The 7 Deadly Sins and 7 Cardinal Virtues Essay Example

The 7 Deadly Sins and 7 Cardinal Virtues Essay Example The 7 Deadly Sins and 7 Cardinal Virtues Paper The 7 Deadly Sins and 7 Cardinal Virtues Paper Essay Topic: Divine Comedy Paradiso Inferno The Aeneid Overview The Seven Deadly Sins, also known as the Capital Vices or Cardinal Sins, are a classification of vices that were originally used in early Christian teachings to educate and instruct followers concerning (immoral) fallen mans tendency to sin. The Roman Catholic Church divided sin into two principal categories: venial, which are relatively minor, and could be forgiven through any sacrament of the Church, and the more severe capital or mortal sins, which, when committed, destroyed the life of grace, and created the threat of eternal damnation unless either absolved through the sacrament of confession, or otherwise forgiven through perfect contrition on the part of the penitent. Beginning in the early 14th century, the popularity of the Seven deadly sins as a theme among European artists of the time eventually helped to ingrain them in many areas of Christian culture and Christian consciousness in general throughout the world. One means of such ingraining was the creation of the mnemonic SALIGIA based on the first letters in Latin of the seven deadly sins: superbia, avaritia, luxuria, invidia, gula, ira, acedia. Listed in the same order used by both Pope Gregory the Great in the 6th Century AD, and later by Dante Alighieri in his epic poem The Divine Comedy, the Seven deadly sins are as follows: (7) Luxuria(extravagance, later lust); (6) Gula(gluttony); (5) Avaritia(greed); (4) Acedia(sloth); (3) Ira(wrath); (2) Invidia(envy); and (1) Superbia(pride). Each of The Seven Deadly Sins has an opposite among the corresponding Seven holy virtues (sometimes also referred to as the Contrary Virtues). The identification and definition of the Seven deadly sins over their history has been a fluid process and the idea of what each of the seven actually encompass has evolved over time. This process has been aided by the fact that they are not referred to in either a cohesive or codified manner in the Bible itself, and as a result other literary and ecclesiastical works referring to the Seven deadly sins were instead consulted as sources from which definitions might be drawn. Part II of Dantes Divine Comedy, Purgatorio, has almost certainly been the best known source since the Renaissance, though many later interpretations and versions, especially those of the more conservative and Pentecostal Protestant denominations, have instead tended to portray the consequence for those guilty of committing one or more of these sins as being eternal torment in Hell, rather than possible purification through penance in Purgatory. The Sins == Lust (Latin: luxuria) Synonyms: Lust (fornication, perversion) Lust is usually thought of as involving obsessive or excessive thoughts or desires of a sexual nature. Unfulfilled lusts sometimes lead to sexual or sociological compulsions and/or transgressions including (but obviously not limited to) sexual addiction, adultery, bestiality, and rape. Dantes criterion was excessive love of others, which therefore rendered love and devotion to God as secondary. However, lust and love are two different things; while a genuine, selfless love can represent the highest degree of development and feeling of community with others in a human relationship, Lust can be described as the excessive desire for sexual release. The other person can be therefore seen as a means to an end for the fulfillment of the subjects desires, and becomes thus objectified in the process. In Purgatorio, the penitent walks within flames to purge himself of lustful/sexual thoughts. ==; Gluttony (Latin: gula) Synonyms: Gluttony (waste, overindulgence) Modern views identify Gluttony with an overindulgence of food and drink, though in the past any form of thoughtless excess could fall within the definition of this sin. Marked by unreasonable or unnecessary excess of consumption, Gluttony could also include certain forms of destructive behavior, especially for sport, or for its own sake. Substance abuse or binge drinking can be seen as examples of gluttony therefore. The penitents in the Purgatorio were forced to stand between two trees, unable to reach or eat the fruit hanging from either, and were thus described as having a starved appearance. Greed (Latin: avaritia) Synonyms: Greed (treachery, covetousness) Greed is, like Lust and Gluttony, a sin of excess. However, Greed (as seen by the Church) applied to the acquisition of wealth in particular. Thomas Aquinas wrote that Greed was a sin against God, just as all mortal sins, in as much as man condemns things eternal for the sake of temporal things. In Dantes Purgatory, the penitents were bound and laid face down on the ground for having concentrated too much on earthly thoughts. Avarice is more of a blanket term that can describe many other examples of sinful behavior. These include disloyalty, deliberate betrayal, or treason, especially for personal gain, for example through bribery. Scavenging and hoarding of materials or objects, theft and robbery, especially by means of violence, trickery, or manipulation of authority are all actions that may be inspired by greed. Such misdeeds can include Simony, where one profits from soliciting goods within the actual confines of a church. == Sloth (Latin: acedia) Synonyms: Sloth (laziness, sadness, apathy) More than other sins, the definition of Sloth has changed considerably since its original inclusion among The Seven Deadly Sins. It had been in the early years of Christianity characterized by what modern writers would now describe as apathy, depression, and joylessness - the latter being viewed as being a refusal to enjoy the goodness of God and the world He created. Originally, its place was fulfilled by two other aspects, Acedia and Sadness. The former described a spiritual apathy that affected the faithful by discouraging them from their religious work. Sadness (tristitia in Latin) described a feeling of dissatisfaction or discontent, which caused unhappiness with ones current situation. When St. Thomas Aquinas selected Acedia for his list, he described it as an uneasiness of the mind, being a progenitor for lesser sins such as restlessness and instability. Dante refined this definition further, describing Sloth as being the failure to love God with all ones heart, all ones mind and all ones soul. He also described it as the middle sin, and as such was the only sin characterised by an absence or insufficiency of love. In his Purgatorio, the slothful penitents were made to run continuously at top speed. The modern view of the vice, as highlighted by its contrary virtue zeal/diligence, is that it represents the failure to utilize ones talents and gifts. For example, a student who does not work beyond what is required (and thus fails to achieve his or her full potential) would be