Assessing Foreign Markets Term Paper Example | Topics and Well Written Essays - 2500 words

Surveying Foreign Markets - Term Paper Example Be that as it may, passage into another market requires complete investigation and investigation of various factors so as to settle on increasingly educated choice before entering the market. As such the advancement of a structure for going into new remote market can give basic knowledge to a firm to settle on better choice to enter the market. A complete structure consequently may incorporate the investigation of variables, for example, choice of recognizing outside market, in general planning of section into that showcase, choosing the scale and responsibility and passage mode are a portion of the components which ought to be secured to settle on a superior choice. This paper will create and build a complete structure for making passage in the Mobile Phones Market in India. In light of the various variables distinguished in the system, paper will than present an investigation of these components so as to settle on increasingly educated choice to go into this market Strategic Reason s As a preface to the utilization of any key structure to go into a market, it is consistently significant for the worldwide firms to recognize the key purposes behind which section into a remote market is made. Firms adjusting a transnational system regularly stay in look for at the same time accomplishing ease advantage through the area and experience economies while simultaneously getting a charge out of economies of scale and exploiting expectation to absorb information. Firms adjusting such system along these lines frequently go into various land showcases so as to exploit cost decrease and accomplish enhancement. (Slope) India being one of the developing economies of the world in this way can give firm some plainly recognized upper hand. Thinking about the transnational methodology of the firm, going into India market won't just permit to accomplish economies of scale yet in addition appreciate the advantage of area and experience economies. Since created markets are driving t owards development stage in cell phone industry in this manner it is basic for worldwide firms to keep on searching for developing markets, for example, India so as to exploit the monetary development made by such nations. It is likewise critical to take note of that organizations working at the worldwide level could possibly contend on the off chance that they appreciate ease assembling or administrations set up. Predictable spotlight on lessening the expenses could just permit the firm to stay beneficial in worldwide market along these lines markets like India can offer this chance. This depends on the way that India has settled innovative base just as qualified human asset. These assets in this way can urge any universal firm to search for entering the market and appreciate minimal effort activities while simultaneously infiltrate into another and developing business sector with potential to gain better yields. Exhaustive Framework Following components will be remembered for the thorough system so as to break down the choice of making a section into Mobile Phones advertise in India: Identification of remote market This boundary will be utilized

Work Design Pilot at CERA Analysis

Question: Talk about the Work Design Pilot at CERA Analysis. Answer: Presentation The evolvement of jobs in the past was not orchestrated. The training was for the director or chief to dispense laborers to endeavors and to self-assertively total assignments into businesses. For example, like carpentry, press curving, electrical work, the substance of each trade created through show and by start. Regardless, mental composition on agent motivation contains claims that the plan of work, its substance and structure, impact both productivity and specialist motivation and certainty. There have along these lines been numerous systems and theories to the plan of works (Parker, 2014). Extraordinary work is productive work. Work configuration can smooth out motivation, work satisfaction, execution, and headway, and finally, progressive benefit. For example, work structure that improves use of specialist aptitudes either through growing endeavor variety or capacity use can be a basic wellspring of effectiveness. Moreover, fusing motivation with work can develop a submitted and empowered workforce. The manner in which work is planned can impact laborer push, commitment, satisfaction and safe working. The present working environmental factors is logically awesome, obliging relationship to shuffle among control and versatility. Control is required for consistency and cost viability, yet meanwhile, flexibility is required for imaginativeness and improvement (Chang, Wang Huang, 2013). Patterns That Are Changing Work and Workplace The universe of work is rapidly growing. As a bit of affiliation, Human Resource Management (HRM) must be set up to administer effects of changing universe of work. For the HR people it instigates understanding the aftereffects of globalization, work-propel sorted out characteristics, changing position necessities, corporate downsizing, tenacious change works out, re-producing, the unexpected work drive, decentralized work locale and laborer obligation (J. Cole, Oliver Blaviesciunaite, 2014). Globalization and its proposals Business today doesn't have national cut-off focuses it expands all over the place. The ascending of global associations puts new basics on human asset chief. The HR office needs to ensure that the best mix of delegates like data, cutoff points and social flexibility is open to deal with general assignments (Cummings Worley, 2014). Work-drive Diversity Orchestrated characteristics are generally connected with the association's key heading. Where orchestrated characteristics flourishes, the potential focal points from better creativity and basic organization and progressively observable progress can be amassed to produce connection's capacity (Martn Alczar, Miguel Romero Fernndez Snchez Gardey, 2013). Changing fitness necessities Choosing and making capable work is fundamental for any affiliation worried over forcefulness, profitability, quality and dealing with a different work constrain adequately. Corporate downsizing At whatever demonstrates a connection endeavors delayer, it is attempting to make increasingly significant capacity. The start of scaling back is to diminish the measure of workers utilized by the association. Relentless change programs Steady change programs center around the entire arrangement flourishing of the association. It is a procedure whereby an association centers around quality and makes a superior establishment than serve its clients. Some different patterns that can have an effect are: Re-structuring work structures for upgraded gainfulness But relentless change exercises are sure starts in an enormous part of our affiliations, they consistently focus on advancing steady change. Such action is normally captivating the steady and enduring interest to improve things. Unexpected workforce A particularly huge piece of the bleeding edge workforce is the startling workers. Surprising experts are people who are routinely contracted for shorter timeframes. They perform explicit tasks that occasionally require one of kind occupation aptitudes and are utilized when an association is encountering fundamental deviations in its work procedure. Decentralized work districts Work locale are getting dynamically decentralized. Working from home limits that exist today have made it feasible for the agents to be found any place on the globe. With this potential, the associations no longer need to consider organizing as a business close to its work constrains (Pries, 2013). Specialist affiliation For present relationship to be profitable, there are diverse specialist thought musings that transmit an impression of being perceived. These are task, participative administration, work bundles, target setting, delegate prepare and enabling of specialists. Ways to deal with Job Design To help Rachel Amaro break down the status of employments and its plan at present four methodologies are there that are proposed by Kramer et al. (2014): The persuasive activity configuration approach This is the main methodology that thinks about the social part of the activity. This is the main methodology that thinks about the social part of the activity. Rachel needs to check if the employments license opportunity, autonomy, or prudence in work booking, grouping, techniques, frameworks, fine oversee, or various decisions. To check the work structure it is imperative to check if the work occasions themselves outfit immediate, away from with respect to the adequacy of employment productivity. It is basic to know whether the various individuals in the gathering outfit understanding about the adequacy of employment execution. Rachel needs to check if the activity outfit for idealistic social communication (relating to collaboration or associate help). To comprehend the activity structures by and by, Rachel must check if the activity duties, particulars, and targets clear and accurate or not. To comprehend the work plan it is essential to know whether the activity has a sort of obl igations, undertakings, and developments. Rachel must check if the activity requires fruition of a whole and recognizable bit of work or not. Moreover, it must be checked in the event that it allows the officeholder to do a total bit of work from beginning to wrap up. She needs to check if the activity requires an over the top phase of capacities, potential, and capabilities. To comprehend the part of capacity, she should look if the activity requires a sort of types of bit of leeway, abilities, and potential. To comprehend the assignments centrality it is essential to initially comprehend if the activity is tremendous and chief when contrasted and various employments inside the association. For development, it is essential to know whether the activity licenses open doors for learning and advancement in fitness and ability. To search for odds of advancement gave to workers first it is essential to know whether there are opportunities for improvement to bigger degree occupations. Rac hel needs to check if the activity accommodate feelings of accomplishment and task achievement. She needs to watch that the activity license investment in work-related assurance making or not. As correspondence is a significant part of authoritative structure, Rachel must check whether the activity outfits passage to basic communiqu channels and information streams. Rachel needs to assess if the compensation for the activity is sufficient when put next with the activity details and pay for indistinguishable occupations. Acknowledgment is significant, so she should check if the activity gives affirmation and comprehension from others. As employer stability is a significant perspective for representatives, Rachel needs to check whether the occupants on this activity have a high proportion of occupation insurance or not (Kramer et al., 2014). The unthinking activity configuration approach Rachel needs to check whether the activity is amazingly spent significant time as far as reason as well as diversion. The instruments, strategies, substances, and numerous others comparable viewpoints utilized on this activity incredibly had some expertise in expressions of cause must be beneficial and creative simultaneously. All the undertakings must be basic and essential for better appreciation. Rachel needs to hold in line if the activity requires the occupant to do just each endeavor in turn or not require to do various developments one after another or in much short progression. It must be seen if the activity require tolerably little capacity and preparing time. It must be checked if the activity requires playing out a similar undertaking or developments over and again. Save time between occasions on this activity is significant. Rachel needs to check if the different daily practice of this activity programmed or helped through mechanization (Kramer et al., 2014). The organic occupation configuration approach The prerequisite of strong quality must be determined. The necessities of the activity with respect to lifting loads must be estimated. The prerequisites of the activity with respect to solid continuance must be estimated. It is imperative to check if the seating arrangements at work are adequate or not. It is critical to check if the working environment empower for all measurement contrasts among people in expressions of freedom, achieve, eye top, legroom, etc. The necessities of the activity with respect to wrist developments and position must be estimated. The workplace must be liberated from extreme clamor. The atmosphere at the workplace must be agreeable regarding temperature and mugginess, and must be liberated from unbalanced residue and exhaust. Enough time for work breaks are the given the requirements of the activity. The necessity of move work or exorbitant additional time must be held under wraps (Kramer et al., 2014). The perceptual/engine work configuration approach The lights inside the workplace should be sufficient and liberated from glare. The shows, checks, meters, and modernized device utilized on this activity must be easy and simple to utilize. The projects inside the electronic mechanical assembly for this activity must be easy and simple to utilize. The contrary contraption (all structures) utilized on this activity must be easy and simple to utilize. The effectiveness of the communicate materials utilized on this activity I

Wait Listed Getting Creative Might Be the Answer

Wait Listed Getting Creative Might Be the Answer On April 15, 2010 the New York Times printed an Op-Ed entitled “The Wait List is the Hardest Part.”   The editorial was written by Saffa Khan, a senior in high school who was waitlisted at four colleges. The content of the article was of course valuable, and 17-year-old Saffa gets points for making a Tom Petty reference.   But I’m not concerned with her content.   The thing that caught my attention is simply that a high school senior got published in the New York Times!   Saffa took huge initiative, worked hard to write a piece that would be of value, and put it out there to the world. If you were a college admissions committee, do you think you might take notice? This student stands out amongst all the others who just sit there, waiting, hoping, wondering.   She even stands out amongst the students who send additional essays, or letters about why X school is their first choice, or new letters of recommendation.   All those things might help you to get off the waitlist, but getting published in the New York Times takes the cake. Do you have something you can achieve that is truly out of the ordinary?   Can you get published in a national newspaper?   Win a poetry, science or chess contest or competition?   Self-publish a book?   Solve a problem that hasn’t been solved? If you’re serious about getting off the waitlist, my advice is to follow Saffa’s example â€" and stop waiting.

Geography of the Gulf of Mexico Border States

The World War I And The Treaty Of Versailles - 862 Words

The First World War saw more than 37 million people get injured or killed. (PBS) It was a gruesome war that lasted four years between 1914 and 1918. On November 11, 1918, the war was finally ended with the signing of an armistice. The winners of the war met in the Palace of Versailles to discuss the reparations Germany would face and also who should get the land that was to be divided up. The Chinese were also very interested in the peace talks. They had sent about 140,000 Chinese men to work as labourers for the French, British, American, and Russian armies. (Boehler) The Chinese wanted to back the Shandong province which Germany had occupied, but Japan an ally to the French led alliance took it from Germany, but didn’t give it back to China. China wanted it back because it was the birthplace of Confucius who is like the Jesus Christ or Mohammed in Christianity or Islam. The Treaty of Versailles would not give China what it wanted and it also created a bad taste in the mouth of Germany. At the peace talks, the Chinese had one big request. They wanted their Shandong province returned to them. The province was one of the most important in China. The Shandong province is the most important religious region to the Chinese. It was the birthplace to Confucius. The region was also on the coast and was a big trading port. This was also the region where most of the labourers originated from. The president of the Chinese was trying to lobby the British behind closedShow MoreRelatedWorld War I And The Treaty Of Versailles1604 Words   |  7 Pageswondered why World War II happened despite World War I being the war to end all wars? World War I lasted four years and was very gruesome. Much of the Western Front was destroyed and about 10 million people died. Germany ended the war by ceasing fire and making an armistice on November 11, 1918. The Allied Power had successfully defeated the Central Powers and America had accomplished their goal to end the war. After the surre nder from Germany, the Allied Power met up to make a treaty with GermanyRead MoreThe Treaty Of Versailles And The World War I Essay1977 Words   |  8 PagesThe Treaty of Versailles is the treaty that states the obligations of Germany towards the Allied Powers in the aftermath of World War I. Its main clauses include Germany exclusively accepting blame for the war, reducing its army, removing portions of its territory and paying reparations for the economic consequences of the war it was said to have caused. However, the level of the reparations detailed in the treaty far exceeded Germany’s capacity to pay, which led many to critique it. The economicRead MoreWorld War I And The Treaty Of Versailles1445 Words   |  6 PagesEverything commence in 1933, fifthteen years after World War I had ended because of the agreement to the Treaty of Versailles. Germany was still upset with the Treaty of Versailles, which basically said, Germany has to pay millions of dollars, there army was reduced, and they couldn’t join the League of Nations. That just didn t settle with Germany so they decided to take matters into their own hands and start another global war, named World War II. WWII started in 1939 to 1945 because of many reasonsRead MoreWorld War I And The Treaty Of Versailles1463 Words   |  6 Pagesbetween a grand leader and an absolute tyrant. Germany was unfairly accused of World War 1 and all the unfortunate deaths and destructions that occurred. They were solely blamed and not given a chance to recover because they were forced to sign a peace treaty, the Treaty of Versailles, which began the downfall of Germany. Before World War 1, Germans were incredibly proud of their heritage; however, compared to after World War 1 the people were seen with their heads hung in shame and humiliation. EveryoneRead MoreWorld War I And The Treaty Of Versailles979 Words   |  4 PagesEverything always comes to an end; the Roaring Twenties came to an end on Octo ber 24, 1929 with the stock market crash. The world was a different place in the years of 1870-1914. John Maynard Keynes called it an economic utopia, products and raw material moved relatively easily, as well low tariffs. Immigration also saw a little red tape and many immigrants moved without many problems, which in turn left labor behind from the countries they left behind. At the time Britain was the number one lenderRead MoreWorld War I And The Treaty Of Versailles Essay1835 Words   |  8 PagesWorld War I has ended with a Treaty of Versailles, which was signed in France, was actually one of the causes to begin the World War II. Germany was much expended, and it was overtaking the other countries land. This treaty made Germany lose approximately 13 percent of its home territory . â€Å"The Polish State has refused the peaceful settlement of relations which I desired, and has appealed to arms. Germans in Poland are persecuted with bloody terror and driven from their houses. A series of violationsRead MoreWorld War I : The Treaty Of Versailles2323 Words   |  10 PagesWorld War I was a horrific experience for all of those involved because of the extremely high casualty rates. It was even more devastating for those that found themselves on the losing end of the war, including Germany. Post-war Germany went through a major socialist revolution. One which led to the formation of various communist political systems. Due to the establishment of the Weimar Republic, these politically radical arrangements faltered and dissipated. Soon after its enactment, the WeimarRead MoreThe Treaty Of Versailles After World War I1538 Words   |  7 PagesSown Thesis: The peace treaty that resulted from World War 1 was not too harsh of a punishment for the offenses committed. I. To help better one’s opinion, one must first understand the events leading up to the results of the treaties. A. The terms of the peace treaty were an attempt to prevent wars in the future. B. The peace treaty did not succeed because it was not enforced. II. Second, the treaty of Versailles was not too harsh ofRead MoreThe Versailles Treaty World War I Ended1310 Words   |  6 PagesWith the creation of the Versailles Treaty World War I ended. It ensured that national identity and independence was preserved limiting Germany powers. Like with everything in life there were some negative effects of the treaty. The worst â€Å"side effect† was that it lead to World War II giving rise to Hitler’s powers. The Germans were deeply hurt placing â€Å"war guilt† on Germany. Once WWI ended one of the biggest side effects of WWI was the physical destruction, besides millions of people died orRead MoreThe Treaty Of Versailles Ended World War I1708 Words   |  7 Pages The Second World War took approximately 50,000,000 to 60,000,000 lives (â€Å"World War II†). But this total does not include the millions not accounted for, many of them infants. The war had many causes, but the vast fault lay on a piece of writing from twenty years before the war even started. The Treaty of Versailles ended World War I but instigated the events that led up to World War II. Because the treaty of Versailles was so harsh on Germany, the effects of those terms allowed the Nazi party

