Macbeth: Act 5 Summary Essay

Scene I A doctor and gentlewoman are at the castle watching Lady MacBeth because she has been sleeping walking. When Lady MacBeth enters the scene she washes her hands saying there is blood on them and refers to the murders: Duncan, Banquo, and Lady MacDuff. Once she leaves the doctor looks stunned at such behavior. Scene II A group of Scottish lords gather together to discuss the military situation. It is decided that the Scottish army will meet the English army led by Malcolm by Birnam Wood to join forces together. It is also reported that MacBeth has fortified Dunsinane Castle. Scene III MacBeth tells his attendants they have nothing to fear of the army approaching them because no one of woman born can harm him. MacBeth also refers to the second apparition and says he will reign until Birnam Wood is moved to Dunsinane. Next, MacBeth orders Seyton to retrieve his armor so he can do what he does best, fight on the battlefield. The doctor reports to MacBeth about Lady MacBeth’s condition. MacBeth demands that the doctor rid her of the disease and cure her. Scene IV While marching toward Dunsinane, Malcolm orders his soldiers to break a branch off of a tree in Birnam Wood hope to, â€Å"Thereby shall we shadow / The numbers of our host,† and make MacBeth’s spies, â€Å"Err in report of us,† (5.4.5-7). Scene V Seyton comes to tell MacBeth that the queen has died. Shocked by the abrupt end of his wife, MacBeth makes a compelling spiel. The messenger enters telling MacBeth that the forest of Birnam Wood is moving towards them, Dunsinane. MacBeth is overcame by disbelief and horror that the apparition’s prophecy may come true which said that he couldn’t die until Birnam Wood moved towards Dunsinane. Scene VI Malcolm orders his soldiers to throw down the branches and reveal to MacBeth’s castle who they really are. Scene VII MacBeth kills the Young Siward and makes fun of the soldiers who are born from a woman because their swords can not kill him. Malcolm makes a comment about MacBeth’s soldiers saying, â€Å"We have met with foes / That strike beside us,† because they aren’t even trying to fight (5.7.31-2). Scene VIII The castle is surrounded by Malcolm and Siward’s men. MacDuff finally finds MacBeth and the fight begins. While fighting, MacBeth tells MacDuff he is wasting his time because he cannot be killed by a woman born human. MacDuff shocks MacBeth by letting him know he was not woman born but cut out of his mother’s womb. MacBeth still does not give up and they continue fighting. As trumpets sound victory of the Scottish and English forces, MacDuff enters carrying MacBeth’s head and declared Malcolm King of Scotland.

Pricing Strategy of Alitalia Airline Essay

Price is very important to the seller of any good or service who wants to make a profit. This is due to the reason that most consumers first look at the price, before considering whether or not to buy a good or service. The sellers have to be very careful when setting price, so that the good or service does not appear to be very expensive, since this will discourage the potential clients from purchasing them (Schade and Schlag 2002: 43-52), (McGrath 2000: 37-43). On the other hand, if the good or service appears to be too cheap, the clients will be suspicious of it. There are many strategies that are used by sellers in pricing their goods or services. These include loss leader, price discrimination, cost plus, penetration, limit, predatory, premium, creaming, marginal cost, target pricing among others (Yates 2003: 22-29), (Nagle and Holden 2002: 26-37). This paper will analyse Alitalia’s problems regarding pricing, among other factors. Introduction Alitalia is an Italian airline that began operation in 1947, and transports cargo and passengers in several destinations throughout the world. This airline serves twenty five Italian airports, forty five airports in North Africa, Europe and Middle East. According to Iatrou and Oretti (2007; 23-28) and Hanlon (2007: 26-28), it is one of the members of SkyTeam, an airline alliance that includes such major airlines as AeroMexico, Aeroflot, China Southern, Air France and others. Last year, the airline transported over 24 million passengers which represented an increase of 1. 5% from the previous year. Nature of Alitalia’s problems Alitalia has experienced financial difficulties over the years, which are mostly attributed to problems with crew members and pilots, political interference by the government and labour difficulties. There have been many allegations of mismanagement and misappropriation of cash. Strikes by workers on several occasions have led to flight cancellations which further discourage customers from using the airline. According to Doganis 2006 (34-39), the government uses the airline to reward its cronies, further fostering its mismanagement. In terms of pricing, Alitalia is perceived by many passengers to charge very high prices which are not reflected by the service it offers. The airline’s customer service, among other departments is also not very effective, and many passengers have complained that the services offered are below standard. This makes customers move to other airlines whose prices reflect the services offered. According to Morrell (2007: 56-67), another problem that the airline faces is bureaucracy, and this causes delay in making crucial decisions. Bureaucracy also leads to inefficiency, since there is duplication of efforts (Wilson and Gilligan 2005: 22-29). Finally, the airline also lacks a clear leadership structure since most CEOs are changed very frequently, which hampers continuity. These factors have combined to discourage potential clients from using this airline. The end result is that the airline has suffered losses for very many years. In fact, since Alitalia began operations in 1947, it only made profit in one year, 1998 (Jarach 2005: 44-46). The net losses that Alitalia has experienced over the last decade amount to 3. 7 billion Euro. Government and private sector attempts to help this airline has bore no fruits yet. The airline has such major financial difficulties that stock exchange regulators in Italy requires it to file its debts, each month in order to monitor them. In 2006, Keegan and Schlegelmilch (2001: 55-61) add that, EU forbade the Italian government from injecting further capital, leading to its sale. Alitalia had a plan of filing for bankruptcy thus protecting itself from creditors. The second part was splitting the airline into the profitable and non profitable part and subsequently liquidating the latter. Comparison between FIAT’s and Alitalia’s problems and strategies. FIAT and Alitalia both experienced similar problems, not only in pricing but in mismanagement. According to Laux 1999 (33-38), FIAT began operations in 1899 and dealt with construction and agricultural equipment, commercial vehicles, aviation, natural gas and power distribution among other operations. It was however not doing well financially, with losses accumulating gradually each year. In 2002, the financial problems became clear after it was announced that the company had losses amounting to $1. 2 billion. General motors was a minor shareholder in FIAT, but did not see it fit to further invest in this company in order to help it overcome these financial difficulties. According to Simonis and Garwood (2004: 44-46), FIAT’s financial difficulties were reduced with the entry of Sergio Marchionne as the CEO. He made radical changes that streamlined operations in the company an improved efficiency. He also integrated an innovation facility specialising in innovating transmissions and engines, which was known as Powertrain technologies. The CEO also ensured that the joint venture with General Motors was terminated since he perceived it to hinder the development of FIAT. He also strengthened the governance structure and introduced non executive and independent directors. Alitalia, as discussed above can use FIAT’s solutions; the revolutionary strategy, not only in pricing but in overhauling the entire organisational structure. Other strategies available. Alitalia has very limited choice of strategies, since its problems go beyond pricing (Baker 2002: 17-19). Any other strategies used, that do not include the revolutionary strategy that overhauls the whole organisation, are not likely to increase the company’s profitability. This is due to the reason that the major problem for the airline lies in the organisational structure and mismanagement. Revolutionary pricing strategy. I would highly recommend a revolutionary strategy, not only in pricing, but the overall organisational structure, in solving Alitalia’s problems. This is due to the reason that most of the strategies that have been previously used have not been successful. In choosing a pricing strategy, I would recommend the penetration pricing strategy, which uses low prices to establish a grip on the market. The airline would then break loyalty that customers have on other airlines, and attract them. This should however be done after re-branding the airline, so that customers may perceive it to have changed for the better. In my opinion, pricing is not the major factor that caused Alitalia’s problems; Government interference did, as seen above. The government of Italy kept on pumping capital to the airline until the EU forbade it. It does not make sense to keep on pumping money into an organisation that is inefficient, since the money will just be wasted. Alitalia needs a revolutionary leader such as FIAT’s CEO, Sergio Marchionne who made changes across the organisational structure of FIAT. He also cut the company free from the joint venture with general Motors in order to create room for FIAT to grow. The CEO of Alitalia should do likewise, and free the airline from interference by the government so that there is room for the airline to grow and develop. He or she should overhaul the current organisational structure since that is where the problem is. He or she should then hire open minded, focused, competent and independent managers who will guide the airline towards prosperity (Pollack 2007: 44-48), (Rhonda 2003: 66-75). Other strategies. Organisational changes cannot take place under the current circumstances since the airline has already lost goodwill and reputation from its clients. The airline should be re-branded and a new vision which reflects the current goals and objectives should be set by the management (Buss 2006: 12-14), (Steward 1999: 44-49). The airline should also take advantage of the airline alliance that it is part of. It should utilise the goodwill of the other bigger airlines such as AeroMexico and use code sharing as a means of marketing its flights. It can also reduce several costs due to sharing resources with the other member airlines. Such resources include spare parts, personnel, administration buildings and others (Lu 2003: 55-59). This will reduce the amount of expenditure that it incurs, which is crucial in attaining profits. Conclusion and recommendation. FIAT and Alitalia both faced similar problems that went beyond pricing. In my opinion, pricing is not the major contributor for the decline of Alitalia. Government interference, mismanagement, bureaucracy and poor service, in my opinion are the main contributors to the airline’s downfall. The airline needs to adopt a revolutionary strategy in the entire organisation, like FIAT did. It also needs to free itself from government interference and re-brand in order to market itself as a new product. After doing this, I would recommend penetration pricing strategy as a means of attracting customers from the other airlines. The airline

The Reproduction of Emotion Creating Lexico-Stylistic Devices of the Short Story the Pit and the Pendulum by E. A. Poe in the Ukrainian Translation by R. Dotsenko

