Article on “Coke Blinks” Essay

Mark Bittman’s article â€Å"Coke Blinks† discusses how the famous soda company, Coca-Cola, recently released a video where it addresses the growing problem in our nation of obesity. In the video Coca-Cola attempts to claim that it is not their fault people are obese; it’s the consumers fault because the company offers low calorie beverages and now has smaller proportioned drinks. They are basically saying that every calorie counts and not just the ones in their products. Bittman describes this video as, â€Å"Sheer manipulation, calculated to confuse, obscure and deny.† Bittman beliefs sugar, â€Å"Especially in liquid form† is extremely harmful and not just because it leads to obesity. He thinks Coca-Cola is more focused on making money than it is trying to help the nation deal with obesity. He goes on to compare soda to nicotine saying, â€Å"Soda is a fructose delivery system as tobacco is a nicotine delivery system.† He is stating that Coca-Cola is doing the same thing tobacco companies once did, ignore the fact that their product was extremely harmful and they didn’t want the consumers to know because it would lead to a loss in product sales. This article focuses on the negative effects that sugar based beverages have on the body. Bittman states, â€Å"There is virtual consensus that drinking too much soda is bad for you, and it’s not hard to understand the evidence.† In the end Coca-Cola is simply trying to lessen its bad reputation for causing health problems such as diabetes and chubbiness by releasing a video which talks about obesity. Bittman is implicating the irony in Coca-Cola’s video and he simply trying to warm people not to drink soda because it’s not healthy.   

Caring for People with Additional Needs Essay

Introduction In my AO1 ‘caring for people with additional needs’ portfolio I am going to provide and clearly display in great detail information and understanding of three causes of additional needs. I will do this by researching a range of sources to get in dept information. Then I will provide an explanation with great content of the effects on people who are in need of these services due to their additional needs. Finally, I intend to record in depth and show understanding of each stage of the care management process and evaluate how it is used to access, plan, implement, monitor and review individual care plans. Definition of disability â€Å"A physical or mental impairment, which has a substantial and long-term adverse effect on a person’s ability to carry out normal day-to-day activities.† (http://www.equalityni.org) What is a physical disability? People with physical disabilities, also known as disabled people or physically disabled people, have a physical impairment which has a substantial and long term effect on their ability to carry our day-to-day activities. Someone with a moderate physical disability would have mobility problems, e.g. unable to manage stairs, and need aids or assistance to walk. Someone with a severe physical disability would be unable to walk and dependent on a carer for mobility. Depending on their individual needs, disabled people may require an accessible home, with or without aids and adaptations. Occupational therapists will assess an individual person’s needs for these, and refer the person on to the appropriate agency to have adaptations carried out. Care & Repair Services help disabled owner occupiers and private tenants to have adaptations carried out. (http://www.firststopcareadvice.org.uk) What is a sensory disability? A sensory disability is when one of your senses; sight, hearing, smell, touch, taste or spatial awareness, is no longer normal. For example, if you wear glasses you have a slight impairment. If you find it hard to hear then you have a hearing impairment. You don’t have to have completely lost a sense to be sensory impaired. (http://www.staffordshirecares.info) What is a Learning disability? A learning disability affects the way a person learns new things in any area of life, not just at school. Find out how a learning disability can affect someone, and who can offer support. It affects the way they understand information and how they communicate. This means they can have difficulty: †¢ Understanding new or complex information †¢ Learning new skills, and †¢ Coping independently â€Å"In practical terms,† says Lesley Campbell from the learning disability charity Mencap, â€Å"a learning disability means that it’s harder for your child to learn, understand and communicate than it is for other children.† A learning disability is not the same as learning difficulty or mental illness. â€Å"People get confused if they start using the term ‘learning difficulty’. In education this means things like dyslexia, which is not a learning disability,† says Campbell. â€Å"Our definition of learning disabilities focuses on people who have difficulty learning across more than one area of their life. It’s not just to do with reading or writing.† (http://www.nhs.uk) The three conditions I have chosen to focus on are Down’s syndrome that is caused by a chromosomal disorder, cerebral palsy that is caused by damage before and after birth and diabetes that is caused by a disease and medical condition. Firstly I am going to research Downs’s syndrome, which is caused by a chromosomal disorder. Down’s syndrome is a genetic disorder that was named after John Langdon Down, the doctor who first recognised it as a distinct condition in 1866.Down’s syndrome affects a baby’s normal physical development and causes moderate to severe learning difficulties. It is a lifelong condition that develops when a baby is still in the womb (uterus). Children who are born with Down’s syndrome also have a higher chance of developing other conditions, some of which are life threatening. (http://www.nhs.uk) Down’s syndrome (DS), also called Trisomy 21, is a condition in which extra genetic material causes delays in the way a child develops, both mentally and physically. The physical features and medical problems associated with Down’s syndrome can vary widely from child to child. While some children with Down’s syndrome need a lot of medical attention, others lead healthy lives. Though Down’s syndrome can’t be prevented, it can be detected before a child is born. The health problems that may go along with Down’s syndrome can be treated, and many resources are available to help children and their families who are living with the condition. (http://kidshealth.org) Downs syndrome is a genetic disorder that occurs in approximately 1 of 800 live births. It is uncommon in the UK, for example, from 2007 to 2008, 1,843 cases of Down’s syndrome were diagnosed during pregnancy, and 743 babies were born with the condition. Down’s syndrome affects about 1 in every 1,000 live births. Down’s syndrome affects all ethnic groups equally. Boys are slightly more likely (around 15%) to be born with Down’s syndrome than girls. (http://www.nhs.uk) The likelihood of having a baby born with Down’s syndrome increases with the mother’s age: What are the symptoms? There are estimated to be over 100 characteristics of Down’s syndrome. Common characteristics of Down syndrome can include: †¢ A flat facial profile †¢ An upward slant to the eye †¢ A short neck †¢ Abnormally shaped ears †¢ White spots on the iris of the eye (called Brushfield spots) †¢ A single, deep transverse crease on the palm of the hand †¢ Smaller than average size †¢ Exaggerated space between the first and second toe †¢ Poor muscle tone (called hypotonia) †¢ Joint looseness †¢ Broad feet with short toes †¢ Learning disabilities. (http://down-syndrome.emedtv.com) The diagnosis Antenatal screening is a way of assessing whether the unborn baby could develop, or has developed, an abnormality during the pregnancy. Antenatal screening cannot diagnose conditions such as Down’s syndrome, but it can determine the likelihood of the baby developing the syndrome. If the risk of Down’s syndrome (or any other condition) is shown to be high, further testing can be arranged to confirm whether or not the baby has the condition. The test that is used for Down’s syndrome is a combined blood test and an ultrasound scan, which is known as the ‘combined test’. During a blood test, a sample of your blood will be taken and tested to check the levels of certain proteins and hormones. If the blood contains abnormal levels of these substances, one may have an increased risk of having a baby with Down’s syndrome. (http://www.nhs.uk) The treatment Down’s syndrome is not a condition that can be cured. However, there are treatments and therapies for the physical, medical and cognitive problems associated with Down syndrome. †¢ Medications can be used to treat certain conditions that occur in people with Down’s syndrome. For example, if a person with Down syndrome has a seizure disorder, they would benefit from taking anti-seizure medications. †¢ The baby’s pediatrician will be the main person managing the infant’s health issues. Most pediatricians have experience dealing with the common medical issues seen in children with Down’s syndrome. †¢ Children with Down syndrome are almost always referred to early intervention programs shortly after birth. Early intervention is a program of therapies, exercises and activities designed to specifically help children with Down syndrome or other disabilities. †¢ Physical therapy focuses on motor development. Since most children with Down’s syndrome have hypotonia or low muscle tone, the goal of physical therapy is to teach the children with Down’s syndrome to move their bodies in appropriate ways, and to improve their muscle tone. †¢ Speech therapy is a very important treatment for children with Down’s syndrome. Because children with Down’s syndrome often have small mouths and slightly enlarged tongues, they can have articulation problems. (http://downsyndrome.about.com) There’s no cure, but treatment of any accompanying health problems and support for learning difficulties allows many people with the syndrome to lead relatively normal and semi-independent lives. Others, however, need full-time care. Many people with the condition live well into adulthood, with an average life expectancy of around 60 years. Physiotherapy, speech therapy and special educational programmes have an important role to play, while specific medical conditions associated with the syndrome are treated as appropriate.(http://www.bbc.co.uk) What are the short term and long-term effects on someone with downs syndrome physically, intellectually, emotionally and socially? Long term effects- physically Common Down’s syndrome physical effects can include thyroid problems, hearing problems, congenital heart disease, eye problems, joint and muscle problems, Seizure, bone, Leukaemia and other cancers, Immune system problems. (http://down-syndrome.emedtv.com) Children with Down syndrome have a widely recognised characteristic appearance. Their head may be smaller than normal and abnormally shaped. Other prominent characteristics of Down syndrome are: a flattened nose, protruding tongue, upward slanting eyes, short hands and fingers, and a single crease in the palm. (http://www.mamashealth.com) Short term effects- physically Children with Down syndrome have decreased resistance to infections and are more prone to dental disease. Some people with Down’s syndrome may have to wear glasses or eye patches. (http://www.health.state.mn.us) Long term effects- intellectually Down’s syndrome affects a child’s ability to learn in different ways, but most have mild to moderate intellectual impairment. Children with Down’s syndrome can and do learn, and are capable of developing skills throughout their lives. They simply reach goals at a different pace. There is often a misconception that individuals with Down’s syndrome have a â€Å"static† or predetermined ability to learn. This simply is not true. It is now known that individuals with Down’s syndrome develop over the course of their lifetime and should be treated accordingly. The learning potential of an individual with Down’s syndrome can be maximised through early intervention, good education, higher expectations and encouragement. (http://downsyndrome.about.com) Some may not be able to cope up with complex thinking that is required in the study of certain subjects. Some may achieve the complex thought process much later. (http://www.buzzle.com) Short term effects-intellectually As almost all children with Down’s syndrome have some degree of intellectual disability, we expect them to have more difficulty developing speech than normal children do. If the child with Down’s syndrome does not have a hearing loss we expect the child’s ability to develop speech to be somewhat dependent on the level of intellectual ability. Therefore, if the child has only a mild intellectual disability (and no hearing loss) he or she usually develops a great deal of speech and can have a simple conversation with family or friends. If the child has a very severe degree of intellectual disability we expect the Down syndrome child to have a great deal of difficulty developing spoken language, and we may use signs and/or pictures (augmentative communication) to help us communicate with that child. (http://www.sch.edu.au) Long term effects-emotionally Around 1 in 5 people with Down’s syndrome will develop a psychological or behavioural condition. Children: Attention deficit hyperactivity disorder (ADHD) – a behavioural condition that is characterised by a short attention span and impulsiveness Autistic spectrum disorder – a developmental disorder than can cause problems with language, behaviour and social interaction Teenagers and adults: Depression – a condition that causes persistent feelings of extreme sadness Obsessive compulsive disorder – a health condition that is usually associated with both obsessive thoughts and compulsive behaviour. (http://www.nhs.uk) Short term effects – emotionally Because of the communication problems discussed above, people with Down’s syndrome may have difficulty talking about things that make them sad or angry. Major life changes such as loss or separation may prompt decreases in appropriate behaviour at school or work. (http://www.ds-health.com) Long term effects – socially They are recognisably inarticulate in their language and communication skills. Their emotional and intellectual growth is often retarded. Children with Down’s syndrome lack in social abilities. (http://www.buzzle.com) Short term effects – socially Socially people with Down’s syndrome are affected, they may feel that it is difficult to mix with people independently, although further into their lives they may develop more confidence to be able to socialise more easily. That’s not to say that people with Down’s syndrome are shy or unsociable, but just may have less confidence in certain years of their lives. Some people with Down’s syndrome may have to be supervised because of their condition, leaving them less outgoing and feeling uncomfortable having an adult watching over them. My second cause of additional need that i now intend to discuss is cerebral palsy Cerebral palsy is a general term covering a number of neurological conditions that affect a child’s movement and coordination. Neurological conditions affect the brain and nervous system. Cerebral palsy is caused by damage to the brain, which normally occurs before, during or soon after birth. Known possible causes of cerebral palsy include: †¢ Infection in early pregnancy †¢ A difficult or premature birth †¢ Bleeding in the baby’s brain †¢ Abnormal brain development in the baby (http://www.nhs.uk) At some point very early in life, either while a baby is still growing in the womb, during birth or shortly after, something happens to interfere with the normal development of the brain or to injure the brain tissues. This abnormal development or injury disrupts the nerve signals between the brain and the muscles, leading to problems with movement, posture and coordination as the child grows up. This is called cerebral palsy. While some people are severely affected, others have only minor disruption, depending on which parts of the brain are not functioning properly. It’s estimated that as many as 1 in every 400 children may have cerebral palsy, which means nearly 2,000 babies, from all social backgrounds and ethnic groups, are diagnosed every year. (http://www.bbc.co.uk) About 1 in 500 babies born in the UK have cerebral palsy. The number of cases per year (the incidence) has not changed much over the period of 50 years or so. The health and care of mothers have improved in this time and some causes of cerebral palsy have decreased. However, more babies are being born prematurely and surviving. A proportion of these will have cerebral palsy. This (together with the cause in most cases not being known) is probably why the number of cases has not changed much over the period of 50 years or so. (http://www.patient.co.uk) What are the symptoms? Cerebral palsy is often classified into different types depending on the type of symptoms, which in turn probably reflect which parts of the brain are not working as they should. These include: †¢ Spastic cerebral palsy (about 70 per cent of all cases) – some of the muscles in the body are tight, stiff and weak, drawing the limbs in and making control of movement difficult. †¢ Athetoid (dyskinetic) cerebral palsy (10 per cent of cases) – control of muscles is disrupted by spontaneous and unwanted irregular writhing movements. These may be the result of muscles changing very rapidly from being loose and floppy to very tight and tense. The muscles used for speech may also be affected, interfering with communication. Control of posture is also disrupted. †¢ Ataxic cerebral palsy – problems include difficulty with balance, shaky movements of hands or feet, and difficulty with speech. †¢ Mixed cerebral palsy – a combination of two or more of the above. In coordination of the muscles of the mouth may cause feeding problems such as slow feeding, gagging and vomiting. There may be delayed motor milestones, such as crawling and walking , weakness or paralysis of the limbs, an abnormal gait and slowness in developing speech and social skills. As many as one in three children and adolescents with cerebral palsy also has epilepsy (or seizures). Other common problems include: †¢ Difficulty with walking, writing, eating, talking, dressing †¢ Problems with balance and coordination †¢ Difficulty controlling and maintaining posture (they may need help to sit upright) †¢ Visual difficulties †¢ Hearing problems (http://www.bbc.co.uk) The symptoms of cerebral palsy normally become apparent during the first three years of your child’s life. Your child may be slower in achieving important developmental goals, such as learning to crawl, walk or speak. Children with cerebral palsy also tend to have problems with their muscle tone (the unconscious ability to contract or relax muscles as needed). Your child may have: †¢ Hypertonia: increased muscle tone, which can make them appear stiff or rigid †¢ Hypotonia: decreased muscle tone, which makes them appear floppy (http://www.nhs.uk) The diagnosis The paediatrician will ask about a child’s history and their pattern of development. They will also study a child’s reflexes, posture, motor skills and muscle tone. Depending on the child’s age, they may also be referred to an educational psychologist so the child’s intellectual development can be assessed. Further tests may be recommended to rule out other conditions, which cause similar symptoms to cerebral palsy, such as a tumour or muscular dystrophy (a genetic condition affecting the development of the muscles). In some cases, further testing will also be able to confirm a diagnosis of cerebral palsy. This is because the condition can cause changes to the structure of the brain, which can be detected by the tests. Tests a child may require include: †¢ Blood tests †¢ Cranial ultrasound, which uses sound waves to build up a picture of the child’s brain tissue †¢ MRI scan, which uses radio and magnetic waves to study the brain in more detail †¢ CT scan, which uses a series of X-rays that are then assembled by a computer to create a detailed 3-D model of a child’s brain While a confident diagnosis of cerebral palsy can usually be made when s child is two or three years old, the type and severity of a child’s cerebral palsy may not be determined until they reach four or five years of age. (http://www.nhs.uk) Treatment There’s no cure for cerebral palsy. However, there are plenty of treatments and therapies that can reduce the impact of the condition by easing symptoms such as spasticity, improving communication skills and finding other ways to do things. Physiotherapy, occupational therapy and speech therapy can all play an important part. Children with cerebral palsy do best when they get special help from an early age. Because the brain changes a lot during the first few years of life, it can be difficult to assess the extent of cerebral palsy at first, but most experts suggest babies should be first assessed at about 9 to 12 months. Many children with cerebral palsy benefit from an approach known as conductive education, which helps them to overcome movement problems and gain some control through special education and rehabilitation. Adults can get a lot from it too. Speech and language therapy helps with speech development and also with eating, drinking, and swallowing. Surgery is sometimes needed to correct any deformities that develop as a result of abnormal muscle development or function. Medication can reduce muscle hyperactivity and spasticity, but physiotherapy is the bedrock of cerebral palsy management and can helps with posture and movement. It also tries to prevent progression of disability. Occupational therapy helps children overcome difficulties performing everyday tasks, encouraging them to lead independent lives. With help, most people with cerebral palsy are able to live much the same sort of lives as everyone else. They may have to work a bit harder to overcome practical problems, but most things are possible. (http://www.bbc.co.uk)