slothful. Current interpretations are therefore much less stringent and comprehensive than they were in medieval times, and portray Sloth as being more simply a sin of laziness, of an unwillingness to act, an unwillingness to care (rather than a failure to love God and His works). For this reason Sloth is now often seen as being considerably less serious than the other sins. == Wrath (Latin: ira) Synonyms: Wrath (anger, hatred, prejudice, discrimination) Wrath may be described as inordinate and uncontrolled feelings of hatred and anger. These feelings can manifest as vehement denial of the truth, both to others and in the form of self-denial, impatience with the procedure of law, and the desire to seek revenge outside of the workings of the justice system (such as engaging in vigilantism), fanatical political beliefs, and generally wishing to do evil or harm to others. The transgressions borne of Wrath are among the most serious, including murder, assault, and in extreme cases, genocide. (See Crimes against humanity. ) Wrath is the only sin not necessarily associated with selfishness or self interest (although one can of course be wrathful for selfish reasons, such as jealousy). Dante described Wrath as love of justice perverted to revenge and spite. The wrathful in his Purgatorio were enveloped in blinding smoke. == Envy (Latin: invidia) Synonyms: Envy (jealousy, malice) Like Greed, Envy is characterized by an insatiable desire; they differ, however, for two main reasons: First, Greed is largely associated with material goods, whereas Envy may apply more generally. Second, those who commit the sin of Envy desire something that someone else has which they perceive themselves as lacking. Dante defined this as love of ones own good perverted to a desire to deprive other men of theirs. In Dantes Purgatory, the punishment for the envious is to have their eyes sewn shut with wire, because they have gained sinful pleasure from seeing others brought lowly. = Pride (Latin: superbia) Synonyms: Pride (vanity, narcissism), Hubris In almost every list Pride is considered the original and most serious of The Seven Deadly Sins, and indeed the ultimate source from which the others arise. It is identified as a desire to be more important or attractive than others, failing to give compliments to others though they may be deserving of them, and excessive love of self (especially holding self out of proper position toward God). Dantes definition was love of self perverted to hatred and contempt for ones neighbor. In Jacob Bidermanns medieval miracle play, Cenodoxus, Pride is the deadliest of all the sins and leads directly to the damnation of the famed Doctor of Paris, Cenodoxus. In perhaps the most famous example, the story of Lucifer, Pride was what caused his Fall from Heaven, and his resultant transformation into Satan. Vanity and Narcissism are prime examples of this Sin. In the Divine Comedy, the penitent were forced to walk with stone slabs bearing down on their backs in order to induce feelings of humility. Dante Alighieri (1265 1321) was a Catholic layman who wrote The Divine Comedy, which is really three epic poems in Italian: Inferno, Purgatorio, and Paradiso, which are about Hell, Purgatory, and Heaven/Paradise, respectively. In Purgatorio, Dante places each of the seven sins on a level, with the higher levels closer to Paradise and the lower ones closer to Hell. The numbers in parentheses, in the above table, indicate the level where they are found in Purgatorio. Dante considers these sins as offenses against love, and groups them accordingly: PERVERTED Love:(1) Pride (2) Envy (3) Wrath/Anger INSUFFICIENT Love:(4) Sloth EXCESSIVE Love of EARTHLY GOODS:(5) Avarice/Greed (6) Gluttony (7) Lust Dante seems to have had a well-formed conscience. His emphasis on love, in the sense of Christian charity, is impressive. That is not to claim some sort of sainthood, but his ideas were very much in keeping with the teaching of the Catholic Church at a time when the practice of the clergy often fell short of the doctrine. The Divine Comedy Dante Alighieris The Divine Comedy is composed of three canticas (or cantiche) - Inferno (Hell), Purgatorio (Purgatory), and Paradiso (Paradise) - composed each of 33 cantos (or canti). The very first canto serves as an introduction to the poem and is generally not considered to be part of the first cantica, bringing the total number of cantos to 100. The first cantica, Inferno, is by far the most famous of the three, and is often published separately under the title Dantes Inferno. As a part of the whole literary work, the first canto serves as an introduction to the entire Divine Comedy, making each of the cantiche 33 canti long. The number 3 is prominent in the work, represented here by the length of each cantica. The verse scheme used, terza rima, is the hendecasyllable (line of eleven syllables), with the lines composing tercets according to the rhyme scheme ABA BCB CDC . . . YZY Z. The poet tells in the first person his travel through the three realms of the dead, lasting during the Easter Triduum in the spring of 1300. His guide through Hell and Purgatory is the Latin poet Virgil, author of the Aeneid and the Fourth Eclogue, and the guide through Paradise is Beatrice, Dantes ideal of a perfect woman. Beatrice was a real Florentine woman whom he met in childhood and admired from afar in the mode of the then-fashionable courtly love tradition which is highlighted in Dantes earlier work La Vita Nuova. The Satanic Bible In the Satanic Bible (Anton Szandor Lavey), it is addressed that these seven sins are all Satanic in nature, as they all lead to mental, emotional and physical gratification. The Seven Holy Virtues The Seven Virtues were derived from the Psychomachia (Contest of the Soul), an epic poem written by Aurelius Clemens Prudentius (c. 10) entailing the battle of good virtues and evil vices. The intense popularity of this work in the Middle Ages helped to spread the concept of Holy Virtue throughout Europe. Practicing these virtues is alleged to protect one against temptation from the Seven Deadly Sins, with each one having its counterpart. Due to this they are sometimes referred to as the contrary virtues. There are two distinct variations of the virtues, recognized by different groups. The Virtues Ranked in ascending order of sanctity, the seven holy virtues are: . Chastity (Latin: castitas) (purity, opposes lust, Latin: luxuria) - Courage and boldness. Embracing of moral wholesomeness and achieving purity of thought through education and betterment; . Abstinence (Latin: frenum) (self-control, opposes gluttony, Latin: gula) - Constant mindfulness of others and ones surroundings; practicing self-control, abstention, and moderation. . Liberality (Latin: liberalitas) (will, generosity, opposes greed, Latin: avaritia) - Generosity. Willingness to give. A nobility of thought or actions. . Diligence (Latin: industria) (ethics, opposes sloth, Latin: acedia) - A zealous and careful nature