Biology Essay Example | Topics and Well Written Essays - 500 words - 9

Biology - Essay Example Each protein is formed in accordance with a set of instructions contained within the nucleic acid, which accounts for the cells genetic material. These set of instructions regulate which of the twenty amino acids are to be incorporated into the protein, and in what sequence. The final shape of the protein and its chemical properties is decided by the R groups of the amino acid subunits. There are four levels of protein structural organization: primary (1Â °), secondary (2Â °), tertiary (3Â °), and quaternary (4Â °). Primary structure is defined as the linear sequence of amino acids in a polypeptide chain. The secondary structure refers to certain spatial arrangement of the main peptide chain, examples of which are the alpha helix and the beta pleated sheet. Tertiary structure results from long-range contacts within the chain. The quaternary structure is the organization of protein subunits, or two or more independent polypeptide chains, as found in hemoglobin and certain enzymes. Proteins are broken down in the stomach into amino acids by enzymes known as proteases. These amino acids help build protein for the body organs, muscles, bones, blood, besides also acting as an important nutritional source of nitrogen. They also act as a storehouse of energy, containing around 4 kilocalories per gram. In addition to their function in growth and cell maintenance, proteins are also responsible for muscle contraction. Insulin, hormones and most digestive enzymes are all proteins. The antibodies in the immune system are well known proteins, and they are also the chief constituents of hemoglobin, which does the work of carrying oxygen to all parts of the body. The cell theory states that all organisms are made up of similar units of organization, called cells. This idea was conceived by Schleiden and Schwann in the year 1839 and has been one of the major milestones in the history of biology. The road

Love Triangles and Betrayal in Carmen Essay Example for Free

Love Triangles and Betrayal in Carmen Essay The creation of operas from pre-existing literary texts is a complex process implicating the original author, the librettists, the opera directors, the publishers, and the composer. In the process of transformation, the involved parties consider prevailing cultural values as well as their own artistic ideals. These considerations weigh all the more heavily on the process when the literary text involves complex romantic relationships. Georges Bizet’s Carmen (1875), Giuseppe Verdi’s Otello (1887), and Claude Debussy’s Pelleas et Melisande (1902) provide examples of this transformation process. In all three of these works, love triangles figure prominently. These love triangles, though they share some superficial similarities, are extraordinarily different in terms of their composition and the ultimate fate of the characters. Carmen When the directors of the Opera-Comique, a venue with repertoire typically geared towards an extremely conservative, family-oriented, bourgeois audience (McClary, 1992, p. 15-16), commissioned Bizet to write an opera in 1872, Bizet suggested Prosper Merimee’s novel Carmen as a possible subject (Macdonald, 2010). The directors of the Opera-Comique were divided in their support of this work as a subject for an opera. De Leuven, in particular, was against this choice, citing the scandalous nature of the story and the conservative nature of the venue’s target audience as reasons behind his disapproval: â€Å"Carmen! The Carmen of Merimee? Wasn’t she murdered by her lover? At the Opera-Comique, the theatre of families, of wedding parties? You would put the public to flight. No, no, impossible. † (as cited in Jenkins, 2003). Indeed, it appears that the on-stage death was of particular consternation for the director: â€Å"Death on the stage of the Opera-Comique! Such a thing has never been seen! Never! † (as cited in Nowinski, 1970, p. 895). The choice of Carmen ultimately played a role in de Leuven’s resignation from his post in 1874 (McClary, 1992, p. 23). The source text for Carmen is a novella by Prosper Merimee. The author originally published this work in 1845 in the Revue des deux mondes, a non-fiction journal. The author had previously published travelogues in the same journal, and this work contained no indication that it was a work of fiction (Boynton, 2003). Instead, the work reads as a â€Å"true† story of Merimee’s voyage to Spain in 1830. In the midst of his travels, the author-narrator encounters Don Jose, the man who, after succumbing to Carmen’s seductive powers, kills her in a jealous rage following her confession of a love affair with Lucas. The librettists for Carmen, Henri Meilhac and Ludovic Halevy, at the time that they were commissioned to write this work for the Opera-Comique had already successfully worked together as a team on a number of works (including Offenbach’s La Belle Helene and La Vie parisienne) for the Parisian boulevard theatres (McClary, 1992, p. 18). In their previous librettos, the team had split the work: Meilhac wrote the prose dialogue, and Halevy supplied the verse (McClary, 1992, p. 18). In operatic settings, the prose would typically be left as spoken dialogue (for the Opera-Comique) or set as recitative. In transforming Merimee’s novella into a libretto, Meilhac and Halevy made numerous changes. Unfortunately, there is a lack of primary source evidence detailing the minutiae of the collaborative process which would shed further light upon the reasons behind these changes (Jenkins, 2003). These changes include minimizing Carmen’s criminal activities, adding the character of Micaela, and eliminating Merimee’s framing device. The removal of Merimee’s framing device (accomplished by not including a narrator) and the introduction of Don Jose before his downfall make Carmen, and not Don Jose, the focus of the story (Jenkins, 2003). Indeed, the Carmen of the libretto, with her voice not being interrupted by the narrator’s commentary, speaks directly to the audience (McClary, 1992, p. 21). Carmen was composed as a four-act opera comique, originally with spoken dialogue (as opposed to recitative). The dialogue was transformed into recitative by Guiraud for a production in Vienna, and it was performed this way for many years before producers reverted to Bizet’s original spoken text (Macdonald, 2010). Further changes to Merimee’s original resulted from Guiraud’s involvement. Meilhac’s original dialogues at times quoted directly from Merimee’s Carmen, and these instances of direct quotation were largely eliminated in Guiraud’s version (McClary, 1992, p. 45). With the addition of Micaela, the librettists created a moralizing character, the polar opposite of Carmen, with whom the Opera-Comique audiences could readily identify (McClary, 1992, p. 21). The addition of Micaela complicates the love triangle. In Merimee’s original, the love triangle included the characters of Carmen, Don Jose, and Lucas. In the operatic version, both Don Jose and Escamillo are in love with Carmen, and both Carmen and Micaela are in love with Don Jose. The librettists also substantially changed Carmen’s character. Though they downplayed Carmen’s involvement in criminal activities (she is no longer the leader of the smugglers as Merimee portrayed her) arguably in order to make her more sympathetic, they focus almost exclusively on her sexuality (to the exclusion of her healing powers and intelligence as presented in the original) (McClary, 1992, p. 