Innovation in Agriculture Free Essays

Indian organizations have acquired a reputation for organizational and social innovation and strategies centered round new concepts of frugal innovation. It has been suggested that some of these developments reflect specific socio-economic and framework conditions peculiar to the Indian context. At the same time many Indian firms have yet to institute systems and procedures required for supporting technological, product and service innovations. We will write a custom essay sample on Innovation in Agriculture or any similar topic only for you Order Now The existence of formal RD departments/divisions, offers a ritualistic fig leaf for innovation practice. The absence of organizational support and a holistic innovation strategy coupled with an integrative perspective obscures or limits the development of a proactive innovation strategy. The paradox of Indian innovation suggests that the necessity of developing and managing the abundant supply of human resources in the country is central to its conceptualization and realization. These innovations get manifested mainly in two different patterns, one of which relates to the management of human resources within organizations, and the other to the creation of social enterprises for the development of human resources outside; the latter may also take the form of CSR initiatives by corporate organizations. One of the implications of the ‘abundant supply of human resources in the country’ is that Indian organizations have to adopt people-focused business strategies rather than the command structures cantered round the use, performance and incentivisation of human resources. This issue probably makes India different from Western countries and there is a big opportunity both for comparative research and best practice exchange. A second interesting implication of the above is that over the years there has been a phenomenal growth in the number of social enterprises in India, which are different from commercial enterprises in having ‘social development’ (rather than ‘profit-making’) as their main objective. For this reason they are likely to be perennially operating under resource constraints, which make it difficult for them to survive without innovations. The aim is to investigate innovative HR and other related strategies adopted by Indian commercial as well as social enterprises. Innovation is rarely a product of the internal resources of the firm alone. Relations with other organizations are likely to be crucial to the success f innovations. We also wish to explore how innovations in Indian firms are influenced by their relations with other organizations. Topics to be covered in the presentation will include (but are not restricted to) the following: * Principal types and characteristics of innovations in Indian firms * HR innovations in Indian firms * Innovations in Indian social enterprises Role of public bodies in supporting firms’ innovation * Organizational constraints and facilitators of innovation * Innovation in different types of industries (manufacturing/service, h i-tech/low-tech, small/medium/large, etc) * Innovative relationships with other organizations * Support for innovations from inter-organizational relationships * Sources, means and types of information and knowledge important for firms’ innovation * National and regional innovation systems * Costs, benefits and impacts of Innovations Please note that the deadline for paper submission is  2nd January 2012. How to cite Innovation in Agriculture, Papers

Service Learning in Australian Education System

Question: Discuss about the Service Learning in Australian Education System. Answer: Introduction Service learningis a learning approach, which balances formal direction and instructions with the prospect to serve in the society to provide a progressive, practical, learning experience. Service learning proposes students instant opportunities to be relevant in the classroom learning to enhance or sustain the work of domestic agencies; which often survive to effect optimistic change in the group of people and community (Guthrie McCracken, 2014). The author Butler said, Experimental edification is shaped as Service learning in which the students connect in activities, which address community and human needs collectively with planned opportunities for likeness designed to accomplish desired education outcomes. Service Learning is important and relevant in education as it offers an exceptional opportunity for schools and students to appreciate and experience dissimilar cultures that reduces many unnecessary and negative stereotypes derived through inexperienced students (Butler, 2013 ). Importance and Relevance of Service Learning The progress of vocation incorporated learning; volunteering and supportive learning are being transformed within universities through the international spotlight on educational service learning. Mounting organized mutual approach that benefit students and host organizations, the new methods of community development are reforming service learning (Jones, Eyler Giles, 2001). Service learning is relevantly performing an important role as the knowledge and skills attained within a school and university classrooms is being utilized by placements in service learning through a series of agencies all through the community. Moreover, there is an anxious need in the community organizations to have unswerving people who should support in their out-reach curriculum, and this truth has observed the development of school academic service education during which students offer organizations with appropriate assistance. Effective service learning brings high-level talents to students placement elig ibility, whilst students also create understanding, benevolence and kindness, together with an important relevant awareness of the communities (Whitton, 2011). One of the preferred and beloved consequences of service learning is, "the formation of positive communications."While a conventional higher education system might do a little to support, socialization or the contravention of social and racial barriers among students who hardly interact, the education of service learning in Australia brings students of different beliefs, backgrounds and aspirations together to serve jointly for a universal cause (Eyler, 2002). Service learning is important because it offers the opportunity for students to share their different vision of the problems they are tackling and services they are carrying out during the expression that frequently occurs in a service learning class. Service learning is important for the opportunities to allow students to undertake direct, indirect, advocacy and research service learning within their education curriculum so they build up entirely as professionals and prepared to work in the community. There is a system that is involved in establishing valuable service learning needs the students to undertake four phases of involvement with communities: inventing, developing, distributing and then documenting their experiences and project. It is simply the mirror image on the knowledge that promotes to the development of academic praise and glory for students. This procedure is not a duplication of professional experience or conventional internships, but relatively the chance for learner to commence real life assignments at the call of the community and resolve them. According to Dwight E. Giles and Janet Eyler, there are copious benefits of service learning; it offers experiential learning, which connects personal as well as interpersonal development with academic and cognitive advancement, providing prospects for individual connections and eventually transformation. Those services may bump into certain social issues initially, thus renovating their view on the humankind (Eyler, 2002). Beyond that, the students possibly will be transformed in the approach of developing better decision-making and problem solving skills to take care of those problems, which they know now. The service learning, understanding and experience may overcome as the mechanism in a students life to jump into the involvedness of the social issue's complexity, they have come upon and to search for to expand innovative solutions. Conclusion Service learning is very essential in the education system of Australia Schools and Universities. It develops the students mind and nature understanding the ethics of humanity and equality among different cultures and communities. The experience of practical engagement in the community services makes the student confidently to face the opportunities with concentration and devotion. It develops students social and personal responsibility. It facilitates the students to achieve education goals. It also makes the student knowledgeable and intelligent to identify the code causes of the social problems. Teachers and students must spare time to replicate on the service learning, development during the practice and after its end. Insightful practice makes the understanding more affluent because it means that the teachers and students need to believe about the superior world out of the classroom (Felten Clayton, 2011). It also provides the prospect to learn about the next service learning, understanding and its consequences. References Butler, M. (2013). Learning from Service-Learning.PRIMUS,23(10), 881-892. Eyler, J. (2002). Reflection: Linking Service and Learning-Linking Students and Communities.Journal Of Social Issues,58(3), 517-534. Felten, P. Clayton, P. (2011). Service-learning.New Directions For Teaching And Learning,2011(128), 75-84. Guthrie, K. McCracken, H. (2014). Reflection: the importance of making meaning in e-service-learning courses.J Comput High Educ,26(3), 238-252. Jones, S., Eyler, J., Giles, D. (2001). Where's the Learning in Service-Learning?.The Journal Of Higher Education,72(2), 256. Whitton, D. (2011).The importance of academic service learning in universities.21st Century Learning. Retrieved 26 May 2016, from https://learning21c.wordpress.com/2011/05/01/the-importance-of-academic-service-learning-in-universities/

