everyday usage. People instinctively try to avoid the word not to offend or to hurt ones feelings. So euphemisms are synonyms that aim at producing a deliberately mild effect. When people use them in proper situations, it means that they care about other people. As Holder (2003) puts it, Euphemism is the language of evasion, prudery and deceit, but euphemisms also help us to cope with troublesome situations, and many of them are a source of laughter. As euphemistic expressions evolve in the course of time and new euphemisms emerge to replace the old ones, they also help to keep the language diversity alive. Similarly, euphemisms are used to express taboos, as we feel, on some instinctual level, that the euphemism keeps us at safe distance from the taboo itself. Another use of euphemisms is to elevate the status of something (e.g., using 3 educator for teacher, attorney for lawyer); but in general, euphemisms are used to express what is socially difficult to express in direct terms. Euphemisms are formed based on four devices, as proposed by Warren (1992). The first device is word formation, in which the words are formed by compounding, blends, acronym, derivation, and onomatopoeia. The second device is phonemic modification. Below this term, the euphemisms are formed by modifying their phonetics. The third device is loan words, which are words from other languages. The last device is semantic innovation. In this case, a word or a phrase can be consider as a euphemism when its meaning no longer refer to their literal meaning, but the euphemism intended meaning. The fact that many euphemism words or phrases cannot be predicted from their formations (specifically in the semantic innovation device) makes language more complicated for the learner of English. Such formations are often particularly difficult to understand because the learner hears a string of words, which they know very well, but which in formation do not make any sense. It is common knowledge that in order to provide an adequate translation, the translator must be able to sense nuances in the semantics of both the source-language and target-language texts. English euphemism words or phrases are of great interest to the researcher in this respect because they possess quite a number of semantic, grammatical and stylistic peculiarities, sometimes making their accurate translation into Indonesian difficult. Obviously, such semantic peculiarities of English euphemisms must have influenced the process of their translation into the Indonesian language. 4 Therefore, to be able to obtain valid data, the researcher used a novel entitled The Sum of All Fears by Tom Clancy and its translated version, Puncak Ketakutan, as the source of data. It was chosen because Tom Clancy is a novelist who always set a thriller genre and put military and political circumstances in which euphemistic expressions usually appear. Finally, in this research, the study is meant to show to the reader that euphemisms in The Sum of All Fears are translated into euphemisms, non-euphemisms, or they are not translated into both forms, in the sense that they are deleted or are kept in their original forms. To do as such, the researcher also identified several kinds of strategy applied in translating them. Then, it can be concluded that the result of this research will show whether the translations of euphemisms change the meanings or not. 1.2 Scope of the study This study is focusing on two significant focuses. The first is English euphemisms, in this context, the words and phrases. The second is the Indonesian equivalent of translated form. The area in which the problem will focus is in the novel The Sum of All Fears, written by Tom Clancy. 1.3 Research Questions There are one main research question and two sub-problems when developing this study. The main research question is how the euphemisms in The Sum of All Fears are translated. The sub-problems following the main research 5 questions are What kinds of strategies do the translator use in translating euphemisms in the novel? and Does the translation of euphemisms affect the meanings? 1.4 Purpose of the Study The aim in this study is to answer the main problem, the way euphemisms in The Sum of All Fears are translated. Also, the sub-purposes of the research are to identify the strategies occurred in the translation of euphemisms in the novel and to find out whether or not the translated euphemisms affect the meanings. 1.5 Time and Place of the Study The research was held within five months, which was from March 2007 to July 2007. The study is a written-data research that is not tied to a certain place. 1.6 Significance of the Study By carrying out this research, the results of this research are expected to enrich the study of translation and to be advantageous for the writer to obtain a deeper understanding about translation area. Furthermore, this research will possibly add a valuable input concerning the translation of euphemism. Not only that, this research is also meant to enlarge the horizon for English Department students who wish for a more understanding about the area. 6 CHAPTER II LITERATURE REVIEW 2.1. Studies on Translation Translation typically has been used to transfer written or spoken SL texts to equivalent written or spoken TL texts. In general, the purpose of translation is to reproduce various kinds of texts-including religious, literary, scientific, and philosophical texts-in another language and thus making them available to wider readers. If language were just a classification for a set of general or universal concepts, it would be easy to translate from an SL to a TL. Furthermore, under the circumstances the process of learning a second language would be much easier than it actually is. In this regard, Culler (1976) believes that languages are not nomenclatures and the concepts of one language may differ radically from those of another, since each language articulates or organizes the world differently, and languages do not simply name categories; they articulate their own (p.21-2). Translation is an activity comprising the interpretation of the meaning of a text in one language the source text and the production, in another language, of a new, equivalent text the target text, or translation. Traditionally, translation has been a human activity, although attempts have been made to automate and computerize the translation of natural-language texts machine 7 translation or to use computers as an aid to translation computer-assisted translation. The goal of translation is to establish a relation of equivalence of intent between the source and target texts (that is to say, to ensure that both texts communicate the same message), while taking into account a number of constraints. These constraints include context, the rules of grammar of both languages, their writing conventions, their idioms, and the like. In the process of translating, there are some principles that must be attained by translators. Duff (1989) summarizes them as meaning, form, register, source language influence, style and clarity, and idioms. These principles of translation keep hold on the most essential part in the process of translation, which is the meaning. As formulated above, the goal of translation is to link the same message in, yet, different form. Therefore, it should reflect accurately the meaning of the original text. The form is also significant after the meaning because of the aspect of the ordering of words and ideas. Register, in the other hand, indicates the levels of formality in a given context (say, the business letter). Register the follows by source language influence, which involve the translators thoughts and choice of words. Same with the others, the style and clarity and idioms aspects cannot be left behind since they also share the same significance part with each other during the translat ion process. The translation process, whether it is for translation or interpreting, can be described simply as decoding the meaning of the source text, and re-encoding this meaning in the target language. To decode the meaning of a text the translator 8 must first identify its component translation units, that is to say the segments of the text to be treated as a cognitive unit. A translation unit may be a word, a phrase or even one or more sentences. Behind this seemingly simple procedure lies a complex cognitive operation. To decode the complete meaning of the source text, the translator must consciously and methodically interpret and analyse all its features. This process requires thorough knowledge of the grammar, semantics, syntax, idioms and the like of the source language, as well as the culture of its speakers. The translator needs the same in-depth knowledge to re-encode the meaning in the target language. In fact, often translators knowledge of the target language is more important, and needs to be deeper, than their knowledge of the source language. For this reason, most translators translate into a language of which they are native speakers. In addition, knowledge of the subject matter being discussed is essential. In recent years studies in cognitive linguistics have been able to provide valuable insights into the cognitive process of translation. 2.1.1 Translation strategies, methods and procedures The translation strategy as defines by Loescher (1991:8) is a potentially conscious procedure for solving a problem faced in translating a text, or any segment of it. As stated in this definition, the notion of consciousness is significant in distinguishing strategies which are used by the learners or translators. Taking into account the process and product of translation, Jaaskelainen (2005) divides strategies into two major categories; some strategies relate to 9 what happens to texts and other strategies relate to what happens in the process. Product-related strategies, as Jaaskelainen (2005:15) writes, involves the basic tasks of choosing the SL text and developing a method to translate it. However, she maintains that process-related strategies are a set of (loosely formulated) rules or principles which a translator uses to reach the goals determined by the translating situation (p.16). Meanwhile, Newmark (1988) mentions the difference between translation methods and translation procedures. He writes that, while translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language (1998: 81). He goes on to refer to the following methods of translation: (1) word-for-word translation, in which the SL word order is preserved and the words translated singly by their most common meanings and out of context, (2) literal translation, in which the SL grammatical constructions are converted to their nearest TL equivalents, but the lexical words are again translated singly and out of context, (3) faithful translation, which attempts to produce the precise contextual meaning of the original within the constraints of the TL grammatical structures, (4) semantic translation, which differs from faithful translation only in as far as it must take more account of the aesthetic value of the SL text, (5) adaptation, which is the fre est form of translation and is used mainly for plays (comedies) and poetry; in the state that the themes, characters, plots are usually preserved. Here, the SL culture is converted to the TL culture and the text is rewritten, (6) free translation, which produces the TL text without the style, form, or content of the 10 original, (7) idiomatic translation, which reproduces the message of the original but tends to distort nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, and (8) communicative translation, which attempts to render the exact contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readership. Thoroughly, Newmark