Argumentative paper Essay Example | Topics and Well Written Essays - 500 words

Argumentative paper - Essay Example The taking constitutes significant facts that include losing at the very least $10, 000 when he was not permitted to fulfill his obligation to Ford during the Chief/Bronco game. The rule promulgated by FAA is unconstitutional for businesses, such as that of Ben is not illegal nor does it mislead the people. The purpose of the law is vague and the rationale behind it finds no balance to the nonexistence of impending danger as unreasonably feared by these government offices. The business of advertising through aircrafts has little to no possibility of having any relation to the goal of fighting terrorism or preventing its effects. People such as Ben are unduly deprived of their commerce because of such muddled policies. The First Amendment is inclusive of its protection of Commercial speech and this must be given weight in the case at hand. Under the Central Hudson Test, as promulgated by the Supreme Court in the case of Central Hudson Gas & Electric v Public Service Commission,  "Commercial speech will be protected by the First Amendment if it is a lawful activity and not misleading, there is a qualified government interest, that such interest is substantial and parallel to the regulation and finally, that the regulation is legitimately laid down. This leads to the conclusion that the business of Ben must be protected based on the given requisites.

Imogene King's theory of goal attainment Research Paper

Imogene King's theory of goal attainment - Research Paper Example A mutually shared communication between the nurse and the patient is assumed to happen according to the theory. This in turn formulates the goal towards which they work together. The patient’s perception of the world as a total person making transactions with the other individuals and groups of individuals has been considered a major assumption of the discussed theory. The major concepts which are covered by the theory of goal attainment are based on different systems of interaction which includes; personal systems, interpersonal systems and social systems. The most remarkable advantage of the theory is that it considers all human beings of equal worth (King, 1999). The very fact that the theory of goal attainment considers interaction between the nurse and the patient as a key factor of goal setting and attainment makes it applicable in practical nursing situations. Interaction, transaction and communication which happen between the nurse, patient and also the allied systems of interactions decide what is to be achieved. Here, the goal which is set becomes case specific and thus becomes more effective. In other words, the nurse and the patient as a result of their interaction, communication and transaction decide together what is to be considered as a goal in terms of the health care of the patient. This approach is more inclusive as it considers a number of factors including social, interpersonal and personal concepts. Thus the goal becomes holistic and the achieved results becomes of long term implications. In the local nursing scen ario, this would mean that the treatment will have long term positive implications. The theory of goal attainment leaves the nurse at the advantage of having the freedom to take participatory decisions with the patient. This strengthens the personal interaction between both the parties. The application of this theory in practical nursing practice is thus of huge

Late Roman, Early Christian and Byzantine Art Essay

Late Roman, Early Christian and Byzantine Art - Essay Example Galla Placidia passed on in Rome, and irrespective of a long custom to the contrary, it is nothing like she was ever buried in Ravenna. Most likely, she was laid to rest in the Rotunda of St. Petronilla. The Rotunda is acknowledged as to have been the mausoleum of the relatives of Theodosius, and Galla herself. Modern erudite opinion is that Mausoleum of Galla Placidia was constructed as a rhetoric rather than mausoleum. It was uniquely linked to the narthex of the close church of Santa Croce, which is recognized to have been constructed by Galla Placidia so she possibly bespoke the oratory, and it fittingly takes her name, though she was never laid to rest there. The mosaics of Galla Placidia have fascinated millions of visitors from across the world over the centuries (Stokstad 25) The mausoleum of the oratory features a beautiful mosaic of a glittery night sky. The stars over eight hundred of them are set in concentric orbits around a golden Latin cross, with the cryptograms of the Four Evangelists upon the spandrels. The arcs of the side niches have equivalent golden patterns upon a dark background, featuring an assortment of flowers and plants down with additional stars. Next, it is essential to consider that the cross on the catacomb is jutting toward the east instead of being united with the position of the Chapel. This is nearly surely since the Chapel is not aligned to the in harmony with the set up custom, and the decorator partly corrected that by offering the central cross the appropriate alignment. May be the most essential mosaic in the Mausoleum of Galla Placidia is an early illustration of Christ as the Good Shepherd, situated over the entry upon the north side. The image was common in the Roman vaults of earlier centuries, but there are essentia l advancements to be witnessed in his adaptation. As opposed as to being depicted as an atypical countryman, this Good Shepherd has a

Internation cultural and communication Essay Example | Topics and Well Written Essays - 2000 words

Internation cultural and communication - Essay Example At this juncture, companies are exposed to diversified cultural and economic environments (Checkland, 2013). Without the essence of effective means of communication, multinational companies cannot acquire adequate employee voice required for stimulating long-term commercial growth. This essay will make a theoretical as well as empirical analysis about ways in which organizational culture and communication process help to create increased employee voice. Employee voice is a term that refers to the extent of employee participation in the decision making process of an organization. It is believed that success of a company in both its domestic and foreign markets substantially depends on efficiency of its factor resources. Among all resources, human capital (labour resource) is most crucial, given that this helps to channelize other productive resources of the firm. Thus, it is highly rational to analyze the communication and cultural means of an organization, which assist in managing hu man workforce more efficiently (Carter, et al., 2013). It is noted that a multinational organization can incorporate better systems of employee representation by encouraging enhanced employee participation. Policies introduced by the public authorities of different economies, such as, the New Labor policy of 1997, European Social Policy and the Employee Information and Consultation Rights, ensure fulfilment of employee’s interests in the workplaces (Johansson, 2013). Such government introduced policies have directly influenced voice of the employees and have also indirectly affected the working environment wherein voicing powers of the workers can be exercised. Voice is a common word used in the studies of Human Resource Management (HRM). A popular international business cultural model was introduced by Howard V. Perlmutter. It was known as the EPG model and included ethnocentric, geocentric and polycentric dimensions to explain