What is wrong with inheritable inequality an Example of the Topic Government and Law Essays by

What is wrong with inheritable inequality? As we all know people have always been unequal. It was determined by numerous factors even many centuries ago, and nowadays the amount of those factors has increased greatly. In the dawn of the humankind history people had little property, so that the social status was determined by other marks, like authority and skillfulness. There were little things that marked the difference in people's social statuses, like better pieces of food, better place near the fire and more attention from the side of the representatives of the opposite sex. Nowadays it's much easier to tell the difference between the representatives of people who possess different social status. They differ a lot in their language, national origin, clothing, gender and interests. Need essay sample on "What is wrong with inheritable inequality?" topic? We will write a custom essay sample specifically for you Proceed Students Very Often Tell Us:I'm don't want to write my essay. Because I don't have the timeSpecialists suggest: Essaylab.Com Offers A Top-Quality Academic EssayCheap Essays Within Hours Blog Post Writers Top Essay Writing Cheap Essay Writing In the aboriginal societies social status was a matter of personal achievement. The only stable characteristic in those times was gender. Every man could become the Best Hunter, if he tried hard, and every woman could claim the status of the Wisest in case she was clever enough for it. The situation nowadays is much different from the one that existed centuries ago. People are born with the ascribed social status, which depends on the social status of his or her parents. The society has its expectations of the members of all the social classes. In general they are expected to get the education, hold a position and have earnings which are more or less common for the members of his or her class. If he or she fails to perform it, the society labels them lame ducks and under dogs. And, vice versa, if the member of the defined social group performs better than he was expected to perform, people call him a successful person. We can note that the evaluations we give to the social successes or failures of the surrounding people are of great dependence from the social status of the person we evaluate. For example, if we get to know that Mary, the child of the working poor, entered Harvard University, we would be impressed. But if Mary's parents are university professors and lecturers we would take her success for granted. The Egalitarian society, a society where all the social statuses are achieved, gave its members a strong motivation for development and perfection of their skills and talents, which increased the overall level of proficiency in the given society. The members of the Egalitarian society had valid stimulus for the personal and professional development, as they knew that they were able to change their social status completely. Nowadays people have less motivation for trying to achieve perfection in their agency. As we can note, in our times it's much harder to change your social status than it was couple of dozens of centuries before. The society is much more rigid today due to its size and strong social stratification. People, who are in power in our society (Stratified Society), are aware, that the resources on the Earth are scarce, so that the other people's access to the goods and services should be limited. They control the distribution of the goods among the members of the society, ensuring that there always remain resources for the ruling top. The institute of crown is the bright example of the inheritable inequality. When people elect a leader for themselves, they are aware that he or she is the same human being as they are. As the fulfillment of the duties of the leader requires time and effort, he or she cannot perform the usual job needed for survival, so that others satisfy the leader with everything needed. Time passes, and the surroundings understand the importance of the role of the leader. They feel their life has become much easier with the appearance of the organizer of their activities. Then they begin to associate the personality of the leader with the functions he performs. At this stage leader seems to be much cleverer and better from the "usual people". The leaders descendants are often thought to inherit this personal oneness. As the ruling elite in the stratified society does it's best to keep its positions and transmit them to their children, people in those societies are evaluated not on the basis of their usefulness to the whole society, but according to the specialized use the representatives of the ruling elite can make of the specific person. Thus valuable specialists whose labor isn't demanded by the ruling class are often unable of getting a job, they don't have the rights and privileges that those who are of more use to the reach and powerful have. Gender is also one of the factors of inheritable inequality. O course women are incapable of performing some hard physical labor, and man cannot perform some of the females work, but, in general, this is a sphere where numerous unwarrantable stereotypes exist. It often happens that a women who's a great specialist, educated person with great work experience, applies for a job, and her application is either rejected in favor of a male applicant, or she is proposed a salary much lower than her male colleagues have. This leads to the psychological problems for the given women and the irrational use of human resources for the country in general. From the dawn of the humankind history people were unequal. It's normal, as some people are stronger, cleverer and nicer than the others, and if they work a lot to get a higher social status it's their right. But the change in social status should be reached by the person itself. The tradition of inheriting high social positions, especially those dealing with power and control is dangerous, as power can fall into the hands of a rude, hostile or even silly person. Social statuses should be distributed according to the personal achievements of the given person. Reference Van Der Elst, Dirk. The Shaft, and How you Got It. Culture As Given, Culture As Choice. Waveland Press, 2003

