Diffusion Lab Essays

Diffusion Lab Essays Diffusion Lab Essay Diffusion Lab Essay The food dye added to the ice water did not diffuse. This data agrees with my hypothesis that warm water diffuses fastest. It was also proven that the concentration of solute affects diffusion. The group of potatoes placed in distilled water was closer to equilibrium than the groups placed in 10% and 40% NCAA elution because the water had no solute. The potatoes in 10% and 40% NCAA were placed in a hypersonic solution, which is why the potatoes in 10% decreased . 4 grams and the potatoes in 40% decreased . 8 grams, according to class data. Although the data for 10% NCAA followed the class data pattern decrease in mass, 40% NCAA did not, which is an error. The more water left from the potato, the softer it became which is proven when the potatoes in distilled water got increasingly hard, in 10% NCAA got soft, and in 40% NCAA got very soft. It was also proven that the size of the solute affects diffusion. Starch did not move out of the dialysis tube because it was too large of a solute. If starch had moved out of the bag, the water in the beaker would have turned black, which it did not. Instead, the water on the inside of the dialysis tube turned black because SKI is a small enough solute to diffuse across the dialysis tubing. The glucose moved out of the tubing because the water in the beaker Witt Benedicts turned turquoise Delude when put In Dolling water, a positive test result for glucose. The amount of glucose that went out was more than the amount of SKI that went in, which is why the mass decreased. Proven last was that type of membrane affects diffusion. The shell of egg that was left in vinegar was completely gone in 24 hours. The outermost layer was the amniotic sack. The membrane of the egg in the oil was its shell. The shell serves as a skull to the egg, so it is very selectively permeable. This is proven because its change in mass was very little, only -1. 53, compared to the amniotic sack on the cell submerged in vinegar, which was -13. 97. Because the amniotic sack is less selectively permeable than the shell, there was a greater change in mass than the egg in the oil.

buy custom The Devine Comedy essay

buy custom The Devine Comedy essay Devine Comedy is a descriptive poem of Dantes imaginary journey. On his journey, Dante realizes that he is on the wrong path. At the request of Beatrice, Virgil, a Roman Poet searches for Dante. After finding Dante on the eve of Good Friday (year 1300), he guides him through his pilgrimage to look for God. It is in this pilgrimage that Dante passes through Hell, Purgatory and Paradise. As Dante and Virgil enter the wide gate of Hell, they find wrong doers being punished for the wrongs they committed while on earth. In Hell, every sin is punished accordingly. These punishments are justified since sinners committed grave mistakes. Of importance to note is the fact that sinners are punished accordingly. From circle one to circle nine, the sinners include lustful, hoarders, wrathful, the violent, the fraudulent, traitors among others. The violent for instance are punished severely due to the graveness of violence. The violent against God are punished by rain of fire, a show of the weight of their sin. The violent against nature are punished in the River of Blood. This justifies the eye to eye and tooth to tooth say. If an individual sinned against nature, then he is punished by nature. The mode of punishment is therefore justified. As mentioned earlier, Dantes Hell is designed to suit sinners in accordance with their magnitude of sin. In the upper circles of his Hell, Dante has sinners whose sins included violence, wrath and lust among others. The upper and much more evil circle include those characters whose sin included lies, deceptions, treason among others. Though this design of heaven may seem backward, it is consistent with the Greek and Roman thought. They believe that violent offenders are not in same class as liars and those who commit treason. Dante depicts Hell as an inferno, a place where sinners are punished. This is the perception of many people about Hell. I also concur partially with Dantes design of Hell. While Dante designs his Hell to suit different categories of sinners, I believe that this is not right. Since all wrong doers are equal in the sight of God, all sinners are meant to be treated in the same manner in Hell. Dante could have designed a Hell that has all the sinners accorded one category and similar mode of punishment. The following world renown personalities are chosen for the circles; Osama bin Laden (planned attack on innocent American citizens), Moammar Gadhaffi (bad regime of governance in Libya), Alexis Flores (kidnapping and murder of five year old girl), Eduardo Ravelo (wanted for monetary laundering activities in USA), George W. Bush (led war against Iraqis), Yahgnesh Devani (arrested in UK for forgery in Kenya), Mother Jones (America most dangerous woman) and Strauss-Kahn (lustful IMF chief). I comfortably categorize myself in the circle of limbo because I can only get to hell because I wasnt baptized. Strauss-Kahn qualifies to be in Circle Two, the lustful. This follows his sexual assault of a hotel worker in New York. Greedy Moammar Gadhafi of Libya does not want to surrender power to the protesting Libyans. He therefore qualifies for Circle Three, the gluttonous. Yahgnesh Devani, a million dollar hoarder in Kenya qualifies for Circle Four (Hoarders). Circle Five (wrathful) has George Bush who believed in going to war with Saddam for retaliatory reasons. Circle Six (heretics) has Osama bin Laden who believes that killing Americans is a Holy War. Circle Seven (Violent) has Alexis Flores for murder and kidnap case. Circle Eight has Eduardo Ravelo who is wanted for fraudulent deals in USA. Finally, the last Circle (Nine) has Mother Jones, a woman perceived to be the most dangerous in USA. She links with non-citizens to rob her country. Buy custom The Devine Comedy essay