Ministry of Education and Science, Youth and Sport of Ukraine Lviv Ivan Franko National University Faculty of Foreign Languages Hryhoriy Kochur Department of Translation Studies and Contrastive Linguistics The reproduction of emotion creating lexico-stylistic devices of the short story The Pit and the Pendulum by E. A. Poe in the Ukrainian translation by R. Dotsenko Course paper Done by a 4th-year student O. V. Pidhorodetska Scholarly supervisor: L. M. Tarapatska Reviewer: T. O. Dytyna LVIV 2012 CONTENTS INTRODUCTION†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Chapter1. EMOTIVE PROSE AS A SPECIFIC GENRE OF ARTISTIC LITERATURE AND EPITHET, SIMILE AND METAPHOR AS MEANS OF CREATIVE REPRESENTATION OF IDEAS IN A LITERARY WORK†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 6 1. 1. Emotive prose as a form of artistic literature and peculiarities of its translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 6 1. 2. The notion of epithet as a member of epithet construction and ways of its rendering in the process of translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 1. 3. Simile as a stylistic device and methods of its translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 12 1. 4. The notion of metaphor and problems connected to its translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 15 Chapter 2. E. A. POE'S SHORT STORY THE PIT AND TH E PENDULUM AND THE REPRODUCTION OF ITS EMOTION CREATING LEXICO-STYLISTIC DEVICES IN THE UKRAINIAN TRANSLATIONBY R. DOTSENKO†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 20 2. 1. Characteristic features of E. A. Poe's short story The Pit and the Pendulum. 20 2. 2. The reproduction of emotion creating epithets, similes and metaphors of the short story by E.A. Poe in the Ukrainian translation by R. Dotsenko†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 21 CONCLUSIONS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 32 LIST OF REFERENCES†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 33 INTRODUCTION Edgar Allan Poe's The Pit and the Pendulum is a short stor y of the macabre describing the experience of being tortured. The paper concentrates on the emotion creating lexico-stylistic devices of the story as rendered in the Ukrainian translation by R. Dotsenko.The research paper is an attempt to investigate epithet, simile and metaphor within the given work of literature, where they serve as primary means of creating the effect of horror and making an emotional impact on the readership, and to analyse the peculiarities of reproducing these lexico-stylistic features of the original in the Ukrainian translation done by Rostyslav Dotsenko. The topicality of the paper consists in the fact that lexico-stylistic devices form the basis of any literary work since they serve as means of creative representation of the author's ideas and producing emotive influence on the readership.As far as lexico-stylistic devices are reflecting author's individual view of an object or phenomenon and may involve background knowledge of the readership for the pragm atic impact to be realized, their translation requires translator's creativity. The paper summarizes the ideas expressed by Russian and Ukrainian scholars (I. Galperin, A. Fiodorov, I. Retsker, B. Koptilov and D. Diuryshyn) as well as foreign ones (M. Sanches, I. Burkhanov) concerning emotive prose as a specific genre of literature and its characteristic features which should be aken into account by a translator. The paper also outlines the notions of epithet, simile and metaphor, their fucntions in an artistic text and methods of their reproduction by means of target language as researched by K. Lototska, O. Hrabovetska, O. Molchko, T. Onoprienko, Yu. Skrebnev, P. Newmark, P. Pierini, M. Larson and other scholars. The overall aim of the conducted research may be defined as an attempt to trace to which extent the expressiveness and emotional loading of epithets, similes and metaphors were reproduced in the translation.The object of the paper is a stylystic function of epithets, simi les and metaphors as means of creating negative emotions within the short story The Pit and the Pendulum by E. A. Poe and its Ukrainian translation done by Rostyslav Dotsenko. The subject of the paper is the reproduction of emotion creating lexico-stylistic devices (epithets, similes and metaphors) of the aforementioned short story in the Ukrainian translation and the translation methods applied by Rostyslav Dotsenko in order to convey in an adequate way the atmosphere of the macabre intended by the author. The objectives of the paper are the following: to define characteristic features of the literary writing under analysis, which belongs to the genre of emotive prose; * to provide theoretical basis for consideration of epithet, simile and metaphor as major means of creating negative and â€Å"obscure emotion† conveying the macabre; * to look into stylistic function and expressive potential of epithets, similes and metaphors in the given literary work; * to analyze the pecul iarities of the translated lexico-stylistic devices, their stylistic function and emotional loading; * to compare the pragmatic impact produced by translated epithets, similes and metaphors with that produced by corresponding original lexico-stylistic devices. The methods applied in the process of analysis of the original literary work and its Ukrainian translation comprise1)method of dictionary definition and ontrastive componential analysis (to examine subtle differences insemantic structure and emotional loading of original and translated lexico-stylistic devices), 2) stylistic analysis (to trace the adequate reproduction of stylistic colouring of the original literary work in the translation), 3) comparative analysis (to investigate weather the expressiveness ofthe translated lexico-stylistic devices is equivalent to that of the original tropes). The practical value of the paper consists in the analysis of translated epithets, similes and metaphors of the short story by E. A. Po e, which ensures understanding the importance of these lexico-stylistic devices for creating negative emotions within the framework of the literary work. The research is based on the corpus of 87 samples from the analized short story. The paper consists of Introduction, Chapter 1, Chapter 2, Conclusions and List of References. Chapter 1 concentrates on the research of emotive prose and peculiarities of its translation.The chapter also contains considerations on the notions of epithet, simile and metaphor, their functioning within a literary work and ways of rendering them into a target language. Chapter 2 comprises overall analysis of emotion creating lexico-stylistic devices of the short story The Pit and the Pendulum and also contains contrastive analysis of the most bright examples of original epithets, similes and metaphors and the correspinding lexico-stylistic devices in the Ukrainian translation. The Conclusions contain the results of the conducted research, outline the metho ds of translation applied by R. Dotsenko while reproducing emotion creating lexico-stylistic devices of the short story.The List of References provides the list of theoretical, literary and lexicographical sources which were cited in the paper and consulted in order to conduct of the research. CHAPTER 1. EMOTIVE PROSE AS A SPECIFIC GENRE OF LITERATURE AND EPITHET, SIMILE AND METAPHOR AS MEANS OF CREATIVE REPRESENTATION OF IDEAS IN A LITERARY WORK 1. 1. Emotive prose as a form of artistic literature and peculiarities of its translation. In order to grasp the specifics of artistic translation, it is reasonable to look at the properties of literary text first. It is obvious that each text type is characterized with certain style of language determined by the function performed by the text. The style of literature was nominated by I.Galperin as belles-lettres, a generic term which comprises three substyles: 1) the language of poetry, 2) emotive prose,and 3) the language of the drama [31 , p. 250]. Each of these substyles has certain common features which compose the foundation of the style and by which the particular style can be recognized and singled out. Besides, each substyle possesses definite individual features by which they are distinguished. The most important feature of a literary work is that it is a bearer of an aesthetic function. Literary text constitutes subjectively transformed reflection of the objective reality in harmony with the aesthetic-emotional intent of the author: he/she endeavours to convey their ideas, thoughts and emotions.From the point of view of the language resources choice, literary work is characterized with 1) genuine imagery achieved by purely linguistic devices, 2) the use of words in different meanings, greatly influenced by the lexical environment, 3) vocabulary which will reflect to a certain degree the author's personal evaluation of things or phenomena, 4) peculiar individual selection of vocabulary and syntax, and 5) the introduction of the typical features of colloquial language to a full degree (drama), to a lesser degree (in prose), to a slight degree (poetry) [31, p. 251]. Besides, it is claimed that the principal feature of literary text rests on its focus on the message and not on the content [37, p. 123]. The other basic feature of literary works is their saturation with artistic images. Emotive prose – implies principally books of the imaginative kinds, such as novels and short stories – shares the same common features, but these features are correlated differently than in poetry.The imagery is not so rich as in poetry; the percentage of words with contextual meaning is not so high. Emotive prose features the combination of the literary variant of the language, both in words and in syntax, with the colloquial variant. But the colloquial language in the belles-lettres style is not a simple reproduction of the natural speech, it undergoes changes introduced by the writer and is m ade â€Å"literary-like†. In emotive prose there are always two forms of communication present –monologue (the writer's speech) and dialogue (the speech of the characters). Emotive prose allows the use of elements from other styles as well. But all these styles undergo a kind of transformation under the influence of emotive prose.Thus, artistic translation must be approached as â€Å"a kind of aesthetically-oriented mediated bilingual communication, which aims at producing a target text intended to communicate its own form, correspondent with the source text, and accordant with contemporary literary and translational norms of the receptor culture [28, p. 139]. † In order to produce a high quality translation of a literary work of art, the following peculiarities of the given type of translation and problems connected to it should be taken intoaccount. Literary translation is very different from other types of translation because of its inability to rely primaril y on a simple reproduction of language units.Consequently, in the process of translating literary text a method of adequate changes is widely used. This method consists in the idea that for the accurate rendering of the thought the translator has to distract from original set of words, dictionary and phrase correspondences and to search for solutions of the task considering the entire: content, ideological direction and style of the original source [23, p. 310]. Very often in translations of artistic literature, particularly fiction, the accuracy is achieved not by means of direct translation but due to deviations from the original and appropriate substitutions; it cannot rely on standard solutions of translation problems.Artistic translation is a specific kind of translation since it consists not in accurate rendering of the content but in reflection of thoughts and feelings of the author by means of another language [12, p. 7]. As far as every piece of emotive prose is saturated w ith artistic images to a greater or lesser extent, it is desirable that the translator should analyze artistic images and their structure before translating the work in order to reproduce the author's intent in full. The translator should think in images and have the abilities to describe the image using the diversity of linguistic devices and techniques that exist in the arsenal of a target language. One of the problems of artistic translation is the interrelation between the context of the author and that of the translator.It is obvious that no translation can be absolutely accurate since the very language system of the recipient literature with its objective data cannot convey perfectly the content of the original, which inevitably leads to a loss of a certain amount of information. D. Diuryshyn also mentions that qualitative rendering of content of a certain literary work also depends on the personality of the translator, who is very likely to omit something from the content whi le recoding the text, and his predisposition to demonstrate or not to demonstrate all the peculiarities of the original  [7,  p. 114]. Among the main objectives aimed by the translator of fiction is that of rendering individual distinctness of the original. Individual distinctness is largely associated with philosophy and aesthetics of the author. A.Fiodorov identifies several key cases of correlation between distinctness of the original and the form of its reproduction: 1) smoothing, or depersonalization in order to satisfy requirements of literary norm of the language or tastes of a particular literary school; 2) attempts of formalistic accurate reproduction of particular elements of the original notwithstanding requirements of the language which is being translated – phenomenon which finally results in violence towards language and linguo-stylistic deficiency; 3) deformation of individual distinctness of the original as a result of arbitrary interpretation and arbitrar y substitution of some peculiarities by others; 4) full-fledged reproduction of individual distinctness of the original with full range of its essential features and language requirements [23, p. 400]. I. Retsker defines the following qualities of adequate translation: comprehensive transfer of semantic content of the text and rendering of this content by equivalent means, i. e. those that perform the function analogous to that performed by the original verbal means  [21,  p. 10]. Having considered the main peculiarities and problems of translating artistic literature, emotive prose in particular, the conclusion is reached that translator before rendering an original into a target language should nalyze peculiarities of the literary work he is going to translate, namely its structure on lexical, semantic and stylistic levels. The translator shouldn't strive for simple reproducing of lexical units but try to render the emotions and intention of the author as well as convey indivi dual distinctness of the original. Special attention should be paid to artistic images, which are to be examined in the original and then rendered appropriately in the translation. 1. 2. The notion of epithet as a member of epithet construction and ways ofits rendering in the process of translation. Some scholars, for example T. Onoprienko, believe that epithet may be defined as a generating centre of the whole system of tropes since any trope can be transformed into an epithet.Since it may be metaphorical, metonymic, ironical, or based on a simile, epithet is not a pure trope and is often treated as a stylistic mixture, a hybrid. K. Lototska defines epithet as â€Å"a stylistic device based on the interaction of logical and emotive meanings of the word, which expresses the individual, evaluative, emotionally coloured attitude of the author towards the object/person described by emphasizing a certain property or feature [15, p. 90]. † Epithet expresses characteristics of an o bject, both existing and imaginary. The basic feature of this stylistic device is its emotiveness and subjectivity: the characteristic attached to an object to qualify it is always chosen by a speaker himself. It is possible to say that in epithet it is the emotive meaning of the word that is foregrounded to suppress the denotational meaning of the latter [13, p. 31]. † In a sentence epithet usually fulfils the syntactic function of attribute or predicative, thus being expressed mostly by adjectives, sometimes adverbs, and very rarely by nouns . It is important to mention that any trope implies â€Å"semasiological two-dimensional use of a word in which its material form simultaneously actualizes two types of meaning – direct and figurative [3, p. 481]. † However, trope can be realized only in the context, in binary formation. T. Onoprienko defines this formation as trope configuration which consist of wo components: the actualizator of trope (I) (the component a lways used in direct meaning) and the core of trope (II) (the component used in figurative meaning) [16, p. 4]: e. g. â€Å"vague (II) horror (I) [39, p. 103]. † Thus, it would be more logically to consider epithets not separately but as a member of epithet construction. Three connotative components of the meaning are actualised in semantic structure of epithet construction: evaluative, emotive and figurative [6, p. 7]. Such semantic structure makes epithet construction different from logical attributive construction where logical attribute is objective and non-evaluating, e. g. â€Å"black-robed judges [39, p. 102]. Even if the epithet names typical characteristic, it always contains individual comprehension of the object or phenomenon, e. g. â€Å"frequent and thoughtful endeavors to remember [39, p. 103]. † A number of scholars, including I. Galperin, classify epithets into two main semantic types: associated and unassociated. Associated epithets point out typical features of the objects which they describe. Such typical features are implied by the meaning of the nouns themselves, e. g. â€Å"frail web [39, p. 102]†, bitter tears. Unassociated epithets ascribe to objects such qualities which are not inherent in them, e. g. â€Å"ravenous eyes [39, p. 106]†, â€Å"immovable resolution [39, p. 102]. As a result, the created image is fresh, original, unexpected and expressive. A wide range of epithets among those of the second group are figurative ones as far as they are formed of metaphors, metonymies and similes expressed by adjectives, e. g. â€Å" [38, p. 216]† – simile-based epithet construction. Associated epithets, on the contrary, are mostly language epithets. Their usage with certain nouns has become traditional and stable. Unassociated epithets are also called speech epithets since they are created in the process of communication. From the point of view of their distribution in a sentence, epithets may be used in pairs (e. g. hideous and repulsive devices [39, p. 106]†) and in chains (e. g. â€Å"feeble, scarcely sane, scarcely definite thought [39, p. 108]†). The chain of epithets gives a many-sided description of the object, but in this many-sidedness there is always a suggestion of an ascending order of emotive elements, which culminates in the last epithet. Z. Proshina mentiones another distributional model – the transferred epithet which is originally logical attribute generally describing the state of a human being, but made to refer to an inanimate object [20, p. 211]. The meaning of the logical