puts forward the following translation procedures that he proposes. They are: (1) transference, which is the process of transferring an SL word to a TL text. It includes transliteration and is the same as what Harvey (2000:5) named transcription, (2) naturalization, which adapts the SL word first to the normal pronunciation, then to the normal morphology of the TL, (3) cultural equivalent, which means replacing a cultural word in the SL with a TL one. Note that Newmark stated that they are not accurate (1988:83), (4) functional equivalent, which requires the use of a culture-neutral word, (5) descriptive equivalent, (6) componential analysis, in which the translator compares an SL word with a TL word which has a similar meaning but is not an obvious one-to-one equivalent, by demonstrating first their common and then their differing sense components, (7) synonymy, which has the sense that the form is a near to TL equivalent, (8) through-translation, which is the li teral translation of common collocations, names of organizations and components of compounds. It can also be called calque or loan translation, (9) shifts or transpositions, which involves a change in the grammar from SL to TL, for instance, the change from singular to plural, the change required when a specific 11 SL structure does not exist in the TL, the change of an SL verb to a TL word, the change of an SL noun group to a TL noun and so forth, (10) modulation, which occurs when the translator reproduces the message of the original text in the TL text in conformity with the current norms of the TL, since the SL and the TL may appear dissimilar in terms of perspective, (11) recognized translation, which occurs when the translator normally uses the official or the generally accepted translation of any institutional term, (12) compensation, which occurs when loss of meaning in one part of a sentence is compensated in another part, (13) paraphrase, (14) couplets, which occurs when the translator combines two different procedures, (15) notes, which are additional information in a translation. Notes can appear in the form of footnotes. Other different translating procedures are depicted by Nida (1964: 241-47). They are as follow: (1) technical procedures, which is the analysis of the source and target languages and a through study of the source language text before making attempts translate it, and making judgments of the semantic and syntactic approximations, and (2) organizational procedures, in which a constant reevaluation of the attempt made; contrasting it with the existing available translations of the same text done by other translators, and checking the texts communicative effectiveness by asking the target language readers to evaluate its accuracy and effectiveness and studying their reactions. 2.1.2 Equivalence in Translation The comparison of texts in different languages inevitably involves a theory of equivalence. Equivalence can be said to be the central issue in translation 12 although its definition, relevance, and applicability within the field of translation theory have caused heated controversy, and many different theories of the concept of equivalence have been elaborated within this field in the past fifty years. Among the theorists who stated their theories of equivalence are Nida, Catford, and Baker. Nida argued that there are two different types of equivalence, namely formal equivalence-which in the second edition by Nida and Taber (1982) is referred to as formal correspondence-and dynamic equivalence. Formal correspondence focuses attention on the message itself, in both form and content, unlike dynamic equivalence which is based upon the principle of equivalent effect (1964: 159). In the second edition (1982) or their work, the two theorists provide a more detailed explanation of each type of equivalence. One can easily see that Nida is in favour of the application of dynamic equivalence, as a more effective translation procedure. This is perfectly understandable if we take into account the context of the situation in which Nida was dealing with the translation phenomenon, that is to say, his translation of the Bible. Thus, the product of the translation process, that is the text in the TL, must have the same impact on the different readers it was addressing. Only in Nida and Tabers edition is it clearly stated that dynamic equivalence in translation is far more than mere correct communication of information (ibid.: 25). Despite using a linguistic approach to translation, Nida is much more interested in the message of the text or, in other words, in its semantic quality. 13 He therefore strives to make sure that this message remains clear in the target text. While, Catfords approach to translation equivalence clearly differs from that adopted by Nida since Catford had a preference for a more linguistic-based approach to translation and this approach is based on the linguistic work of Firth and Halliday. His main contribution in the field of translation theory is the introduction of the concepts of types and shifts of translation. Catford proposed very broad types of translation in terms of three criteria, which are the extent of translation (full translation vs partial translation), the grammatical rank at which the translation equivalence is established (rank-bound translation vs. unbounded translation), and the levels of language involved in translation (total translation vs. restricted translation). However, Catfords definition of textual equivalence is rather circular and his theorys reliance on bilingual informants is hopelessly inadequate. It can be said that the translation process cannot simply be reduced to a linguistic exercise, as claimed by Catford, since there are also other factors, such as textual, cultural and situational aspects, which should be taken into