Argument "The Pitfalls of plastic surgery Essay

Argument "The Pitfalls of plastic surgery - Essay Example Camillie proceeds and says â€Å"as cosmetic surgery has become more and more widespread and affordable, it has virtually become a civil right, an equal-opportunity privilege once enjoyed primarily by a moneyed elite who could fly to Brazil for a discreet nip and duck.† This clearly shows that cosmetic surgery is no longer a one class activity but that of anyone who has the finances. Despite the exercise spreading at a high rate, there are many moral questions that crop up. For instance Camillie questions â€Å"is cosmetic surgery a wasteful frivolity, an exercise in narcissism?† This is a question worth being answered. Once a person under goes the surgery, does it waste his or her former beauty? Is it only women who insist on the cosmetic surgery as a result of endemic sexism? This question is directed to women since they are the most customers in these surgeries (Camillie 775-777). However, women are not the only affected sex. Male especially celebrities undergo these surgeries as a way of looking more handsome and therefore attracting more fans. This is a race of the best looking and hence people are forced to undergo the surgery. As Camillie puts it â€Å"all these ethical issues deserve serious attention.† This should be worked on in order to eliminate any discrimination based on the looks. Though the practice is unstoppable, it needs to be improved. The chemicals used should be changed or improved in order to reduce long term side effects. It is not possible for a 50 year old looking like a 20 year old youngster. All this is due to the chemicals used in stopping the skin from shrinking. Also, it should be changed in order to stop instances of young people lacking jobs due to the fact that there are older people looking young at their supposed positions (Camillie 776-777). Am not trying to wipe away the practice as the maximization of attractiveness is justifiable in all societies, but it is worrying in America the way rate of female gender attraction could

Hookah Assignment Example | Topics and Well Written Essays - 250 words

Hookah - Assignment Example Thus, it has developed a positive perception on people. The spread of hookah smoking is because of the perception of the society. Most people forget that it has a relation with cigarettes. The society chose to associate it with being greatness. the youths find it fun smoking the drug. However, because of ignorance, the society has accepted it. Other drugs have a negative perception because the side effects are eminent. there is a raised awareness on the effects of being under the influence of cigarettes. In addition, the difference in methods of consuming hookah and cigarettes, makes it difficult for one to establish a direct relationship (Nauert). The structure of consuming hookah tends to make the user think that it is purified. This positive perception contributes to spread of diseases in the society. It will create a health hazard . It will be only after people start suffering severely that the perception on hookah smoking would change. The youth perception is to blame for the increasing use of