22). Bizet’s music underlines the differences in characters and underlines the complex nature of the interlocking love triangles in the opera. Micaela is presented as a sweet, pure, innocent woman. Her entrance is conventional, and her music is marked by neither intense chromaticism nor indications of exoticism (McClary, 1997, p. 120). Carmen’s entrance, in contrast, disrupts the formal procedures Bizet set up from the beginning of the opera, and her music is largely chromatic and marked with features typically associated with the exotic (McClary, 1997, p. 120). Her music, like her body and personality, is irresistible to any man she sets her sights on. Don Jose’s music is different from that of both of his female admirers. His melodic lines are long, irregularly phrased, and lacking in regular cadences (McClary, 1997, p. 124). Additionally, he, unlike Escamillo, lacks a signature melodic line (McClary, 1997, p. 127). McClary points to the incompatibility of Carmen’s and Don Jose’s musical styles as evidence of the ultimate failure of their relationship. In contrast, Carmen’s brief duet with Escamillo in act four seems sincere because their musical styles are compatible (McClary, 1997, p. 125). Ultimately, Don Jose kills Carmen in a fit of jealousy over her relationship with Escamillo, and Micaela is deprived of her true love as he gives himself up to the police following his murder of Carmen. Otello Though the two Shakespeare aficionados Giuseppe Verdi and Arrigo Boito met as early as 1862, it was not until 1879 that the events leading to the composition of Otello were set in motion (Aycock, 1972, p. 594). The four-act Otello received its premiere on February 5, 1887 in Milan. In transforming the play into opera libretto, Boito eliminated six of the fourteen characters and cut the entire first act (Aycock, 1972, p. 595). Boito also cut Othello’s statement of self-defence following his murder of Desdemona from the end of the play (Aycock, 1972, p. 596). This last cut serves to keep the opera’s focus on the tragic love story. This love story principally revolves around the actions of Othello, Desdemona, and Iago. When the opera opens, Desdemona and Othello are newly married. However, Roderigo (Iago’s friend) still loves Desdemona. Iago, upset with Cassio who has been promoted over him, fabricates proof of Desdemona’s infidelity with Cassio in order to play on Othello’s jealous nature. The proof of this infidelity, in both the play and the opera, is a handkerchief. Othello murders Desdemona, and when he learns that his belief in his wife’s infidelity was mistaken, he kills himself. In this story, both Roderigo and Othello are in love with Desdemona. Given Roderigo’s minimal role in the opera, however, Iago takes his place in the dramatic situation of the love triangle. It is his betrayal and deception that leads to the demise of the two main characters. The end of the first act contains a conventional love duet between Othello and Desdemona. As Aycock (1972, p. 595) remarks, the love between these two principal characters is mature and predicated on confidence in each other’s fidelity. The climax of this love duet, on the words â€Å"un bacio†¦Otello! un bacio,† features a new melody in the orchestra. This melody reappears only in the last act, most notably when Othello commits suicide (Lawton, 1978, p. 211). The character of Iago in the opera is much more the creation of Verdi and Boito than of Shakespeare. Iago’s Credo, where he proclaims his devotion to a cruel God and admits that he is unquestionably evil, was entirely the invention of Boito (Aycock, 1972, p. 600). For Verdi, the emphasis on this character allowed him to confirm to Italian operatic tradition, which called for a baritone villain role (Aycock, 1972, p. 601). Pelleas et Melisande Maurice Maeterlinck’s play Pelleas et Melisande received its Parisian premiere at the Theatre des Bouffes-Parisiens on May 17, 1893, and Claude Debussy was in attendance (Grayson, 1985, p. 35, 37). By the fall of the same year, he had already begun composing what would later become Act IV scene 4 (Grayson, 1985, p. 37). In the case of this operatic transformation, there was no librettist acting as a middle-man. Instead, Debussy constructed the libretto himself, from Maeterlinck’s original text. The composer remained true to the original play, changing nary a word. He did, however, cut some scenes, and these cuts were made with the Maeterlinck’s authorization. In November 1893, the composer travelled to Ghent to meet with the author, and the two men discussed several possible cuts. Debussy reported to Ernest Chausson that Maeterlinck had given him â€Å"complete authorization to make cuts and even indicated some which were very important, even very useful† (as cited in Grayson, 1985, p. 37). From Maeterlinck’s original play, there were only four scenes that Debussy did not set: Act I scene 1, Act II scene 4, Act III scene 1, and Act V scene 1 (Grayson, 1985, p. 38). These scenes appear to have been cut because they are unrelated to the central narrative, leading to the demise of both Pelleas and Melisande. While Debussy used Maeterlinck’s original text, he did, in some instances, cut some of the text to make the libretto more concise. Act III scene 3, for example, was cut so heavily so that only one third of the original text remained (Grayson, 1985, p. 40). Two further cuts came in 1902. During Pelleas et Melisande’s first season at the Opera-Comique, Debussy was forced to cut one scene from the performances: Act IV scene 3 (Grayson, 1985, p. 39). This almost purely symbolic scene features Yniold (Golaud’s son from a previous marriage). At the end of the scene, Yniold, wishing to share his experiences with Melisande, unwittingly reveals to Golaud that she is not in her room (Grayson, 2003, p. 76) – in essence, he signals her disloyalty to her husband. The scene was reinserted in its second season. Also, at the dress rehearsal, the Director of Fine Arts, censored the work, calling for the suppression of Act III scene 4, a scene where Yniold is forced, by his violent father, to spy on the suspected lovers (Grayson, 2003, p. 80). Pelleas et Melisande begins with Golaud discovering Melisande by a fountain in a forest. She seems to be lost and confused, and she follows Golaud on his wanderings. The two get married in secret and return to the castle of Golaud’s father. There, Melisande meets Golaud’s brother Pelleas, and these two fall in love. In one scene, Golaud happens upon Pelleas caressing Melisande’s hair streaming out from a tower window, and he realizes that his brother has betrayed him. Golaud, blind with jealousy, kills his brother in Act III. At the end of the opera, Melisande also dies, but not before giving birth to a daughter. The plot, then, revolves around the love triangle of Melisande, Golaud, and Pelleas. The unquestioning inclusion of on-stage deaths demonstrates how much the Opera-Comique had changed since the 1875 premiere of Carmen. From the time of Debussy’s first draft of Act IV scene 4 in the fall of 1893, it took almost a decade for the opera to reach the stage of the Opera-Comique. Debussy worked intensely on the opera in 1895 and completed a short score of the opera in August of that year (Grayson, 2003, p. 78). Though he had a completed opera, he had major difficulties finding a suitable venue for the performance of the work. Albert Carre, the director of the Opera-Comique, accepted Pelleas â€Å"in principal† in 1898, but he did not give Debussy written confirmation of the deal until 1901 (Grayson, 2003, p. 79). Though Debussy was ambivalent about Wagnerian leitmotive techniques, he does employ leitmotivs in Pelleas. While most of these leitmotivs are connected to ideas, each major character has his or her own leitmotiv (Nichols and Smith, 1989, p. 81). Melisande’s motive, for example, is comparatively lyrical, wandering, and typically played by oboes or flutes while Golaud’s motive consists of two notes in alteration with a more pronounced rhythmic emphasis. These motives are typically associated with different harmonic fields. Melisande’s melody is pentatonic but is typically harmonized with a half diminished seventh chord (Nichold and Smith, 1989, p. 91). Golaud’s motive, because of its sparse melodic line consisting of only two notes, is more harmonically flexible. Debussy uses it in a variety of harmonic contexts including whole-tone, dorian, and minor. Comparison of Works These three works present a widely diverse picture of operatic life in late nineteenth century France and Italy. In terms of source texts, there is a novella (Carmen), a play in verse (Otello), and a play in prose (Pelleas et Melisande). In two of the cases (Carmen and Otello), neither the composer nor the librettist knew the author of the original literary work. In the case of Pelleas, the composer had direct contact with the original author and constructed the libretto himself. These three operas were then composed in different forms: an opera comique in versions with both spoken dialogue and sung recitative (Carmen), a hybrid of continuous action with set pieces (Otello), and a largely through-composed work with one aria (Pelleas). In each instance, the transformation process reveals that it was not only the librettist and composer who were involved in the opera’s ultimate form: opera directors, publishers, and censors also had some hand in the final product. One shared trait amongst these three works was the need for the librettist to cut considerable amounts of literary material from the original text. This phenomenon is understandable given that it takes a considerably longer period of time to sing a text rather than say it. In choosing sections of texts to cut, the librettists were faced with the challenge of leaving enough of the narrative design so that it would remain comprehensible to the audience. The composer could then use musical devices to fill in some of the gaps that this missing text created. For example, Bizet could use different musical styles to highlight differences in race and class (McClary, 1997). Similarly, Debussy could use different harmonic languages (whole tone, pentatonic, modal) to indicate subtly differences in the quality of light (Nichols and Smith, 1989). A second shared trait is that two of the composers appear to have made decisions based on operatic convention in their composition of the opera. Bizet’s concession to operatic convention takes the form of the introduction of the character of Micaela, a character absent from Merimee’s original but whose presence, as mentioned above, was deemed necessary to make the work suitable for the conservative Opera-Comique audience. Verdi’s concessions are evident in the finale to Act 3, where he asked Boito to alter the libretto to make room for a traditional grand concertato finale (Parker, 2010) as well as in the changes to Iago’s character mentioned above. A third shared trait is that these three works focus on love triangles, with an act of betrayal or jealousy leading to the deaths of one or more of the principal characters. In Carmen, the primary love triangle revolves around Carmen, Don Jose, and Escamillo. In the end, Carmen dies. In Otello, the love triangle of Othello, Desdemona, and Roderigo has a tragic ending with the death of both Othello and Desdemona. Similarly, the Pelleas-Melisande-Golaud triangle results in the death of two of the characters: Pelleas and Melisande. In each case, the composer highlights one of the romantic relationships as being more viable or more sincere than the others. Bizet, as noted, employs different musical styles for each of the characters, with only Escamillo’s language being compatible with Carmen’s. Verdi wrote a traditional love duet for Othello and Desdemona, the sincerity of which is highlighted with its aforementioned reappearance in the final act. Debussy employs a technique similar to that of Bizet: he has Pelleas and Melisande sing together in octaves in Act IV scene 4). The similarities between the presentations of the love triangles stops with this characteristic, for the relationship dynamics within the central triangles are quite different in these works. In Carmen, the title character is both the primary female love interest and the character responsible for the betrayal. She betrays Don Jose’s love for her, however ill-founded it may be, by confessing her love for Escamillo. In contrast to the other operatic heroines studied here, Carmen is a femme-fatale. In Verdi’s Otello, the love between Othello and Desdemona is sincere, and neither one carries on an affair with someone else. The primary reason behind their deaths is Iago’s treachery. However, Othello does, in a sense, betray Desdemona by believing Iago’s lies. His acknowledgment of this betrayal can be seen in his committing suicide. In Debussy’s Pelleas, the guilty party is less clearly identified. Melisande, though she betrays her marriage by falling in love with Pelleas, is not depicted as a femme fatale. Instead, she is presented as an innocent, idealized woman (Smith, 1981, p. 105). Pelleas betrays his brother by having an affair with his wife. Though Debussy, as mentioned above, sympathizes with their love and highlights the love Pelleas and Melisande have for each other by having them sing together in octaves. It appears that these characters are not to be held accountable for their actions because their love was inevitable, foretold in advance by fate. ? References Aycock, R. E. (1972). Shakespeare, Boito, and Verdi. The Musical Quarterly, 58 (4), 588-604. Boynton, S. (2003) Prosper Merimee’s novella Carmen. New York City Opera Project: Carmen. Retrieved from http://www. columbia. edu/itc/music/NYCO/carmen/merimee. html Grayson, D. (1985). The Libretto of Debussy’s Pelleas et Melisande. Music and Letters, 66 (1), 35-50. Grayson, D. (2003). Debussy on stage. In The Cambridge Companion to Debussy. Ed. Simon Trezise. Cambridge: Cambridge University Press, pp. 61-83. Jenkins, C. (2003). Carmen: The Librettists. New York City Opera Project: Carmen. Retrieved from http://www. columbia. edu/itc/music/NYCO/carmen/librettists. html Lawton, D. (1978). On the ‘Bacio’ theme in Otello. 19th-Century Music, 1 (3), 211-220. Macdonald, H. (2010). Carmen (ii). Grove Online. Retrieved from http://www. oxfordmusiconline. com/subscriber/article/grove/music/O008315? q=carmensearch=quickpos=22_start=1#firsthit McClary, S. (1992). Georges Bizet, Carmen. Cambridge: Cambridge University Press. McClary, S. (1997). Structures of identity and difference in Bizet’s Carmen. In The Work of Opera: Genre, Nationhood, and Sexual Difference. Ed. Richard Dellamora and Daniel Fischlin. New York: Columbia University Press, pp. 115-130. Nichols, R. Smith, R. L. (1989). Claude Debussy, Pelleas et Melisande. Cambridge: Cambridge University Press. Nowinski, J. (1970). Sense and sound in George Bizet’s Carmen. The French Review, 43 (6), 891-900. Parker, R. (2010). Otello (ii). Grove Music Online. Retrieved from http://www. oxfordmusiconline. com/subscriber/article/grove/music/O003882. Smith, R. L. (1981).