Target audience Essay Example | Topics and Well Written Essays - 2000 words

Target audience - Essay Example Only the students from high schools, colleges and university of this age group will be chosen in the first marketing phase within the Los Angeles Area . The private high schools are Loyola High School, Immaculate Heart High School, Rose and Alex Pilibos Armenian School, Windward School, Sheenway School, Daniel Murphy High School, Marymount High School, Shalhevet High School and Green Pastures Academy. The public high schools will be John Marshall High School, Los Angeles High School, Dorsey High School, Eagle Rock High School, and Belmont High School. The Colleges included in our school visits are Academy Pacific Travel College, Agape Christian The Lipton Green Tea (LGT) will be portrayed as having the beneficial health ingredients such as the much needed vitamins and minerals and its natural production with no preservatives, additives, and food coloring thereby eliminating the possibility of having harmful side effects will be the main theme of the marketing plan. This marketing strategy to attract a particular target audience will be implemented from January 2006 to June 2006. Free one bottle samples will given to the prospective youngster. They will then fill up a survey questionnaire to determine their taste comments and other comments and suggestions. Colorful expensive brochures and flyers will be given to each free sampling student advertising the many health benefits taking the Lipton Green Tea to make them familiar with the products. The LGT will have the same selling price as a Coke product. This means the LGT will have a very optimistic projection of its marketing strategy to corner a big portion of the beverage consuming market. Coke is one of the favorite thirst quenchers gulped during snacks, breakfast, lunch, dinner and special occasions such as parties, love dates.The next batch of target marketing will be implemented from December to April 2006. The target group is composed of prospective customers relating to the ages ranging from twenty two to forty five years old that happen to pass by when the marketing function is conducted in shopping malls, bus stands, train and public transport stations within th e Los Angeles District. The plan will be to attract beverage fanatics to replace their diabetes promoting beverage needs with the health giving minerals and vitamins found in LGT drinks. The prospective customers will be given expensive colorful brochures and flyers advertising the many health benefits of replacing their present beverages wants like Coke and Pepsi products with the vitamin and mineral filled LGT extract drink for the same selling price. 2.The communications choiceThis particular marketing strategy will concentrate on personalized or face to face giving of free LGT Extract drinks to customer ranging from twelve twenty one in schools, colleges and

Food and culcture Essay Example | Topics and Well Written Essays - 1500 words

Food and culcture - Essay Example 6). What it says is food has got major role in making people feel more attached. Older people say that if all members of the family eat food together at any time, whether it is in the morning or afternoon or at the time of dinner then it will provide more happiness in the family. Food has got such power. Food is most important to all human beings in order to live. The importance of food is great in certain celebrations such as marriage, birthday etc. In a society food can be used as a source for increasing the relationship with others. It can be made through exchanging food by the individuals. For example, it can be the neighbors sharing their food. This kind of activity will enrich the human relationship. Food has got important role in spiritual activities. Some people believe that offerings of some kinds of food to God will bring happiness to their life. Analyzing the relationship between food and culture, one can find that they are closely interrelated. Cultural significance of food and eating is based on social values, meaning and beliefs than the dietary necessities and nutritional standards. There exist a lot of examples and regularities for the selection of food. The eating practices are not a matter of physical needs. People eat in a particular social structured mode and there are distinct ideas about good and bad table behavior, correct and incorrect habits to present dishes and the importance of having a clear cut idea about the aptness of food for different functions. These way foods express the cultural significance, the social rank, traditions and also prosperity. Leach opines, â€Å"Food is an especially appropriate â€Å"mediator† because, when we eat, we establish, in a literal sense, a direct identity between ourselves (culture) and our food (nature).† (Fishburn, p. 57). Food is a significant element of

Radicalization of American Muslims hearings Research Paper

Radicalization of American Muslims hearings - Research Paper Example Some people justify such hearings by saying that different evidences brought up in the courts by authentic witnesses play a pivotal role in cleaning up the mess, which is created by Al-Qaeda. The persistent efforts of Al-Qaeda to destabilize America by radicalizing the Muslim community are way too conspicuous to be ignored and these efforts can be effectively dealt with by proper radicalization hearings. It is believed by the proponents of radicalization hearings that such kinds of things provide a solid platform for probing the growing incidence of radicalization in America. Radicalization hearings are justified by King, the American legislator, who opinions that Al-Qaeda operatives are pretty active in America and these hearings do not aim to uselessly threaten the Muslim community but to raise the radicalization issues that put America in danger. (Goodman, 2011). Still, there are many people who strongly condemn such hearings and believe them to be merely an unfair means of singli ng out a community that is largely innocent and not prejudiced against the American government. They say that the American Muslims should stand up against the fake witnesses brought up in the unjustified series of hearings against the innocent Muslim community.