in ones actions and work. Decisive work ethic. Budgeting ones time; monitoring ones own activities to guard against laziness. . Patience (Latin: patientia) (peace, opposes wrath, Latin: ira) - Forbearance and endurance through moderation. Resolving conflicts peacefully, as opposed to resorting to violence. The ability to forgive; to show mercy to sinners. . Kindness (Latin: humanitas) (satisfaction, opposes envy, Latin: invidia) - Charity, compassion, friendship, and sympathy without prejudice and for its own sake. . Humility (Latin: humilitas) (modesty, opposes pride, Latin: superbia) - Modest behavior, selflessness, and the giving of respect. Giving credit where credit is due; not unfairly glorifying ones own self. Theology Restraint is the keystone of the seven holy virtues. The other holy virtues are created through selfless pursuits: . Valour - Pursuit of Courage and Knowledge . Generosity - Pursuit of Giving . Liberality - Pursuit of Will . Diligence - Pursuit of Ethics . Patience - Pursuit of Peace . Kindness - Pursuit of Charity . Humility - Pursuit of Modesty Roman Catholic Virtues The Roman Catholic church recognized the seven capital virtues as opposites to the Seven Capital Sins or the Seven Deadly Sins. According to Dantes The Divine Comedy the sins have an order of greatness, and the virtues a respective order of greatness as well. This order is shown below from the lowest to the highest. SinVirtue Lust(excessive sexual appetites)Chastity(purity) Gluttony(over-indulgence)Temperance(self-restraint) Greed(avarice)Charity(giving) Sloth(laziness/idleness)Diligence(zeal/integrity/Labour) Wrath(anger)Forgiveness(composure) Envy(jealousy)Kindness(admiration) Pride(vanity)Humility(humbleness) Cardinal and Theological Virtues Another list of the Seven Virtues consists of a combination of the four Cardinal Virtues and the three Theological Virtues: . Prudence, Justice (this is an eighth virtue), Temperance, and Fortitude . Faith, Hope, and Love (charity) This formulation shows clearly the combination of Greek virtues (the Cardinal Virtues, found in Plato, for example) with Christian virtues (found in 1 Corinthians 13). These virtues do not line up so nicely as opposites to the Seven Deadly Sins, but are commonly referenced as the Seven Virtues. This allowed non-Christians to base their behaviour on moral tenets other than those prescribed by Christians. In medieval ideology, only a Christian would have faith in God, look forward to a life after death and caritas, be able to carry out acts of charity towards fellow men based solely on love of God. The Eighth Virtue The Eight virtues are sometimes known as the Apostle Virtues, and is used in the anime/manga Chrono Crusade (Chrno Crusade). . Justice (Latin: Justicia) (honesty righteousness, opposes wrongness or dishonesty, (No Latin)) - Honesty, and the giving of righteousness. Being fair or telling the truth. Doing what is right and not what is wrong. It is the light of truth that conquers the dark of the wrong. Justness, equity, evenhandedness, impartiality, objectivity, neutrality, disinterestedness, morals, morality. . Justice - Pursuit of Righteousness and Honesty Bibliography Boyle, Marjorie ORourke [1997-10-23]. Loyolas Acts: The Rhetoric of the Self (The New Historicism: Studies in Cultural Poetics, 36). Berkeley: University of California Press. ISBN 978-0-520-20937-4. http://ark. cdlib. org/ark:/13030/ft2t1nb1rw/

How to Create Setting in Fiction

How to Create Setting in Fiction At the mention of setting, the novice writer may think that it’s just a minor detail. Just mention where the story is taking place and the time and be done with it. Wrong. The setting can make or break a story. If you don’t keep the reader grounded as to where the characters are, the time of day and their surroundings, you’ll lose that reader before they’re finished with the first chapter. It’s not enough to have compelling characters acting out some fascinating story. The reader needs to know where, when and how in order to truly get involved in the story line. The first thing in creating a story is to establish where it’s taking place. By that I don’t mean a statement that the characters are in Miami, Florida. That’s not going to hold a reader. You have to know Miami. Know its streets, the way it smells, sounds and how hot, cold or humid it is. Describe the buildings and the streets. Show how the foliage is there. Place the reader there and make them feel as if they know the place intimately. Show them how it feels to breathe in the heat and humidity. How it feels to dress for work in the morning and have your silk blouse immediately wilt and stick to your body from the humidity. How they deal with the traffic down there. Is it set in a seedy neighborhood or an affluent subdivision? Description of the location lends itself to the impression of the story. As soon as you mention a ghetto-like area, the reader automatically assumes something bad is going to happen. The more details you include, the more the reader is goin g to identify with your setting. A timeline is important so that the reader understands when this is all taking place. You can’t just start the action and expect the reader to know what time of day or year it is unless you let them know. If it’s historical then you’ll need to show details of that period of time, which means research. It’s just as important to show current time. Don’t assume the reader knows, show them. Show the time of day also, nighttime suggests caution while daylight implies freedom. By using time as well as location, you can create a sense of where the story is going. Remember not to allow your description of the setting to read like a brochure. You’re going to lose your reader when they’re forced to read where and when the story is taking place in a narrative paragraph. A skillful writer shows the setting by including it in the natural pace of the storytelling. He’ll describe location through his character’s thoughts. Include it in a dialogue between characters. Show it during action. Details about the setting should never be obvious. It should be interwoven into the story in such an inconspicuous way that the reader knows details of where, when and how without ever being conscious of being told so. This may seem minor but when creating effective setting, you must know what you are talking about. As soon as the reader detects something incorrect or out of place, they’re going to put that book down. For example, showing Miami with a snowstorm in the winter will definitely jolt a reader to reality and force him to reconsider reading any more by a writer who obviously doesn’t know where Miami is located and the fact that snow just doesn’t happen there. Write about something you are familiar with or else be prepared to do research to get accurate facts into the story. The setting is just as important as the creation of characters and dialogue. A good writer will devote just as much care and attention to setting as to the rest of the story.