Personal Exercise Plan - Rounders Essay Example for Free

Personal Exercise Plan Rounders Essay Rounders is played by boys and girls, men and women in every county, at different levels, from friendly games to International matches. It is a striking and fielding team game, which involves hitting a small hard leather cased ball with a round wooden or metal bat and then running around 4 bases or posts in order to score a rounder. Bowlers can bowl at over 60mph and batters can hit the ball at more than that. Rounders is supported by many Local Authority Leisure Services Departments and has media support to various degrees from local newspapers and radio stations and has featured on TV in local news items. Rounders is accepted by Sport England who give annual grant aid to the NRA for certain aspects of their work and the Foundation for Sport and the Arts has funded the setting up of the Awards Scheme. The rules are revised where necessary every 3 years, the last review was in 2002. The last major change was in 1999 when it was decided to award 1/2 rounder for reaching second base after hitting the ball The game of rounders has been played in England since Tudor Times, with the earliest reference being in 1744 in A Little Pretty Pocketbook where it is called baseball. This explains why the two games are similar, and in fact many students of baseball accept that their sport is derived from Rounders. This is the name used by Jane Austen in Northanger Abbey. The Boys Own Book of 1828 devoted a chapter to Rounders and in 1889 the Liverpool and Scottish Rounders Association was formed. The first official rules did away with the practice of putting a running batter out by hitting them with a thrown ball. Aims Of My Personal Excersise Programme Fitness Component 1 : Muscular Endurance Definition Muscular endurance is the ability of the muscle to continue to perform without fatigue. To improve your muscle endurance, try cardiorespiratory activities such as walking, jogging, bicycling, or dancing. Link to rounders Muscles need to be able to perform for a long period of time during rounders. As well as running round the posts, a player will also have to run to the ball in fielding, and use arm muscles, in throwing, bowling, and batting the ball. Fitness Component 2 : Cardiovascular Endurance Definition Improving the ability of your heart and lungs to supply adequate oxygen to working muscles during prolonged activity. Link to rounders For a player to be able to keep going for the whole game, they will need good cardiovascular endurance, so their body can keep going, and oxygen will be supplied to the lungs and muscles. I am going to improve Cardiovascular and Muscular endurance by different types of circuit training. I will also use interval training. I will see how much longer I can go on for at the end compared to the beginning of the programme. I will test my Cardiovascular and Muscular endurance at the beginning and end of the programme and measure the difference. To measure intensity, I will record my heart rate at 5-minute intervals to ensure I am working in my aerobic training zone. Each session I will record how long it takes my heart rate to return to its resting state. This will indicate improvement in fitness.

Whitman Essay -- essays research papers fc

  Ã‚  Ã‚  Ã‚  Ã‚  Whitman Essay   Ã‚  Ã‚  Ã‚  Ã‚  Love is the greatest gift that God has bestowed upon mankind. Defining love is different for every culture, race, and religion. Walt Whitman’s love is ever changing for anyone who tries to love him or understand his work. Love can be broken down into a multitude of emotions, and feelings towards someone or some object. In order to find love that is searched for, preparations must be made to allow the full experience of Whoever You Are Holding Me Now in Hand by Walt Whitman to be pious. Walt Whitman’s poem is devoted to the fullness of love, and a description of fantasy and reality. A journey to find love starts with knowledge that both participants are willing, and able to consummate their love in judgment under God. Time is the greatest accomplice to justify the energy and sacrifice needed to start developing the ingredients needed for love to grow. Each stanza is a new ingredient to add to the next stanza. Over time, this addition of each stanza wi ll eventually lead to a conclusion. A conclusion that love is ever changing, and people must either change along with love or never know the miracle of love.   Ã‚  Ã‚  Ã‚  Ã‚  Merriam-Webster’s Collegiate Dictionary defines love as a strong affection for another arising out of kinship or personal ties. Love is a journey that begins by building a foundation of trust, commitment, and understanding. The speaker is thorough and demanding to the point that the speaker becomes a faà §ade to keep prospective loves away. Without love as the speaker begins to say life becomes pointless.   Ã‚  Ã‚  Ã‚  Ã‚   Without one thing all will be useless, (Whitman 2) The listener does not comprehend where the speaker is coming from at first. An example of emotions that are ebbing would be the calm before the storm. A nervousness that is powerless to prevent what the inevitable outcome will be. The speaker knows what it would take to mature fully a relationship that love could blossom out of. Unaware is the listener of the intent of the speaker to dishearten any further a seed that never had the chance to amply develop love. Love is funny when it becomes the focal point in a relationship. This time usually comes after the period of adjustment between two people who have decided to further enhance their love experience. Questions begin to a... ...ionships that stay together without love. Everyone should be taught how to search the soul for their emotional state of mind that they are in before they get involved in a relationship. Love, emotions, and relationships should all come with instructions to be read before opening. Walt puts perspective on reality and fantasy when it comes to relationship. The deeper the love is for one another will allow the couple to grow not only physically, but most importantly the couple becomes closer spiritually. Spirituality is the final step in the journey of love. Spirituality takes precedence over every aspect of human nature. That euphoria that is also understood to be the blessings of our Father in Heaven.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Works Cited Baym, Nina. â€Å"The Norton Anthology of American Literature.† Rev. 6 ed W.W. Norton & Company: New York, 2003. Common Questions on Walt Whitman. 2 February 2005 http://guweb2.gonzaga.edu. Poems and Biography by AmericanPoems.com. 2 February 2005 http://www.americanpoems.com. Merriam-Webster’s Collegiate Dictionary. 11th ed. Merriam-Webster, Incorporated: Springfield, Mass, 2003.