consideration when translating. In other words, linguistics is not the only discipline which enables people to carry out a translation, since translating involves different cultures and different situations at the same time and they do not always match from one language to another. In another point of view, new adjectives have been assigned to the notion of equivalence (grammatical, textual, pragmatic equivalence, and several 14 others) and made their appearance in the plethora of recent works in this field. An extremely interesting discussion of the notion of equivalence can be found in Baker (1992) who seems to offer a more detailed list of conditions upon which the concept of equivalence can be defined. She explores the notion of equivalence at different levels, in relation to the translation process, including all different aspects of translation and hence putting together the linguistic and the communicative approach. She distinguishes between four equivalences. First is equivalence that can appear at word level and above word level, when translating from one language into another. Second is grammatical equivalence, when referring to the diversity of grammatical categories across languages. She notes that grammatical rules may vary across languages and this may pose some problems in terms of finding a direct correspondence in the TL. Third is textual equivalence, when referring to the equivalence between a SL text and a TL text in terms of information and cohesion. Texture is a very important feature in translation since it provides useful guidelines for the comprehension and analysis of the ST which can help the translator in his or her attempt to produce a cohesive and coherent text for the TC audience in a specific context. It is up to the translator to decide whether or not to maintain the cohesive ties as well as the coherence of the SL text. His or her decision will be guided by three main f actors, that is, the target audience, the purpose of the translation and the text type. The last is pragmatic equivalence, when referring to implicatures and strategies of avoidance during the translation process. Implicature is not about 15 what is explicitly said but what is implied. Therefore, the translator needs to work out implied meanings in translation in order to get the ST message across. The role of the translator is to recreate the authors intention in another culture in such a way that enables the TC reader to understand it clearly. The notion of equivalence is undoubtedly one of the most problematic and controversial areas in the field of translation theory. The term has caused, and it seems quite probable that it will continue to cause, heated debates within the field of translation studies. This term has been analyzed, evaluated and extensively discussed from different points of view and has been approached from many different perspectives. The first discussions of the notion of equivalence in translation initiated the further elaboration of the term by contemporary theorists. Even the brief outline of the issue given above indicates its importance within the framework of the theoretical reflection on translation. The difficulty in defining equivalence seems to result in the impossibility of having a universal approach to this notion. 2.2. Studies on Euphemisms These terms give us ways of talking about the evaluative content of language, which is that part which doesnt describe a thing in the world, but rather expresses the speakers attitude towards it. As said by Blackaby (2002), a euphemism is a word or phrase that replaces another and that is considered less offensive or less vulgar than the word or phrase it replaces. The idea comes from a Greek word, euphemismos, which fundamentally means good speech. 16 Euphemisms, as defined by Holder (2003), involve the use of mild or vague expressions to substitute for blunt precision or disagreeable truths or concepts. They sometimes involve substituting an inoffensive, or even a pleasant term, for one more explicit, thereby veneering the truth by using kind words in order to avoid particular embarrassment or obscure negative connotation. According to Allan Burridge, a euphemism is used as an alternative to a dispreferred expression, in order to avoid possible loss of face; either ones own face or, through giving offence, that of the audience, or of some third party. In fact, many euphemisms are alternatives for expressions the speaker or writer would simply prefer not to use in executing a particular communicative intention on a given occasion. There are at least three areas, as said by Blackaby, in which to be careful about using euphemisms. First is the area in which the language related to sexuality and what might be called lavatory (potty) talk. Second is the area in which the language that involves softer words substituted for swearing or cursing. The last is the area in which the language that substitutes for profanity profaning Gods name, since the very first area that is considered in using euphemistic expressions was certainly religious. Almost every culture develops its own way of saying certain things in a better way. Every generation and every culture develop their own euphemisms. It is believed that the use of euphemisms reflect peoples psychological world. Based on this account, Huang (2005) states four main causes from the origin of euphemisms. The first is taboo subject. Because euphemisms originated from 17 primitive society, people believed that language was not merely a symbol but also with magic power. It could bring them misfortunes as well as fortunes, mentioning a certain names ran the risk of being punished, so they usually avoided these taboos. The second is the elegancy. To seek beauty is one of humans natures, consequently whenever they deal with some inelegant physiological phenomena in communication, people tend to