International comunications Essay Example | Topics and Well Written Essays - 1250 words

International comunications - Essay Example Communication is also systematic. This means it occurs in within a set of interrelated parts and each of these parts affect one another (Wood 2011. p 3-4). In a family communication situation, for example, each member of the family constitutes part of the system. The physical environment and time also form parts of the system that affect their interaction. This is because people interact differently depending on the existing environment. Therefore, to analyze any communication situation, it is necessary to consider the system in which communication occurs (Wood 2011, p 3-4). The definition also emphasizes on symbols. Symbols include all language, non-verbal behaviors as well as music and art. A symbol is anything that signifies something else in an abstract manner. All human communication and interaction involve the use of symbols. Lastly, the definition of communication emphasizes on meanings. Meanings take a center stage in a communication process. Meanings are the significance people give to phenomena and are based on people’s interpretation of phenomena. Meanings are obtained from continued interaction with symbols but not from phenomena. This entirely depends on how people interpret words and non-verbal communication (Wood 2011, p 3-4). Culture, on the other hand, constitutes beliefs, objects, behaviors, and characteristics that can be regarded as common to all members of a given societal group. It is through culture that individuals and groups are able to conform to society’s shared values, define themselves and contribute positively in society. In general, culture includes many society aspects such as language, values, customs, norms, rules, tools, technology, products, institution and organization (Maude 2011, p. 3-10). Communication involves the use of language to communicate messages. Language can be said to influences culture. Conversely, culture can be said to influence language. Language influences people’s perception

Mind of Great Companies Research Paper Example | Topics and Well Written Essays - 250 words

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Creativity in Translation Essay Example for Free

Creativity in Translation Essay 1. Introduction Translation has been defined as follows: â€Å"The replacement of textual material in one language by equivalent textual material in another language. † (Schjoldager 2008: 17) However, most translators will argue that translation is much more than that. And I will too. Translation has many purposes and many different audiences – and therefore, the same text can have several different translations. But do translators take advantage of the option of being creative when translating? This project will try to respond to this particular question. 2. Problem statement. With reference to the hypothesis and questions beneath, this project will focus on how and why creativity can be used in translation. The aim is to examine how creative translators are when translating different text types. The degree of creativity used in translation varies enormously when translating different text types. How can creativity in translation be defined? Why can a translator be creative in some text types – and not in others? Which role does the culture of the target group play? 3. Method and delimitation This project will constitute an empirical case study of different translated texts by means of a  comparative analysis of the source texts1 and target texts2. Initially, the notion of translation will be defined using primarily Anne Schjoldager’s, Hans Vermeer’s, Christiane Nord’s and Katharina Reiss’ theories on the subject. Different relevant and important terms will be explained for use later in the analysis. Creativity in relation to translation will then be defined and also, I will determine and delimitate this project’s definition of creativity by suggesting ‘a model of creativity in translation’. This part will be based on Schjoldager’s  aforementioned theories as well as Loffredo and Perteghella’s theory on creativity and translation. Subsequently, I will analyse eleven translated texts of the types: journalistic texts, advertising texts, tourism texts and technical texts, in order to determine their level of creativity. Using Anne Schjoldager’s models of macro- and microstrategies and Christiane Nord’s theories of extratextual and intratextual factors, the textual analyses will include genre determination, 1 From now on termed ’ST’. 2 From now on termed ’TT’. Creativity in translation – a study of various source and target texts June L. F. Holst Page 4 of 35 accounting of the communicative situation and purpose as well as elaboration on the microstrategies used by the translator. The TTs will be compared to their STs in order to decide which microstrategies have been applied in the process of translation. The approach to analysis will be the same for all eleven cases as this will produce the most reliable result when discussing the outcome. In selecting the texts for analysis I have distinguished between actual translation and copywriting. Thus, all the TTs are clearly translations of a ST, and the data consists entirely of texts that have been translated from Danish to English. As a supplement to the analysis, I have included a quantitative counting of the creative microstrategies applied in each TT. The purpose of this counting is solely to provide an illustrative representation of the occurrences of creative strategies in the TTs. Given that the body of empirical data in this project is relatively small, it will only allow me to attempt to come to inductive conclusions founded on generalisations which I base on individual instances and existing theory. In other words, this study can only constitute an indication, and a larger data basis would be necessary for deriving results of greater veracity. 4. Introduction to translation theory 4. 1. Defining translation In order to carry out precise analyses of the translated texts, the concepts involved must be clearly defined. Therefore, this introductory part of the project will elaborate the notion of translation and important concepts which will be employed in the succeeding parts. 4. 1. 1. The skopos theory The skopos theory is the best known functional approach to translation, and it has had great influence on professional translation. Skopos is the Greek word for ‘Intention’, ‘purpose’ or ‘function’ and Vermeer, who evolved the theory uses this term to emphasise the purpose with the TT, which he sees as the most important factor in the translation process (Vermeer 2000: 224). The claim of the theory is that, exactly like all other communication, translation requires a purpose (skopos) and the translator of course have to abide by this. The so-called ‘skopos rule’ (Schjoldager 2008: 154) says that it is important for all translators to translate conscientiously and always in accordance with a given skopos. However, one ST can have several ‘skopoi’ since the different  parts of it can be translated for different reasons. This project will use the notion of skopos in the sense described by Schjoldager (2008: 154); the aim of the TT. Creativity in translation – a study of various source and target texts June L. F. Holst. 4. 1. 2. Presuppositions Another essential notion in translation theory is the one of presuppositions. According to Nord (2005: 106), ‘presuppositions comprise all the information that the sender expects (=presupposes) to  be part of the receiver’s horizon. ’ This project will adopt Nord’s interpretation of the term, and presuppositions are therefore regarded as the elements of the communicative situation – in this case, the texts – which are known to both sender and reader and which do not need to be mentioned explicitly. When translators translate a text, they are receivers of the ST and therefore share the implicit presuppositions of the source culture. Hence, the presuppositions do not ‘appear’ until a text is translated and targeted at new receivers in the target culture (Nord 2005: 106). 