Drama Translation Essay

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

Catfish and Mandala Essay

Andrew Pham, author of Catfish and Mandala, is on a journey of self-exploration. Family dysfunction, the illusions of the past, and the inability to move forward and find meaning to life when living between two cultures, are all catalysts’ for Pham return Vietnam. Contrary to being welcomed with open arms, Andrew is referred to as Viet-kieu when he is in Vietnam, a derogatory term meaning Vietnamese-American. Vietnamese people feel that the Viet-kieu abandoned everything about their culture when transplanted to America. This is an additional layer to the struggles Andrew faces. Andrew’s life is fractured into many pieces. His family is plagued with deep-seated hostility and trauma that developed long before his birth. From the abuse his father endured as a child and then transferred to his own children, the family decay after the Vietnam War, and the displacement of his family to America, Andrew has no sense of identity. Andrew is troubled with the duality of being Vietnamese and American and feels if he returns to Vietnam he will find meaning for his life. He does not assimilate to either culture and his anxiety grows as he tries to find a place to belong. Pham reminisces on his childhood, and includes deep memories of his other family members as well. The fissure in his family stems from the physical abuse and inability for the entire family to merge the two cultures and adapt together. The damage from the violence moves like a virus through the family, branching off and taking victim after victim. Chi-Minh, Andrew’s transsexual brother, cannot rise above the hardship and kills himself. Through out the book, Andrew goes back and forth giving the reader insight into Chi-Minh conflicts. Andrew never moves past Chi-Minh’s death and writes about his last moments with his brother,† It was my season of unraveling. And his as well. I couldn’t remember all, what he said. Nor what I said. Maybe he wished I’d said something. And I him. Perhaps we should have shared our troubled hearts. But in the end – My long-staying memory – I heard only the wavering catch in his voice† (334). Pham regrets not being able to open his heart to Chi-Minh, and overcome the emotional disconnect of the Vietna mese culture. Chi-Minh struggles to maintain a healthy existence and find life meaning. Sex change aside, Andrew blames the Vietnam War, family dysfunction and abuse, and a forced move to America as reasons for Chi-Minh’s short life and suicide. He draws parallels between his own struggles and Chi-Minh’s inability to create a life in America. The trauma of Chi-Minh’s death is an emotional vehicle for Andrew’s bike journey to Vietnam. As Children, Andrew and Chi were brutally beaten by their father. Even as a teenager, Chi survived a dreadful caning that resulted in her running away. Later, Andrew’s father recants his temper and wishes he could have â€Å"been more like an American father† because â€Å"They know how to cherish their children† (320). Andrew watches his own father struggle with being Vietnamese in an American society. He was use to a father who had a â€Å"survival instinct† and â€Å"refused victimization† (321). His brothers are homosexual, this is a point of embarrassment for Andrews father. Andrew tries to explain how they are successful and happy, but the definition of successful and happy are vastly different in the two countries, with his father being â€Å"Old-World† (321). Andrew realizes his entire family has trouble converging Vietnamese and American cultures and he is not the only victim of the abusive and dysfunctional life. In his preparation to bike across Vietnam and absorb the country that he believes keeps the roots of his existence; he is unaware of the drastic changes since the Vietnam War. Andrew remembers Vietnam through the eyes of a child and the memories are mostly happy and quite biased. Pham’s