attributes in such combinations acquires a definite emotinal colouring, e. g. Even then, while I gazed, they [rats] came up in troops, hurriedly, with ravenous eyes, allured by the scent of the meat [39, p. 106]† (the word ravenous is logically linked with they, syntactically with eyes). In the English and Ukrainian languages there are such epithet constructio ns which coincide not only in general content but also in their componential structure and stylistic, emotional and expressive shades. These are full epithet equivalents, and majorly fixed epithets belong to them. Sometimes epithet constructions differ in their componential structure but are almost equal in their emotional, expressive and stylistic characteristics. These expressions are partial epithet equivalents and ensure full adequacy of translation.Today's artistic literature is characterized by the great role of epithet as a decorative element able to express the author's attitude to the character, idea and narration in general. To convey the author's intent, the translator must be very careful in selecting words with the same denotative and connotative meanings. According to O. Hrabovetska, the most widespread method of translating epithet constructions is calquing. Calques are those epithet constructions which convey the denotative or connotative sense layer. Sometimes the u se of calquing method without penetrating into the depth of epithet construction semantics may lead to the transformation of translated work into the enumeration of foreign and incomprehensible concepts.In this case it would be more sensible to use decompression,or partial calquing when side by side with calque its explanation is provided. This is especially reasonable when the original is full of allusions and units of vertical context which may be unknown for the target reader. Descriptive paraphrase is used when translation requires a high level of explicitness. This method helps to actualize the implicit content of the original in translation and to avoid unnecessary associations [6, p. 14-16]. The conclusion may be made that epithet is a stylistic device based on interplay of logical and emotive meaning of the word. It is characterized with a high level of emotiveness and subjectivity.This stylistic device should not be considered separately, but as a part of two-member constru ction which consists of the epithet and the word it refers to. Semantically epithets are classified into associated and unassociated. Associated epithets are mostly language epithets, while unassociated epithets are referred to as speech epithets. Epithets may be used in pairs and in chains. There are also transferred epithets, or epithets syntactically joined to a word to which they do not belong logically. Epithets play a significant role in imaginative literature since they are bearers of essential emotional and expressive load of any literary work. Thus, while rendering epithets into target text, translator should select words carefully to avoid possible losses of meaning and expressiveness.The main ways of of epithet translation are calquing, decompression and descriptive paraphrase. 1. 3. Simile as a stylistic device and methods of its translation. Simile is an imaginative comparison, which is also called literary comparison. â€Å"It consists in an explicit likening of one o bject (the tenor) to another object (the vehicle) on the basis of some common feature/characteristic (the ground) [15, p. 102]. † It is important not to confuse simile with ordinary logical comparison. The last one pressuposes comparison of two objects belonging to one class of things and is stylistically neutral (e. g. he works as hard as a miner), while in simile two objects from different classes are brought together (e. g. â€Å"seven tall candles †¦ eemed white and slender angels who would save me [39, p. 102]†). â€Å"Any image is based on the use of similiarity between two distant objects [1, p. 140]. † I. Galperin believes that comparison takes into consideration all the properties of the two objects, stressing the one that is compared, while simile excludes all the properties of the two objects except one which is made common to them [31, 167]. According to N. Shapovalova , the structure of simile is formed by combination of the following elements: 1) subject (comparandum), i. e. an object or phenomenon which features are being uncovered via other one; 2) object of comparison (comparatum), i. e. n object or phenomenon which possesses vividly expressed and well-known to the speaker features and, consequently, is used by him for characterization of the object or phenomenon under cognition; 3) the ground of simile (tertium comparationis), i. e. the property on the basis of which the two objects are compared. It is either mentioned explicitely (e. g. â€Å"the under edge evidently as keen as that of a razor[39, p. 107]†, â€Å"? – , ? [38, p. 213]†)or left for the recipient to guess. In the latter case simile is richer in associations that may arise. â€Å"If the foundation of a simile is not clear from the context, the author supplies it with a key, making it extended [15, p. 102]. 4) The indicator of comparative relations, language connective element which serves as a link between the author's view of t he object and the very object and therefore ensures integrity of comparative construction [24, 7-8]. The connective affirms that the relationship between the tenor and the vehicle is an imaginary one, an appearance, a resemblance rather than reality. The presence of such linking element in its structure makes simile different from metaphor. The latter, due to the absence of the formal element and the implication which this element bears, may convey the relationship between the involved phenomena in different way, partially eliminating the author's point of view and giving place for the reader's viewpoint.According to the nature of language means expressing comparative relations, O. Molchko devides comparative constructions into two groups: with conjunctions or conjunction-like phrases and without them. Besides, the researcher claims that comparative constructions with conjunctions in both English and Ukrainian languages are a lot more numerous than those without conjunctions [16, p. 294]. Among conjunctions frequently used in similes, as well as in logical comparisons, are: like, as, such as, as if, seem in English; , , , , in Ukrainian. For instance, â€Å"I fell suddenly calm, and lay smiling at the glittering death, as a child at some rare bauble [39, p. 107]†; â€Å"†¦ ? , ? [38, p. 207]. † In similes without conjunctive elements the link between comparandum and comparatum can be expressed by way of (1) lexical indicator of comparativeness (when subject and object in comparative construction are linked to each other by adjective, verb or participle I such as to resemble, to look, to suggest in English and , in Ukrainian (e. g. â€Å" , ? ? , , [38, p. 215]†) or (2) adjective in comparative degree (e. g. â€Å"They [lips] appeared to me white –whiter than the sheet upon which I trace these words  [39,  p. 102]†).The stylistic function of imaginative comparison consists in enrichment of the expres siveness of a literary work by bringing together quite different objects and, consequently, helping to uncover in the object of comparison, besides its main qualities, a number of additional ones, often quite unexpected. The greater the semantic distance between the tenor and the vehicle is in a simile, the more striking effect the stylistic device will produce. Thus, an original simile is one of the most powerful image creating devices. Yu. Skrebnev mentions that simile has manifold forms, semantic features and expressive aims. Simile can be expressed by a simple sentence (e. g. â€Å"There was a harsh grating as of a thousand thunders! [39, p. 110]†) or a complex sentence with an adverbial clause of comparison (e. g. I felt every fibre in my frame thrill as if I had touched the wire of a galvanic battery [39, p. 102]†); it is often seen in a single compound word (e. g. giant-like). Great number of similes have become hackneyed in consequence of long usage and are used as idioms, e. g. as alike as chalk and cheese. These similes are deprived of imagery and expressiveness but still may be encountered in artistic literature. What makes creative similes stryking is the author's indication of previously unnoticed similarity between objects belonging to different classes. Thus, simile may pose a challenge for a translator, who should convey the expressiveness of the image in full.P. Pierini indicates the following translation strategies applicable to simile: 1) literal translation (retention of the same vehicle); 2) replacement of the vehicle with a different one; 3) reduction of the simile, if idiomatic, to its sense; 4) retention of the same vehicle plusexplanation of similarity features; 5) replacement of the vehicle with a gloss; 6)  omission of the simile [36, p. 31]. A number of scholars, including M. Larson, mention the following techniques for translating simile: 1) keeping the same simile; 2) replacing by another simile, but keeping the ori ginal meaning; 3) keeping the same simile, but spreading it [33, p. 246].The Translation Studies scholars share the idea that in some cases the application of a combination of more than one strategy is needed to convey properly the expressiveness of a simile. E. Fadaee assumes that translator before rendering the stylistic device should first assess the background knowledge of target readers since they may not have the knowledge needed for interpreting the simile. If translator consider the target readership to possess the required information, he will leave the simile unchanged; if the target readership does not share the knowledge, some modifications to the source simile may be required, e. g. addition of some explanatory information [30, p. 177].Therefore, simile, which is a stylistic device consisting in likening one object to another on the basis of a common feature, should be distinguished from logical comparison. Simile can be expressed by a variety of syntactic structures. T his trope significantly contributes to the overall expressiveness of a literary work. As far as simile contains individual vision of an object by the author and may also require some background knowledge possessed by the recipients of the original and not shared by the readers of the target culture, translator must be creative and careful while rendering original similes. A number of scholars, including P.Pierini and M. Larson, outline the main ways of translation applicable to simile. 1. 4. The notion of metaphor and problems connected to its translation. The awareness of a complicated and contradictory nature of a metaphor became the main reason for scholarly thought to move in various directions taking into account different aspects of this phenomenon. Thus, P. Newmark under the notion of metaphor means â€Å"any figurative expression: the transferred sense of a physical word, the personification of an abstraction, the application of a word or collocation to what it does not lit erary denote, e. g. to describe one thing in terms of other [34, p. 106]. Nevertheless, all the definitions tend to share common dominant features and may be summarized by the understanding of a metaphor as â€Å"a trope or figure of speech, which consists in application of a word, denoting a particular class of objects, phenomena, actions or attributive qualities, to characterize or nominate another object, which is similar to this one in terms of any kind of relationship[2, p. 81]. † George Lakoff and Mark Johnson find it necessary to emphasize that despite the widespread idea of a metaphor as a means of poetic imagination and rhetorical flourishing, this lexico-stylistic device is also pervasive in everyday life not only in language but also in our thought and action, which are fundamentally metaphorical in nature [32, p. 3]. At the same time, majority of scholars focuses on a metaphor as a powerful means of creating imagery in an artistic work since it is integrally conne cted with the poetic vision of the world. Of all tropes, metaphor is the most expressive one for it may draw closer or bring together in one synthetic image incompatible objects and phenomena, thus interpreting them in a new way, revealing their essence, exposing their â€Å"inner nature† by â€Å"pulling† them out of their â€Å"automatic†, traditional perception [15, p. 69]. † Turning back to the issue of relation between metaphor and simile, it would be resonable to cite the reflection of E. Fadaee who believes metaphor to be â€Å"a kind of condensed simile that some parts of it, like topic similarity markers, are deleted to convey the meaning connotatively [30, p. 21]. † Gibb and Wales suggest that the tenor (the object to which the quality of another object is transferred) that is preceeded by a definite article or possessive pronoun is common among items assigned the simile form, whereas metaphor is assigned to the items with no definite arti cle.The scholars also believe that simile seems to be preferred in the case of concrete vehicle (the object from which a quality is transferred to another object), whereas metaphor is preferred for abstract vehicle  [qtd. in 35, p. 199]. Simile and metaphor are distinguished not only with regard to structural aspect but also semantic one. Simile is more semantically specified: it indicates the sign of resemblance; metaphor only implies this sign. A. Morokhovsky considers that simile indicates the transitory feature, even occasional, unlike metaphor, which indicates permanent feature [17, p. 176]. Metaphors have been categorized in different ways depending on the aspect taken as the basis of classification.The most widespread is the classification of metaphors according to the degree of unexpectedness, which divides them into genuine (also called stylistic, fresh, original, poetic, imaginative, or speech) metaphors and trite (dead, stale, hackneyed, or language) metaphors. Trite me taphors are word-combinations once metaphorically fresh, which in consequence of long usage have lost their expressiveness and became ordinary entries in dictionaries, e. g. apple of eye. Genuine metaphors are coined by the writer's imagination and are always fresh and striking, e. g. â€Å"   [38, p. 209]. † The stylistic function of genuine metaphor is twofold: 1) it evokes images and suggests analogies/associations; 2) it reveals the author's emotional attitude towards what he describes.Poetic metaphor is likely to appeal to a certain image. While uncovering the essence of verbal images, R. Zorivchak emphasizes that they constitute the basis of any artistic text making it more appealing, picturesque and aesthetically beautiful and, at the same time, increasing the cognitive value of a literary work. Of particular importance is the cognitive and expressive loading of verbal image, which contributes to realization of the author’s intention [8, p. 51-53]. Besides exp ressiveness, metaphors also differ in their form. They can be single (one-word) or extended (a collocation, an idiom, a senrence, a proverb, an allegory, a complete imaginative text).There is a tendency in artistic literature to use metaphor combined with other tropes, thus it would be relevant to look into the issue of metaphor in its relationship with other stylistic devices. As N. Kozhevnikova observes, comparative tropes, which also include metaphors of different types, are closely interrelated. One sense connection can be expressed by different concrete utterances, e. g. ; , ; ; ; , etc. Poetical language is characterized by a great amount of varying stylistic devices. Such reversibility of tropes is a means of refreshment of trite metaphors, e. g. decomposition into constituing elements and transformation of metaphor into simile [9, p. 146].The combination of simile and metaphor is an effective device for semantic cohesion of an artistic text: first simile is used and then (sometimes after several phrases or words) the vehicle of the simile is used as that of metaphor [15, p. 71]. For example, â€Å"And then my vision fell upon the seven tall candles upon the table. At first they wore the aspect of charity, and seemed white and slender angels who would save me; but then, all at once, there came a most deadly nausea over my spirit, and I felt every fibre in my frame thrill as if I had touched the wire of a galvanic battery, while the angel forms became meaningless spectres, with heads of flame, and I saw that from them there would be no help [39, p. 102]. † A. Morokhovskyi mentions such trope as simile-metaphor based on metaphorical transference [17, p. 175], e. g. â€Å"the gossamer web of some dream [39, p. 102]. †An important aspect of researching the nature of metaphor concerns the problems arising in the process of its translation. â€Å"Since a metaphor in source language is, by definition, a semantic novelty, it can clearly have no existing â€Å"equivalence† in target language [29, p. 24]. † The adequate translation presupposes the rendition of stylistic and expressive nuances of the original and should follow the criteria of 1) verbal correspondence of the created image, 2) preservation of the image intended in the original, and 3) preservation of the conceptual grounding for the verbal metaphor [26, ?. 186]. Different approaches have been proposed with regard to metaphor translation, each looking into the problem from a different point of view. R.Van Den Broeck suggested to use the following modes of translating metaphors: 1) translation sensu stricto (both source language tenor and vehicle are transferred into target language); 2) substitution (source language vehicle is replaced by a different target language vehicle with more or less the same tenor; in this case source language and target language vehicles may be considered translational equivalents in that they share common tenor); 3) pa raphrase (source language metaphor is rendered by a non-metaphorical expression in target language; as a result, target language expression comes up to the level of a commentary rather than of actual translation [27, p. 77].Although personification is sometimes treated as a separate stylistic device, it is a metaphor in its essence since the image creation is based on metaphoric substitution. According to K. Lototska, personification is â€Å"a metaphor in which abstract ideas or inanimate objects (tenor) are identified with persons (vehicle), i. e. are given human characteristics [15, p. 75]. † Personification is considered to be a very poverful stylistic device because everything that concerns a man appears to be the most important to him, thus when the human properties, people's typical qualities and actions are transferred onto inanimate objects, the later begin to assume the utmost importance.The main problem of rendering personification in translation consists in the fa ct that the gender of personificated nouns in the source language and target language may not coincide. It poses a challenge for a translator when the personificated images of the original are based on the opposition of masculine and feminine gender nouns and in the translation the corresponding nouns do not create such opposition. Personification may be also individual, without opposition of genders. N. Homon believes that in order to overcome the difficulties in the process of rendering personification into target text lexical substitutes, which allow topreserve the image, are possible [5, p. 40].Thus, poetical metaphor is characterized by significant expressive potential based on transference of some quality from one object to another. Metaphor is clamed to be the most expressive trope which evokes images, reveals the author's emotional attitude towards what he describes and helps to realize the writer's intention. The principal classification of this trope is based on the degree of unexpectedness, which devides all metaphors into trite and genuine. The stylistic device can be expressed by different syntactic structures and tends to be accompanied or combined with other tropes in artistic text. Among the methods applied to metaphor in the process of translation the most common are translation sensu stricto, substitution and paraphrase. CHAPTER 2. E. A.POE'S SHORT STORY THE PIT AND THE PENDULUM AND THE REPRODUCTION OF ITS EMOTION CREATING LEXICO-STYLISTIC DEVICES IN THE UKRAINIAN TRANSLATION BY R. DOTSENKO 2. 