Who’s Got the Monkey: Concept of Time Management

â€Å"Who's got monkey? † explains the concept of time management. It explains the manager-subordinate relationship. It focuses on three types of time, boss imposed time, system imposed time and self imposed time. These are the different amounts of time that a manger has to accomplish his task. The goal of this article Is to efficiently make use of that time to maximize results. The author explains different work related situations in which a subordinate passes his â€Å"monkey' or Issue on to the mangers and makes It the responsibility of the manger.Monkey means Issue or problems or responsibilities, using the common analogy: â€Å"monkey on my back. † This article demonstrates how subordinates commonly pass the monkeys onto their mangers and therefore live a more carefree life, asking the question who works for who? The author shows us how to pass on the monkeys so that managers can manage, thus taking initiative to identify the best candidates for their company. The lesson I learned was how to passing on monkey that don't belong to will benefit everyone especially the parties involved. 2. Everyone has monkeys or problems.These monkeys are commonly found In the workplace as explained by the article, but not always. Some my monkeys are found In the workplace and some at home. First monkey Is to deposit all our cash at the end of week or sometimes twice a week In the bank. I am In charge of counting the cash, filling the deposit slip and delivering it to the bank. My second monkey is to take our pet Wald, our pet Chihuahua a bath whenever he needs one or whenever I want. My third monkey is to fill out all of my parents bills(mortgage, water, utility) and make the checks and send them off.I have been in charge of this ever since my sister moved out. Once she moved out it became my monkey. My parents give me the check book and the stack of bill and I fill them out accordingly and mail them out. Once I mail them out I give my parents back the stubs and they file them away. The first monkey Is mine because one day I volunteered to take our cash deposit when our manager couldn't do It and he trusted me with and I have been doing It ever since. The second monkey became mine when we got a dog. My brother wanted a dog so badly but was unaware of the chores and responsibility that came with It.After a week of having the dog it became apparent that he was overwhelmed with all him being responsible of taking care of it. He is still in charge of cleaning the poop, walking him and buying him food I volunteered to take him baths because my brother would not do it frequently enough for my liking and since he lived in our house I wanted a clean dog so therefore it became my monkey. 3. The monkey of depositing our cash at the end of our work week was on that did not and does not belong to me. I received this monkey by volunteering to do it when our manager was in a hurry to get home and could not stop by the bank.

Systems Life Cycle

Systems Development Life Cycles (SDLC) is just one model that follows the development process of analysis, design, development, and maintenance of information systems. There are many different methods and techniques used to direct the life cycle of a software development project. Each is designed for a specific purpose or reason and most have similar goals and share many common traits. Kal Toth describes typical activities performed as including the following â€Å"System conceptualization, System requirements and benefits analysis, Project adoption and project scoping, System design, Specification of software requirements, Architectural design, Detailed design, Unit development, Software integration & testing, System integration & testing, Installation at site, Site testing and acceptance, Training and documentation, Implementation, Maintenance† (Kal Toth, 1997) One model that sticks to this main frame of system development is Ad-hoc Development. Ad hoc analysis may be used to create a report that does not currently exist or may go deeper into a static report to get details about accounts, transactions, or records. Ad hoc testing is done as a precautionary measure to ensure that there are no gaps left in a developed system before releasing it to the consumer. The drawbacks of using Ad hoc is the lack of data for metrics analysis, lack of comfort on coverage of Ad hoc testing and that the exact steps taken are difficult to record. Another model is the Waterfall method, also called the linear sequential method. This specific model is easy to understand and supports the â€Å"define before design† and â€Å"design before code† logic. The advantages of a Waterfall method is that output is generated after each stage, therefore it has high visibility. The client and project manager gets a feel that there is considerable progress. This methodology is significantly better than the haphazard approach to develop software. It provides a template into which methods of analysis, design, coding, testing and maintenance can be placed and allows project management to determine and place deadlines for specific milestones and phases. The drawbacks of the waterfall method are that it is difficult to define all the problems that could be found at the beginning of a project which can therefore lead up to an unrealistic expectation of a final product. While early all system development efforts engage in some combination of the above tasks, they can be differentiated by the feedback and control methods employed during development and the timing of activities. It is important to note that in any projects psychological factors also play an important role as the development of a system is being achieved. Though there are several methods to produce the proper system for a consumer, it is important to remember that not all consumer needs will be met with the same method. Reference Kal Toth. (1997). Software Engineering Best Practices. Retrieved from http://www.intellitech.net Rainer, R. K. & Cegielski, C. G. (2011). Introduction to information systems: Supporting and transforming business (3rd ed.). Hoboken, NJ: John Wiley & Sons. University of Alabama. (1998). A Survey of System Development Process Models. Retrieved from http://www.ctg.albany.edu/publications/reports/survey_of_sysdev/survey_of_sysdev.pdf