Case Study on Today’s Fashion by Mary Watson Essays

Case Study on Today’s Fashion by Mary Watson Essays Case Study on Today’s Fashion by Mary Watson Essay Case Study on Today’s Fashion by Mary Watson Essay 1 Introduction The case is about a national chain of specialty stores namely, Today’s Fashion, which has 200 outlets all over the country. Lately, Mary Watson was the promoted to the job position of the Regional Sales Manager for one of the largest markets of Today’s Fashion, the Pacific Coast. She manages 35 outlets under her in California and Oregon and each store manager is directly accountable to Mary. The number of assistant store managers would vary according to the number of specialty departments. Each assistant manager is liable to only one department. She was agitated by how Today’s Fashion management used to run, no clarity of the job roles and thus she urged that there should be a change. The change included by hiring new qualified assistant store managers and for this, a job analysis was conducted by her. However, there were some major issues to be looked upon in this process of change. 2 Issues 2.1 Issue 1:- Use of only one method of job analysis and single source of data Mary Watson constructed a job analysis in order to hire new qualified store managers which she believes in will be the best way to increase the improvement in store management. Despite the fact, that she lacked proper knowledge of how to prepare a job analysis, She prepared a job analysis based on her personal experience when she was a store manager previously. To improve the accuracy of job analysis, she also interviewed three other current store managers. The weaknesses noticed in this effort were that she used limited data sources and collection methods and she was not qualified enough to do make a job analysis. The case highlights that she had a degree of BBA in Marketing which explains that she did not have an experience in making a job analysis. The job collection methods used were not fully effective in constructing an accurate job description and job specification. 2.1.1 Recommendation Mary could have used other different ways to collect data or a combination of different methods which could have helped her in completion of a successful job analysis. For example; observations, past critical incidents and questionnaires. Observation method:- A method which involves in observing the employees performance and noting down important details about how each tasks is being performed by them. Questionnaire method:- This method involves in formation of a questionnaire which are supposed to be filled by the employees and the managers as well about the job description and job specification. Past critical incidents method:- In this method, the past experience of the previous employees and the important incidents faced by them are analyzed. Mary should have studied the various method of job design, in which the most helpful in this case would be job enrichment method. This method would have helped her in the design a solution which would be beneficial for the company and would have solved her concern with the improvement of store. To summarize, Mary could have done a better job analysis if she would have interviewed various other managers, used other data collection methods and asked for expert advice from her superiors or colleagues.

Sustainable Management Futures of Ford Motor Company Essay

Sustainable Management Futures of Ford Motor Company - Essay Example Globalisation had increased the trade flow between countries by liberating trade barriers which had helped Ford to expand their sales in foreign countries. Several governments of foreign countries had developed good technological collaboration and permitted foreign ownership which had helped Ford to increase their resources and develop latest model to manage with the current market condition (Ivory Research Ltd, 2011). Economic Economical factor can influence the automotive industry. The GDP growth rate can determine the purchasing power of any country which is the most crucial factor for operating any business. Ford Motor Company operates in major economies such as China, America, the UK, India, Australia and others where the GDP growth rate and vehicle market condition are good (Ivory Research Ltd, 2011). Social Social factors such as customer attitudes, demographic factor play a vital role in automotive industry. For example, in countries such as America, people prefer large comfo rtable car, while on the other hand, people of the UK usually prefer small vehicles. These factors can affect the attractiveness of vehicle market in a particular country. From the graph below it can be seen that the demand of large vehicle had increased by 202% between the year 2003 and first quarter of 2004. Source: (Ivory Research Ltd, 2011). Technological In this era, the preferences of technological improvement had increased rapidly. People prefer more advanced and technological features in their cars. The Ford Motor Company always utilises good technology in their vehicle and it provides high quality vehicle for efficient use. It also allows customers to view the product’s features online and... The researcher states that in the 21st century, Ford Company had experienced several issues and most important issues are economic recession, usage of energy and other environmental aspects. This essay focuses on the discussion of how Ford had responded every issue and proved as one of the top car manufacturers in the world today. It has developed new technology and decreased the CO2 emission along with increased sales. It is stated that Ford is concerned for both green environment and global economy and thus it develops car which has less impact on environment and is affordable by most customer. Ford focuses on developing solution to resolve global issues and help customer live better life. Ford strives to be a leader in fuel efficient technology. The researcher states that Ford aims to create electric vehicle in order to capture the electric vehicle market. Over the years, Ford has decreased the usage of energy by initiating various programs, mentioned in the essay. Ford had made c ontinuous progress with regards to product quality, durability and security of vehicle and continued good progress in various environmental issues. In 2010, Ford was awarded as the ‘World’s Most Ethical Company’ because of good corporate social responsibility attempts and sound business practices. The researcher then concluds that Ford always provides product according to customer choice and with their convenient strategic business policy, Ford is determined to rank among the leaders of global automobile industry.

Organizational Environment Case Study Example | Topics and Well Written Essays - 1000 words

Organizational Environment - Case Study Example The link between innovation and the competitiveness of a business depends on the ability of the business to adapt strategically to the market it is in. Adaptation to a particular market is a dynamic process and can only be achieved as a long-term project and must consider other factors that may be external in nature and may also be affected by previous decisions on strategic positioning in the market. The ability to innovate is one key factor that dictates whether a business will be able to survive in the market and its performance. Therefore, a business must be able to conceptualize an adaptation strategy by having the correct strategy, structure and internal alignment that will position it competitively in the market both through the internal and the external environment (Eunni, Post and Berger 2003). HKM can develop can develop a functional structure as its organizational structure as the company is set to grow into a larger company but is interested in the economies of scale thro ugh the production of large quantities of the products but at a lower cost. This can be achieved by having highly efficient and specific divisions with specialized tasks, in this case the production of designs. Being dependent on the environment or the market to dictate the sale of the designs, HKM must adopt the open system in order to know what is going on in the business market especially concerning the customers, the suppliers and the competitors. The fact that the market seems stable for HKM in that he is assured of constant market for the designs; he can adopt a mechanist management system in the organization structure. In this kind of arrangement, HKM will consider the specialized differentiation of the functional tasks facing the partnership and break them down. He will also have to distinguish the abstract nature of each task that may be pursued with techniques or purposes that are different from those of the business as well as reconcile each level in the hierarchy. This f orm of structure that applies to HKM must also determine the precise definition of the rights and obligations attached to each party and how they transit to responsibilities of a functional position (Burns and Stalker, 1961). Harold and his partners must therefore be aware of the environment they operate in so as to survive as well as to know its domain or field of action. Daft (2010) states that this will be dependent on the products, services and the markets that the business is intending to serve as compared to its business objectives. Assuming that the product and the market that are to be produced by Harold and his new partners are perfectively competitive, the price is one of the most important factors that are to be considered. The price should be set at the market level through the interaction of supply and demand in that all the organizational structures put in place must consider the demand and the supply of the targeted market. Further before increasing the quantities of the goods in the market, the firm must decide how much labor that will be required for the business that will ensure that there is maximization of the profits in line with the objectives of the business (Plantes and Finrock, 2009). Before increasing the quantities of production of the products, Harold must identify and evaluate the competition, their number, size, location, strengths and weaknesses and how the business can overcome the