1. Characteristic features of E. A. Poe's short story The Pit and the Pendulum. The Pit and the Pendulum is a short story written by Edgar Allan Poe, an American author, poet, editor and literary critic best known for his tales of mystery and the macabre. It was first published in 1842 in the literary annual The Gift: A Christmas and New Year's Present for 1843. The story is about the torments endured by a Spanish Inquisition prisoner, who describes his experience of being tortured. This particular piece of literature by E. A.Poe differs significantly from the rest of the author's works in the fact that it is especially effective at inspiring fear in the reader because of its heavy focus on the senses emphasizing the reality of the story, unlike other Poe's short stories which are aided by the supernatural. Despite its small size, the story abounds in stylistic devices, namely epithets (44 samples), similes (18 samples) and mataphors (12 samples). The stylistic devices used by the author are aimed to express emotions of the narrator and, accordingly, convey the atmosphere of interrogation and torture. As one would expect, emotions which are being created by the above mentioned stylistic device in the story under research are negative and dark in their nature. The most clearly can be traced emotions of horror, disgust and desperation.While conveying emotion of horror with the help of stylistic devices, the author makes use of verba l means refering to the sphere of the otherworld and that of evil spirits, e. g. â€Å"All sensations appeared swallowed up in a mad rushing descent as of the soul into Hades[39, p. 102]. † The emotion of disgust is produced by means of tropes composed of verbal means already containing the seme of this emotion in their semantic structure, e. g. â€Å"The entire surface of this metallic enclosure was rudely daubed in all the hideous and repulsive devices to which the charnel superstition of the monks has given rise [39, p. 106]†. In creating emotion of desperation E. A.Poe avails of stylistic devices comprising words which convey vagueness, powerlessness, or desperate effort, e. g. â€Å"At length, with a wild desperation at heart, I quickly unclosed my eyes [39, p. 103]. † Lexico-stylistic devices of the story are the main and major means for creation of negative emotions intended by the author and create the overall atmosphere of the litersry work. Therefore, an adecuate reproduction of tropes is essential, as far as expressive and emotive verbal means combined in emphatic structures of different stylistic devices acquire greater expressive potential. 2. 2. The reproduction of emotion creating epithets, similes and metaphors of the short story by E. A. Poe in the Ukrainian translation by R. Dotsenko. â€Å"And then there stole into my fancy, like a rich musical note, the thought of what sweet rest there must be in the grave [39, p. 102]. † * â€Å"? , , , - [38, p. 208]. † The epithet in the example above conveys the emotion of strong horror. Instinct for self-preservation is inherent in human nature, as well as fear of death, but the main character is already so much exhausted by the very long waiting for upcoming torture that even death for him seems to be a pleasant escape. Obviously, the torture in the story consists not in physical torment but in psychological pressure on the victim, whichis more harmful and unbearable as the development of the plot shows.The epithet construction is paradoxal since it uncovers extraordinary view on traditional lie of the land and, consequently, bears a tinge of irony, especially if to take into consideration that the narrator describes the events after he already overcame the danger and survived. R. Dotsenko's epithet construction can be considered as a full equivalent to the original one as far as both cnostructions are equal not only in general content but also in componential structure and stylistic, emotional and expressive shades. The transformation of original place modifier (consisting from preposition and noun) into adjective in translation is quite justifiable as it makes translation sound smoothly and with abandon. * â€Å"All sensations appeared swallowed up in a mad rushing descent as of the soul into Hades [39, p. 102]. * â€Å" , , ? [38, p. 208]. † As it was mentioned in Chapter I, different stylistic devices often ac company and complement each other in literary work, thus producing enhanced emotional effect. The example above constitutes a complex image of horror consisting of metaphor (descent is personified by way of transferrence on it of living being characteristic denoted by phrasal verb swallow up) and epithets and simile which vivify its tenor. It is essential to mention that metaphor makes it possible for readers to cognize the notions belonging to the sphere of abstractions, that is why metaphor as a stylistic device is especially helpful in conveying emotions.The personification was preserved by the translator and, what is more, made more explicit due to elimination of preposition inand use of active voice instead of passive as in the original. The simile complementing the metaphor contains allusion to Greek mythology where Hades is an underworld containing â€Å"the Plain of Asphodel, where the ghosts of the dead led a vague, unsubstantial life, a shadowy continuation of their forme r life  [45,  p. 172]. † The term hades is also used in the Septuagint (the ancient translation of the Old Testament into Greek) referring to the abode of the dead in general rather than the abode of the wicked. It has little if any relation to afterlife rewards or punishments.The Ukrainian term (English equivalent to which will be hell) is defined in the dictionary as â€Å" , [41, v. 6, p. 111]. † Thereby R. Dotsenko replaced the vehicle of the simile with different one which may be considered more exspressive in terms of conveying horror. The allusion to Greek mythology was conveyed partially through the substitution of original tenor of the metaphor descent with in translation since â€Å"the land of the dead was separated from the land of the living by one of the rivers of Hades, the Styx or the Acheron across which the dead were ferried [45, p. 172]. † Thus, explicit allusion of the original became implicit in the translation. â€Å"Then, ve ry suddenly, thought, and shuddering terror, and earnest endeavor to comprehend my true state [39, p. 103]. † * â€Å"? – , , , ? ?  [38,  p. 209]. † In the above example the author calls up to the reader's mind the emotion of horror by using the noun terror and intensifies its denotative meaning with epithet shuddering (as an adjective from shudder which is defined in the dictionary as â€Å"to shake because you are cold or frightened, or because of a strong feeling [43, p. 1360]†). This is a good example of transferred epithet as far as not the terror itself shudders but the person who is experiencing this emotion. In translation R.Dotsenko substituted the original epithet by the word which has direct meaning â€Å" ; , † and transferred one, â€Å" , , [41, v. 6, p. 113]. † Thus, in the original the striking effect was achieved by using originally logical attribute generally describing the state of a human being for referr ing to an abstract phenomenon, while in the translation the analogous effect was created due to intertwinement of direct and transferred meanings of the word. Although semantically the translated epithet is not equivalent to the original one, it produces the same effect intended by the writer.This fact affords the ground for regarding the translation in the given case adequate since accuracy in the translation of artistic literature is achieved not by means of direct translation but due to deviations and appropriate substitutions which ensure the appropriate rendering of the author's ideas and intent. * â€Å"A slight noise attracted my notice, and, looking to the floor, I saw several enormous rats traversing it. They had issued from the well, which lay just within view to my right. Even then, while I gazed, they came up in troops, hurriedly, with ravenous eyes, allured by the scent of the meat [39, p. 106]. † * â€Å" , ?, , ? , ? , ? , . ? , ? †“, , ?' [38, p. 214]. †In this excerpt the author characterizes rats by using transferred epithet construction ravenous eyes and modifying construction allured by the scent of the meat; besides, the mode of rats' travelling is characterised by epithet in form of adverb hurriedly. The translator desided to refer all three epithets to the actualizator of the trope, rats (for this reason he changed adverb into adjective and eliminated the actualizator eyes in the transferred epithet construction). Consequently, in the translation a chain of homogeneous members-epithets was formed, which created an effect of gradation with culmination in the last element. This gradation can be considered as a compensation for the effect created by the heterogeneity of epithet chain in the original, and especially, the expressiveness of the transferred epithet construction. â€Å"These colors had now assumed, and were momentarily assuming, a startling and most intense brilliancy, that gave to the spectral and fiendish portraitures an aspect that might have thrilled even firmer nerves than my own [39, p. 109]. † * â€Å" , ? , ? , ? , ?   [38,  p. 219]. † Dealing with translation of the first epithet construction in the above excerpt R. Dotsenko substituted epithets expressed by adjectives startling and most intense by combination of epithets expressed by means of adverb and adjective .The translation was made with regard to the overall imagery of the literary work which abounds in verbal means denoting phenomena related to religious conceptions of hell and evil spirits. Besides, the word combination immediately brings to mind the image of the rousing and burning hell-fire which is considered to be the scariest and the most intense one. Thus, the translation is adequate since the translated variant harmoniously fits the imagery of the translated literary work and conveys the the author's intent being loaded with emotional expressiv eness. The second epithet construction the spectral and fiendish portraitures was handled with ease. With regard to the core of the trope, R. Dotsenko applied calque translation having conveyed both denotative and connotative sense layers.The word portraitures was rendered as which has suitable denotative meaning in the given context and also has no connotations as well as the original activator of the trope. Thus, the whole epithet construction was translated adequatly. * â€Å"These shadows of memory tell, indistinctly, of tall figures that lifted and bore me in silence down– down– still down – till a hideous dizziness oppressed me at the mere idea of the interminableness of the descent [39, p. 103]. † * â€Å" , ? , , , , -   [38,  p. 209]. †In this example R. Dotsenko split the original epithet construction and translated the noun dizziness by means of verb ; both words share the same denotative meaning. Further i n the nearest context the epithet construction was compensated for by adding epithet , which is fully equivalent to hideous, to the word . The emotion of disgust thereby was preserved in the translated utterance. * â€Å"They tell also of a vague horror at my heart, on account of that heart's unnatural stillness [39, p. 103]. † * â€Å" , , , , ? [38, p. 09]. † The epithet in the above original sentence describes the horror which is just spawning in the face of something unknown and obscure. The epithet construction was translated as . The direct meaning of is â€Å" , ; †, from which originates the transferred one, â€Å" , , ; , - [41, v. 9, p. 361]. † Consequently, the form of horror in the translation is much stronger as that in the original since it is so terrible that hinders a person to think or to act, it is a kind of paralysing fear.On the one hand, the translated epithet construction is more striking in comparison to t he original one in the framework of contrastive analysis of this particular case. On the other hand, it fits perfectly the overall imagery of the story and significantly contributes to the enspiring emotion of terror. Therefore, the translation is still considered as adequate. * â€Å"At length, with a wild desperationat heart, I quickly unclosed my eyes [39, p. 103]. † * â€Å" ? , ? [38, p. 209]. † This is a bright example of partial epithet equivalents. The original epithet construction can be literary translated as (, â€Å" , ; [41, v. 1, p. 659]†).This feeling of hopelessness was recreated by means of adjective meaning â€Å" , [41, v. 1, p. 659]. † Still this emotion as rendered in the translation is lacking amplification produced in the original by epithet wild which is used for somebody or something â€Å"lacking discipline or control [43, p. 1683]. † In other words, the original epithet construction is fully concentrated on t he emotion; epithet wild amplifes and intensifies the emotion of terror. The original construction is also followed by modifier of place at heart since humans consider heart to be the place where emotions are born, and what is from heart, that is beyond the control of reason.In the translation the focus is shifted from desperation to , the word which is purely a product of the translator's creativity. , being defined in the dictionary as â€Å", ;   [41,  v. 7, p. 252]†, fits the utterance and relates to the quick move of unclosing eyes. Thus, given epithet costructions are partial equivalents. They differ in their componential structure but are almost equal in emotional, expressive and stylistic characteristics ensuring full adequacy of translation. * â€Å"Free! I had but escaped death in one form of agony, to be delivered unto worse than death in some other [39, p. 109]. † * â€Å"! , ? , [38, p. 219]. † The original excerpt contains simile wors e than death which contains highly expressive and negatively coloured evaluation of a form of death. The translator omitted in his translation simile comparing one form of death to other by means of comparative degree of adjective (which in its denotative meaning is more expressive than English worse and more helpful in creating emotion of horror). R. Dotsenko compensated for simile by way of adding in translation word and in this manner likening on the basis of metaphorical transferrence abstract notion of death to frightening creature.Thus, stylistic effect of original simile and its emotional loading were compensated for by translator's creative decision to introduce personification. * â€Å"It was hope – the hope that triumphs on the rack–that whispers to the death-condemned even in the dungeons of the Inquisition [39, p. 108]. † * â€Å" , , , ? [38, p. 217]. † The excerpt represents an example of personification where abstract noti on denoted by noun hope aqcuires ability to act, particularly perform actions (to thriumph and to whisper) typical of humans.This personification aims at conveying a spark of optimism which is spawning in the narrator's heart. In the English language the word hope has symbolic feminine gender, thus in this personification hope appeares as a woman supporting a man in all the hardship he undergoes. Fortunately, Ukrainian equivalent is of feminine gender as well, therefore, the image of a supportive woman was preserved. However, there were introduced two changes in the translated variant. Firstly, rack is defined in the dictionary â€Å"an instrument of torture, used in the past for punishing and hurting people. Their arms and legs were tied to the wooden frame and then pulled in opposite directions, stretching the body [43, p. 1195]. † R.Dotsenko applied method of generalization and translated rack by hyperonym . Secondly, the translator added , which still doen't harm the im age, but just expresses the tithe of comfort given to the narrator by this hope. The personification was successfully rendered into the target text. The translator managed to preserve the image as well as its expressivenes and emotive loading. * â€Å"Inch by inch – line by line –with a descent only appreciable at intervals that seemed ages– down and still down it came! [39, p. 107]† * â€Å" , , – , , , , , – ?   [38,  p. 215]. †The original simile is small and consists in exaggeration by way of comparing those relatively long intervals, at which the pendulum descended, to the big span of time which lasts for ages, and in this way conveying oppression andmoral horrorsof the narrator caused by the continued expectation of long agonizing death. R. Dotsenko retained the vehicle of the trope but shifted the tenor of the simile from intervals to . Besides, the translator introduced the ground of the simile expressed by word combination . The structure of translated simile is much more complicated than that of the original trope. The tenor stands separately in the second part of the main sentence.The part of the simile which follows a formal marker of comparion represents constitutes a full-fledged complex sentence. The original simile, on the contrary, is simple in structure and forms a part of an isolated member of a sentence. Although translated simile is not equivalent to the original one from the viewpoint of structure, it is considered to be an adequate translation substitute for the original trope since it recreates emotion of hopelessness accompanied by agonizing suspense. * â€Å"A deep sleep fell upon me –a sleep like that of death[39, p. 105]. † * â€Å"? – , ? [38, p. 213]. † In the above example the original simile underwent a few changes in the translation. Firstly, R.Dotsenko eliminates the repeated mentioning of the comparandum; instead, the translator a dds its characteristic , thereby making the ground of the simile explicit. Besides, like that of death was turned into ? . The substitution is adequate, it conveys the message of the author and creates the intended emotion of fear which emerges with mentioning all which is associated with death. However, the original simile with implicit ground leaves more space for readers' imagination since a range of various characteristics may come to their mind at the same time, thus making the original utterance more expressive than translated one. Thus, translating the simile R.Dotsenko replaced the vehicle and explained the similarity feature. Though being determined and limited by explicit gro