Translatability and Poetic Translation Essay Example for Free

Translatability and Poetic Translation Essay Translation used to be considered an inter-language transfer of meaning, which is the point of departure for research and study. Many earlier definitions demonstrate this, using source language and target language as their technical terms. Moreover, translation theories strictly confined themselves within the sphere of linguistics. For many years the popular trend in the translation circles had been perfect faithfulness to the original both in content and in form and it had been regarded as the iron criterion as if from the holy Bible for translators to observe. The godly status and the impossible idealistic belief were not altered until new thoughts arose with the respect of consideration of target readers, the unavoidable translator subjectivity and the purpose and function of translations. This thesis, starting to look from new angles such as the accommodation to target cultural conventions, the translators consciousness of linguistic and cultural adaptations to make it easy for readers to understand translated works without too much pain and effort, and translation as a purposeful endeavor. Translation is then understood as a much more complicated activity with a much broader scope. Translation of poetry was, and still is by some, believed as impossibility for any unfaithful elements would have been taken as failure, be it content or form. The arguments include linguistic elements and cultural elements. Most importantly the myth of untranslatability looks upon poetry as beauty itself which is untouchable for once it is touched it is destroyed. But as translation of poetry has never been stagnant though sometimes vigorous and sometimes not, there is strong evidence in both translation history and present day practice that poetic translation, a literary form as distinguished from fiction, drama, and prose, is translatable. Poetry itself serves a purpose, be it an illusive matter, and aesthetics can be reproduced in another language and culture if accommodation is made. It would be highly likely that the target readers would obtain rather similar if not the same aesthetic pleasure reading the translation as would the source readers reading the original poem. And this is, I believe, the only criterion in evaluating and assessing what is a successful piece of translation. Of course there are other functions of poetry like informative, didactic, cognitive, practical and even entertainment functions. The aesthetic function stays at the top of the list, though. In other words, if a translation fails to perform the aesthetic function it is in my eyes a bad translation, no matter how well the form is preserved. A word-for-word translation may be judged faithful in form, but it is failure in terms of the performance of functions. As aesthetics of one people influences them with different elements from that of another, accommodation in translation is of urgent necessity. Often loss or addition is made to achieve that end and sometimes only some elements are preserved while other elements are neglected. This is inevitable or there will be no translation, which means if one fears any loss or addition, one should learn to read the original always instead of reading the translated version. But how many of us can do that? The thesis aims at breaking the myth of untranslatability of poetry and argues from the appropriate understanding of translation to the various functions of poetry. And in the end it suggests, with examples taken from well-acknowledged translators of poetry, some strategies for poetic translators so that global talk opens up another channel for human communication. We will understand one another better. The detailed organization is as follows. This thesis, starting from a brief account of old ideas of the untranslatability of poetry, proposes instead a hypothesis that poetry is translatable (Chapter One). In the next chapter (Chapter Two) an analysis of why poetry is untranslatable is made in both linguistic and cultural respects. It goes on giving a detailed analysis of translation in general, its various definitions, its multiple functions and the authors own idea of it (Chapter Three). Then literary translation is discussed, involving its features and main functionaesthetic value which is the very core in poetic translation as well (Chapter Four). Chapter Five deals with features of poetic translation, treating at the beginning the relationship between poetry and aesthetics and then making a comparison of Sino-west poetic theories. What follows is a discussion of the longstanding issue of form vs content and the criteria of poetic translation. At the end of this chapter, the function of poetry is discussed. Chapter Six suggests some strategies in poetic translation, all with a strong consciousness of compensation of possible loss of the source text. The thesis ends with a conclusionpoetry is translatable. 1. LITERATURE REVIEW 1. 1 UNTRANSLATABILITY—WHAT THEY ARE SAYING Traduttore-traditore. (Translator = traitor. ), says the well-known Italian phrase. â€Å" Poetry is what gets lost in translation,† Robert Frost says. Western tradition and culture is founded on untranslatability. This may sound like a paradox, if one thinks of the long tradition of translatio studii or translatio imperii in the culture, or if you just ponder the very word tradition . Tradition, from Latin tradere (‘hand over), implies a process of communication, transmission, and transference that necessarily allows for the transformation, whether in terms of â€Å"losses† or â€Å"gains,† usually associated with what we consensually mean by translation. To translate is not to say the same thing in another tongue, but to make manifest a different thing. This may sound close to what we used to call â€Å"the impossibility of translation. Croce (quoted in Carravetta, 1997) holds that poets cannot be compared, as each is unique. Translation is impossible; it is only a pedagogical necessity. The responsibility of the interpreter is to capture the mood or state of being (stato danimo) of its author. In modern times some scholars have come to realize that something in a language can not be fully translated into another, in other words, there is an inevitable loss of meaning. Catford (1965), a celebrated translation scholar of the linguistic school, raises the issue of untranslatability with a new perspective. He argues that linguistic untranslaltability is due to the difference in the Source Language (SL) and the Target Language (TL), whereas cultural untranslatability is due to the absence in the TL of relevant situational features. Dabeluet and Viney (quoted in Wilss, 2001), in the fruitful book A comparative French and English Stylistics have analyzed in detail the points of linguistic difference between the two languages, differences that constitute areas where translation is impossible. Popovic (quoted in Wilss, 2001) also has attempted to define untranslatability without making a separation between the linguistic and cultural factors. Nida (1984) presents a rich source of information about the problems of loss in translation, in particular about the difficulties encountered by the translators when facing with terms or concepts in SL that do not exist in TL. Newmark (1982) has also once briefly talked about the deviation in translation. In Chinese translation history, in contemporary and modern day translation circles, many experts and scholars have also discussed the problem to some extent in their empirical assertions and research papers. As early as the flourishing period of Buddhist scriptures, the problem of untranslatability was mentioned and a rather strong expression was used to criticize certain versions as ‘feeding others what one has munched in his own mouth'( , my translation), not mentioning translation of poetry. Zhu guangqian (Zhu, 1987: 113) says that the reason why poetry translation poses more difficulty than prose translation lies in that poetry stress more on its musical quality while prose emphasizes more on meaning. Translating meaning is apparently easier than translating the musical quality (my translation). Chinese, unlike English, uses characters which are all single syllables, namely, one character as one syllable. So phrases and clauses are easily arranged into even number phrases and neat even number couplets, if the need arises for comparison or contrast. However, the western languages have strict grammatical rules, requiring fixed structures that forbids free inversions or disorders. If translating literally according to the Chinese form, confusion emerges. (Ibid: 201) (my translation) Poetry can not only be translated into a foreign language nor can it be translated into another style or another historical period of the same language because the sound and meaning of the language change with the times. Modern syllables and rhythms can not replace those needed in ancient language and modern associated meaning can not replace the ancient associated meaning (Ibid: 223) (my translation). Chen Shuxin (Chen, 2000) proposes that poetic untranslatability mainly lies in the transference of the beauty of the original sound. If put in order, the transference of sound stays at the top of the list, then form and style, lastly meaning (my translation). Wen Yiduo (Zhu, 1925: 149) exemplifies untranslatability as follows: â€Å"Li Bai stands between the ancient style and contemporary style. His wul u , which consists of five characters in each line and eight lines altogether, has the soul of ancient style and the body of the contemporary which is characterized with abundant embellishment. The embellished style may be translatable but not the poetic power. Nevertheless Li Bai without his tremendous power is no longer himself†. (my translation) For example, the lines , was translated as : (1. 1) The smoke from the cottages curls Up around the citron trees, And the hues of late autumn are On the green paulownias. â€Å"What is the matter? † Mr Zhu asks, â€Å"The glorious beauty of the Chinese poem, once transformed into English should become so barren and mediocre! Such precious lines as these are untranslatable for they are too subtle and too refined. If one has to translate it anyway, it is doomed to be destroyed. Beauty is untouchable. If it is touched, it dies. † ( my translation) (Ibid: 150). But Zhu later has to admit in another book that translation is not intended for the original author or those who understand the source language. It should not intend to compare with the original. It is impossible and unnecessary to please the reader who understands the source language with ones translation (my translation) (Ibid: 154). In summary, I find that those who stick to untranslatbility are but two kinds of people. Some strictly believe the holiness of the original text and others the absoluteness of the unity of meaning and form in a certain language. And they, idealistically, do not allow any addition or loss of meaning in the transferring process as in translation, which is actually inevitable and is a rule rather than an exception. 1. 2 TRANSLATABILITY A HYPOTHESIS Translation work, in its present form, dates back more than a thousand years in China and in Western countries. The ever-lasting practice of translation itself manifests the translatability of languages. Therefore, it stands to reason that a language can be translated from one language into another. Under the guide of this perception, former scholars usually probe into the problem of translation from an instinctive and empirical point of view. Not all words need to be translated. Some cannot. Some can be transcribable, but if there is no cultural equivalent, whether it is translatable or not it still needs to be explained, just like a jargon needs to be explained to the non-specialist in a footnote. Words, expressions or interjections that are exclusive to a culture, a religion or a jargon cannot always be translated in a satisfactory way because the same thing does not exist in the other languages culture. In many cases such words with no perfect equivalent are the words that end up being borrowed by the other language, sometimes with a possible spelling adaptation to ease pronunciation in the other language. Jacobson ( 1966: 238) (quoted in Wolfram Wilss, 2001) comes to the conclusion that poetry by definition is untranslatable. Only creative transposition is possible. With this as a prerequisite, translation of poetry should and must be translatable. Historically speaking, the activity of poetic translation has always been there, popular at one time and losing momentum at another, though always being practiced. In other words, whenever human communication is necessary, translation will live on and maintain a firm and fast stronghold. The reason is simple but unavoidable—we, as a nation or a country, are not living alone. As long as we do not lock ourselves up, translation will be translatable, be it scientific translation or poetic translation. Many translators in contemporary and modern China have made and are making outstanding contributions to the literary and poetic exchanges between China and the West through their diligent and painstaking work. Xu Yuanchong, for instance, has translated several books of Chinese ancient poems into English, the most important being the The 300 Hundred Tang Poems . Gu Zhengkun, by rendering into English The Collection of Mao Zedongs Poems , is another example to have introduced Chinese poetry to readers of English. Foreigners include Arthur Waley, Herbert Giles, Witter Bynner, W. J. B. Fletcher, James Legg, Amy Lowell, etc. Translators from English into English are, needless to say, numerous, such as Bian Zhilin, Guo Moruo, Tu Ang, Huang Gaoxin, Jiang Feng, Cao Minglun , and Zhu Chunshen, to name but a few for the present purpose. All these people do not only support the idea that translation of poetry is possible but provide living proof by their many well-received and highly-acclaimed translated works. 2. UNTRANSLATABILITY—ANALYSIS OF WHY. Lets see what specialists say, to begin with, about the nature and essence of translation. Ebel (1969: 50) (quoted in Wolfram Wilss, 2001) says that indeed, modern translation theory denies the very existence of translation as it has previously been understood, i. e. as the replacement of an utterance in one language by another, so that the two are interchangeable. The dream of â€Å"literal† or â€Å"close† translation, which culminated in the attempt to computerize translation, has given way in turn to what might be termed a higher subjectivity. Since â€Å"there are connections but not correlations or diagnostic correspondences between cultural norms and linguistic patterns†, no language is ever a valid substitute for another; â€Å"faithfulness† in translation is thus impossible. Gipper (1972: 91) (quoted in Wolfram Wilss, 2001: 41) believes that translation is and will continue to be a relative concept. It could be said that every translation represents a transposition from the perspectives of one linguistic view of the world to those of another and that this cannot take place entirely without changes or metamorphoses (change of form or character). Durbeck (1975: 8) (quoted in Wolfram Wilss, 2001: 42) holds that the world view of ones native tongue is dominant, thus making man a ‘prisoner of his language†. Wolfram Wilss (Ibid: 49) says, â€Å"The translatability of a text can thus be measured in terms of the degree to which it can be re-contextualized in TL, taking into account all linguistic and extra-linguistic factors. †¦The translatability of a text is thus guaranteed by the existence of universal categories in syntax, semantics, and the (natural) logic of experience. †¦Linguistic untranslatability occurs when the linguistic form has a function beyond that of conveying factual relationships and is therefore a constituent part of the functional equivalence to be achieved. This, for example, is true of play on words, which can usually be adequately translated semantically but not stylistically. † For instance, (2. 1) 1)-Are you training for a race ? – No, Im racing for a train. 