Background To Al Tayeb Salih English Language Essay

Background To Al Tayeb Salih English Language Essay The current research addresses the dilemma of translating cultural terms especially in literary works. It aims at shedding some light on the problems that translators, particularly between Arabic and English, face with dealing with cultural terms and on the decisions made by these translators to overcome these problems. The Wedding of Zein, written by the Sudanese distinguished novelist Al-Tayeb Salih and translated into English by the well-known translator Denys Johnson-Davies, has been chosen as a study case to be analysed. The data collected will be categorised according to the procedures proposed by Vladimir Ivir (1997) and by the scale of domestication (translators visibility) and foreignsation (translators invisibility) proposed by Lawrence Venuti (1995/1998). The current study, however, consists of four main sections. In the first section, the background of the novel, the writer, and the translator is highlighted. Moreover, the aims of the study and the methodology are stated. The second section reviews the techniques and procedures put forwarded by different translation theorists, with special focus on Ivirs work (1997). The work of Venuti (1995/1998) is discussed in section two. The data collected from the source text and the translated text will be analysed in section three. Finally, section four contains the conclusion and the findings. 1.1 Background to Al-Tayeb Salih and The Wedding of Zein Al-Tayeb Salih (full name: Al-Tayeb Mohammed Salih Ahmed) 1929-2009. He was a well-known Sudanese novelist and short-story writer. He was born in a small village called Karmakoul in northern Sudan and died in London. Buried in Sudan, his funeral was attended by the Sudanese president. His father was Sufi and named his son after a famous Sufism sheikh. He had spent his childhood in his small village before he moved to Khartoum to get a degree in Science. Later, he moved to England and attended the University of London to get a degree in the International Political Affairs. Al-Tayeb started his career life as a headmaster for a short time before he moved to work in the Arabic section in the BBC and, later, headed the drama section in it. Then, he came back to work in the Sudanese radio before he moved to Qatar and worked as a supervisor in the Ministry of Information. He ended up the last ten years in his career life with UNESCO in Paris and Gulf Area. It is worthy mentioning here that during his work in the BBC, Al-Tayeb used to write, for more than ten years, a weekly column for a London- based Arabic magazine called al Majalla in which he explored various literary issues. Moving from one country to another and from one city to another spurs Al-Tayeb to highlight the conflict between the Western and Eastern cultures and the differences between the Arab world and the Western world in his writings. In an interview (MBC 1994), Al-Tayeb mentions that he starts his literary life as a poet and that: Ù† ÃƒËœÃ‚ ­Ãƒâ„¢Ã¢â‚¬   Øلؠ³Ãƒâ„¢Ã‹â€ ÃƒËœÃ‚ ¯ÃƒËœÃƒâ„¢Ã¢â‚¬  Ãƒâ„¢Ã…  Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã¢â‚¬   Ù† ÃƒËœÃ‚ ­ÃƒËœÃ‚ ¨ Øلؠ´ÃƒËœÃ‚ ¹ÃƒËœÃ‚ ± Ùˆ Ù† Ãƒâ„¢Ã¢â‚¬  ÃƒËœÃ‚ ´ÃƒËœÃ‚ ¯Ãƒâ„¢Ã¢â‚¬ ¡ Ùˆ Øلؠ³ÃƒËœÃ‚ ¨ÃƒËœÃ‚ ¨ Ù†¡Ãƒâ„¢Ã‹â€  ØÙ† Ãƒâ„¢Ã¢â‚¬  ÃƒËœ Ù†¦ÃƒËœÃ‚ ·ÃƒËœÃƒâ„¢Ã¢â‚¬Å¾ÃƒËœÃ‚ ¨Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã¢â‚¬   Ø ¯Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã¢â‚¬ ¦ÃƒËœ Ø ¨ÃƒËœÃƒËœÃ‚ «ÃƒËœÃ‚ ¨ÃƒËœÃƒËœÃ‚ ª ØÙ† Ãƒâ„¢Ã¢â‚¬  ÃƒËœ Ø ¬ÃƒËœÃ‚ ²ÃƒËœÃ‚ ¡ Ù†¦Ãƒâ„¢Ã¢â‚¬   Øلؠ¹ÃƒËœÃƒâ„¢Ã¢â‚¬Å¾Ãƒâ„¢Ã¢â‚¬ ¦ Øلؠ¹ÃƒËœÃ‚ ±ÃƒËœÃ‚ ¨Ãƒâ„¢Ã…   My translation: We, the Sudaneses, love and recite poetry because we always need to proof our affiliation to the Arab World. Al-Tayeb, who is entitled the genius of the Arabic novel in the literary circles, belongs to the modern Arabic Realistic School which includes big names like Naguib Mahfouz (1911-2006) and Taha Hussein (1889- 1973) and many others. He wrote three novels and some short stories. His novels which gained a world-wide reputation and translated into many languages are: Ù†¦Ãƒâ„¢Ã‹â€ ÃƒËœÃ‚ ³Ãƒâ„¢Ã¢â‚¬ ¦ Øلن¡ÃƒËœÃ‚ ¬ÃƒËœÃ‚ ±ÃƒËœÃ‚ © Øلن° Øلؠ´Ãƒâ„¢Ã¢â‚¬ ¦ÃƒËœÃƒâ„¢Ã¢â‚¬Å¾ The season of migration to the north (1966), Ø ¹ÃƒËœÃ‚ ±ÃƒËœÃ‚ ³ Øلؠ²Ãƒâ„¢Ã…  Ãƒâ„¢Ã¢â‚¬   The wedding of Zein (1969) and Ø ¨Ãƒâ„¢Ã¢â‚¬  ÃƒËœÃ‚ ¯ÃƒËœÃ‚ ±ÃƒËœÃ‚ ´ÃƒËœÃƒâ„¢Ã¢â‚¬ ¡Bandarshah in two parts (1971/1979). Some critics claim that these novels form a trilogy similar to Naguib Mahfouzs famous trilogy (1956-1957). The season of migration to the north is translated into thirty languages and chosen among the best 100 novels in the world and in 2001 it is declared the best Arabic novel in the twentieth century by the Arab Literary Academy. His novel The Wedding of Zein was made into a drama