Reflective Essay on Art and Famous Artists

Reflective Essay on Art and Famous Artists The Olive Trees† by Vincent van Gogh caught my eye as soon as I saw it. Van Gogh has always fascinated me with his dramatic use of color and the thick texture he used while painting. After doing some research, I learned that he painted â€Å"The Olive Trees† in 1890 after voluntarily entering an asylum at Saint-Remy (MoMA). It has been said that van Goghs talent flourished in the last two years of his life while at Saint-Remy. Although he died at the ripe age of thirty-seven, he was a busy man. He created over 200 oil paintings during his life. Some of his most famous pieces are The Starry Night, Portrait of Dr. Gachet, and Irises (Artquotes). â€Å"The Olive Trees† is an oil on canvas painting that measures 28 5/8 x 36† (MoMA). This piece is in the post-impressionist style. Post-impressionists extended Impressionism while rejecting its lack of emotions. Artists continued to use vivid colors, thick application of paint, distinctive brush strokes, and real-life subject matter (Topofart). The post-impressionist style is seen throughout most of van Goghs works and especially in â€Å"The Olive Trees†. Van Gogh used thick oil paint combined with wide rough brushstrokes to create texture in this piece. This technique called â€Å"impasto† is evident in many of his other works such as â€Å"The Starry Night† (Frank). The subject of the picture is olive trees. These trees could be found all around the asylum he admitted himself to. This painting seems to have a lighter mood than some of the other paintings he completed right before his death. It seems that he, â€Å"found happiness† or something that got his mind off of the deep depression and mental sickness he had. The viewer can see it in this piece by looking at the use of color and dancing lines he used to create a happy, but mellow mood in the piece. This technique can also be seen in his other works such as â€Å"Starry Night†. Not only did he use color and line to lighten the mood of the piece, but he also used shape. Van Gogh painted the olive trees, mountains, and clouds all by using organic shape. This creates a flow of line, mass, and space. By using these effects, van Gogh creates a visual rollercoaster for the viewer to follow. At first glance, the viewers eyes roll from the grass up to the olive trees, and then across the blue colored mountains. By using this flow of line, the painting has a unique balance to it which allows no space to appear empty. The painting seems lively and the olive trees create a mood of dancing across the landscape. Van Gogh created a well balanced atmosphere by using the light colored clouds to balance out the blues used in the mountains. The clouds also help to balance the arrangement of greens he used for the foreground and olive trees. This is called symmetrical balance. I believe van Gogh used this in his work not only create a well flowing piece, but also to get the viewers eyes to move across the painting. By doing this, he keeps the viewers eyes from staring at one section of the painting. Instead, the viewer receives an emotional grasp from the flow of line, color, and texture that the painting offers. Overall, I really enjoy this piece of art. Although it is not one of van Goghs most-known pieces, it is one of my favorites. I tend to go against the grain and choose things that I find interesting instead of going with the â€Å"social norm†. His use of color and texture is what keeps me looking at his work. I think the mood and emotion that he gave off by this painting could not be done with any other color. Obviously van Gogh had a message and an emotion that he wanted to portray in this piece, and I think he conveyed it perfectly. I think van Gogh was conveying a since of hope and happiness from this piece. His use of line and texture creates movement in the painting and a sense of joy. The bright cloud contrasts against the olive trees and seems to brighten the piece not only through color, but emotionally as well. The painting is a joy to look at and will remain that way for a long time to come. Works Cited Famous Vincent Van Gogh Paintings. Artist Quotes Art Quotes Famous Artists Fine Artists. Web. 17 Apr. 2010. . Frank, Patrick, and Duane Preble. Prebles Artforms: an Introduction to the Visual Arts. Upper Saddle River, NJ: Pearson /Prentice Hall, 2009. Print. Impressionism and Post-Impressionism Art Reproductions, Impressionism and Post-Impressionism Paintings. Art Reproductions Oil Painting Reproductions. Web. 18 Apr. 2010. . MoMA | The Collection | Vincent Van Gogh. The Olive Trees. Saint Rà ©my, June-July 1889. MoMA | The Museum of Modern Art. Web. 14 Apr. 2010. . Diego Rivera Diego Rivera was born into a wealthy family in Mexico. From the age of ten, Rivera studied art at the Academy of San Carlos in Mexico City (Biography). He was sponsored to continue study in Europe by the governor of Veracruz (Biography). After his arrival in Europe in 1907, he began to study art with a number of well known artists. A few years later Picasso and Georges Braque began getting world-wide exposure with their new type of art, Cubism. From 1913-1918, he devoted himself almost entirely to the cubist school of art (Arttrader). In 1920, Rivera left France and spent a short time in Italy. While there, Rivera studied frescoes and the popular works from the Renaissance period (Biography). In 1921, Rivera returned to Mexico to start on what I personally believe to be some of his best works. He began to paint murals in auditoriums, schools, and other various government buildings. Most of his art carried political influence which he believed in. Rivera was a communist and his work shared that of his political beliefs and how he felt about the Mexican people. He began to develop his own native style based on large, simplified figures and bold colors. Although his paintings were beautiful, his attacks on the church and political beliefs made him a controversial figure. (Biography). Some of his best known works during this time are: En el Arsenal, Creation, and The Flower Carrier. Rivera painted frescoes in this style for many years up until his death in 1957 (Biography). I chose to do my paper on one of his pieces with a Cubist influence. It was completed in 1912 while he was in France. The artwork is called â€Å"Cubist Landscape†. It is an oil on canvas that measures 25  ¾Ã¢â‚¬  x 35  ½Ã¢â‚¬  (MoMA). I chose this piece of art because it reminds me of my grandmother. She was a quilter, and at first glance, this painting reminds me of a patchwork quilt. Cubism was a huge influence in Riveras earlier career, and this was one of his first works in France. The content of this piece is a landscape filled with trees of different colors and a colorful sky with a mountain in the background. To me, it looks like you are looking at four different paintings that have been sat on top of each other at different angles. The use of the cubism style in this painting is very evident due to not only the name, but the way the object of the picture and background are â€Å"chopped† up and distorted throughout the piece. Rivera used big chunks of dif ferent objects to make this piece so it is not as distorted as the works of Picasso. I believe he did this so the viewer would not lose emphasis on the emotion Rivera was trying to get the viewer to feel. Rivera balanced the painting by using the Cubist style to section the painting out in to different pieces. The eye is specifically drawn to the lighter-green tree in the front. This tree is standing straight while all the other trees are bent and leaning in different directions. By doing this, Rivera made the tree in the front the subject of the piece, and made your eyes be drawn directly to this object. Line also played a role in the emotion and emphasis on the tree. He emphasized the front tree even more by making it more detailed and by giving the trunk of it texture. It stands straight up compared to the other ones to symbolize strength and power. The background of the artwork is where the emotion in the painting is created. The background is colored in a patchwork of the color wheel. Greens, reds, oranges, blues, violets, and yellows are all woven into the background to create a happy mood that surrounds the trees. The other trees also fall into the back ground and are red and blue. I think the added color that surrounds the subject gives the piece a lighter feeling and makes the viewer want to smile. I also like the use of impressionism in the piece. Around the border of the painting, Rivera dashed color on the background to create a meadow-like scene to the piece. The use of different color reminds me of wild flowers swaying in the breeze. He created what the eye would actually see in a meadow by using wide, short brush strokes. The way he painted the background reminds me of the brushstrokes used in â€Å"Impression Sunrise† by Monet. His short brush strokes also give texture and movement to the piece. Short brush s trokes make the piece look soft in texture and give it movement as if there were a breezing blowing through the scene. Overall I really enjoyed this piece of art. Not only did it remind me of my grandmother, but it also gave me a new grasp on the Cubist style of art. I was not a fan of cubism until researching this piece because I did not â€Å"get it†. So many times when viewers see cubism we want to run away because we cannot understand what we are looking at. In this piece Rivera makes it very clear and there is no underlying meaning like some of the other Cubists work. It is direct and straight-forward and that is why I chose it. This piece has caused me to grasp new meaning and understanding of the Cubist style and I will definitely embrace what I have learned. Works Cited Art Trader. Web. 21 Apr. 2010. . Diego Rivera Biography. Biography.com. Web. 21 Apr. 2010. . MoMA | The Collection | Diego Rivera. Cubist Landscape. 