4. 1. 3. Reiss’ text types. Katharina Reiss’ notion of text types mainly focuses on different texts’ functions in the culture they were produced in and how these functions can be reflected in the translation of the text. She defines translation as the functionally equivalent text of the source text in the target culture. So, her idea of translation depends on the function and creation of the equivalent of it in the target culture. Reiss defines three main functions; Informative, expressive, and operative3. The functional characteristics of the three text types are depicted in the table below. Text type: Informative Expressive Operative. Language function Informative (representing objects and facts) Expressive (expressing sender’s attitude) Appellative (making an appeal to text receiver) Language dimension Logical Aesthetic Dialogic Text focus Content-focused Form-focused Appellative-focused TT should†¦ Transmit referential content Transmit aesthetic form Elicit desired response Translation method ‘Plain prose’, explicitation as required ‘Identifying’ method, adopt perspective of ST author ‘Adaptive’, equivalent effect Functional characteristics of text types and links to translation methods (Reiss in Munday 2008: 73). 3 Reiss also includes the audiomedial text type which will be excluded here as it only concerns visual and spoken texts etc. Creativity in translation – a study of various source and target texts June L. F. Holst Page 6 of 35 4. 2. Macrostrategy In order for the translator to decide how to translate a given text, he would have to estimate which macrostrategy would be appropriate. A macrostrategy can either be ST oriented or TT oriented. A  translator should always decide which macrostrategy to employ to a TT with respect to the skopos of the ST. Anne Schjoldager (2008: 71) suggests that the translator should take three aspects into consideration which will help deciding on a macrostrategy. She has set up the three aspects in the model below: ST oriented macrostrategy TT oriented macrostrategy Focus on source-text form and content Focus on target-text effect Communication of somebody else’s communication Mediation between primary parties in a communication Overt translation Covert translation A model of macrostrategies (Schjoldager 2008: 72) If the translator is expected to focus on form and content of the ST, to be a communicator of someone else’s communication and to make the translation overt, the result will be a ST oriented translation. On the contrary, if focus is on the effect of the TT, the translator functions as a mediator and produces a covert translation, the result is a TT oriented translation (Schjoldager 2008: 71-72). 4. 3. Microstrategies After having decided on the macrostrategy, the microstrategies must be considered by the translator. The microstrategies applied in the text tell us something about how the translator has chosen to deal  with specific problems or issues. That is, at the micro level, i. e. in connection with words, phrases and sentences (Schjoldager 2008: 89). The strategy at micro level decides how the ST should be translated in order to produce an appropriate TT. Below is Anne Schjoldager’s ‘Taxonomy of microstrategies’. A more elaborate account of the microstrategies relevant for the analysis will be presented later in connection with my definition of creativity in translation (cf. section 5. 2). Direct transfer Transfers something unchanged. Calque Transfers the structure or makes a very close translation. Direct translation Translates in a word-for-word procedure. Oblique translation Translates in a sense-for-sense procedure. Creativity in translation – a study of various source and target texts June L. F. Holst Page 7 of 35 Explicitation Makes implicit information explicit. Paraphrase Translates rather freely. Condensation Translates in a shorter way, which may involve implication (making explicit information implicit). Adaptation Recreates the effect, entirely or partially. Addition Adds a unit of meaning. Substitution Changes the meaning. Deletion Leaves out a unit of meaning. Permutation Translates in a different place. A taxonomy of microstrategies (Schjoldager 2008: 92) 5. Creativity in translation In order to answer the question ‘how can creativity in translation be defined’, this project will suggest a model of creativity in translation, based on Anne Schjoldager’s taxonomy of microstrategies above, Loffredo and Perteghella’s theory on creativity and my own characterisation of creativity. According to Loffredo and Perteghella (2006: 9) ‘creativity is still regarded as a  spontaneous process readily associated with a special individual and a sort of freedom, which is sustained by an individualistic conception of authorship According to this conception, the author freely expresses his thought and feelings in writing. ’ This project, however, will have a somewhat narrower definition of creativity. The twelve aforementioned microstrategies posed by Anne Schjoldager can be divided into more and less creative strategies. Characteristic for some of them is that they do not alter, add or remove any linguistic or semantic meaning when applied to the TT. This goes for direct transfer, calque, direct translation and oblique translation4 which all translates close or very close to the ST (Schjoldager 2008: 93-99). Therefore, I do not consider these creative microstrategies, and texts translated using solely these cannot be considered creative translations. On the contrary, the remaining eight strategies do all in some way add to the level of creativity when applied in a translation. Though the semantic meaning is by some means rendered, there are linguistic changes when employing these strategies. Within these eight creative strategies, the degree of creativity varies as well. The model of creativity classifies the strategies explicitation, condensation and deletion as slightly creative since they merely involve elaborating on existing 4 To some extent, oblique translation can also be regarded a creative strategy, as smaller linguistic changes can occur in connection with the use of it. Though, in this project, I have chosen not to include it as a creative strategy. Creativity in translation – a study of various source and target texts June L. F. Holst Page 8 of 35 meaning, shortening text and taking out meaning. The top five strategies, however, are rewriting semantics of the ST or adding meaning which cannot be directly inferred from the ST. Therefore, I regard these as slightly more creative. A creative translation, though, still renders more or less all ST meaning, and this is what I find distinguishes actual translation from e. g. copywriting. 5. 1. Model of creativity High degree of creativity. Non-creative 5. 2. The creative microstrategies This section will shortly outline the important features of the above mentioned creative  microstrategies; that is, the topmost eight in the model of creativity. 5. 2. 1. Explicitation Explicitation makes implicit information explicit, to put it briefly. In literary translation, the strategy is often used to make texts more cohesive, but it is also seen in other kinds of translation. It is used when there is a need to expand on something, e. g. cultural bound references or presuppositions not shared by the TT audience. What makes this strategy creative is the fact that a unit of meaning is added to the text; although it can be directly inferred from the ST (Schjoldager 2008: 99-100). Substitution Permutation Adaptation Paraphrase Addition Deletion Condensation Explicitation Oblique translation Direct translation Calque Direct transfer Creativity in translation – a study of various source and target texts June L. F. Holst Page 9 of 35 5. 2. 2. Condensation Condensation translates a ST unit in a shorter way which may involve making explicit information implicit; implicitation. Condensation renders the already existing contextual meaning in a shorter  way and is therefore only considered slightly creative. (Schjoldager 2008: 102). 5. 2. 