2) Just because I am chased dont get the idea I am chaste . These are examples of linguistic play of words. (2. 2) 1) The problems of the world are easily soluble in wine. 2) Pay your taxes with a smile. These are instances of cultural play of words. Catford(1965: 99) believes that Cultural untranslatability is usually less â€Å"absolute† than linguistic untranslatability. Nida (1969: 483) holds that relative adequacy of inter-lingual communication are based on two fundamental factors: 1) semantic similarities between languages, due no doubt in large measure to the common core of human experience; and 2) fundamental similarities in the syntactic structures of languages, especially at the so-called kernel, or core, level. 2. 1 LINGUISTIC ELEMENTS Levy (1967: 58) (as quoted in Wilss, 2001: 124) thinks that the translator frequently finds himself in a conflict-and-decision-marked situation during the translation process, a situation which becomes all the more difficult to master, the more complex the textual segment to be translated is in terms of syntax, semantics and stylistics. In recent years the scope of linguistics has widened beyond the confines of the individual sentence. Text linguistics attempts to account for the form of texts in terms of their users. If we accept that meaning is something that is negotiated between producers and receivers to texts, it follows that the translator, as a special kind of text user, intervenes in this process of negotiation, to relay it across linguistic and cultural boundaries. In doing so, the translator is necessarily handling such matters as intended meaning, implied meaning, presupposed meaning, all on the basis of the evidence which the text supplies. The various domains of socio-linguistics, pragmatics and discourse linguistics are all areas of study which are germane (pertinent) to this process ( Hatim Mason,1990: 133). The focus of translation studies would be shifted away from the incidental incompatibilities among languages toward the systematic communicative factors shared by languages. Only in light of this new focus can such issues as equivalence and translation evaluation be satisfactorily clarified. Ke (Ke, 1999) says that the problem of translatability or untranslatability is closely related to mans understanding of the nature of language, meaning and translation. From the socio-semiotic point of view, â€Å"untranslatables† are fundamentally cases of language use wherein the three categories of socio-semiotic meaning carried by a source expression do not coincide with those of a comparable expression in the target language. Three types of untranslatability, referential, pragmatic, and intra-lingual may be the carrier of the message. Language-specific norms considered untranslatable by some linguists should be excluded from the realm of untranslatables. And since translation is a communicative event involving the use of verbal signs, the chance of untranslatability in practical translating tasks may be minimized if the communicative situation is taken into account. In a larger sense, the problem of translatability is one of degree: the higher the linguistic levels the source language signs carry meaning(s) at, the higher the degree of translatability these signs may display; the lower the levels they carry meaning(s) at, the lower the degree of translatability they may register. 2. 2 CULTURAL ELEMENTS Translation practice is one of the strategies a culture devises for dealing with what we have learned to call the â€Å"Other† (a term borrowed from Lefevere, 2001, meaning a culture different from ones own—my interpretation). The development of a translational strategy therefore also provides good indications of the kind of society one is dealing with. The fact that China, for instance, developed translational strategies only three times in its history, with the translation of the Buddhist scriptures from roughly the second to seventh centuries AD, with the translation of the Christian scriptures starting in the sixteenth century AD, and with the translation of much Western thought and literature starting in nineteenth century AD, says something abut the image of the Other dominant in Chinese civilization, namely that the Other was not considered very important, only as ‘branches or leaves instead of the ‘trunk. Cultures that are relatively homogeneous tend to see their own way of doing things as ‘naturally, the only way, which just as naturally becomes the ‘best way when confronted with other ways. When such cultures themselves take over elements from outside, they will, once again, naturalize them without too many qualms and too many restrictions. When Chinese translate texts produced by others outside its boundaries, it translates these texts in order to replace them, pure and simple. The translations take the place of the originals. They function as the originals in the culture to the extent that the originals disappear behind the translations. The Chinese were forced to deal with the Other by the spread of Buddhism, which did not threaten the fabric of society, and therefore could be acculturated rather easily on the terms of the receiving, Chinese society. This is apparent not just from the manner of translating, but even more so from the fact that Taoist concepts were used in translations to acculturate Buddhist concepts. ( quoted from Bassnett Lefevere, 2001: 169) What are the options the translator faces ? We suggest they are as follows: Is the element being translated obligatory or optional in the TL text format? If it is obligatory, is the order in which it occurs appropriate for the TL text format? If it is obligatory and the order is appropriate, will iteration (repetition), if there is any, be appropriate in the TL text format? The less evaluative the text is, the less need there will be for its structure to be modified in translation. Conversely, the more evaluative the text is, the more scope there may be for modification. (ibid: 187) The less culture-bound (treaties, declarations, resolutions, and other similar documents) a text is, the less need there will be for its structure to be modified in translation. Conversely, the more culture-bound a text is, the more scope there may be for modification. 2. 2. 1 HISTORICAL ELEMENTS There are numerous examples in both English and Chinese that exhibit historical elements deeply rooted in the languages. Idioms and legends always provide ready support in this respect. Once an idiom or fixed expressions has been recognized, we need to decide how to translate it into the target language. Here the question is not whether a given idiom is transparent, opaque, or misleading. Maybe its easier to translate an opaque expression than a transparent one. The main difficulties in the translation may be summarized as follows. An idiom or fixed expression may have no equivalent in the target language. One language may express a given meaning by means of a single word, another may express it by means of a transparent fixed expression, a third may express it by means of an idiom, and so on. So it is unrealistic to expect to find equivalent idioms and expressions in the target language in all cases. The idioms and expressions may be culture-specific which can make it untranslatable or difficult to translate. The expressions such as hot dog ( ) and Kangaroo Court ( ) which relate to specific cultural background provide good examples. An idiom or fixed expression may have a similar counterpart in the target language, but its context of use may be different; the two expressions may have different connotations, they may not be pragmatically transferable. The expression such as make a come-back ( , ) , though similar in meaning, the contexts in which the two idioms can be used are obviously different. Make a come-back is usually in positive occasions, but is usually used in negative occasions. An idiom may be used in the source text in both its literal and idiomatic senses at the same time. The expression such as kick down the ladder ( ) is a good example . It means treat with contempt those through whose assistance one has risen to a position of importance . It refers to the rising up politically or socially. But ? in Chinese translation refers to the tool or means to overcome difficulties, and is widely and commonly used. They are similar in the point of forget the help, and do harm to ( ) but different in details. Legends are of a quite similar character. What is a legendary hero in one language, for example, King Arthur in English may not be known in another language, such as Chinese. Without necessary annotation the target reader would be certainly at a loss. But if a Chinese legendary figure is loaned to serve the purpose of a courageous and brave man, the readers may be wondering if the English people also have such a legend, which may result in misunderstanding. Translation from Chinese into English exhibits the same problem. 2. 2. 2 GEOGRAPHICAL ELEMENTS Just as the Chinese saying goes that a people of one geographical location is different from that of another, translation of geographical terms is where another problem is encountered. Recognition and familiarity of the geography is of immense help to bring about the readers association, thus making comprehension easier. On the contrary, without a sense of geography, the readers have only their imagination in their power to employ. Translation of the following Chinese poem is a case in point. (2. 3) , . , . Xu Yuanchongs translation of the geographical location liaoxi becomes ‘frontier, which provides enough space for readers association even without a note to explain it. Unlike Xu, another translator uses pinyin and has it annotated, saying it is the frontier of the battlefield. Herbert Giles also translated this poem. (2. 4) Drive the young orioles away, Nor let them on the branches play; Their chirping breaks my slumber through And keep me from my dreams of you. In this translation the translator dismisses the geographical location liaoxi altogether, for it would be difficult for English readers to associate the place with the frontier where her husband has been summoned. (Lu,, 2002: 255) The reason why the geographical name is omitted is that the translator feels no need to burden the target reader who would know little where that place is while for a Chinese the association is immediate, activating a vivid picture of the harsh environment for the poor soldiers, hungry, cold with knee-deep snow and whipping wind, hopeless of returning safe and sound, and confronted with the deadly barbarian enemy. 2. 2. 3 RELIGIOUS ELEMENTS Lindbeck in his article The Gospels Uniqueness: Election and Untranslatability says: â€Å" This essay is an experiment in looking at the uniqueness of Christianity from the perspective of religions as community-forming comprehensive semiotic systems. Uniqueness in this outlook consists formally of untranslatability and materially of the unsubstitutable memories and narratives which shape communities identities†. The Biblical story is well known. It has two main chapters: chapter one, Babel (Genesis 11: 1-9); chapter two, the Pentecost (Genesis 10: 9-11). In Genesis, the Almighty creates the different human languages to colonize an upstart humanity and thus secure the untranslatability of his own divinity. In the Acts of the Apostles, the miracle of total intelligibility, because it is a miracle and not a first instance of simultaneous translation, transcends language difference, and hence humanity, and thus once again presupposes and guarantees the ungraspable ideal of Gods absolute meaning. The Babelic confusion of languages imposed by a jealous God, on the one hand, and the gift of the Holy Ghost in the Pentecostal cloven tongues of fire granted by a proselytizing god, on the other, both tell the same story of imperial identity and subjugated otherness. One single language is good, for it bespeaks the untouchable self-sameness of the deity. If we follow the argument above, then translation simply becomes ‘mission impossible. Yet translation of all kinds of religious scriptures are taking place all the time, with either meaning addition or loss of the original. And the ideas are spreading far and wide. Untranslatability of the divinity is only of pedantic research value, not barring the way of the translators practicing translations, much less the way of the common people fervent to learn about divinity. 3. TRANSLATION IN GENERAL 3. 1 TRANSLATION VS MEANING It is universally agreed that translation means translating meaning. What is meaning, then? As G. Steiner (1975: 45) points out, and as much research into the reading process has shown, each act of reading a text is in itself an act of translation, i. e. an interpretation. We seek to recover what is ‘meant in a text from the whole range of possible meanings, in other words, from the meaning potential which Halliday (1978: 109) defines as â€Å"the paradigmatic range of semantic choice that is present in the system, and to which the members of a culture have access in their language†. Inevitably, we feed our own beliefs, knowledge, attitudes and so on into our processing of texts, so that any translation will, to some extent, reflect the translators own mental and cultural outlook, despite the best of impartial intentions. No doubt, the risks are reduced to a minimum in most scientific and technical, legal and administrative translating; but cultural predispositions can creep in where least expected (Hatim Mason. 1990: 11). In literary translating, the process of constant reinterpretation is most apparent. The translators reading of the source text is but one among infinitely many possible readings, yet it is the one which tends to be imposed upon the readership of the TL version. Since an important feature of poetic discourse is to allow a multiplicity of responses among SL readers, it follows that the translators task should be to preserve, as far as possible, the range of possible responses; in other words, not to reduce the dynamic role of the reader. The readers purposes can be divided into two types: for comparative literary research (intellectual) and foreign literature appreciation (aesthetic). For different purposes the translator may translate differently. Translation is a matter of choice, but choice is always motivated: omission, additions and alterations may indeed be justified but only in relation to intended meaning (Hatim Mason. 1990: 12). The translators motivations are inextricably bound up with the socio-cultural context in which the act of translating takes place. Consequently, it is important to judge translating activity only within a social context. Before there is translation, for example, there has to be a need for translation. In fact, the social context of translating is probably a more important variable than the textual genre, which has imposed such rigid distinctions on types of translating in the past (‘literary translation, ‘scientific and technical translation, ‘religious translation, etc. ) Divisions of this kind tend to mask certain fundamental similarities between texts from different fields. There are regularities of discourse procedures which transcend the boundaries between genres and which it is our aim to describe. Nida (1975) discusses translation from the point of view of semantic componential analysis, which consists in common (shared) components (the overlapping features of the single lexical units of a word field); diagnostic (contrastive) components (features which distinguish the meaning of individual lexical units of a word field or lexical units with more than one meaning); supplementary components (semantically optional secondary features which often have a connotative in addition to fundamental meaning/denote: be the sign or symbol of character and can cause metaphorical extensions). I have done some research from the perspective of hermeneutics which studies meaning in human communication. Modern ideas on hermeneutics hold that the writer may be an editor or a redactor and that he may have used sources. In considering this aspect of discourse one must take into account the writers purpose in writing as well as his cultural milieu. Secondly, one must consider the narrator in the writing who is usually different from the writer. Sometime