1912. MoMA | The Museum of Modern Art. Web. 20 Apr. 2010. . Georgia OKeeffe Georgia OKeeffe was born November 15th, 1887 in Sun Prairie, Wisconsin. She grew up most of her life in Wisconsin but moved away to go to the Chatham Protest and Episcopal Institute in Williamsburg, Virginia in 1900. After graduating in 1904, she studied art at the Art Institute of Chicago and at the Art Students League in New York (Georgia). She is well known for her artwork and has won many awards such as the Gold Medal of Painting, the Medal of Freedom, and was presented the National Medal of Arts in 1985 by President Ronald Reagan (Georgia). It is said that OKeeffe revolutionized modern art in both her time and to the present. She painted natural scenes which she vividly portrayed with a close-up view. She used art to convey that nature is as powerful as the widespread industrialization of the period of her time. Georgia OKeeffe married Alfred Stieglitz in 1924 (Georgia). He was a famous photographer who put his wifes work in his gallery. In 1916, Georgias work was first exhibited and this is when her art began to be seen and appreciated. In 1949, OKeeffe moved to New Mexico where her art took on a new dimension. She painted bones and desert scenes which captured the calmness and bareness of the desert (Georgia). During her career as a painter, OKeeffe has mostly been remembered for her abstract style of art. She painted many things you would see in nature. She painted them as she saw them, not has how most would see them. She created her style of art by zooming in on the object and painting things that the naked eye would not be able to see. This was her representation of the flower or other object she was painting. Her style of art has been viewed all over the world and she is one of the most famous American artists to this day. I chose â€Å"Lake George, Coat and Red† to do my paper on because the piece jumped out at me. The painting is oil on canvas and it was created in 1919 (MoMA). This abstract piece is rich in texture and the mood of it warms your heart and lightens your mood. Georgia not only used line to create happiness in her piece, but she also used the bright reds in the background to accent the dark color of the painting. She used red and blue because they contrast one another, and it is a great way to catch the viewers eye. Not only did OKeeffe use red and blues in the painting, she also used greens, yellows, and orange. Im not sure if each color was meant to represent different types of emotions, but it gives the piece a center or â€Å"wholeness† since she used every color. Not only is the color balanced in this piece, but the way she used the value in each hue also creates a centralized feel. Since the subject of the piece is a dark blue, I think OKeeffe used the small white ball in the upper portion of the painting to create a small mass that contrasts the heavy blues she used for the subject. Her use of thick lines and texture also contributes to the balance of the piece and gives the subject a since of flow and gracefulness that draws your eyes from the lower left-hand corner of the piece on towards the upper right-hand corner. The paintings size is 27 3/8† x 23  ¼Ã¢â‚¬  (MoMA). This is an average size piece for her, and I think she used this size to get the viewer to see the painting up close and visually â€Å"feel† the texture and the movement of the piece. Not only did the size of the canvas play a role in how she wanted the viewer to feel, but the medium she used did as well. Georgia OKeeffe used a lot of oil paints to make her art because of the way she could create texture throughout each piece with this medium. She also used oil paints because she could blend each color easily to create the hue she wanted. Scale also played a huge part of OKeeffes work because most of her abstract art is a zoomed-in version of what the eye can see. By using this blown-up scale, OKeeffe can make the viewer feel the emotion of the object. Overall, I think that Georgia OKeeffe mastered abstract art and I will continue to be a fan. She has forever changed the way art will be viewed and will be an inspiration for many artists to come. I would not change anything about this piece because the size, color, texture, medium, and line all play a part in what OKeeffe wanted to portray in this piece. Works Cited Georgia OKeeffe Biography. Lakewood Public Library (Lakewood, Ohio). N.p., n.d. Web. 21 Apr. 2010. . MoMA | The Collection | Georgia OKeeffe. Lake George, Coat and Red. 1919. MoMA | The Museum of Modern Art. N.p., n.d. Web. 21 Apr. 2010. . Paul Cà ©zanne Paul Cà ©zanne was a French painter born January 19, 1839. He developed artistic interests at an early age and was sent to Paris to study when he was twenty-three. He has often been called the father of modern art, who â€Å"strove to develop an ideal synthesis of naturalistic representation, personal expression, and abstract pictorial order† (Retro). While he was in Paris he studied the works of Monet, Delacroix, and Gustave Courbet (Retro). Cà ©zannes early paintings show little resemblance to his later and more important style. The subject matter is dark and depressing and includes fantasies, dreams, religious images, and a general theme concerned with death (Notable). Most of the work from this era of his life was harshly criticized and was never accepted in any art exhibitions. In the 1870s, Cà ©zanne began to change his style. He started using brighter colors and the religious subjects he once used in his paintings began to disappear (Notable). Cà ©zannes paintings from the 1870s clearly show the influence of Impressionism. He used short brushstrokes characterized by Monet and other early Impressionist to portray what the â€Å"eyes see rather than what the mind knows† (Frank). Some of his most known pieces from this time are â€Å"House of the Hanged Man† and â€Å"Portrait of Victor Choquet† (Notable). In the late 1870s Cà ©zanne moved back to his home in southern France and isolated himself from the art world. He began to create his own style of Impressionism, but he did not exhibit his art for almost twenty years (Notable). Cà ©zannes began to come out of his solitude during the 1890s. In 1895, a large number of Cà ©zannes paintings were shown, and public interest in his work slowly began to develop. By 1904 he was given an entire room at the Salon dAutomne (Notable). Unfortunately he died October 22, 1906 due to natural causes (Notable). Though he died right when he was getting large recognition for his work, Cà ©zanne will be remembered as a front-runner of modern art (Notable). The piece of Cà ©zannes work I chose was â€Å"Still Life with Fruit Dish†. This painting is an oil on canvas that measures 18 1/4 x 21 1/2 (MoMA). According to MoMA, [Still life was an important genre to Cà ©zanne, who made approximately two hundred such paintings over the course of four decades. In â€Å"Still Life with Fruit Dish† he created a shallow, compressed space that flattens the sculptural volumes of dish, glass, and fruit. This painting was a prized possession of the artist Paul Gauguin, who described the picture as an exceptional pearl, the apple of my eye. It was only when he needed money for medical care that Gauguin unhappily parted with it.] I completely agree with Gauguin. This painting is a fantastic example of how Cà ©zanne created his own style of Impressionism. If the viewer were to put Monets work next to it, you could see the resemblance of Impressionism, but he or she could also see both artists personal style difference. Monet was the pioneer of Impressionism, but personally, I prefer what Cà ©zanne did with this piece much more than â€Å"Impression: Sunrise† or â€Å"Water Lily Pond† by Monet. In â€Å"Still Life with Fruit Dish†, Cà ©zanne created most of the lines in the painting with thick, swift brushstrokes in the Impressionist style. Most