Service Improvement Initiative Essay Example | Topics and Well Written Essays - 2000 words

Service Improvement Initiative - Essay Example The observation and information gathering process was focused on information such as various quantities in various containers and coming up with the short-notes on the guide. In addition, a period of four months was taken for the project trial using prototype short-notes which were followed by regular nurses meetings to discuss and monitor its progress. Resources Used Past and present fluid balance charts are essential in carrying out an audit to assess the effectiveness and in aiding better documentation. There was also the use of a measuring scale to determine the correct quantities in the containers. In addition, there was the utilization of excel application to generate the table used to enter the data for ease of comparison and analysis. Finally, there was the utilization of colour printer and laminating machines to print and prepare robust short notes. Who Was Involved The people who were involved include nurses and the entire team of healthcare professional assistants as well as other members from multi-professional field like the registrars, dieticians, occupational therapists and physiotherapists. Outcome/ Evaluation The fluid balance charts illustrate a better documentation of the fluid information. ... Finally, I intend to broadcast this idea for all healthcare workers. Introduction Haematology entails studying the blood, blood diseases, and the organs which form blood. Haematology also entails the study of diagnosis, prognosis, etiology, prevention, and treatment, and prognosis of blood diseases which affect the making of blood and its elements, for example, blood proteins, haemoglobin, blood cells, and the mechanism of coagulation (Nathan, Orkin, Ginsburg & Look 2003, p. 12). Health expert’s daily responsibility largely entails the treatment and care of patients suffering from haematological diseases (Department of Health 2007, p. 31). Fluid care is essential for people suffering from haematological diseases. Fluid management helps in the reinstatement of circulating volume and adequate management of blood element replacement. Also, haematopathologists and haematologists usually work together to develop a diagnosis and provide the most adequate therapy if required. This pa per will look at a service improvement initiative within the haematology ward (Chin 2008, p. 54). The paper will examine a service improvement initiative that I hope will be helpful for patients in the haematology ward. This point of view was initially highlighted when talking about my pledge with my mentor. My pledge is to always keep my patients hydrated. In addition, the conversation assisted me to develop a strategy utilizing the NOLAN technique, PDSA (Plan Do Study Act) so as to facilitate the service improvement. The paper will go on to evaluate a number of theoretical aspects including change Management, accountability and responsibility,