Harlem Renaissance And The Cotton Club Film Studies Essay

Harlem Renaissance And The Cotton Club Film Studies Essay Cotton Club as an example of Jazz scene during the Harlem Renaissance in the movie The Cotton Club by Francis Ford Coppola Even though the Harlem Renaissance ended almost 80 years ago and its timeline is almost the same as the prohibition, it still seems to have an incredible impact on American society and culture as such. What happened during those 13 years was a sort of revolution in every field of life in upper Manhattan. It would be almost impossible to name and enumerate every artist, musician, politician responsible for the Harlem Renaissance. What is the more important is the fact it was a moment in history when African American culture was able to express itself as separate from mainstream American culture of that time. Jazz became a powerful tool of defining Harlem identity; as Patrick Burke claims for African Americans interest in jazz was mixed with a desire to think and act differently. Harlem jazz musicians needed a place to practice and perform and the Cotton Club proved to play an important role in creating an atmosphere of artistic and intellectual growth during the jazz era, as depicted in the Cotton Club movie by Francis Ford Coppola. Francois Weil, the author of A History of New York, defines the Harlem Renaissance as the first African American movement in the modern history; the movement that influenced every aspect of cultural life, such as literature, music, art etc. Harlem in the 1920s was the place to be. It became what the Greenwich Village was in the downtown, mainly a place of cultural revival; an oasis to artist and intellectuals of all sorts. Harlems cultural revival at that time was called The New Negro Renaissance, a term that defined everything that was new, modern and exciting. The new movement was focused around black writers, like Zora Neale Hurston, Countee Cullen, Langston Hughes and jazz musicians, like Duke Ellington or Cab Calloway. In the 1920s, what was called Harlem stretched from 130th to 145th street, from Madison Avenue to Eighth Avenue. What became essential in Harlem Renaissance was the music; jazz, or rather ragtime as it should be called was one of the first examples of interaction between white and black music. Ragtime, as a genre was a combination of European and American influences. Its name comes from the ragged rhythm. Due to the prosperity of the 1920s, New York became the new capital of entertainment. Prohibition did not stop New Yorkers craze for nightlife, however, they had to search for fun somewhere else, in the speakeasies- illegal bars serving alcohol, mostly located in the basements. One of the most famous speakeasies was Onyx Club, which was a venue for both musicians and New Yorkers in search of fun and adventure. Patrick Burke, the author of Oasis of Swing, explains that what attracted both musicians and audience to that kind of places was the image of à ¢Ã¢â€š ¬Ã‚ ¦ jazz as an authentic, immediate form of personal expression. Speakeasies were often located in private houses or in the basements of official clubs. There was a wide variety of speakeasies, ranging from the dà ©cor and the style to the clientele and the prices of alcohol. Most of them were located in the downtown. When the parties were over on Times Square after midnight, the night had just begun in Harlem. For those, who were craving for more adventurous nightlife, Harlem was the Promised Land; it was home for famous clubs like, just to mention some, The Cotton Club, Connies Inn and Small Paradise. The Cotton Club was the place where the greatest jazz musicians, like Duke Ellington, Louis Armstrong or Cab Calloway, performed. Interestingly enough, The Cotton Club, was a place for white customers only. African Americans were allowed on the stage as performers, dancers, musicians but not as guests of the club. As Watson claims, the Cotton Club was the largest, featured the most extravagant shows, charged the highest prices, and most strictly enforced the color line. Strangely enough, thanks to its policy, the club was seen as one of the best places for white New Yorkers to be immersed into black culture. The Cotton Club attracted white clientele in many ways, for example by serving fancy food, the prices were unreasonably high, the dancers were young and pretty; it all created the atmosphere of a place for elites. In the heart of Harlem, The Cotton Club was a venue run by white owners for white audience. The Cotton Club was quite an extraordinary place where not only did white and black clash, but also other groups, like high and low classes, mob bosses and artist. Furthermore, the club was attracting its clients by the creating the sense of forbidden adventure. On top of that, illegal alcohol was just another factor that created the clubs myth. The Cotton Club movie was directed by Francis Ford Coppola in 1984. Coppola, whos regarded as one of the most important American filmmakers, had been renowned for Apocalypse Now and The Godfather trilogy. Growing up in New York, although he was born in Detroit but his family moved to New York when he was a child, he actually made the city something more than just a background for the stories he depicted in his movies, the city itself became the vital part of his movies, almost like another main character, for example in the Godfather, where he depicted the life of Italian tenants living in New York City. The Cotton Club was produced by his own studio, Zoetrope Studio, which meant for Coppola even greater financial responsibility in case the movie did not become an instant success. Not only did it fail in commercial sense, but also it did not meet the audience and the movie critics expectations. The story is set in Harlem, New York City, primarily in 1928. The main character is white cornet player, Michael Dwyer called Dixie, starred by Richard Gere, who incidentally saves Dutch Schulz, starred by James Remar, life and since then Dixies life changes completely. This night is a turning point for Dixie; at the same club where he rescues Dutch, he meets Vera Cicero, starred by Diane Lane, a woman he completely falls in love with. In addition, Vera turns out to be Dutchs mistress. Unfortunately, Dixie has no idea that the person he rescued is a mob boss, and this very fact makes Dixie mingled into the underground world of gangsters, bootleggers and speakeasies. As the story develops, other characters appear on the screen, for example Williamss brothers, two black tap dancers and this is the very first moment when the story moves into The Cotton Club. From now on, the lives of black and white characters are connected via the club itself. What strikes viewers attention most is segregation at the Cotton Club. The black performers are allowed to use only the backdoor, leaving the front door to white audience only. This fact is easily understood when it turns out that the owner of the club is white man, Owney Madden, starred by Bob Hoskins, who claims to be a businessman rather than a mobster and whose main concern is how much he can earn by selling illegal liquor at the club. Dixie takes the screening test and gets engaged in the movie industry, which means moving to Hollywood and leaving New York and his beloved Vera. He takes his chance, seeing this as an opportunity to escape from his problems with Dutch. Out of a sudden, Dixie becomes a movie star. Meanwhile, the mob war in Harlem starts. To make things worse, the prices of stocks crash on Wall Street. The Great Depression does not seem to affect Vera Cicero, who left by Dixie, opens her own night club, Veras Club, for whites only on Broadway. Out of the sudden, Dixie comes back from Hollywood as a celebrity, finding his brother Vinnie guilty of killing innocent children in the street. The stock market crash in 1929 and the mob wars in 1930 are presented to build the dark and gloomy atmosphere of inevitable doom. In other words, the good careless days of jazz age are over and what is about to happen is like a harsh wake up after an all-night party. Talking about black characters in the movie, they are presented as a sort of background for white main characters. There is another love affair in the movie, between black tap dancer, Dalbert, called Sandman, Williams, starred by ,Gregory Hines, and a singer, Lila, starred by Lonette McKee, whose tragedy is that she comes from a mixed background, of a white mother and black father, which makes her black for whites and white for blacks. Lila is a star at the Cotton Club, dreaming about career on a Broadway. Thanks to Vera Cicero, her dreams come true, as Lila is white enough to perform at the Veras Club. The black jazz scene in the Cotton Club is depicted in two ways. First of all, there are historic names, such as Duke Ellington or Cab Calloway and fictional names, such as Williams Brothers. As far as historic names are concerned, the jazz scene in the Cotton Club can be divided into two phases: The Duke Ellingtons era, till 1930, and Cab Calloways era, since 1931. The times when Cab was the host at the Cotton Club mark the line of a different sort of entertainment; the show was more varied, there were more dancers, feathers, the pace was faster, because the audience was more varied. 1931 is important in the movie for two reasons; first because it is a date when the concerts are broadcast live from Cotton Club, second, it is a time when black audience is allowed into the club. As far as fictional characters are concerned, the major black characters are two brothers, Clay and Dalbert Williams, who want to succeed at the Cotton Club as tap dancers. When they finally make it there, they start competing with each other and this rivalry leads to a split between them. The conflict is not an endless one and Williams brothers realize that what made them went separate ways is meaningless, and what really matters is the fact they are flesh and blood. The scene when sing and tap together to the Crazy Rhythm is one of the best scenes in the entire movie. In addition, the second best scene in the whole movie is a violent scene of Dutchs murder is accompanied by Sandmans tap dance in the background. The evening show at the Cotton Club is depicted in the movie as a sort of a variety show. The stage in the shape of a horse hoof is located right in the center, surrounded by the customers tables. First, there female dancers enter the stage; young and attractive black girls chosen to attract mostly the male clientele. At the back of the stage there is a black jazz band accompanying the dancers. Secondly, there is a ballet performance or a singer solo accompanied by the orchestra. Next there is a tap dance, like Williams brothers, who dance synchronically to the rhythm of the music. The club is presented as a meeting spot for celebrities as well, for example when Dixie meets Gloria Swanson, the movie star. The show changes pace so that the audience can talk eat and enjoy it without paying attention all the time to what is happening on the stage. The genre of this movie is a crime story combined with love story. The crime story part is most evident when at the beginning and the end of the movie when the Dutchs opponents try to kill him and when Dixies brother, who became a gangster, incidentally shots kids on the street. The love story part is the dangerous, erotic and highly emotional relationship between Vera Cicero and Dixie Dwyer, the best example is the passionate tango scene where Vera slaps Dixie, who slaps her back. Their romance has to be a secret; otherwise they would get killed by Dutch. This tension leads to the inevitable conflict between Dutch and Dixie, which is the climax of the story, hence the secret about the love affair is revealed. The Cotton Club movies strength lies in meticulous preparation to recreate the atmosphere of jazz age; as a matter of fact, the interior design and art deco details are impressive and take the viewers back to the famous club in the late 1920s.However, the movie has some flaws. First of all, it is not a tribute to black Harlem artists who were responsible for a cultural revival of that time. As Johnson points out, the movie of that title should be focused on indomitability of segregated black artists who were able to lose themselves in ecstasies of escapist jazz songs and dance. Secondly, the movie proves to be a crime story rather than a musical. Thirdly, black artists are displayed as minor characters, whereas all the glory and attention go to the white protagonists, especially white jazz musician Dixie Dwyer and femme fatale Vera Cicero. The Cotton Club as an example of a nightclub was responsible for cultural revival in Harlem. Even though being responsible for segregation in Harlem, the club proved to be the place where many talented artists could perform and become famous overnight. It was the ultimate place where white audience could become familiar with Afro-American culture, for example by listening to Duke Ellingtons orchestra play jazz in the club. Furthermore, The Cotton Club was more than a jazz club; it was a scene for tap dancers, performers, singers, and other artists to show broader audience their work. In this way, The Cotton Club might be called the meeting place of white New Yorkers and African-American Harlem residents. The Great Depression brought about the end of phenomena called the Harlem Renaissance. The majority of clubs were closed; significant artists abandoned Harlem and moved to other states or headed for Europe. The great cultural revival was over. In addition, the end of Harlem Renaissance is marked with the end of prohibition. The nightlife lost its seductive glamour; the speakeasies ceased to be the meeting spots. Stock market crash had a bigger impact on Harlem than anyone would expect; everything seemed to be falling apart. The Cotton Club and Connies In were open during the great depression. What changed was the number of white clients increasing. The repeal of prohibition seemed to have more impact on Harlem nightlife than the depression itself.

September Eleventh Essays -- Art Tragedy Terrorism Terrorists Papers

September Eleventh I see the three bodies in his painting as people falling from the 110th floor of the South Tower. I see the broken debris and splintered wood as pieces of steel and glass collapsing to the ground, taking firefighters and innocent people with it. By Jennifer Karey In 1986, John Boak created a painting that depicts the horrible event that took place in Cripple Creek, Colorado in the early morning hours of June 5, 1904. An explosion destroyed the Independence train depot in a matter of seconds, killing thirteen men and injuring twenty others. In Boak's work, that horrific moment is captured as if looking up at the patchy night sky as the debris and people seem to fall down to earth. While Boak's intention may have been to portray this event accurately and capture it in time, this intended message is lost in the aftermath of September eleventh. The image no longer represents the image of a small town explosion almost a millennium ago, but rather rekindles recent memories of the events that shook the country only one month ago. While 2001 has proven to be a year of fear, anger, uncertainty and terrible destruction, the years between 1893 and 1904 were equally chaotic for the small mining town of Cripple Creek, Colorado. Tensions began to grow between mining companies and workers over their long hours and low wages. In response, John Calderwood, a former coal miner, established the Western Federation of Miners (WFM) in 1894. Calderwood and five hundred men formed a union in February of that same year. Their demands were simple: three dollars' pay for an eight-hour day. The conflict went on with neither side willing to compromise. Non-union workers and union workers competed for jobs as companies refused t... ...p://www.boakart.com> Boak, John. "Re: Harry Orchard blows up the Independence Colorado Train Depot." Email to Jennifer Karey. 14 Oct. 2001. Jameson, Elizabeth. All That Glitters. Chicago: University of Illinois Press, 1998. Jenkins, Sally. "Manhattan Cleaning Up the Day After Attacks." The Washington Post (2001). 12 September 2001 < http://www.washingtonpost.com/ac2/articles/A18284-2001Sep12.html> Langdon, Emma F., The Cripple Creek Strike: A History of Industrial Wars in Colorado. New York: Arno Press, 1969. Powell, Michael. "New York: A City Turned Upside Down." The Washington Post (2001). 12 September 2001 < http://www.washingtonpost.com/wp-dyn/articles/A14164-2001Sep11.html> Sedivy, David. Mr. Sedivy's Highlands Ranch History. 11 October 2001. Highlands Ranch High School. 12 October 2001 < http://mr_sedivy.tripod.com/co_hist.html>

Guns and Violence Essay -- Social Issues, Crimes

Guns and violence have some long lasting effects on not only the crime rate, but the rights that people have to own guns themselves. Even though the violence is a factor in why many believe that guns should be banned, guns should be allowed and not banned because they should be allowed because of the laws and the rights of citizens allow them there rights. The ethics and laws that occur with the current and enduring debates are another meaningful point. As Supreme Court Cases rage on about how a cities ban on handguns could break amendments, this is how the topic has gained from it (Hoxie 474). As crime statistics begin to rise there are many reasons that they need to work on the juvenile justice system (Collier 478). The other topic of the age could become a factor is another point that many think needs to be changed, as a 13 year old child could commit murder, they would not be sentenced as severely as an adult (Cohen 481). The ethic and laws play a huge effect on guns and violence because of the effects it has on crime, and the citizens themselves play a huge role on the society that they live in. Violence has been connected with guns in today’s society. For this reason a lot of cases have ended up in courts to try to decide what the truth about the second amendment is. As the U.S. Constitution guarantees people the right to bear arms. Not only is this but there debates about this amendment, that look to strike down the law in effect. There have been laws banning the ownership of handguns, which has been an attempt to stop the violence in districts. Many are searching for the correct way to regulate dangerous or potentially dangerous weapons, by doing this they would make the ownership of them illegal (Hoxie 474). But is the... ... that have guns. Even when violence is the factor it is why many believe that guns should be banned, guns should be allowed and not banned because of the rights that citizens have. The ethics and laws can occur with the current debates that get to meaningful points. The Supreme Court Cases continue to bring up how city bans on handguns break amendments, and this is how the topic has picked up from it (Hoxie 474). Crime statistics have risen for many reasons and they will need to work on the idea of a juvenile justice system (Collier 478). The idea of age can become another thing that might need changes, because a 13 year old child could commit murder and they would not be sentenced as severely as an adult (Cohen 481). The laws and ethics play huge effects on how guns and violence affect crime and the citizens themselves, in which hold a key role in the society.

Language of Hysteria Essay

During the 1690s, there was a mass hysteria due to beliefs of the existence of witches. With this fact came the Salem Witch Trials which occurred in Salem Village, Massachusetts. A young child began to exhibit abnormal behaviour and so she was taken in to be examined, they found nothing that could cause her to behave in such a manner. The entire village began to panick and started praying to God to get rid of evil. Conspiracies began to take rise in the village that made the villagers believe that there were witches in their village. Three women were accused of having relations with the Satan. Accusations grew larger and soon there were people who were tried and were killed. These events led to the Salem Witch Trials. The hysteria grew and began to worry people of high standings and soon the assumptions of witchcraft ended. Due to misconceptions and assumptions the Salem Witch Trials began. During the 1930s there was a mass hysteria of alien invasions. This became known as the War of the Worlds radio broadcast sent out by Orson Welles. Welles adds in effects that could cause the people to go into a state of panic. He got the idea from H. G. Wells’ novel The War of the Worlds. Bad timing became the cause of this mass hysteria. Due to the fact that during those times many people had radios and most families were listening to popular shows and by the time they got to Welles’ they were not able to listen to his introduction. They heard music being interrupted and surprising news of explosions and other sounds that exemplify an alien invasion. The people that tuned in to the radio broadcast late misunderstood and developed a fear and this one of the many causes of the mass hysteria in the 1930s. During the 1690s and the 1930s there mass hysterias like the Salem Witch Trials and the War of the Worlds radio broadcast that caused people to go into panic. These panic attacks were due to misconceptions and misunderstandings. The connection between these two mass hysterias is that the people misunderstood in both situations and caused them to start to panic. These two events have the common factor of how the events occurred.