in Libya and into a film by the Kuwaiti filmmaker Khalid Siddiq who won an award in the Cannes Festival in the late 1970s. In 2005, Newsweek magazine chose Al-Tayeb among the most 43 influential characters in the Arab World and despite that he did not win Noble Prize, he was always one of the strongest candidates for it. In recognition of his contribution to the Arabic literature, a film, produced by Al- Jazeera Documentary, highlighting the different stages of Al-Tayebs life has been released in his first death anniversary in February 2010. In his second death anniversary, an award named Al-Tayeb Salih International Award for Creative Writing has been launched. Ø ¹ÃƒËœÃ‚ ±ÃƒËœÃ‚ ³ Øلؠ²Ãƒâ„¢Ã…  Ãƒâ„¢Ã¢â‚¬   , or The Wedding of Zein, is Al-Tayebs second successful novel in which he mixes reality with myth to form what is called ØلوØقؠ¹Ãƒâ„¢Ã…  ÃƒËœÃ‚ © Øلؠ³ÃƒËœÃ‚ ­ÃƒËœÃ‚ ±Ãƒâ„¢Ã…  ÃƒËœÃ‚ © Magic Realism. The novel is about a young villager called Zein. He is odd in appearance and behaviour. Sometimes he is naÃÆ' ¯ve or Darwish and sometimes you find him chasing the girls of the village from one place to another. What is funny that Zein has made a reputation for himself as the man who falls in love over and over with girls who promptly marry other men; to the point where mothers seek him out in hopes that he will draw the eye of suitors to their daughters. One aspect of Zeins strangeness is that: ÙÅ  Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã¢â‚¬Å¾ÃƒËœÃ‚ ¯ Øلؠ£ÃƒËœÃ‚ ·Ãƒâ„¢Ã‚ ÃƒËœÃƒâ„¢Ã¢â‚¬Å¾ Ù ÃƒËœÃ‚ ³Ãƒâ„¢Ã…  ÃƒËœÃ‚ ªÃƒâ„¢Ã¢â‚¬Å¡ÃƒËœÃ‚ ¨Ãƒâ„¢Ã¢â‚¬Å¾Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã¢â‚¬   Øلؠ­Ãƒâ„¢Ã…  ÃƒËœÃƒËœÃ‚ © Ø ¨ÃƒËœÃƒâ„¢Ã¢â‚¬Å¾ÃƒËœÃ‚ µÃƒËœÃ‚ ±Ãƒâ„¢Ã…  ÃƒËœÃ‚ ®ÃƒËœÃ…’ ولكÙ†  ÙÅ  ÃƒËœÃ‚ ±Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã¢â‚¬ ° Ø £Ãƒâ„¢Ã¢â‚¬   Øلؠ²Ãƒâ„¢Ã…  Ãƒâ„¢Ã¢â‚¬   ÙˆØلؠ¹Ãƒâ„¢Ã¢â‚¬ ¡ÃƒËœÃ‚ ¯ÃƒËœÃ‚ © Ø ¹Ãƒâ„¢Ã¢â‚¬Å¾Ãƒâ„¢Ã¢â‚¬ ° Ø £Ãƒâ„¢Ã¢â‚¬ ¦Ãƒâ„¢Ã¢â‚¬ ¡ ÙˆØلن ÃƒËœÃ‚ ³ÃƒËœÃƒËœÃ‚ ¡ ØللØØ ¦Ãƒâ„¢Ã…   Ø ­ÃƒËœÃ‚ ¶ÃƒËœÃ‚ ±Ãƒâ„¢Ã¢â‚¬   ولØØ ¯ÃƒËœÃ‚ ªÃƒâ„¢Ã¢â‚¬ ¡ÃƒËœÃƒËœÃ…’ Ø £Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã¢â‚¬Å¾ Ù†¦ÃƒËœ Ù†¦ÃƒËœÃ‚ ³ Øلؠ£ÃƒËœÃ‚ ±ÃƒËœÃ‚ ¶ÃƒËœÃ…’ ØÙ† Ãƒâ„¢Ã‚ ÃƒËœÃ‚ ¬ÃƒËœÃ‚ ± Ø ¶ÃƒËœÃƒËœÃ‚ ­Ãƒâ„¢Ã†â€™ÃƒËœ. Ù ˆØ ¸Ãƒâ„¢Ã¢â‚¬Å¾ Ù†¡Ãƒâ„¢Ã†â€™ÃƒËœÃ‚ °ÃƒËœ Ø ·Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã¢â‚¬Å¾ Ø ­Ãƒâ„¢Ã…  ÃƒËœÃƒËœÃ‚ ªÃƒâ„¢Ã¢â‚¬ ¡. (Ø µÃƒËœÃƒâ„¢Ã¢â‚¬Å¾ÃƒËœÃ‚ ­ÃƒËœÃ…’ Øلؠ·Ãƒâ„¢Ã…  ÃƒËœÃ‚ ¨ 7:1986) as is well known, children meet life with screams. With Zein, however, it is recounted- and the authorities for this are his mother and the women who attended his birth- that no sooner did he come into this world than he burst out laughing. And so it was throughout his life. (Salih, Al-Tayeb 1969: 33). The two main characters of the novel, beside Zein, are Al-Haneen, the Sufi Sheikh, who has a good relationship with Zein and represents the mythic side of the novel and Nima, Zeins beautiful rich cousin, who is the only girl that Zein respects and cannot flirt her and she represents the realistic aspect of the novel. The main event of the novel is the marriage of Zein and Nima which shocked all people in the village because it is unusual for ugliness and poverty (Zein) to unite with beauty and richness (Nima). The events of the novel take place in a week; from the spreading of the marriage news to the wedding party which ends up the novel. A Western critic comments on The Wedding of Zein: Ùˆ Øكؠ«ÃƒËœÃ‚ ± Ù†¦ÃƒËœ ÙÅ  ÃƒËœÃ‚ ¬ÃƒËœÃ‚ °ÃƒËœÃ‚ ¨Ãƒâ„¢Ã¢â‚¬  Ãƒâ„¢Ã…   Øلن° Ø ·ÃƒËœÃ‚ ±Ãƒâ„¢Ã…  Ãƒâ„¢Ã¢â‚¬Å¡ÃƒËœÃ‚ © Øلؠ·Ãƒâ„¢Ã…  ÃƒËœÃ‚ ¨ Ø µÃƒËœÃƒâ„¢Ã¢â‚¬Å¾ÃƒËœÃ‚ ­ Ù Ãƒâ„¢Ã…   ØلكØ ªÃƒËœÃƒËœÃ‚ ¨ÃƒËœÃ‚ © Ù†¡Ãƒâ„¢Ã‹â€  Ù†¦Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã¢â‚¬Å¡Ãƒâ„¢Ã‚ Ãƒâ„¢Ã¢â‚¬ ¡ Ø ­Ãƒâ„¢Ã…  ÃƒËœÃƒâ„¢Ã¢â‚¬Å¾ ØلقØ ±Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã…  Ãƒâ„¢Ã…  Ãƒâ„¢Ã¢â‚¬   Øلؠ°Ãƒâ„¢Ã…  Ãƒâ„¢Ã¢â‚¬   ÙÅ  Ãƒâ„¢Ã†â€™ÃƒËœÃ‚ ªÃƒËœÃ‚ ¨ Ø ¹Ãƒâ„¢Ã¢â‚¬  Ãƒâ„¢Ã¢â‚¬ ¡Ãƒâ„¢Ã¢â‚¬ ¦. ØÙ† Ãƒâ„¢Ã¢â‚¬ ¡ ÙÅ  ÃƒËœÃ‚ ±ÃƒËœÃƒâ„¢Ã¢â‚¬ ¡Ãƒâ„¢Ã¢â‚¬ ¦ Ø ¨Ãƒâ„¢Ã¢â‚¬  ÃƒËœÃ‚ ¸ÃƒËœÃ‚ ±ÃƒËœÃ‚ © Ù†¦ÃƒËœÃ‚ ±ÃƒËœÃ‚ ­ÃƒËœÃ‚ ©ÃƒËœÃ…’ Ùˆ ÙÅ  ÃƒËœÃ‚ ¯ÃƒËœÃ‚ ¹Ãƒâ„¢Ã‹â€  ØلقØØ ±ÃƒËœÃ‚ ¦ Øلن° Øلؠ¶ÃƒËœÃ‚ ­Ãƒâ„¢Ã†â€™ Ùâ € ¦Ãƒâ„¢Ã¢â‚¬  Ãƒâ„¢Ã¢â‚¬ ¡Ãƒâ„¢Ã¢â‚¬ ¦Ã‚  [1]  ÃƒËœÃ…’ ØÙˆ Ø ¹Ãƒâ„¢Ã¢â‚¬Å¾Ãƒâ„¢Ã¢â‚¬ ° ØÙ„Øقل Øلن° ØÙ„ØØ ¨ÃƒËœÃ‚ ªÃƒËœÃ‚ ³ÃƒËœÃƒâ„¢Ã¢â‚¬ ¦Ã‚  [2]  . Ø ºÃƒâ„¢Ã…  ÃƒËœÃ‚ ± ØÙ†  Ù†¡ÃƒËœÃ‚ °ÃƒËœ Øلن¦Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã¢â‚¬Å¡Ãƒâ„¢Ã‚  ÙÅ  Ãƒâ„¢Ã¢â‚¬  ÃƒËœÃ‚ ·Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã…   ØØ ³ÃƒËœÃƒËœÃ‚ ³ÃƒËœ Ø ¹Ãƒâ„¢Ã¢â‚¬Å¾Ãƒâ„¢Ã¢â‚¬ ° ØلؠªÃƒËœÃ‚ ¹ÃƒËœÃƒËœÃ‚ ·Ãƒâ„¢Ã‚ . Ù ÃƒËœÃ‚ ­ÃƒËœÃ‚ ªÃƒâ„¢Ã¢â‚¬ ° Ø ¹Ãƒâ„¢Ã¢â‚¬  ÃƒËœÃ‚ ¯Ãƒâ„¢Ã¢â‚¬ ¦ÃƒËœ Ù† ÃƒËœÃ‚ ¬ÃƒËœÃ‚ ¯Ãƒâ„¢Ã¢â‚¬ ¡Ãƒâ„¢Ã¢â‚¬ ¦ Ù†¦ÃƒËœÃ‚ ¶ÃƒËœÃ‚ ­Ãƒâ„¢Ã†â€™Ãƒâ„¢Ã…  Ãƒâ„¢Ã¢â‚¬   للØ ºÃƒËœÃƒâ„¢Ã…  ÃƒËœÃ‚ ©ÃƒËœÃ…’ Ù ÃƒËœÃƒâ„¢Ã¢â‚¬   Ø ¬Ãƒâ„¢Ã¢â‚¬ ¦Ãƒâ„¢Ã…  ÃƒËœÃ‚ ¹ Øلؠ´ÃƒËœÃ‚ ®ÃƒËœÃ‚ µÃƒâ„¢Ã…  ÃƒËœÃƒËœÃ‚ ª Ø ªÃƒËœÃ‚ ­ÃƒËœÃ‚ ªÃƒâ„¢Ã‚ ÃƒËœÃ‚ ¸ Ø ¨Ãƒâ„¢Ã†â€™Ã ƒËœÃ‚ ±ÃƒËœÃƒâ„¢Ã¢â‚¬ ¦ÃƒËœÃ‚ ªÃƒâ„¢Ã¢â‚¬ ¡ÃƒËœÃƒËœÃ…’ Ùˆ ØÙ† Ãƒâ„¢Ã…   Ù„ØØ ¬ÃƒËœÃ‚ ¯ Ù Ãƒâ„¢Ã…   Ù†¡ÃƒËœÃ‚ °ÃƒËœ Ù† Ãƒâ„¢Ã‚ ÃƒËœÃ‚ ­ÃƒËœÃ‚ © Ù†¦Ãƒâ„¢Ã¢â‚¬  ÃƒËœÃ‚ ¹ÃƒËœÃ‚ ´ÃƒËœÃ‚ © Ø ¨ÃƒËœÃ‚ ¹ÃƒËœÃ‚ ¯ Ù†¦ÃƒËœÃ‚ ·ÃƒËœÃƒâ„¢Ã¢â‚¬Å¾ÃƒËœÃ‚ ¹ÃƒËœÃƒËœÃ‚ ªÃƒâ„¢Ã…   للØ ¹ÃƒËœÃ‚ ¯Ãƒâ„¢Ã…  ÃƒËœÃ‚ ¯ Ù†¦Ãƒâ„¢Ã¢â‚¬   Øلؠ±Ãƒâ„¢Ã‹â€ ÃƒËœÃƒâ„¢Ã…  ÃƒËœÃƒËœÃ‚ ª ØÙ„ØÙ† Ãƒâ„¢Ã†â€™Ãƒâ„¢Ã¢â‚¬Å¾Ãƒâ„¢Ã…  ÃƒËœÃ‚ ²Ãƒâ„¢Ã…  ÃƒËœÃ‚ © Ùˆ ØÙ„ØÙ†¦Ãƒâ„¢Ã…  ÃƒËœÃ‚ ±Ãƒâ„¢Ã…  Ãƒâ„¢Ã†â€™Ãƒâ„¢Ã…  ÃƒËœÃ‚ ©ÃƒËœÃ…’ ØلؠªÃƒâ„¢Ã…   ÙÅ  ÃƒËœÃ‚ ¨ÃƒËœÃ‚ ¯Ãƒâ„¢Ã‹â€  Ù Ãƒâ„¢Ã…  Ãƒâ„¢Ã¢â‚¬ ¡ÃƒËœ كل ØÙ† ÃƒËœÃ‚ ³ÃƒËœÃƒâ„¢Ã¢â‚¬   Ø ¹ÃƒËœÃ‚ ¯Ãƒâ„¢Ã…  Ãƒâ„¢Ã¢â‚¬ ¦ ØلقÙÅ  Ãƒâ„¢Ã¢â‚¬ ¦ÃƒËœÃ‚ ©ÃƒËœÃ…’ Ø ­ÃƒËœÃ‚ ªÃƒâ„¢Ã¢â‚¬ ° Ùâ €žÃ™Å  ÃƒËœÃ‚ ªÃƒËœÃ‚ ³ÃƒËœÃƒËœÃ‚ ¡Ãƒâ„¢Ã¢â‚¬Å¾ ØلقØØ ±ÃƒËœÃ‚ ¦ Ø ¹Ãƒâ„¢Ã¢â‚¬ ¦ÃƒËœ Ø ­ÃƒËœÃ‚ ¯ÃƒËœ Ø ¨ÃƒËœÃƒâ„¢Ã¢â‚¬Å¾Ãƒâ„¢Ã¢â‚¬ ¦ÃƒËœÃ‚ ¤Ãƒâ„¢Ã¢â‚¬Å¾Ãƒâ„¢Ã‚  Øلن° ØلكØ ªÃƒËœÃƒËœÃ‚ ¨ÃƒËœÃ‚ © Ø ¹Ãƒâ„¢Ã¢â‚¬   Ù†¦ÃƒËœÃ‚ «Ãƒâ„¢Ã¢â‚¬Å¾ Ù†¡ÃƒËœÃ‚ °Ãƒâ„¢Ã¢â‚¬ ¡ Øلؠ´ÃƒËœÃ‚ ®ÃƒËœÃ‚ µÃƒâ„¢Ã…  ÃƒËœÃƒËœÃ‚ ª ØلؠªÃƒËœÃƒâ„¢Ã‚ Ãƒâ„¢Ã¢â‚¬ ¡ÃƒËœÃ‚ ©. (Ù†¦ÃƒËœÃ‚ ­Ãƒâ„¢Ã¢â‚¬ ¦ÃƒËœÃ‚ ¯Ãƒâ„¢Ã…  ÃƒËœÃ‚ © Ùˆ Ø ¢ÃƒËœÃ‚ ®ÃƒËœÃ‚ ±Ãƒâ„¢Ã‹â€ Ãƒâ„¢Ã¢â‚¬   1981: 201-202) My translation What attracted me in Al-Tayeb Salihs way of writing is his attitude to the villagers. He sees them in a funny way and invites readers to laugh at them or, at least, smile. However, behind this attitude is a feeling of sympathy. Despite that we find these characters funny, but all of them keep their dignity. I find a refreshing whiff in this. After reading many American and English novels, readers may ask about the reason of writing about some inane characters in these novels. 1.2 A word on the translator of The Wedding of Zein Denys Johnson-Davies (1922- ), a renowned English translator of the Arabic literature, was born in Vancouver, Canada. He had spent his first years in Sudan, Egypt, Uganda, and Kenya, before he was sent to England at age 12. In 1930s, he attended Cambridge University and studied oriental languages. He started his career life with the BBC between 1941 and 1945. In the same year, he moved to Egypt to work in the British Council in Cairo as a translator and then started a journey of more than sixty years with the Arabic literature. In Cairo, he met the pioneers of the modern Arabic literature and made friendships with some many of them. In an interview, Denys states that when I arrived to Egypt in 1945, I was the only translator into English at that timeà ¢Ã¢â€š ¬Ã‚ ¦ I was dictator in my field at that time and I enjoyed this. (AUC 2011).He also expresses his attitude towards translation as a profession: Translation is real hard work. Its also not appreciated. If you get your name anywh ere on the book at all, youre very lucky. I wouldve preferred to have been a writer.'(ibid.). In 2006, he published his memoirs under the title: A life between the lines of Arabic literature. In 2007, he was awarded the Sheikh Zayed Book Award as the Culture Personality of the Year. Referred to as the leading Arabic-English translator of our time by Edward Said, there is no translator in the West who conveyed the Arabic literature to the occidental reader than Denys did. His translations are not limited to one literary genre; he translated short stories, novels, plays, and poems or as he states that when I enjoy reading something, I decide to translate it (ibid.). He is also interested in Islamic studies and is co-translator of three volumes of Prophetic Hadith. Al-Tayeb Salih, however, has a special place for Denys who translated Al-Tayebs all three novels. When asked about his favorite writer to translate, Denys unhesitatingly answered Al-Tayeb Salihà ¢Ã¢â€š ¬Ã‚ ¦ I feel that his work is very simple, very direct, and that theres nothing pretentious at all about ità ¢Ã¢â€š ¬Ã‚ ¦ I enjoy Al-Tayeb Salih works more than any other Arabic writersà ¢Ã¢â€š ¬Ã‚ ¦ I am a great fan of AL-Tayeb Salih. (ibid.). 1.3 Literary Translation Literary text, as an expressive text type by Reiss (1977/1989), has a set of typical features. Jones (2009:152) summarises a wide range of viewpoints about the features attributed to literary texts: They have a written base-form, though they may also be spoken; they enjoy canonicity (high social prestige); they fulfil an affective/aesthetic rather than transactional or informational function, aiming to provoke emotions and/or entertain rather than influence or inform; they have no real-world truth-value i.e. they are judged as fictional, whether fact-based or not; they feature words, images, etc., with ambiguous and/or indeterminable meanings; they are characterized by poetic language use (where language form is important in its own right, as with word-play or rhyme) and heteroglossia (i.e. they