illusion of the past leads him to an emotional awakening while traveling and he compares current-day Vietnam to a prostitute. Vietnam has been reduced t o poverty in most places. Andrew remarks, â€Å"Saigon was thick with almsfolk, every market, every street corner, maggoty with misshapen men and women hawking their open sores and puss-yellow faces for pennies† (106). Although his description is putrid, Andrew weeps for the poor. Having sympathy for the impoverished is an American way of thinking, and this is a point of shame for his family that he stays with in Vietnam. Crying is seen as weakness in men. The reader sees the internal struggle that continues as Andrew tries to â€Å"be Vietnamese† or to â€Å"be American†. Andrew is repulsed by the cold hearts of his Vietnamese family members, and then ashamed for having ill feelings against his family. Andrew believed he would find his identity with the Vietnamese people and his life would move forward with strong meaning and purpose. Andrew goes through life living for his parents, living for the happiness of others, and in this neglects to find his true self. Before his ride to Vietnam , he rode to Mexico, then through the coast of America, and through Japan for 45 days. His physical journey mimics his stagnant and redundant state. He was wandering, living a superficial life. Andrew held the stress of the first-born son, to make his parents proud. He became an engineer, just as his mother told him he would do when he was four. He acted the role of the â€Å"Good Oriental employee† (25). Andrew recalls, â€Å"My father said ‘Good’ to me twice in my life. I showed him the glowing congratulatory letter from the national honor society†¦and for landing a cushy engineering post at a major airline† (24-25). As he travels, Andrew speaks as an American, and as a Vietnamese man. Chapter two begins with Andrew stating that he is â€Å"Vietnamese-American† (10). He lists out his likes and dislikes, implying that he has a strong sense of self. The reader soon finds out this is superficial. Andrew proclaims all of this to set up where he is now and gives a brief family history of the stark difference of where he came from. When he arrives to Vietnam, he is ready to embrace the culture and be Vietnamese. On the plane Andrew is divided by his feelings toward the Vietnamese as they fight for toys that have spilled, â€Å"Mortified by the Vietnamese’s behavior and equally dismayed that I feel an obligatory connection to them, I sink deeper in to my seat, resentful, ashamed of their incivility† (64). This is the beginning of the conflict Andrew faces about being American yet being from Vietnam. Instead of finding his way, his identity, value for his life, he is engorged with a larger paradox of emotion. Who is Andrew X. Pham? This is the question that Catfish and Mandala tries to answer by using memories and events of the past and journey of the present. A chasm opened in his family when they all integrated into American culture through very unique ways. The family inadvertently makes the journey of self-exploration difficult for each other, with Chi-Minh’s being virtually impossible. Abusive treatment of the children acts as a symptom of the disorder and illusion of self through out the entire family. Andrew writes his memoirs in a rhythmic motion swaying back and forth through past and present, in hopes of finding who he is to be in the future. Andrew is torn between being Vietnamese in America, and American in Vietnam. He is afflicted with living a placid half-life, never socially accepted by either society, and forced to carve his own path and make his own statement of self. From Vietnamese immigrant, to respected engineer, and now famous author and food critic, Andrew has found a way to merge the Vietnamese and American cultures to fit the mold of Andrew X. Pham, the Original. Works Cited Page Pham, Andrew X. Catfish and Mandala. New York: Farrar, Stratus and G, 1999. Print.