Offset Printing History

1 History of Printing Presses Printing is a method of transferring an image to surfaces for the purpose of communication. A printing press is a mechanical apparatus for applying pressure to an inked surface resting upon a print medium. The invention of the printing press is considered as the most influential event in the second millennium revolutionizing the way people learn and communicate. Rubbings from stone inscriptions were an early reproduction method in which images were carved into stone, similar to the gravure process.The substrate, which was a thin strong paper, was moistened to make it soft . A kind of adhesive is placed on the surface of the stone. The paper is placed over the surface of the stone and a stiff brush is used to rub the paper over the stone and into every depression of the stone. Ink is applied over the paper after it was dried. The paper is peeled off from the stone and a reversed image within black ink was revealed. Stone rubbings were used to print books, especially religious texts and historic classics. Drawing materials include charcoal, inksticks, graphite and wax.Seal Printing and the Origin of Letterpress Printing The Chinese also used a method of reproducing images that is similar to our present-day rubber stamp method (Fig. 1:1) called seal printing. Before seal printing was invented, the Chinese used a receipt-like system to transact business. Two ends of a bamboo stick were written in duplicate for a particular business transaction. When the transaction was completed, the bamboo stick was broken and each member would receive a record of the transaction. For nobility, the emperor provided a token of jade.The jade was broken and one half was given to the subject and the other half kept by the emperor. A seal stamp made of clay eventually replaced the tokens. One method of seal stamping was to force an impression into a surface with the seals. The other method was to ink the seal and transfer the wet inked image to a substrate . Presswork and Bindery Processes 1 An early form of seal printing was the use of signet stones. These stones were used in Babylon and other ancient countries as an alternative for signatures and as religious symbols. These stones or devices consisted of seals and stamps for making images on clay.The stone, often located on a ring, was dabbed with pigment or mud and then pressed against a smooth surface to make an impression. Fig. 1:1. Chinese seal and print. Fig. 1:2. Chinese ink stick. Block Printing in China The Chinese developed a method of printing in the fifth century in which a wooden block was used to reproduce images on certain surfaces over and over again. Wooden blocks were made from coniferous wood, honey locust trees, jujube trees, boxwood, and date and pear trees. Each tree had advantages and disadvantages as far as printing was concerned.The coniferous wood trees had a problem of uneven printing because of resin that was impregnated in the wood. If delicate and fine l ine images in illustrations were required, the honey locust tree was used. For text, the soft boxwood was used, while the pear tree provided the best wood to use for various types of images, followed closely by jujube and date trees. Blocks were soaked in water for about a month after they were cut. If the blocks were needed in a hurry, they were boiled, left to dry, and then planed on both sides. Some printers used both sides of the blocks.The printer had to cut away all portions of the block except the image area (Fig. 1:3). All images had to be carved backwards so that when printed on a substrate, the images would appear correctly for reading. The wood carver had to be very skillful in carving text and illustrations backward. These blocks marked the invention of letterpress printing. The non-image areas of the block are below the surface of the form, and the image areas are on the surface of the form. The printing method was simple. Ink was rubbed on the surface of the form with a brush (Fig. 1:3).A sheet of paper was then placed over the form with gentle pressure so it could receive the images . A dry brush was used to press the sheet against the form. It must be noted that the original paper was so thin that usually only one side was printed. Because the paper was very translucent, blank sides of the printed sheets were placed back to back in publications. 2 Presswork and Bindery Processes Fig. 1:3. Chinese wooden block printing. Fig. 1:4. The Diampond Sutra. A color technique was developed during this time. Color separated blocks were carved and printed in register with other color-separated blocks and text as well.This was the first attempt at multicolor printing. An important invention in printing technology occurred during the Song Dynasty. It was the invention of movable-type printing. A commoner by the name of Pi Sheng used movable-type blocks for printing during the Qingli years (1041-1048) of the Northern Song. This invention ushered in an era of movable-type printing and is a significant milestone in the history of printing. This invention soon died in China because it was very complex. The invention soon found its way to Europe in the fifteenth century. Movable TypeAn alternate method of reproduction called movable type was developed in the eleventh century in China. This method was established well after the wooden block method, which came around the fifth century. Movable type consists of individual letters, characters, and symbols creating a language or an alphabet (Fig. 1:5). These elements could be used in the printing of one form, and then be taken apart and used to print other forms. The thousands of different characters in the Chinese language made the use of movable type cumbersome and slow. The Chinese writing system was a pictographic and ideographic method of communication.The Chinese alphabet system consisted of almost forty-thousand characters. Each character represented something in real life such as trees, animals, and pottery. Pi Sheng is given credit for the invention of movable type. He used clay and carved individual characters. The carved letters were put into fire to harden them. A metal frame with a mixture of wax was used as a base for evening out the surface of the type. The typefaces were set close to each other to make up a form of type. The entire block of type was then forced into the waxed metal tray and planed down with a smooth board after the wax was melted down in an open flame.Presswork and Bindery Processes 3 Pi Sheng reasoned that each type or character was to be used over and over again. One advantage of the movable type method is that characters could be deleted or inserted without throwing the entire form away. Fig. 1:5. Chinese movable type. Fig. 1:6. Movable type printed document. The Middle Ages in Europe Before 1450, the majority of books in Europe were produced by the arduous task of manuscript writing and recopying. The few exceptions were books that were printed by the wooden-block method, which was introduced into Europe by the year 1400. This slow, laborious process required skillful workers.Block printing was also used for illustrations in books (Fig. 1:3) and in the printing of playing cards. During this era, a period that saw little or no advancement in the arts or sciences became known as the Dark ages. This period was also marked by a lack of communication. Monks, who worked in monastery rooms called scriptoriums or writeries, produced the majority of books written during the Dark Ages. The religious scribes were responsible for the recording of history and the production of books, as well as most other intellectual activity during this period. The bookmaking trade was highly specialized.Books were elaborately decorated with colored initials, and they often displayed special gems, precious stones, and gold on their covers. Books were scarce and the average person could not afford them. In addition, most people could not read or write in Europe during this era. During the Dark Ages, books were highly illustrated, since this facilitated communication. Many illustrations were featured in religious books as well as on playing cards. These illustrations were engraved in wood or metal, inked, and impressed on the sheet, a process that required great skill. There is proof 4 Presswork and Bindery Processes hat blocks were exchanged between printers. Several illustrations appeared in different publications. The same images were often used to illustrate different subjects. Type and illustrations at first were printed in two separate impressions because they were produced at different heights. Over time, type and illustrations were produced at the same height. The Renaissance era, a period that was marked by an intellectual awakening, began around the thirteenth century. People began to study the sciences and the arts and to explore their environment. Many discoveries were being made, and people wanted to have kn owledge of new ideas.Fig. 1:7. Statue of Gutenberg. Fig. 1:8. Gutenberg style screw press. Fig. 1:9. The Gutenberg Bible. The Gutenberg Era (1397-1468) During the Renaissance, people experimented with methods for the faster reproduction of books. One result of these experiments was the successful use of movable cast type and a press in printing by Johannes Gutenberg (Fig. 1:7). The invention was revolutionary for several reasons. European languages, in contrast to those of Asia, were alphabetic. They consisted of relatively few characters, such as the twenty-six letters of English.This small number of different characters made the use of individualcharacter types (movable type) practical. Casting each character in quantity from a mold and using a press for printing permitted very fast reproduction of written materials. Through experiments and innovations, Gutenberg perfected the printing process before the famous printing of the bible. Each page printed had thirtysix lines per page. Later the lines per page increased to forty-two. Because of this invention, printing soon spread rapidly throughout Europe. Books became plentiful because they could be printed more quickly.Many persons could now afford books, and printing fulfilled the demand. Intellectual activity and learning began anew. Because of the impact of books on the culture of Europe at this time, printing became recognized as the art that preserves all the arts. The following reasons help to further explain the importance of the invention of movable type: 1. With movable type, a greater degree of accuracy was possible. 2. The supply of books increased greatly. Over twenty thousand volumes for one book could be produced in one year. Presswork and Bindery Processes 5 3. Because books were plentiful, they were affordable.They became readily accessible among all classes of people. 4. The invention of printing stimulated the desire for learning. The invention of printing, more than any other invention, was credited with bringing Europe out of the Dark Ages. 5. A standard alphabet was in place. Despite many languages on the European continent, thousands could share from the same invention. Presses were set up in Holland, France, England, and other European nations. 6. Gutenberg invented a press (Fig. 1:8) fashioned from a wine press. Ink pads, which were made of leather stuffed with wool or horsehair, were used to apply ink to the form. . The ink that Gutenberg used was have been made from linseed oils and lampblack. Later it was discovered that traces of lead, titanium, and copper were also used. Gutenberg could not use the India ink produced in China, because it did not print well from metal types. 8. Gutenberg’s own contribution was a punch and mold system for producing metal types. This method created the mass distribution of movable types for printing. Despite the accomplishments of Gutenberg and other European printers, we cannot forget the Chinese influences on their inve ntions.These inventions eventually made their way to Europe via explorers, who came back with startling discoveries, including paper, playing cards, movable type, block printing, image prints, and paper money. The printing trade was not profitable. Gutenberg himself did not become rich from his innovations and contribution to the world. The problem lay in the marketing of books in Europe during that time. Although the demand for books and other printed matter was great, methods to market and transport books needed to be developed. Early European Printers (Graphic Arts Procedures) 460 Strasburg, Germany †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Johann Mentelin 1464 Strasburg, Germany †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Heinrich Eggestein 1465 Subiaco, Italy †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Conrad Sweynhem 1467 Rome, Italy. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. Ulrich Han 1468 Basel, Switzerland †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Berthold Rappel 1469 Venice, Italy †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Johann of Speyer 1470 Venice, Italy . †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Nicholas Jenson 1470 Paris, France. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Michael Fibiger 1473 Nuremberg, Germany †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Anthony Koberger 1473 Utrecht, Netherlands †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢ € ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Gerardus Leempt 1473 Lyons, France †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ .Guillaume Leroy 1494 Venice, Italy †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. Aldus Manutius 1497 Paris, France †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Henri Estienne 6 Presswork and Bindery Processes Fifteenth Century PrintingPrinting was a very important invention during the Renaissance era. The key to the invention of printing lies in the manufacturing of movable type. This technology had to be perfected in order for the printing process to be developed. A few inventors worked on the development of movable type. A punch of a particular type style and size had to be produced. This punch was used i n making an impression of the typeface in a mold. The mold was made from copper, which is soft enough to receive the impression from a steel punch, but durable enough to withstand the heat from the molten metal that was poured into it to produce the type.The punch itself had a reversed character, which was reversed into the matrix as a positive recessed character. A wrong reading character was produced from the casting of molten metal in the mold. The person that produced the punch was often the designer of the typeface. Fig. 1:10. Fifteenth century typesetting and type casting (Cary Collection). The term unjustified matrix or strike was referred to as matrix that was produced by depressing the punch within the copper. The term matrix is used after the copper with its impression is fitted within the mold for casting (Fig. 1:10).The goal in the casting of type was to produce type of equal height. This was necessary in order for printers to obtain an even impression with few difficult ies. The matrix and its fitting within the mold were the key factor in the controlling of the type height. This was accomplished by using the same mold throughout the manufacturing of a font. In addition to the type height, the paralleling or the side-by-side placement of the type was also important. If type were not produced on a square body, then it would not stand straight and would slant when locked together with other characters. Presswork and Bindery Processes 7Molds were made up of two parts and screwed together in a parallel adjustment. In this way the mold could accommodate matrix of varying size. During the hand casting process, a worker could face shrinking of type, uneven filling of the molten metal in the mold, and injury from the heat of the molten metal. The process was slow, but the type could be used for thousands of jobs. By the mid-nineteenth century, automatic methods replaced the manual methods of typecasting. Workflow in the Fifteenth Century The workflow in th e fifteenth century included composition, imposition, printing, and binding.In the composition stage, once the text was decided on to print, then the volume of copy was determined. Lines per page as well as the total number of pages for the job were determined. The printer would then know how much paper was needed for the job. The compositor set the type for the job using a composing stick. Every time the stick was filled, the lines were transferred to a metal tray called a galley. Pages were formed in the galley. Pages in the fifteenth century were arranged on large stones in printer spreads. Pages were enclosed by wooden pieces, which are called furniture.A metal frame called a chase surrounds all pages and furniture. To secure the form, locks or quoins were used. One page with no printing on the other side was called a broadside. Two pages were called a folio; four pages, a quarto; and eight pages, an octavo. A pressman pulled a proof sheet from the imposed form (Fig. 1:11). The proof was given over to a corrector and a reader. The reader read the original copy as the corrector trailed along on the proof sheet to ensure that the text was the same. This process continued until all corrections were found and changed.Because of these continuous changes, no single copy of an early printed book is identical to any other. Fig. 1:11. Fifteenth century printing (Cary Collection). Paper was prepared the day before the actual press run. Piles of sheets each were set out, wetted, and allowed to stand overnight. This was necessary because the common screw presses of the time did not have enough power in them to force dry paper to evenly take the ink. 8 Presswork and Bindery Processes Two pressmen were involved in the printing process. One applied ink to the type, and the other pulled the bar and worked the paper.Pulling the bar required a lot of energy and printers would take turns in this process. Ink balls were used to applied ink to the form. These ink balls were ma de of leather pads, mounted in wooden cups and handles, and stuffed with wool or horsehair; they were then covered with a sheepskin pelt. Ink balls were inked, and ink was placed over the form in a rocking motion. A sheet of paper was then laid on the tympan. The tympan, paper, and frisket were folded together onto the form. The pressman then pulled the bar toward himself. This caused the turning of the screw, drawing the platen down and forcing the paper against the inked form.It sometimes took two pulls to print one form. The carriage was cranked out from under the platen. The tympan and frisket were raised, and the paper was removed. Sheets of paper were printed on the reverse side immediately while the sheet was still damp. Printing on both sides of the sheet is called perfecting. After the job was printed, the compositor cleaned the ink off the forms, unlocked the type, and distributed the type into the cases. Printed sheets were sent to a drying room and hung up in sets to dry . They were then piled into heaps on a long table and collated by signatures.Next they were folded once, pressed, and baled for delivery or storage. Fig. 1:12. Adams power platen press. Fig. 1:12a Early inking apparatus. Evolution of inking rollers. Fig. 1:13. Ink balls. Fig. 1:14. Ink brayer. Fig. 1:15. Inking rollers. Presswork and Bindery Processes 9 The Power Platen Press In 1830, Isaac Adams of Boston invented a press, which combined the advantages of the hand press and a press that could print larger forms. The platen on this press was stationary with the bed of the press rising to make contact with the platen to print.The form would be inked when the bed of the press returned to its lowest position. At this point the inking rollers would transfer ink over the printing form. A frisket was used to carry the sheet to the printing position (Fig. 1:12). The average speed of these presses was around 800 sheets per hour. Inking rollers evolved from a hand frame with two handles auto matically inking rollers, to the use of vibrating rollers to drive the rollers in the unit. An earlier method of inking employed a â€Å"roller boy† or an â€Å"assistant pressman†. Soon the inking apparatus (See Fig. :12a) was run by power, which was signaled by the action of the bed moving up and down. The Job Presses Job work consist of smaller work such as tickets, circulars, business cards and bills. This type of work became problematic for hand-press printing where the demand was in place for smaller, faster and more accessible presses. One of the first job presses was called the Adams press. This press did not meet the qualifications that were needed to run smaller job work. S. P. Ruggles of Boston introduced a series of presses in 1830. They were known as â€Å"card presses†.The card press was manufactured with a flat side on the side of a cylinder supported between side frames. A second flat surface known as the â€Å"platen† was directly across from the bed of the press. Rollers on the press, which traveled around the cylinder, did the inking. The largest press sheet on the press could accommodate a press sheet of 6† X 9†. Other notable presses include: The Albion Press of 1835 (Fig. 1:19), The Paragon Press of 1829 (Fig. 1:17), the Stanhope Press of 1816 (Fig. 1:20) and the Chandler and Price Platen Press of the early 1900s (Fig. 1:18). Harrison T. Chandler and William H.Price founded Chandler and Price Company in 1881 in Cleveland, Ohio. Chandler and Price manufactured machinery for printers including hand-fed platen jobbing presses, paper cutters, book presses, and assorted equipment. Fig. 1:16. Clymer-Columbian Press. Fig. 1:17. Paragon Press. 10 Presswork and Bindery Processes Fig. 1:18. Chandeler & Price Press. Fig. 1:19. Albion Press. Fig. 1:20. Stanhope Press. Many job presses came out with several improvements over the years. These improvements included: †¢ Larger press sheet sizes. †¢ Faster press speeds. †¢ Better synchronization of the bed and the platen. Improvement in the inking roller application. †¢ Better impression devices. †¢ Automatic feeding and delivery. The newspapers were printed on wooden hand presses operated by levers and screws. It was not until around 1816 that the new iron Columbian press came into general use. The Columbian press (Fig. 1:16), invented by George Clymer of Philadelphia, had, instead of a screw, a series of compound levers that multiplied the pull of the operator. All hand presses were slow. The forms had to be laid by hand and the inking of the form was notably poor and of uneven quality. Web Offset DevelopmentWith the nineteenth century came the addition of the steam-powered press, the cylinder press and the web press. An American inventor by the name of William A. Bullock (Fig. 1:32), patented the web press. The web press printed from rolls of paper rather than from individual sheets. This was followed by another Ame rican invention, the continuous roll press, devised by Richard M. Hoe. This device sped up the production of newspapers to around 18,000 newspapers an hour. In 1871 Hoe (Fig. 1:30) and company turned their attention to constructing a press that would feed a continuous roll of paper and print on both sides of the fed paper.They petitioned ink manufacturers for the development of fast drying inks. Paper manufacturers were asked to produce rolls of paper with Presswork and Bindery Processes 11 Fig. 1:21. William Bullock Web Press. Fig. 1:22. Web Perfecting Newspaper Press. Fig. 1:23. Turn bars Assembly on a Web Press. 12 Presswork and Bindery Processes Fig. 1:24. Web Press Infeed Section. uniform strength. But there were other problems that needed to be solved including the severing of sheets after printing and an accurate delivery of papers. Stephen D. Tucker, who was an employee of Hoe and Company, patented the gathering and delivery mechanism.This mechanism produced flat rapid deliv ery of printed sections. The web presses operated at speeds as fast as 18,000 impressions per hour. This finishing device was necessary for the production of â€Å"fold ready† products for immediate delivery by carrier or mail. The finishing steps were done â€Å"inline† or on the same piece of equipment. Initially equipment similar to the traditional folding machine was used. Conveyor belts would carry the sheet to right angle folding units, which were made up of folding rollers until the desired folded format was completed. Then in 1875 Stephen D.Tucker patented a rotating folding cylinder. This device folded the papers as fast as they were printed approaching speeds of 15,000 per hour. Paper enters from two rolls into two portions of the press. The web is printed (perfected) on both sides of the sheet and traveled towards the rotating folded cylinder. The sheets entered a triangular former, which folds the sheets at a predetermined place on center of the sheets. The sheets were then taken over a second cylinder, which gave it another fold. A knife then severed the sheet separating it from the web.The folded section traveled down a conveyor belt to be manually removed, wrapped and shipped Cylinder Press Invention William Nicholson received a patent for an idea for press in 1790 in which a form is to be placed on a cylinder over a flat bed. The substrate is fed between the bed and the impression cylinder to receive an image. The application of ink was done with rollers on this press. The rollers was composed of cloth covered with leather. Nicholson's envision for this press was far ahead of his time. Nicholson did not have a method for producing curved letterpress plates to fit around a cylinder.The securing of the plate for printing was another mystery at that time that would have to be figured out. In 1814, Frederick Koenig invented the first automatic press (Fig. 1:25). Frederick Koenig was a clock maker by trade. Koenig’s first press was actually patented in 1810. The entire bed moved laterally, and the form received ink from a set of inking rollers placed at one end of the press. The key to the automation of this press was the metal gripper finger, which in essence replaced human fingers for providing sheets to the press. Before this time, presses had been fed by hand.The automatic press was powered by steam and was used in printing the Times of London. It printed approximately 800 sheets per hour, an amazing feat in the 19th century and adequate for the population of that time. Thomas Bensley, a printer and Andrew Bauer a mechanic, assisted Koenig. They invented a press with a bed that moved laterally with the form and an impression cylinder that pressed the wet inked image on the substrate. The impression nip, or the area that prints at any given time, is very small on a cylinder press, resulting in a much better image transferred to the substrate.More importantly, this invention prevented many injuries and d amage to the press because operators were not in close contact with the moving parts on the press. Presswork and Bindery Processes 13 Fig. 1:25. Koenig’s cylinder press. Fig. 1:26 Hoe’s cylinder press. Fig. 1:27. Battery of cylinder presses. 14 Presswork and Bindery Processes Fig. 1:28 Advertisement of a cylinder press. Richard Hoe and the Rotary Press Richard Hoe (Fig. 1-30) was born in New York City. He went to work for his father, who manufactured printing presses. His father experimented with cylinder presses until his retirement in 1830.Richard carried on this work after his father retired in 1830. He invented the single cylinder press, which was capable of printing 200 copies per hour. Hoe also introduced the double cylinder press in 1844, known today as the rotary press. One cylinder carried the type to be printed while the other cylinder carried the paper and provided printing pressure so that the image could be transferred to the substrate. Rotary presses requ ires curve metal letterpress plates. The difficulty of making these curved plates slowed the acceptance and growth of rotary presses.Curved stereotype plates were accepted and used by 1870. The rotary press became the press of choice for newspaper reproduction, business forms, catalogues and magazines. A flying splicer was introduced for the continuous printing of publications without the need of stopping the press. This device changed the rolls by attaching a new roll to and expired roll. Hoe also invented an additional press in 1847 (Fig. 1-30), which featured a type form and four cylinders for carrying the sheets through the press. It is interesting to note that a boy, who fed sheets to the cylinder, also attended each cylinder.This press produces prints at the rate of 8,000 sheets per hour. Hoe is also credited with the invention of a web perfecting press. This press feeds from rolls of paper and is printed on both sides of the sheet. The presses were powered for the most part b y steam. Electric power took over in the nineteenth century as the main power source for presses. Presswork and Bindery Processes 15 Fig. 1:30 Richard Hoe (left) and his six rotary press (above). Fig. 1:31. Richard Hoe web press. Fig. 1:32. William Bullock. 16 Presswork and Bindery Processes Fig. 1:33. William Bullock’s rotary press.