3. Deletion Deletion is leaving out a ST unit of meaning from the TT. The unit is completely taken out and is not implicitly present, as is the case in condensation (Schjoldager 2008: 108). In that way, this microstrategy is somewhat creative although not considered one of the most creative. 5. 2. 4. Addition When a unit of meaning is added to the TT, Schjoldager (2008: 104-105) refers to it as addition. The added unit cannot be directly deduced from the ST, thus, addition is different from explicitation  and is also slightly more creative. 5. 2. 5. Paraphrase By paraphrasing, ST meaning is rendered, though quite freely. The TT elements can seem somewhat different to those of the ST but the contextual meaning of the elements corresponds. It can be hard to define just how the two units of meaning correspond; however, there is no doubt that they do (Schjoldager 2008: 100-101). Therefore, this strategy can be considered creative. 5. 2. 6. Adaptation Adaptation is one of the most creative strategies as it does not necessarily render any contextual meaning, but rather recreates the effect of a ST item in the TT. It is applied, for example, where cultural references in the ST cannot be translated or explicated. It is somewhat similar to oblique translation and paraphrase, but is more creative and is often applied, where the translator wants to ‘imitate the source-text author’s thinking process’ (Schjoldager 2008: 103). That is, the translator ‘adapts’ the text to the TT audience and culture. When applying this strategy to larger units in a translation, it can be discussed whether it is actual translation or copywriting. Creativity in translation – a study of various source and target texts June L. F. Holst. Page 10 of 35 5. 2. 7. Permutation Permutation is mostly used in literary translations. It translates ST effects in a different place in the TT. It is applied when a given ST effect cannot be rendered in the TT for linguistic or stylistic reasons. Hence, the effect is recreated somewhere else in the TT (Schjoldager 2008: 109). 5. 2. 8. Substitution Again we are dealing with a rather creative strategy as substitution involves changing the meaning of a ST unit. The TT unit is clearly a translation of the ST, but the semantic meaning has changed (Schjoldager 2008: 106). 6. Approach to analysis In order to comment on the level of creativity in the translated texts, an analysis of both extratextual and intratextual factors must be carried out. According to Nord (2005: 43-141), the extratextual factors are aspects concerning e. g. sender, audience, medium and text function, while the intratextual factors involve subject matter, content, genre and register. In my analyses of the TTs, I will take both extratextual and intratextual factors into consideration, as well as discuss the macro-  and microstrategies applied in the translations. The extratextual analysis will be partly inspired by Reiss’ theories on text types, and I will also make use of Anne Schjoldager’s above-mentioned ‘Model of macrostrategies’ and ‘Taxonomy of microstrategies’. The analysis will be carried out with awareness of the fact that all microstrategies cannot be ‘placed in watertight boxes’ and conclusions will therefore be drawn on the basis of a somewhat subjective interpretation of the microstrategies. 6. 1. The data The eleven texts have been chosen in an attempt to cover different text types and genres within  different fields. Because of the limited time and lack of space, it is only possible to include a restricted number of texts in the analysis, which is why I have chosen four different types and analysed two or three examples within each. In all cases, I assume that the texts have originally been written in Danish and then translated into English given that only texts from Danish companies have been selected. All STs and TTs have a length of approximately one standard page and can therefore be considered rather short texts. The data is typical data, representative of many  other texts of the same type as they are chosen more or less randomly from their natural context. Creativity in translation – a study of various source and target texts June L. F. Holst Page 11 of 35 7. Analysis 7. 1. Journalistic texts Journalistic texts belong partly to Reiss’ ’informative text type’. Journalistic texts, such as news paper articles and press releases perform the function of communicating ‘information, knowledge opinions etc. ’ (Munday 2008: 72) as facts must be reported correctly. Of course, the journalistic text type is a vague term and certain texts within the category will also be characterised by the expressive and operative function according to the field and skopos of the text. This section will comprise analysis of three texts within the journalistic type; a press release, a news article and a business article. 7. 1. 1. Analysis of ‘DSB wins fourth rail contact in Sweden’ The text which is of the written medium was published on DSB’s website. It is a press release informing readers about DSB’s new rail contract in Sweden. The receivers of the text, the readers,  are foreign users of DSB’s website and in particular those with an interest in DSB’s business concern and in business in general. The text is a translation of the Danish press release ‘DSB vinder fjerde togkontrakt i Sverige’, and I assume that it is translated by a professional translator (Schjoldager 2008: 29). It is an interlingual translation as the Danish article has been translated into another language: English. When readers of the press release enter the English website of DSB, the translation will appear covert to them, but since it is obvious that DSB is a Danish company and their corporate language is  Danish, readers should be aware of the fact that they are reading a translation, and I will categorise the translation as more overt than covert (Schjoldager 2008: 31). Generally seen, the translator of this text has mostly made use of the microstrategies direct translation and oblique. These render the content of the TT very close to the ST and are therefore not considered creative strategies according to my definition of creativity (cf. chapter 5). However, there are a few examples of deletion and explicitation (appendix 1). Microstrategy ST TT Deletion ‘( )der ligger i det centrale Sydsverige lige syd for Sveriges n?m  ststorste so Vattern. †¦ Appendix 2 and 3 The Danish sentence ‘( )der ligger i det centrale Sydsverige lige syd for Sveriges n? ststorste so Vattern. ’ has been left out in the English translation. This is an example of deletion. As the TT is Creativity in translation – a study of various source and target texts June L. F. Holst Page 12 of 35 probably intended for foreigners who might not have any knowledge of the geography of Sweden,  the translator has most likely found the information irrelevant and simply left it out. It does not change the meaning or effect of the ST, and so, the translator is free to be a bit creative and delete it. Apart from the few instances of deletion and explicitation, the press release has been translated in a fairly ST-oriented way. The skopos of the TT, and perhaps of press releases in general, is assumedly to be solely informing people of news and new initiatives of the company. In other words, this is an example of a predominantly informative text type. Moreover, one could  imagine that a big company like DSB would attempt to standardise all official communication with its customers and other stakeholders, regardless of the native language. 7. 1. 