avoid vulgarism so as to achieve elegance. These euphemisms are usually concerning part of body, copulation, pregnancy, menstruation, and excretions. The third thing is politeness. In communication, people usually followed such rules as appropriateness, generosity, praise, modesty, similarity and sympathy, so people often use indirect expressions to achieve politeness. Such euphemisms are usually concerning job, appearance, or character. And the last cause is disguise. People often use euphemisms to disguise something in the other fields of life. Such euphemisms a re usually used in politics, economy, or war. As being stated above, one of the causes of euphemistic expressions is the deal with taboos. Taboos exist in all known cultures and they change in the course of time. Hundreds of euphemisms have emerged to replace pejorative and objectionable words. However, euphemisms dont necessarily have to deal with taboos. In modern usage euphemisms are often mainly concerned with politeness. In certain situations using euphemisms instead of saying things directly is considered more tactful. For example, employees can be hired and fired, but perhaps it would be more tactful to talk about dehiring instead of firing them. Furthermore, Euphemisms are widely used in the language of commerce and 18 industry. Military jargon also contains euphemistic expressions. We may find these euphemisms are created to make the military actions less guilty for the soldiers. Of course, there are some euphemisms referred to sex, because verbal taboos are generally related with e.g. sex, death and basic biological functions. The function of euphemism is to protect the speaker/writer, hearer/reader, or all of the above from possible effrontery and offence. This offence may occur in the broaching of a religion or death topic or by mentioning subject matter to which one party involved may be sensitive. In order for communication to progress smoothly and without conflict, accommodations are continually, and often subconsciously, made. Euphemism is the language that might be misleading, but euphemisms may also help people to deal with troublesome, embarrassing and uncomfortable situations. It helps people to turn their face away from direct connection with those things that are morally barred. Euphemisms can also make the dialogue sound more poetic, of higher class, or more proper. Of course, in contemporary literature, many words or phrases once referred to by euphemistic expressions are now described in a more straightforward manner. Interpretation varies according to context, i.e. whether the speaker means the term to be euphemistic, and the hearer interprets it in that light (Warren, 1992). With euphemism being so entwined with context, however, classification of a term as euphemistic becomes difficult. For this reason, Allen and Burridge (1991:21) suggest the hypothetical context of being polite to a casual acquaintance of the opposite sex in a formal situation in a middle class environment as one in which a euphemism is likely to be used in place of a 19 dispreferred alternative. To maintain a constant standard in defining terms as euphemistic during the current study, this pragmatic context will be used. It should be remembered, however, that even within this context objective euphemism classification is a grey area, and judgements may differ from person to person. 2.2.1. Classification of Euphemisms According to Cumming (2003), euphemistic expressions can be classified based on phonological (sound) and semantic (meaning). The phonological area have seven sub-categories: (1) remodellings, (2) clippings and abbreviations, (3) foreign words, (4) abstractions, (5) indirections, (6) longer words, (7) technical terms. In the other hand, the semantic area has five sub-categories: (1) metaphor, which means a word or a phrase to refer to something that it isnt, implying a similarity between the word or phrase used and the thing described, (2) metonymy, which is a word or phrase that replaces another and uses of a single characteristic to identify a more complex entity, (3) circumlocution, which refers to a roundabout way of talking, (4) hyperbole, which is a word or phrase that replaces another that usually extremely exaggerated or extravagant, and (5) understatement, which is a word or phrase that replaces another where a lesser expression is used than what would be expected. These categories from Cumming are based on conventional euphemistic expressions. The conventional euphemistic expressions are the words which sole purpose is to make reference to a taboo topic in a polite way. This category has more to do with politeness and social norms than the speakers actual 20 feelings. This is very different with the general euphemistic expressions, which are the ways of describing a situation, event or thing which convey an attitude towards it. Meanwhile, Joseph M. Williams as noted in Neaman Silver (1983) suggests five general semantic processes by means of which euphemisms are created. First is by borrowing words from other language in which the terms are less freighted with negative associations. Second is by widening. When a specific term becomes too painful or vivid, the words are moved up in the ladder of abstraction. Sometimes, in addition to widening, the words are divided to the negative connotations of a single direct term between two or more words. Third is by semantic shift. This is the substitution of the whole, or a similar generality, for the specific part we do not choose to discuss. Fourth is by metaphorical transfer, the comparison of things of one order to things of another. The last is by phonetic distortion, which is divided into other nine sub-categories: (1) abbreviation, (2) apocopation (shortening or omitting the last syllable), (3) initialing, (4) backforming, (5) reduplication, (6) phonetic disto rtion, (7) blend