The Hitchhiker`s Guide to the Galaxy Essays

The Hitchhiker`s Guide to the Galaxy Essays The Hitchhiker`s Guide to the Galaxy Paper The Hitchhiker`s Guide to the Galaxy Paper Absolutely! The Hitchhiker’s Guide narrates the tales of a low-profile small-town Englishman, Arthur Dent, who whooshes off with his friend and guide, Ford Prefect, a prominent intergalactic being temporarily residing in a human form on the earth, on a series of space adventures. From the outset it is obvious that Arthur Dent is no hero nor a role model. Yet, he is a character many of us, especially dreaming and fantasy-prone youngsters, can identify with. Many of us too hail from humble non-descript beginnings and, regardless, some of us certainly desire to be one day involved in matters of ultimate importance to the universe, just as Arthur Dent does in Douglas Adams’s classic tale. Human nature consists of this supreme ambition to reach to the stars. We can laugh at it, we can make fun of it, we can even try to forget it, but not for too long can we get rid of it. There is a deep impulse within the human soul to reach the hand for the skies and set foot on distant worlds, whether we acknowledge it or not, and whether this be in a physical sense or in some symbolical sense. The Earth is our home, but the Universe is our home too, both being a part of the same continuum. It is for this reason precisely that the rather ingenuous character of Arthur strikes such a deep chord with us. Behind the form of SF spoof and satire, we can occasionally sense Adams addressing some deep human longings of meaning and being. Teenagers are full of such longing, it is very for this longing to be connected to the vastness of the universe in some way. The Hitchhiker’s Guide, in its own nonchalant and beguiling manner, can stretch our minds to a higher dimension. The universe is an infinite mystery. However, instead of being intimidated by its endless vastness, or being petrified in sheer awe of it, one has to learn just to take things in one’s stride, and keep moving on. More than a central message or philosophy, Adams projects a certain attitude in his book. And it certainly rubs off on the young readers of the book, which is what perhaps explains the cult status of this novel. Thinking and philosophy, the incessant seeking and searching for answers – they are integral part of what we are and give us humans a sense of purpose and direction in life; without them we would be lost. Yet we can perhaps find a new dimension of ourselves which is quite at home with the universe, without the agency of a thinking mind acting either as a medium or as a barrier. Thinking is our most precious treasure, yet keeping it aside and being unburdened of it, even if only for a short while, and thereby connecting to the universe directly, can give rise to new perceptions and a new sense of exhilaration. The Hitchhiker’s Guide may seem like light satire that is designed to have fun at the expense of human values, beliefs, and intelligence (and sometimes particularly in a British context), but consciously or unconsciously, Adams has interwoven into the strands of its narrative some subtle themes and messages which are of deeper significance. This book does not take anything seriously, especially itself – and therein lies its essence. Yet in its own way it makes us think seriously about ourselves and the universe. It is an indirect, fun-filled and disarming approach to provoke some serious questions in us, the same questions it seemingly makes a mockery of. Every high school senior has to learn what the ultimate truth is. The ultimate answer to everything, after all, is so simple - it is†¦ well, 42! Reference: ADAMS, DOUGLAS. â€Å"The Hitchhikers Guide to the Galaxy. † First Ballantine Books Trade Edition. New York: Ballantine Books, 1997