contain more than one voice); and they may draw on minoritized styles styles outside the dominant standard, for example slang or archaism. Depending on the above features of literary works, literary translation is unique in some aspects: First, literary texts, as opposed to non-literary texts, are characterized by rhetorical and aesthetic value, which is the essence expected to be captured and maintained in a literary translation. Literary works are created artistically by increasing the difficulty and length of perception, which leads to defamiliarization (Shklovsky, 1917, quoted in Pilkington, 2000: 18). Once the defamiliarization is comprehended by the translators or readers, a unique sensation is created. To reproduce the rhetorical and aesthetic value is one of the main tasks for literary translators. Second, literary translators choices of wording are highly dependent on the target language (TL) and culture. Literary texts are solidly rooted in the source language (SL) and culture, yet due to linguistic or cultural differences, literal translations might fail to gain acceptability. How to cope with the linguistic and cultural differences is a crucial question for literary translators. Third, a consideration of the target audiences is another important issue in literary translation. Literary translation always has a readership which is likely to be quite different from the one the writer originally had in mind. A good translation of any text from any period will, most often, only be good in the context of a particular audience at a particular time and place. A good English translation of Salihs The Wedding of Zein, for example, for people in England in 1960 might not be a good translation for people in Australia in 2010. Finally, literary translation is a complicated act, and to this effect, there is no definite correct translation; yet there is an appropriate translation according to certain criteria. Stylistic approaches to translation studies supply a theoretical perspective, which identify the style as the essence of literary translations. 1.4 Aims of the study The ultimate aim of the current research is to investigate the extent to which Denys Johnson-Davies is successful in dealing with cultural terms in his translation of The Wedding of Zein. This overall goal can be achieved through a set of research questions: 1. What are the different techniques utilised by the translator to convey Arabic cultural terms into his English translation? 2. Does the translator domesticate or foreignise his translation? 3. Does the translators overall strategy to domesticate or foreignise his translation affect his decision to use some certain techniques rather than others in conveying cultural items? 1.5 Methodology: An Integrated Approach In this research, two approaches will be combined to form the theoretical frame of my dissertation. These two approaches will work together in an attempt to answer the research questions. The first approach is Ivirs (1987) seven procedures to translate cultural items. Although many researchers have proposed different procedures and techniques to translate cultural references, Ivirs procedures have been chosen for their comprehensiveness, clearness, and directness. The other part of this integrated approach is Venutis (1995/1998) work on domestication (translators visibility) and foreignsation (translators invisibility). Ivirs procedures to translate cultural items form the lower layer of this integrated approach. They represent the tools used by the translator to reflect his overall strategy towards the text being translated. The overall strategy is the upper layer which is represented by Venutis domestication or foreignsation. In other words, any translator who is dealing with cultural terms has to make two interrelated decisions. Firstly, he needs to decide whether, depending on some certain considerations such as the reader, the place, and the time, he will domesticate or foreignise his translated text. This is a text-level decision. Secondly, and accordingly, he has to decide which specific procedure to choose to deal with every single cultural term in the text. This is a cultural term-level decision. In order to realise the mechanism of this approach, let us consider this simple example. If a translator into English decides to adopt domestication as his overall strategy (text-level decision) to translate a text from Arabic, he may convey, for example, Ø µÃƒâ„¢Ã¢â‚¬Å¾ÃƒËœÃƒËœÃ‚ © Øلن¦ÃƒËœÃ‚ ºÃƒËœÃ‚ ±ÃƒËœÃ‚ ¨ into English by defining it (cultural term-level decision) as: Maghrib Prayer, the fourth daily prayer for Muslims prayed just after the sunset. On the contrary, if he adopts foreignsation as a text-level strategy, he simply translates Ø µÃƒâ„¢Ã¢â‚¬Å¾ÃƒËœÃƒËœÃ‚ © Øلن¦ÃƒËœÃ‚ ºÃƒËœÃ‚ ±ÃƒËœÃ‚ ¨ as Maghrib Prayer.