of the lines in the painting are jagged and not very detailed. The lighting in the piece looks like it is coming from the right and is shining down on the table and the fruit bowl. By using light this way, Cà ©zanne put emphasis on the fruit bowl which is the subject of the piece. Cà ©zanne also positioned the knife to point directly toward the fruit bowl. This guides the viewers eyes from the lower-right-hand corner of the painting directly to the subject. Since this piece is in the Impressionist style, Cà ©zanne painted what the eyes actually see. Impressionists painted what they saw, so there is no underlying meaning to this piece like works of the Renaissance had. The colors Cà ©zanne used give emphasis on the subject. The background is a dark-colored wall. The tablecloth and fruit bowl are both bright white. Though blue is sometimes used to evoke sadness in a viewer, I do not believe Cà ©zanne was trying to create sadness in this piece. The colors he used for the fruits are realistic colors and their greens, yellows, and reds warm the painting dramatically. Cà ©zanne used thick texture in this painting, but it does not create movement or rhythm in the piece like the works of van Goghs did. I think here he used subtle texture just so the painting would not look bland and flat. The texture he used gives character to the fruit as well as the blue background. Overall, I really like this painting and wish I could have a copy in my house. So far it is my favorite painting I have written about. Cà ©zannes realistic proportion, contrast, and use of space also drew my eye to this piece. I like being able to view art and â€Å"know† what the artist wanted you to see and feel. When looking at this painting, I immediately â€Å"got it†. After reading about Cà ©zanne, I have definitely acquired more knowledge about the Impressionist style and gained a new love for his type of art. Works Cited Frank, Patrick, and Duane Preble. Prebles Artforms: an Introduction to the Visual Arts. Upper Saddle River, NJ: Pearson /Prentice Hall, 2009. Print. MoMA | The Collection | Paul Cà ©zanne. Still Life with Fruit Dish. 1879-80. MoMA | The Museum of Modern Art. Web. 25 Apr. 2010. . Paul Cà ©zanne Biography. Oil Painting Reproductions : Museum Quality Art. Web. 25 Apr. 2010. . Paul Cà ©zanne Biography Life, Story, Death, School, Information, Born, House, Time, Year. Encyclopedia of World Biography. Web. 25 Apr. 2010. . Pablo Picasso Pablo Picasso was a famous Spanish painter and sculptor who lived from 1881-1973. He is best known for cofounding Cubism with Georges Braque. His father, Ruiz, was an artist and influenced Picassos early works. When Picasso was seven, his father began to give him formal training in drawing and painting (Answers). Ruiz was a traditional artist and instructor who believed that proper training required disciplined copying of famous artwork. Picasso became so preoccupied with art that he put his education second. After only six years of painting, Picassos father realized that his son was more talented than him (Answers). At the age of thirteen, Picasso took an entrance exam to the Barcelona School of Fine Arts. After creating his piece in only a week, he was accepted and began taking classes (Answers). Three years later his father sent him to Madrids Royal Academy of San Fernando which was one of the most recognized art schools in Spain (Answers). Shortly after enrolling at the Royal Academy, Picasso dropped out to move to Paris in the early 1900s. His first masterpiece was â€Å"Les Demoiselles dAvignon† which he created in 1907. It was thought of as being controversial because of its reference to the female body and masked faces he used (Answers). From 1909-1912, Picasso continued to work closely with Georges Braque to create what would be known as â€Å"Cubism† (Answers). Though Cubism is a huge part of Picassos work, the painting I chose has no cubist influence. My artwork is â€Å"Night Fishing at Antibes†. It is a 69† x 114† oil on canvas that Picasso completed in 1939 (MoMA). I chose this piece because I wanted to learn more about abstract art, and because I enjoy fishing. The subject of this painting was based on â€Å"Picassos observation of night scenes off the shore of Antibes in the South of France. Men went out and fished by the light of acetylene lamps; the lights attracted the fish to the surface, where they could be netted or speared† (Lenin). Some say that the painting has deeper meaning that relates to the outbreak of World War II, but after researching the topic heavily, I found that the idea is not for certain. The content in the painting is two fishermen in a boat. One has fishing line attached to his toe, and the other man is about to stab a fish with a spear. Two women are standing on a bridge to the right . One woman is holding a bicycle and eating an ice cream cone. Picasso used symbolism in his paintings, and there must be symbolism in this piece, but after my research, I could not find any concrete answers for why he painted â€Å"Night Fishing at Antibes† this way. Most art critics believe that Picasso painted this piece as a war protest much like â€Å"Guernica†, but he never announced that this was the paintings meaning (Answers). The size of the painting also has to do something with the meaning. This painting is almost twelve feet wide and seven feet tall. If the meaning of the piece is to protest WWII, Picasso created this painting to be the size of a billboard. This would help drive the underlying meaning of the painting and convey what Picasso wanted to say about the war with a bold message. Picasso created a well-lit piece by making the moonlight shine directly down on the water. This contrasts the fish on the right and makes the eyes look directly at it first. The piece is well balanced due to its large, dark background and small space of lightness. The viewers eyes go directly toward the fish on the right not only because of the lighting, but also due to the way Picasso used line. The spear has four straight, thick arrows pointing directly at the fish. This spear also looks like a trident. This could have some time of underlying meaning as well. The spear looks strong and bold. After guiding your eyes up the shaft of the spear, your eyes drift left across the arm of the fisherman. He is scaled much larger than the other fisherman in the boat and his eyes seem to be looking directly at the viewer. No other subjects in the painting are looking towards the viewer except for this fisherman. The spear and the fishermans arm are by far the strongest lines in the piece. They are at 90 degree angles, unlike any of the other lines in the painting. Though the piece is constructed with purely organic shapes, the painting does not convey a since of movement or rhythm. To me the piece seems like a snapshot in time catching everyone off guard. The colors Picasso used in the painting give the piece emphasis on what time of day it is. The viewer can tell the painting is a night scene because of the title, but I believe Picasso painted a night scene for an underlying meaning. Almost every color in the painting is dark except for the water on which the moon shines down on. The dark hues give the piece a cold and sad feeling. Just by the color alone, I can tell that I would not want to be in this scene. I really liked this work when I first saw it, but after doing research I have changed my view of it. Now knowing what was going on in the world at the time, I feel that this painting has a much deeper meaning than what I as young college student can grasp. I will always be a fan of Picassos work, but to be honest, I just do not understand a lot of what he wants the viewer to catch on to. I like the painting, but I am actually disappointed after writing this paper. Personally, I would have rather picked a piece that I could have understood than try to chase down the meaning of this painting. I spent more time doing research on the underlying meaning than I spent enjoying the painting. I felt like I was chasing my tail while doing the report on this piece. Nonetheless, I am still a fan of Picassos and maybe one day the message of this piece (if any) will hit me. Works Cited MoMA | The Collection | Pablo Picasso. Night Fishing at Antibes. Antibes, August 1939. MoMA | The Museum of Modern Art. Web. 22 Apr. 2010. . Pablo Picasso Night Fishing at Antibes (1939). Lenin Imports UK Latest CDs, Cassettes, Vinyl , Movie, Art Memorabilia In Stock Art, Rock, Movie Loads More. Web. 21 Apr. 2010. . Pablo Picasso Night Fishing at Antibes (1939). Lenin Imports UK Latest CDs, Cassettes, Vinyl , Movie, Art Memorabilia In Stock Art, Rock, Movie Loads More. Web. 28 Apr. 2010. . Pablo Picasso: Biography from Answers.com. Answers.com: Wiki QA Combined with Free Online Dictionary, Thesaurus, and Encyclopedias. Web. 23 Apr. 2010. .

Drama Translation Essay

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