The 12 questions you need to ask job candidates

The 12 questions you need to ask job candidates When you hear the words â€Å"interview prep,† you’re probably thinking of a candidate getting ready to go in and interview for a new job. But the prep is just as important on the other side. You’re trying to fill a position with the best person possible, so you can’t just waltz in and wing it. Otherwise, it could be a waste of your time (and the candidate’s) if you’re not asking the right questions for the job you’re trying to fill. And as the interviewer, the onus is going to be on you to keep the interview moving forward. The best way to do that is to outline your questions ahead of time so that they’re ready to go- and you won’t find yourself drawing a blank after you say, â€Å"Thanks for coming in! Have a seat.†If you’re having trouble coming up with the questions you want to ask or you want to add some new ones to your repertoire, read on to look at some of the top questions interviewers ask candidate s.The Blue Sky Questionsâ€Å"Blue sky questions,† or questions that require a candidate to go off-resume in order to provide a thoughtful answer, deal with more abstract ideas. Most candidates know their resume points by heart and have a set of talking points ready to go. But blue sky questions can show you how a candidate thinks and reacts on their feet, or what their true priorities are.Where do you see yourself in five years?The five-year-plan. It’s an oldie but a goodie, because there’s no better way to get a sense of what the candidate’s ambitions are. If you get a deer-in-headlights look and an answer that shows your interviewee clearly hasn’t considered this, that could be a worrying sign. On the other hand, a candidate who doesn’t have to think too much before outlining their next steps is clearly prepared and has a vision in mind.Tell me about yourself.This one probably won’t reveal any earth-shattering information about the candidate, but it’s a great ice-breaker. It can set the tone for the rest of the interview.hbspt.cta.load(2785852, '9e52c197-5b5b-45e6-af34-d56403f973c5', {});What’s something you’re passionate about?If the candidate’s answer just happens to match the job description exactly, then you’ve either got The One on your hands, or someone who has prepped very well for the interview. But this question is a chance to tell you (literally or not) what this person values. If they just shrug and can’t commit to an answer, then they probably won’t be very passionate about this job or company, either. This question is good because even though it’s a little off-topic, it gives you a more complete sense of the person behind the resume. You’re asking them to tell a story that they haven’t necessarily prepared ahead of time, so you’re likely to get a pretty honest answer. And who knows- you could learn some interesting trivi a about a weird hobby you never heard about before!What appealed to you about this job description?This is a good get-to-know you question, but it can also help you identify candidates who are just looking for a job, any job, versus someone who really wants this job.What is your greatest achievement in your career, and why?This is a good way to suss out a candidate’s values in the workplace. Sure, if they’re an Oscar winner, that’ll be right on the resume and you can see it. But this kind of question lets the candidate talk about some of the smaller or personally significant victories that might not be apparent from the documents you’ve already seen.The Verification QuestionsThese are the questions that will help you figure out if the candidate is on the up-and-up, or if they’re hiding something or trying to sneak things in on their resume that aren’t quite legit.I see you’ve spent the past four years at X Corp. I’ve heard a lo t about the culture there, but I’d love to hear how you see it.This question helps verify that the person did, in fact, work at X Corp- but you could have a background check do that if necessary. The real goal is to see how the person answers the question. Someone who launches into a screed about how terrible X Corp is = red flag. Someone who hesitates or only speaks in the vaguest terms about the company = red flag.I used to work with Phil from Accounting at X Corp. Great guy. Did you know him too?This one can also count as â€Å"hey, small world!† small talk, but again- if the candidate seems shifty about answering, that’s good to know. The candidate may or may not have met Phil, but it’s more about the genuineness of the answer.The â€Å"What Would You Do?† QuestionsThese are questions that get a candidate to think and respond on their feet, because there’s little way to prepare for these. In these questions, you give them a scenario and ask them how they’d solve it or ask them how they would react. These can be outlandish questions that no one could possibly know the answer to (like how many tall lattes does Starbucks sell in an average year?). It’s a test of how the candidate arrives at their answer. Or the questions can be practical questions about things that the candidate might face in this job. These questions give you a sense of how the candidate thinks and what kind of colleague they might be.Tell me about a major obstacle in your career and how you overcame it.This one doesn’t require a fancy scenario. Instead, it lets the candidate set that up and speak to how they approached it.Say you and a colleague disagree on the next steps on a project. How would you resolve that?This one tests not only problem solving, but also people skills. It gives you a sense of how the person communicates and how they might work in a team. And conflict resolution skills are essential to just about every job , so you can also get a sense of how well-developed the candidate’s own skills are.Your client is about to miss a major deadline, putting you in a bad spot. How do you handle the situation?Again, this is about having the candidate describe the process. This kind of question tests their customer service skills (because it is, after all, a client who’s dropping the ball) but also their management skills.Let’s say you’ve got several urgent emails, a voicemail that needs to be returned, and an in-person request from your boss- all happening now. How do you prioritize these tasks?This is a chance for a candidate to talk through her process for multitasking and handling issues that come up. It may not tell you much about how well they’d perform each task, but you can get a sense of how they rank order of importance when on the fly. If their instincts match up your yours, you’ll know they’re a good fit for your team.The Closer QuestionDonâ⠂¬â„¢t forget to ask this one at the end of the interview. The closer lets the candidate know that the interview is wrapping up, but gives the candidate a chance to bring up something that may not have come up during the interview.Do you have any questions for me/us?It’s not only a â€Å"last call† signal that the interview is ending, but it’s also a chance to see how well your candidate has prepared for the interview. If they don’t have any questions and seem anxious to get out, it could mean that they’re not especially curious or invested in this job. (Though if they say something like, â€Å"I was wondering about the sales development piece of the job, but you already covered that for me,† it shows that they’ve thought about their own questions ahead of time.) It’s a last chance to gauge the candidate’s engagement.If you have some of these questions ready to go, you’ll never be at a loss for things to talk abou t in an interview (even if you get pulled into one at the last second). And you have any favorite go-to interview questions yourself, we’d love to hear about them in the comments.