Analysis of The Red Convertible by Charlotte Perkins Gilman Essay

Analysis of The Red Convertible by Charlotte Perkins Gilman - Essay Example Angered, Lyman smashes the convertible. Henry realizes their convertible is run-down. He repairs the convertible and they drive to the river with his brother. The two make a fire by the banks of the river and spends the moment talking. They disagree and fight. Henry jumps in the river to cool off. He drowns and Lamartine fail to rescue him. Lamartine starts the car and plunges it into the river. Symbolism in The Red Convertible The red convertible is an important symbol in the story. The brothers bought the convertible and used it to tour different places. The narrator expresses that they enjoyed each other’s company as they drove to different places together. This is a representation of the normalcy of life before the effects of war. Henry goes to war, and he separates with his brother. Lamartine takes the car apart to demonstrate their separation. After three years away from home, Henry comes back home a different man. Lamartine does not like how Henry comes home withdrawn a nd disinterested in the things they enjoyed before the war. He laments to see how his brother is not returning back to his old self. Out of this devastation, he bangs up the convertible. This symbolizes the torn relationship between the brothers (Erdrich 464). Henry confronts the brother after noticing the state of the convertible. This is indicative of the reality that war veterans face after serving in the war. They find things different as if in a new life. Henry manages to repair the convertible. This points to the repair of his relationship with his brother as the convertible was one of the things that held the two brothers together before the war. When Henry finishes fixing up the convertible, he asks his brother to drive to the river with him. Lamartine thinks that things will go back to normal. His hopes end shortly when Henry jumps into the river and drowns. After he is unable to save his brother, he sends the car plunging into the river so that to give it to his brother. T he demise points to the destructive effects that war has on veterans. It destroys the veterans and their relationships with others. After Henry returns from the war, he does not change his boots and his clothes (Erdrich 464). This is indicative of the permanent memories that veterans carry from the war. These include the horrors and scars they incur in the war. He refuses to change into the clothes he wore before going to war. This expresses difficulty that war veterans experience in resuming their normal lives. Bonita takes a photograph of her two brothers before they drive off to the river. In the photograph, the two look different. Lamartine’s face that comes out as being round, big and right out the sun is the representation of a person who has not been to war. Henry’s face is wrinkled, drawn back and has shadows (Erdrich 465). This represents the state of the soul of a person who has been to war. Henry does not like watching the color television. He becomes violen t to his brother over it. The color from the color television makes him re-experience the horrors he witnessed in the war. This is a common symptom with war veterans. Themes in The Red Convertible Change Change is most prominent in the story. Henry and Lamartine start as good friends who trust each other and enjoy each other’s company. They buy the red convertible together and gets away on a summer vacation. Their adventures in the red convertible express their innocence and freedom in life. They appreciate one another and are close. Henry slept