Stimulus/Response Versus Input/Output Theory: An Orientation to the Syntax of Scientific Literature :: Biology Essays Research Papers

Stimulus/Response Versus Input/Output Theory: An Orientation to the Syntax of Scientific Literature There appears to be a steady desire within the scientific and lay community to explain events which occur in the universe in a concrete absolute fashion. This most likely extends from an unconscious (or conscious) need to control the world around us. Such control can give a sense of security regarding our future. If we can explain why events happen, we can attempt to predict when and for what reason events will precipitate sometime in the future. Being able to predict the future leads to a greater feeling of security and control. However, it has been shown through decades of research that behavioral events are not predictable. Researchers tend to conclude that if they are to truly understand behavior then they must be able to develop a system which allows them to forecast the occurrence of certain behavior patterns. Conversely, if they are unable to state consecutively when and why a pattern is presented then they have failed to understand the event. In order to retain a sense that the universe is orderly the unpredictable results are often explained through the fault of the experimenter, that adequate control was not kept over the experimental situation. Through the Harvard Law of Animal Behavior ("under carefully controlled experimental circumstances, an animal will behave as it damned well pleases.") these "failed" experiments are incorporated into a succinct postulate which allows for the exploration of reason and desirability of such unpredictability (1). Through lectures, reading, and World Wide Web research done during the current semester I am moving from a stimulus/response theory to an input/output theory. The stimulus/response theory let experimenters believe that the unpredictable behaviors (responses) they had observed were due to inadequately controlled stimuli. An input/output theory allows for, and seems to rest on, the fact that many behaviors originate from the internal (spontaneous) generation of outputs. Internal origination is fundamental to many aspects of commonly observed behavior (biological clocks, innate endogenous rhythm, and other innate behaviors) and the presence of these behaviors seems to rest on something other then concrete stimuli from the external world. The syntax of many of the studies found on the Web leads me to conclude that these scientists are searching for an input/output behavioral system yet are unable to adequately document such a clear relationship. This inability most likely stems from the recently discussed phenomena of bidirectionality within and outside the most broad input/output box (Lecture, Bio 202).

Hr Project of Descon Rngineering Company

HUMAN RESOURCES MANAGEMENT PRACTICES PREVAILING IN DESCON ENGINEERING COMPANY [pic] SUBMITED TO: Ghulam Hussain (LECTURER) SUBMITED BY: Muhammad Sami ciitswlfa09-MBA-017 Iram Sabirciitswlfa09-MBA-039 Shumaila Aslamciitswlfa09-MBA-051 COMSATS Institute of Information Technology, SAHIWAL. ACKNOWLEDGEMENTS First of all, we are thankful to GOD WHO makes us capable to gain knowledge and after that we would like to say thanks to parents who brought us up and made us able to face challenges of this dynamic environment. We also thank to MR. Ghulam Hussain who guides us in developing this project. The main purpose of this project is to enhance our skills. The project was about Human Resource Practices at Descon Engineering Company. We went to the Head Office of Descon Engineering Company at Lahore meet with Irfan Usmani (HRD Executive) and Ammar Khan (HRD Assistant Executive). They have cooperated a lot with us. After that we become capable to present this project in front of you. EXECUTIVE SUMMERY Descon is the one of the leading company in project based business to business market in Pakistan. This summery is all about the Human Resource Department of Descon Engineering Company. We will discuss about the introduction of Descon in first chapter. The second chapter will tell us about the structure of HR Department in Descon. The third chapter shows planning and job analyzing steps in the department. The fourth chapter will help us to know about selection and recruitment of procedures. The fifth chapter is all about training and Development through implementation and Evaluation. Sixth chapter will creates a knowledge how Descon conduct its Performance Appraisal System. The second last chapter defines the compensation management. And the last chapter explains how this department handles the disputes and procurement procedures. DEDICATION: We dedicate this project to our Parents, sweet cousins and friends.

Freedom Writers

Freedom Writers Free Online Research Papers Erin Gruwell (Hilary Swank) is a first-time teacher who wants to make a difference. She has little idea of what shes getting into when she volunteers to be an English teacher at a newly integrated high school in Long Beach, CA. Her students are divided along racial lines and have few aspirations beyond basic survival. When Erin discovers how much of their lives are blighted by racial prejudice, she introduces them to books like The Diary of Anne Frank and begins to educate them for real; a process that culminates in the idea that each of them, like Anne, will keep a journal of their innermost thoughts. Over time these underachieving students begin to bond into a family of sorts. I really enjoyed watching Freedom Writers because it states the fact that no matter where you are, who you are, that you can get through issues in your life if you fight through them. Very good motivational film. I found it very inspiring, but very unrealistic. Most teachers are not qualified to do the things she did and Ive found that Freedom Writers has inspired some very untalented teachers to try to be like her. But, hey, if it worked for Erin Gruwell, then thats fantastic and good for her. This movie has a clichà © storyline, but I dont think that it was a bad movie, as it is a true story. I think that more stories like that need to be told, even if they do have a sappy ending. Also, this movie was a little slow-paced and redundant. Is anyone getting tired of the same old theme of a rich white girl going to go save inner-city children through making a difference? This movie has been done too many times and I would not waste my money to see something that I’ve already seen. Its like, get creative. I feel the same with all those interracial dance movies. A white kid learns how to dance with the other race kids and then they accept them because of how they dance blah blah blah. Its ridiculous! Research Papers on Freedom WritersStandardized TestingMy Writing ExperienceRacism and InjusticeThe Broken FamilyEssay on â€Å"I have a Dream† Dr KingAdvertising EssayHomer The Great Greek PoetDistance Learning Survival GuideAlbatross and Rimm of the Ancient MarinerCo-Educational vs. Single Sex Schools