The Impact of the History of the Youth Justice System on Current Essay

The Impact of the History of the Youth Justice System on Current Policy and Practice - Essay Example This number represents 20 percent of the 1.4 million offences committed in that year. These figures have been an alarming and the subject on the Youth Justice Systems remains to be in scrutiny by the eyes of many. There was an escalation of youth offenders in the United Kingdom during the early 1990s. Thus, the Labour party reacted to the situation and produced the Crime and Disorder Act 1998 which created the Youth Justice Board (YJB) and Youth Offending Teams (YOT). According to Pearson (1898), the general impression running through the pages of youth crimes was a riot of impunity, irresponsible parents, working mothers and lax discipline in schools, with magistrates and police believing themselves to be impotent before a rising tide of mischief and violence-particularly the recent serious increase in ruffianism among city youths." It is this recent drive to administer justice locally that highlights the historical comparisons in the methods used to tackle youth offending. Whether it is local authorities issuing antisocial behaviour orders, community courts being created to administer penalties or police publicising the names and faces of young offenders, justice is increasingly administered closer to home (Hayes 2008). The Youth Justice Board (YJB) This is an executive non-departmental public body under the joint governance of the Ministry of Justice and the Department for Children, Schools and Families which aims is to prevent offending among under 18-years-old and it delivers this by setting standards and monitoring performance, promoting good practice and making grants available to local authorities and other bodies. The YJB also manages the juvenile secure estate including arranging placements for sentenced young people. TheYJB has set up a number of diversionary schemes to engage with young people, increase their knowledge and deter them from offending. (Youth Justice Board 2008) This body established the Youth Justice System (Table 1) which serves as the system's summary and guide. Table 1. Steps through the youth justice system Youth Justice System Persons Involved Prevention YOT, LEA, Social Services, Police Pre-court Police, YOT, Local Authority Court Police, YOT, CPS Police, YOT, CPS, Solicitor, Youth Court YOT, Solicitor, CPS, Youth Court / Crown Court Youth Court / Crown Court YOT, Custody YOT = youth offending teams; LEA = local educating authority; CPS = crown prosecution service. Source: Youth Justice System (2008) The Cautioning Plus Project Cautioning plus is defined as a form of cautioning-official warning by the police-which included voluntary participation by the young offender in a preventative programme. One component of the Youth Justice Board is the Cautioning Plus Project (Dawson 2001) which provides direct services, such as counselling, befriending, information, advocacy, holistic welfare, and early crisis intervention to challenge cycles of drug use and crime. With this project, there's a network among the youth offenders with a combined focus among these individuals. Punishments Based from

Cultural Anthropology Essay Example | Topics and Well Written Essays - 750 words - 2

Cultural Anthropology - Essay Example On the one hand, there is legislation preventing the manual removal of human excrement. On the other hand, the Indian government is itself employing the Dalits to perform these much outlawed tasks. This expresses a strange duality in the existing system at all levels. When compared to the West, this tends to resemble parts of the Jim Crow regime where newly freed slaves were treated just as bad or worse. It was not uncommon for slaves to perform tasks of the same gruesome nature that are depicted in the Dalit video. Even after the slaves were freed, their socio-economic circumstances forced them to carry out the same tasks in order to fend for themselves. Another major concern exposed by the video is the hypocritical nature of the legal system when it comes to the rights of Dalits. Those in power to favor the high caste Brahmins and the like against the poor and defenseless Dalits. This in turn has skewed the legal system to such an extent that it is hardly recognizable as a system to deliver justice. The brutal murders and rapes of Dalit men and women in the twenty first century are without parallel in the West. It could be argued that the West has seen its fair share of brutality during the age of slavery but this is more than over in the current age. There is hardly any trace of brutality employed through institutional means against any specific section of the society in the West in the modern day. The last traces of social exclusion in the West date back to just before the Civil Rights Movement in the sixties. Under the social exclusion regime enforced in certain states, people of African American descent were not allowed into certain public areas such as restaurants. In addition, it was generally the discretion of a business owner if they wanted to serve African Americans or not. It was common to see signs in many shop windows telling African Americans to stay out. These problems were compounded by