Disclosure of fair value information in the corporate annual report Essay

Disclosure of fair value information in the corporate annual report - Essay Example The manner in which businesses are run in the UK markets is monitored and controlled through policies that touch on ethical business relationships, fair representation of financial statements, and fair valuation of company’s worth. While corporate operations are regulated in order to attain an ethical business environment, various other regulations are conducted to ensure that financial and accounting approaches of the business are transparent to attract genuine interest from investors and other stakeholders (Martinià ¨re, 2007). Within the UK marketplace, IFRS 13 is considered the law governing fair value information which is a vital set if information required to value a business entity. The IFRS 13 is responsible for fair value measurement and provided guidelines on how companies should measure their fair value (Deloitte UK, 2013). However, since the financial and accounting field has various approaches to valuing assets and business’s net worth, the IFRS 13 conside rs fair value at the exit price and makes use of fair value hierarchy to value an entity. Valuation using the fair value hierarchy is market-based and is not entity-specific (Demski, Lin, & Sappington, 2008). Entity specific measures tend to consider the type of business and the owner of the business. However, fair value hierarchy makes use of market-based approach to value assets and business’s worth. Additionally, the approach of considering the exit price aims at showing how much the business entity or company would be worth in its current market if were to close at the moment of valuation (Song, Thomas, & Yi, 2010). Under the UK regulations, fair value is defined as the prices acquired from an asset sale or in transfer of liability in a systematic transaction among market participants at the date of measurement. Based on the market value, fair value considers active markets which are defines as

Personal Narrative Essay Example | Topics and Well Written Essays - 1000 words

Personal Narrative - Essay Example At that time, I was stationed in Manhattan, KS and had to choose between Manhattan, Salina, and Topeka. Topeka and Manhattan were testing on the same days and as fate would have it, I decided to give Manhattan a try. Having no navigational skills in the city, I was first challenged in finding the testing site for the physical agility test. When I arrived at RCPD range were the recruitment was taking place, I was shocked to realize that I was going to be put up against other forty people who were competing for five or six slots. Once I got out of my truck and started talking to other hopeful applicants I became worried about the chances of success through the hiring process. I was confused on what would be my next step if I was not successful and was unable to secure a chance in the police department. I felt as though I was under qualified after finding out that 60%- 70% of the applicants had degrees in Criminal Justice. I thought for sure that college would be a major hiring point. I was determined to prove my ability and advantage over the graduates who lacked professional experience. The air was thin and cold on this particular day, making just breathing a chore. Gazing out at the course the towers were tall and a long climb, the walls were high with steep drops to the other side. For the agility test, the recruits were expected to run through tires and drag a 170 pound dummy had to a safe zone. I felt confident since I was still in the Army and was in the best cardiovascular condition in my life. The lieutenant introduced himself to the crowd and began explaining the course, at the end of his explanation and demonstration he asked for volunteers to go first. In my mind I thought it would be good to volunteer, but I had learned early on in the Army not to volunteer for anything. I held my ground and stayed back to gauge the motivated people stepping to the front. I watched several individuals run through the course until it was finally my turn. Once I stepped up to the starting line my adrenaline ran high and I felt unstoppable at that point. I had heard the fastest time was 2:09 through the course on this day and I was determined to beat it and set a new record. I took off up the steep flight of stairs and down the other side simulating a chase. I felt like a wild animal closing on my prey as I hopped the fence and dropped to the other side. Next I ran through a makeshift neighborhood setting and to a high wall I had to climb. Once at the top I ran down the steps and around the turnaround point. It was then that I realized how fast I was moving, I was flying through the course and hurting badly inside. Despite the difficulty, I knew I had to hold on for the next 30 seconds and I would have achieved my target. I ran to the shooting simulation and picked the bad guy out of the standup targets, ran to the dummy drag the 170 pounds 20 yards like a dog carries a flea on a daily basis. Once I was at the end of the line I heard the scorer yel l â€Å"2:03†, I had done it. On the finishing line, I felt proud to have achieved my target and was convinced that I had already secured the job. My score got beat by a fraction of a second later in the day, but I was still proud that I was able to overcome the pain to get to the finish

Charlie Chaplin & the Little Tramp Essay Example | Topics and Well Written Essays - 1250 words

Charlie Chaplin & the Little Tramp - Essay Example Susan Beegel has recently offered the intriguing speculation that the character f Manuel Garcia was based partially on the nineteenth-century matador Manuel Garcia "El Espartero." (Beegel 12-23) Hemingway's article in the Toronto Star Weekly (October 17, 1923) continues to suggest, however, that the character in question was inspired largely by Manuel Garcia Lopez, called "Maera," and his chaotic bullfight at Pamplona in July 1923. Hemingway was a relatively inexperienced spectator when he wrote the article for the Toronto Star Weekly. In fact, he had never seen a bullfight until earlier that spring, and the title f the article, "World Series f Bullfighting a Mad, Whirling Carnival," (White 99-108) characterizes his rather unsubtle response to what he saw. By contrast, in the so-called "miniature" that he wrote about the fictionalized "death" f Maera-shortly after seeing the fight-Hemingway's tone is, despite the subject matter, coldly, if not grotesquely, ironic. Although he had completed a draft f the miniature by late July, he apparently revised it in response to Ezra Pound's comments, because he wrote Pound that he had "redone the death f Maera altogether different.... The new death is good." (Baker 91) Although Hemingway is not, ... Indeed, the potential comedy f Maera's cinematic "death" was not lost on Scott Fitzgerald, who parodied the miniature in a letter to Hemingway in the fall f 1926, a year after the miniature appeared as "Chapter XIV" f In Our Time: "The King f Bulgaria began to whirl round and round.... Soon he was whirling faster and faster. Then he was dead." By the time Fitzgerald wrote him, however, Hemingway had long since moved from comparing Maera's death (in the miniature) to a sped-up film, to comparing Manuel Garcia's bullfight (in "The Undefeated") to a pratfall ballet which echoed not just Maera's bullfight at Pamplona in 1923 but the antics f Chaplin's comic tramp, "little Charlie." Comic bullfights featuring clowns dressed like Chaplin's little tramp were very popular in Spain and France in the Twenties and Thirties. (Campbell 42) And perhaps Hemingway was influenced solely by having seen a bullfight involving "Charlie Chaplins," as he calls them in "The Undefeated." But there is a good possibility that he was inspired to employ the tramp as an analogue in "The Undefeated" by a conversation he had with Fitzgerald's close friend Edmund Wilson, who had written what he called "a great super-ballet f New York for the Swedish Ballet--a pantomime explained by movie captions and with a section f movie film in the middle, for which Or nstein is composing the music and in which we hope to get Chaplin to act." (Wilson 117) Hemingway had first met Wilson in New York, in January 1924 (see Selected Letters, 103, Notes) and apparently learned about the projected ballet at this time. On October 18, 1924, a month before he completed "The Undefeated" (see Selected Letters, 133), originally entitled "The Bullfighters,"

Marketing Management of Verizon Wireless Case Study

Marketing Management of Verizon Wireless - Case Study Example Consumer analysis is an important part of the market strategy. Every marketing campaign is aimed at consumers. In order to develop an effective marketing strategy, it is important to understand the buyers' needs and wants to be attached to a product. In order to understand how consumers actually make their buying decisions, marketers must identify the motivators and the decision-makers. The aim of the report is to undertake a thorough analysis of the marketing strategy of the Verizon Wireless. In order to undertake the analysis, secondary data is used. Adding recommendations for the improvement of the marketing practices of the Company has increased the effectiveness and usefulness of the report. The main strategy of the Verizon Wireless is the constant introduction of new ranges of products and services to the customers. Hence the company uses the strategy of product differentiation. The company keeps on innovating new packages fulfilling the demands of all ages from youngsters to a dults. The market share of the Verizon Mobiles has been increased at a tremendous level in 2005 outperforming all its competitors in 2005. The Company has remained innovative from the beginning, which is key to its success. The Company furthers aims to get the profits from ethics and to build the brand across the US. The purpose of branding is to achieve a market position that will represent a sustainable competitive advantage. Companies are increasingly extending the line of variants available under a given brand, resulting in a family of related offerings. The reason for this is essentially economic and Verizon Wireless has gained many such advantages by successful introducing a range of products.   Product development is ongoing and the company keeps on introducing new packages according to the needs of customers. The latest introduced in September. The Company has a strong brand name, which can be used as an economic benefit in the future but the two important factors should be prope rly addressed: 1. The benefits from the brand 2. The expectations of the target markets. Advertising, as a form of social communication, is particularly reflective and indicative of culture and its norms. To the extent that advertising does reflect cultural differences, and there exist clear differences between distinct cultural patterns, advertising appeals, which are specific approaches advertisers use to communicate how their products will satisfy customer needs (Arens & Bovee, 1994), should manifest such differences across these countries.