2. Analysis of ’Claims of bribery at tax authority’ The text is an online news paper article published at www. politiken. dk on March 24 2010, and it is a translation of the Danish text ‘Eks-kontorchef: Skattechef fik store middage af firma’. It is an article informing about bribery at the Danish tax authority SKAT. The target audience – both of the Danish and the English version – are readers of politiken. dk and perhaps in particular those with an  interest in business matters and the company SKAT. The TT is a written, interlingual translation and presumably, the ST has been translated by a professional translator (Schjoldager 2008: 29). When readers of the article enter the site with the English news, the translation will appear covert to them. Though they might be aware of the fact that the TT is a translation, it is of no significance to them as they are not expected to know the ST (Schjoldager: 32). Therefore, the translation can be categorised as covert. The translation of this text is characterised by the use of quite a few creative strategies (appendix 1)). The TT is as such not very close to the ST, but still, it must be categorised a translation since more or less all information communicated by the ST is included in the TT as well. Some of the strategies which make this translation rather creative are addition, deletion and especially paraphrase. In this analysis, though, I will only include a few examples of paraphrase, as an assessment of them all would be too extensive. Microstrategy ST TT Paraphrase Eks-kontorchef: Skattechefer fik store middage af firma Claims of bribery at tax authority Appendix 4 and 5. Creativity in translation – a study of various source and target texts June L.  F. Holst Page 13 of 35 The first creative strategies are seen in the headline and the subheading. The Danish headline ‘Eks- kontorchef: Skattechefer fik store middage af firma’ is translated into ‘Claims of bribery at tax authority’. The ST meaning is rendered, though in a slightly different way. The ST headline has an agent; namely the ‘eks-kontorchef’ who claims the bribery. Whereas the TT headline expresses the action with a noun. That is, the translator has chosen not to just apply direct translation even though it is possible. He has translated it in a more creative way by using the strategy of paraphrase. Microstrategy ST TT Paraphrase Tidligere kontorchef advarer i Jyllands- Posten om bestikkelse i Skat. Former tax authority department head goes whistleblower. Appendix 4 and 5. Also the subheading has not been translated by means of the more direct, non-creative microstrategies. Again, the ST meaning is rendered but in a way that is difficult to define precisely. The Danish sentence contains more explicit information and also, the term ‘goes whistleblower’ is  sort of a fixed expression which gives the phrase a negative ring. Nevertheless, it does not add or take out meaning and therefore, it can be considered a creative translation. The examples of paraphrase together with the other creative microstrategies applied by the translator make the TT appear creative. As an article, the ST must still be considered an informative text type, and the TT is too, although the translation is somewhat TT oriented. 7. 1. 3. Analysis of ‘Vestas lands massive turbine order’ This TT is a translation of the Danish version ‘Vestas scorer historisk stor ordre’, which is found at www. politiken. dk; a Danish news website. It is a business article dealing with a new big turbine order of the Danish company Vestas. The target audience, therefore, consists of non Danish- speaking users of the website with an interest in Vestas’ businesses or in business in general. The TT is a written, intralingual translation from Danish to English, in all probability translated by a professional (Schjoldager 2008: 29). Users of the site with English news might be aware of the fact that the TT is a translation but like the previous example, it is of no significance to them as they are not expected to know the ST (Schjoldager 2008: 32). Hence, the translation will appear covert to them. Creativity in translation – a study of various source and target texts June L. F. Holst Page 14 of 35 The English TT is marked by several creative strategies of the kinds addition, deletion and explicitation (appendix 1). It is somewhat similar to the ST in both form and content, but many details have been altered or conformed to the target audience. Microstrategy ST TT Deletion Gl? de hos Vestas Deletion Aktion? rerne begejstrede Appendix 6 and 7. The above examples of deletion show that the two subheadings in the Danish ST has been left out in the TT which in fact is the case of many of the English news stories at politiken. dk. The example below is a very typical case of explicitation which is often found in relation to proper nouns and titles etc. which are presupposed by the source audience. Here it is the Danish company Vestas that has been explained to the foreign readers who might not share the presupposition that it is a Danish company. Microstrategy ST TT Explicitation Vindmollefabrikanten Vestas har faet sin  storste enkeltstaende ordre nogensinde Denmark’s wind turbine giant Vestas has landed its biggest single order ever. Appendix 6 and 7. The above examples, together with the additional cases of creative translation, do not make the TT appear as creative as one would think. This is probably due to the fact that, although there are many instances of creative translation in the text, the strategies applied do not belong to the most creative microstrategies; that is, the topmost strategies in the model of creativity (cf. section 5. 1). Therefore, the translation must be considered fairly ST oriented, with only the alterations required by the  culture of the target audience. 7. 1. 4. Initial conclusion The three analyses of journalistic texts show that the degree of creativity in the translations varies within this text type. The press release from DSB is translated quite close to the ST seeing that mostly non-creative strategies have been applied. The article from politiken. dk about SKAT, though, has been applied several creative strategies. This is also the case of the third article about Vestas, although the strategies employed belong to the slightly less creative ones, and therefore the Creativity in translation – a study of various source and target texts June L. F. Holst Page 15 of 35 translation does not appear that creative. Even though the three texts all include elements of creativity, they are still associated with the informative text type, as the TTs do transmit the referential and conceptual content of the ST (cf. section 4. 1. ). The analysis could have included more different types of journalistic texts and articles; as for instance sports journalism and entertainment. That might have shown higher degrees of  creativity since these kinds of texts belong more to the expressive, TT oriented texts which aim to transmit the effect of the ST rather than the form and content (Munday 2008: 74). 7. 2. Tourism texts ‘The tourist brochure is an operative text. Its dominant function is to present material in such a way that it attracts attention and invites patronage. ’ (Snell-Hornby in Anderman Rogers: 1999: 95). The above extract concerns tourist brochures but can apply to all forms of tourism texts in general. Snell-Hornby argues that the main focus of tourism texts is the appeal to the audience, and that they  are culture bound. That is, their purpose and effect varies with the reader (Mary Snell-Hornby in Anderman Rogers: 1999: 95). According to Reiss (Munday 2008: 73), the tourist text is one of the hybrid text types since it provides information about a subject, attempts to persuade readers to visit a certain attraction, and at the same time it can have expressive features. In this section, three tourism texts from the web will be analysed. 7. 2. 1. Analysis of ’Petzi moves into Tivoli Gardens’ The text is a translation of the Danish ST ‘Rasmus Klump flytter ind I Tivoli’. It was published on  the website of the Danish amusement park, Tivoli, with the aim of informing tourists about a new attraction, Petzi’s World. Therefore, the target audience of this TT is tourists visiting Denmark or foreign people living in Denmark who plans to pay a visit to Tivoli. The TT is a written, interlingual translation and most likely, the ST has been translated by a professional translator commissioned by Tivoli (Schjoldager 2008: 29). Tourists entering the website are almost certainly aware of the fact that Tivoli is a Danish corporation; thus they know that they are reading translated texts when choosing the English version of the website.