Organizational Change Management in Nokia Research Paper

Organizational Change Management in Nokia - Research Paper Example The reasons of failure could be market competitors â€Å"Samsung† and could be the old trends of business, which have restrained Nokia from true organizational success.   The Trends to be Adapted Talking about the trends of the business especially organizations, which are on the technological side include, innovation, advancement, modification and sustainability (Mohin, 2012). Firms that are operating on the mass global level are in the trench of such modern business trends. Firms especially in the mobile phone sector are marching up with such technology and advancement. Actually, the soul of such trends relate to the perception of the modern customer, which expects advancement, innovation and modification in all the products and services (Woo, 2013). Present organizations such as Apple, Samsung, Sony or HTC are moving up with modern business trends (Woo, 2013). The organizations understand that their secret of success lies behind the prevailing business trends. To progress, to compete or to accelerate in the globalized business order, organizations have identified such contemporary trends as effective compellers. Actually, consumers are more familiar with modernization and hence they want to see things changing in the business order too. For such reason, the demand is of those companies, which have the concept of change, innovation and modification. These have become the essentials of business operation- essentials of progress and succession (Mohin, 2012). The concept of a smartphone first introduced by Apple and then the Samsung’s Android phone are the major examples of innovation. This innovation, which has become the delight of modern consumers has been thoroughly adapted within the organizations’ systems (Woo, 2013). The same is what is expected from Nokia - a company, which remained in the old trends and not able to define technology in the right innovative sense (Cheng, 2012). They tried to stay on ultra cheap with and hence not ab le to meet innovation and technological grounds. The innovative concept of Samsung Galaxy X is what brought Nokia to a threat. This is where the gap of trend was there, and hence, Nokia was not able to pick the track of progression (Mohin, 2012). Furthermore, the trend of CSR (Corporate Social Responsibility), which is the trend of other mobile leader companies, as well also seemed lost in the Nokia operation (Cheng, 2012). Samsung one of the trademark companies has adopted the practices of green and green management (Krames, 2005). This is for sustaining resources for the future and for the Corporate Social Responsibility objective. Meanwhile, organizations when they have the leadership, the vision and ideology they work in such social business norms. They know that to survive for future generations that have to imply such valuable social trends. All such trends are followed by the trend-setting organizations and hence need to be adapted by lagging organizations such as Nokia Corpo ration. Actually, Corporate Social Responsibility and even any new business trend come from the leadership and the culture of the organization.

Is Gambling a Social Problem Essay Example for Free

Is Gambling a Social Problem Essay Gambling is an act of playing for stakes in the hope of winning. It also involves a significant risk as the material good (usually money) wagered in the game may be lost if the player does not win. Common forms of gambling include cockfighting (which usually results in the death of one or both roosters), casinos (which has become a profitable business), slot machines (convenient for those who want to play individually), bookmaking (often used for predicting the winners of sports competitions), and caracruz (simplest form of gambling which has existed since ancient history). There is an ongoing debate among social scientists, psychologists, business lobby groups, and others on the benefits and dangers of gambling. Some anti-gambling social activists argue that gambling is a serious social problem, while others argue that gambling problem is a problem of certain individuals who suffer from psychological ills and that in certain circumstances gambling on the contrary is a significant source of income (for example, for Native American tribes). Gambling Is a Social Problem ?Gambling is associated with a range of social issues and thus needs to be designated as a social problem. According to research on the topic, there is a correlation between various social problems and gambling. For example, Hardoon et al. , point out in their study that gambling problem among adolescents they studied stemmed from the lack of healthy familial and peer support, drug use problems, behavioral problems, problems related to family issues, and the parental gambling problems as well as their substance abuse. According to Hardoon et al. , there is a significant familial contribution to gambling problems. Read more:  Ã‚  Essays on Social Issues Many of their respondents said that their elder siblings had a strong influence in their decisions to experience gambling. Many of the respondents who suffered from gambling problems said that their parents themselves were problem gamblers. The study by Hardoon et al. , also points out that children of problem gamblers suffered from insecurity and a sense of â€Å"pervasive loss† (170). They also argue that gambling problem among parents leads to various kinds of familial dysfunctioning, including drug addiction, conduct problems, and delinquency. Hardoon et al. , also point out that there is a connection between gambling and substance use. â€Å"Compared to nongamblers,† they write, â€Å"adolescent gamblers are more likely to drink alcohol, smoke tobacco, and use drugs† (171). Gamblers are three times more likely to use drugs than non-gamblers. Gambling and substance use problems among adolescents often leads to delinquency and illegal behavior. Adolescents suffering from serious gambling problems are also likely to experience difficulty in school such as decreased academic performance and poor grades. More than half of the problem gamblers Hardoon et al. , studied suffered from conduct problems as well. They were more likely to break rules, get into troubles with individuals in authority, frequently display oppositional behavior, and join anti-social activities (171). This study in general demonstrates that the gambling problem is part of larger social issues and there is a clear correlation between gambling and various social problems. Another study on the impact of gambling on college students suggests that about 1. 6% of the U. S. dult population meets the diagnostic criteria for pathological gambling (Level 1), and 3,85% reportedly suffer from subclinical (Level 2) gambling problems. Among college students, the rate of gambling problem on both levels is twice as high as it is among the general adult population. There are significant social and health-related problems associated with adolescent gambling problems. Adolescents and young adults addicted to gambling suffer from serious stress-related problems. Many of them attempt and even complete suicides. Among these adolescents and young adults, the rate of disorderly familial relationships is much higher. There is a higher rate of comorbidity with other addictive disorders, and there are more frequent instances among these adolescents and young adults of arrests and convictions. The study concludes that â€Å"social norms–based social marketing campaigns (emphasizing accurate descriptive norms for alcohol) to successfully reduce alcohol use on campus† needs to be reworked and applied for combating gambling problems among college students (Larimer Neighbors 241-242). This is another testament to the fact that gambling is a social problem and that the way to reduce it is to employ tools which are used for combating other social problems. Illuminating in this case is the experience of Native American tribes in the United States. With the passing of the Indian Gaming Regulatory Act (IGRA) in 1988, which mandated legislative basis for managing and regulating Indian gaming, the number of casinos has sharply risen in Native American communities. As a result of this, one study of this phenomenon points out, Native Americans â€Å"are four to six times more likely to be pathological gamblers and two to five times more likely to be problem gamblers than non-Indians† (Momper 139). The study also cites poverty, unemployment, and historical injustice as factors that contribute to the development of gambling problems among indigenous groups. According to this study, there is a similar correlation between the practice of excessive gambling and predisposition to other social and behavioral problems such as alcoholism, drug use, and disruptive behavior among Native American groups—but in significantly higher numbers than it is among non-Indians in the United States. Gambling is Not a Social Problem ?While it is true that gambling addiction, just like any other addictive behaviors such as alcohol addiction or drug addiction, is a social problem, gambling itself is not a social problem. Participants of gambling make conscious decisions and they have the freedom to stop the practice whenever they think it is detrimental to their financial, psychological, and social conditions. For example, in the year 1999 the National Gambling Impact Study Commission surveyed the U. S. opulation and found out that 86% of Americans had gambled some time in their lives, and that 68% gambled in 1999 alone (Seligman 86). Out of this large segment of the population who regularly gamble, only a tiny percentage of the population suffers from serious gambling problems. ?Discussions over the use of gambling are sometimes controversial because it is one of the businesses in America which has a bad reputation, on the one hand, and is so popular that more and more Americans are demanding gambling opportunities, on the other. Due to its popularity, gambling has been legalized in all states except Hawaii, Tennessee, and Utah. Residents of these states also gamble, by traveling to other states or by taking advantage of online gambling opportunities. Total wagering in the Unites States is around $900 billion a year (constituting 10% of personal income), and the lion’s share of wagering takes place in casinos ($600 billion). And casinos now exist in twenty nine states. But these are official figures and unofficially the extent of gambling among Americans is likely to be much higher (Seligman 87). Gambling in the United States is a legitimate form of business, and designating it a social problem would necessitate that we label other legitimate forms of business as social problems as well. As Seligman points out, â€Å"Wall Street offers plenty of bets with risk/reward opportunities that mirror those of slot machines—a long shot with occasional huge payout. Buying out-of-the-money puts on an airline stock just before a union vote would fall in that category. If the members unexpectedly vote against wage concessions, you could make a killing on the bankruptcy† (Seligman 89). Some critics of gambling who criticize it from an economic perspective, say that, while gambling consumes time, energy, and resources, it does not produce any real output. But that argument can be used against most kinds of financial transactions and speculating, both of which are acceptable, and in today’s world, necessary components of international financing. As for the charge that problem gambling leads to comorbidity with other social problems such as alcohol abuse and drug use, more research is required to determine the nuances of this connection. Does excessive gambling lead to alcohol abuse or is it the way around? If it is the former, then it is the problem of gambling addiction which needs to be labeled a social problem and remedied. If it is the latter, then it is the problem of alcoholism rather than gambling because alcohol abusers have more than one way of ruing their lives (gambling is not their only option), and even here the issue is the abusive consumption of alcohol, not alcohol consumption in general. Those who see gambling as a social problem ignore the fact that gambling may—and in many cases it does—lead to positive social outcomes. This is generally the case in the Indian reservations in the U. S. As Momper points out, an IGRA passage which aimed at encouraging gambling on reservations for the purpose of raising the standards of living on the poorest reservations â€Å"was the only federal policy that produced lasting effects for tribes, inasmuch as the unemployment rate (38 percent) on 214 reservations with casinos decreased by 13 percent from 1989 to 1995. Even if one takes into account the increase in the number of problem gamblers, other social and economic gains from casinos on reservations greatly outweighed the negative consequences of this business. In addition to creating jobs, casinos on reservations provided the American Indian community with various social services and strengthened their social bonds (Momper 142; Cornell et al. , 1998). While it is true that gambling addiction as increased among American Indian residents as a result of building casinos, in many instances improvements in standards of living took many of them out of poverty, decreasing the rate of behavioral problems and anti-social activities. ?In summary, both proponents of gambling-is-a-social-problem thesis and their opponents have strong arguments at hand. The debate is likely to continue without being resolved as it is a controversial topic and gambling among the U. S. population leads to mixed results: both positive and negative.