Life Os Freud Essay -- essays research papers fc

Sigmund Freud is a name that to most of us sounds familiar. To many, he is known as the father of Psychology. He was one of the most influential figures in the twentieth century (B: 430). His theories revolutionized the world, and he founded his own school of Psychology. Although some regarded his work with hostility and disbelieve, many people still follows his believes and teachings until this day (A). But what about the man himself, his life, his family, his work and his studies? Next will find a brief story about him. Sigismund Scholomo Freud was born on May 6, 1856 in Freiberg, Moravia (this day it’s called Pribor in the Czech Republic) (A). Son of Jacob Freud and his third wife Amalia (which was 20 years younger), he was the first of a family of seven children (A). When he was three years old, fleeing from the anti-Semitic riots then raging in Freiberg, his family moved to Leipzig, Germany. A year later they moved again to Vienna, where he lived there until the year prior to his death (1938)(C). Freud was extremely bright and ambitious. He changed his name to the abbreviation we all know him by in 1877 (B: 430). Although Freud’s ambition from childhood had been a career in law, he decided to become a medical student shortly before he entered Vienna University in 1873 (C). As a student, he began research work on the central nervous system, guided by Ernst von Brucke (A). He graduated as a physician in 1881, and proved to be an outstanding physiological researcher (B: 430). Early in his career, he was among the first to study a new drug that had anesthetic and mood altering effects, know as cocaine. Although he discovered cocaine’s anesthetic properties, one of his colleagues received credit for his work, thing that upset him a lot. And to increase his disappointment, his enthusiasm quickly faded when he realized that this new drug was addictive (D: 522-523). Although he left Freiberg as a young child, escaping from the anti-Semitic movement, he still had to deal with a lot of that bad acceptance in his new home. In Vienna, prospects for an academic career in scientific research were very poor for a Jew. So he gave up physiological research for a private practice in neurology, specializing in nervous disorders (A, B: 430). While this was happening, Freud got married to Martha Bernays in 1886. The couple had six children, and the youngest one, A... ... daughter Anna was detained for questioning by the Gestapo, Freud decided to move his family to England (B: 433). A year later, his cancer returned. This time it took its toll. Sigmund Freud died in England at the age of 83 (A).   Ã‚  Ã‚  Ã‚  Ã‚  He created an entirely new approach to the understanding of human personality by his demonstration of the existence and force of the unconscious. Also, he founded a new medical discipline and formulated basic therapeutic procedures that in modified form are applied widely in the present-day treatment of neuroses and psychoses. Although never accorded full recognition during his lifetime, Freud is generally acknowledged as one of the great creative minds of modern times. Today, his legacy continues to influence psychology, philosophy, literature and art (B: 432, C). Bibliography. - A.- Http//www.geocities.com/Eureka/Promenade/1919. B.- Psychology, second edition, by Hockenbury & Hockenbury. C.- Microsoft Encarta Encyclopedia 2000 D.- Adjustment & Growth in a Changing World, fifth edition, by Napoli, Kilbride and Tebbs. E.- Elementary Principles of Behavior, fourth edition, by Malott, Malott and Trojan.

A Wallet Found

On December 20, 2008, I woke up with a cheery disposition as I thought about the fast approaching Christmas Eve. I was very excited about it as this is a time when the whole family gathers and relatives from all over the state visit and stay for the night.This year, the venue is our home which makes the event more exciting. On this morning, the whole family went together to the Sunday Church Service as was our custom. My parents, being devoted Christians, always attend Church on Sundays and have instilled to us, their children, the same habit.We had a pleasant time at the service as the pastor was very eloquent in his sermon and touched on matters that were important and significant today. After the service, my parents and I parted ways as they went on to our house while I was tasked to do grocery shopping for the Christmas Eve celebration at our home. Since the grocery was a just a few blocks away, I opted to walk and savor the fresh air.As I neared the grocery store, I stopped to t ie the laces of my rubber shoes. While knotting it back, I noticed a small wallet off to the side of the pavement, partially covered by a bin of garbage. I was surprised and I started to pick up the small brown wallet. I contemplated on whether to open the wallet or just give it to some security officer insider the grocery store. I then proceeded inside the grocery however my curiosity got the better of me so I entered the washroom and sat inside one of the vacant cubicles. I started to open the wallet and look inside.Inside the wallet, my eyes got huge as I found approximately 2,914 dollars in cash. My first thought was â€Å"Whoa. This is a lot of money† and for a moment, I just stood there dumbstruck and at a loss as to what action to take. I then found five credit cards inside the wallet will the pin number of each credit card written on a piece of sticky paper and attached at the back of the card. After a few seconds, I will be honest in saying that my mind started to ru n down on how I could use the money: the things I could buy and such. But then I stopped myself and started to delve inside the wallet to look for any identification cards.