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

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

The close association of fairy tales with childhood has made it easier Essay

The close association of fairy tales with childhood has made it easier for their broader cultural meanings to be disguised or denied. Discuss with reference to relevant textual examples - Essay Example Broader cultural meanings are a magnified field of thought process in children. Fairy Tales make a significant contribution to it as children are very closely connected to the stories they hear from their adults. Hence the impact of these stories becomes a major cause of concern as to whether they have deviated these children or totally denied them facts from their own cultures or the broad aspects of cultures of the world. Snow White and the seven Dwarfs, Rapunzel, Cinderella, Frog King, Hansel and Gretel and Sleeping Beauty have certainly conjured up pictures with specific cultures in the minds of children but that is not to say that these same children have been refrained from facts of other cultural issues. The stories collected by Jacob and Wilhelm Grimm in the early 1800s serve up life as generations of central Europeans knew it—capricious and often cruel. The two brothers, patriots determined to preserve Germanic folktales, were only accidental entertainers. Once they saw how the tales bewitched young readers, the Grimm’s, and editors aplenty after them, started "fixing" things. Tales gradually got softer, sweeter, and primly moral. Yet all the polishing never rubbed away the solid heart of the stories, now read and loved in more than 160 languages. (National Geographic). It is agreeable that vast popularity of these fairy tales played with childhood psychology to make them believe and think of prototype images of people. Stories like Cinderella, Snow-white, Hansel and Gretel support the negative figure of the bad mother portrayed by Grimm’s in their stories. Children learnt from these stories but they were not the only media by which cognition was imbibed by children. So it cannot be true that these stories have marred their opportunity of learning about the world and its culture. A counter research dedicated to the study of children’s literature remarked â€Å"In many ways childrens literature and fairy tale stories are on odd

Understand the role of personal selling with marketing strategy Essay

Understand the role of personal selling with marketing strategy - Essay Example The face-to-face interactions experienced in this type of selling allow the sales people to observe the specific reactions of consumers to specific products. Sales people act as product introducers, brilliant communicators and demand pushers as they add exclusive utility to the commodities and services they are selling. These people play a very important role in determining the success of the marketing strategy of the company that they work for (Marks, 2008, p.5). Personal selling can be considered to be a form of product or service promotion (The Times 100, 2012). As they meet with the clients/consumers, sales people are expected to carry out a product promotion exercise through the employment of the right attitude, proper appearance and above all share some specialist knowledge about the product with the customer. They can tell the customer about the importance of using the product and how to use it. Personal selling is happens every day and everywhere, for instance, things that ar e sold through the counter like cosmetics or on the departmental stores. According to Balsley and Birsner (2007, p. 88), products which are highly priced and with technical features such as photocopiers, fridges and cars, require personal selling where a customer can get a chance to ask questions on the usage of the product. Promotion mix strategies do not aim at satisfying only the prospective or regular customers, but also aim at other customers who are ignorant of the product as well as those who are aware of the product and have the ability to buy it (Kotler, 2006, p.248). Let us consider a person who is unaware of computer operations but wants to buy a computer. Such a person will go out in search of computer information; he/she will pay attention to computer adverts, will attend computer exhibitions, computer company reputations or even contact sales people from different computer companies. Consequently, the aim of promotions is to reach out for new customers, retain the curr ent customers, reward loyal customers and even induce the buying action (Marketing Knowledge Center, 2009). Personal selling may be the most appropriate in achieving this since it involves direct contact between the sales people and the consumers. For any marketing strategy to succeed, a thorough understanding of consumer buying behavior has to be done (Balsley and Birsner, 2007, p. 91). Without such type of understanding a company may not know what exactly their customers want or even how much they supply to the market. Buying can take two forms: the common consumer buying and also the organizational buying such as retail outlets. Consumers buy their products specifically for personal use thus most companies are usually concerned about consumers’ reactions to their marketing efforts. For instance a company needs to know how pricing their products may affect their consumers (The Times 100, 2012). In cases where the consumer market is very price sensitive which means a small a lteration on price will have a very high impact on sales, a company will need to adopt appropriate pricing strategies. A lot of theories have been put forward in order to explain consumer buying behaviors. The buying behavior model which studies the buyer’s black box (Zandl and Leonard, 2002, p. 106). The black box contains external stimuli which influence his/her buying decisions as well as buying characteristics. Moreover, it contains buyers’ responses that are determinants of his/her attitude, product choice and amount to purchase and when. The model presents some of the key factors that influence a buyer’s buying decision. To start with, are the sociological factors which include

The Developing Conflict Management Skills in the Hospital Essay

The Developing Conflict Management Skills in the Hospital - Essay Example Communication is very important in making the oncology ward staff effective. I will always listen before I speak, speak slowly and clearly, use diagrams where possible to express my points and encourage questions (Ellis, 2009, p. 33). Burnard (1997, p. 83) asserts that listening shows that one cares. Furthermore, I will acknowledge differences of opinions, be open-minded, not be judgmental, accept feedback, be assertive, and share my feelings and thoughts with members of staff. Good communication ensures that interpersonal communication between leaders and followers is clear and understandable. Good communication ensures that all the team members are informed about how their actions, behaviour and work affect the hospital, patients and the society (Ellis, 2005, p. 23). Good communication skills will ensure that the vision and mission of the oncology ward are well communicated to the staff. Proficiency is necessary for informing and seeking information. I will try as much as possible to communicate with all members regularly. When a problem arises, I will meet with affected parties to discuss and arrive at an acceptable solution within twenty-four hours. I will establish direct contacts with all team members once every week to recognize their efforts and notice their concerns. In addition, I will always be explicit and clear on the expectations I have for all my team members. Effective persuasion is an important communication skill that I will alarm. It enables a leader to influence followers and other key persons in the hospital to follow a particular path or implement a certain idea.

Applying the Principles of Instructional Design in E-Learning Research Paper

Applying the Principles of Instructional Design in E-Learning - Research Paper Example Naidu (2006) defines e-learning as â€Å"the intentional use of networked information and communications technology in teaching and learning† (p. 1). E means electronic that signifies the use of the internet in educating students. Furthermore, learning is an act of acquiring knowledge through reading, studying, and applying the skills to measure a person’s understanding of the subject. However, the learning process is rooted on the experiences of students when they use technology. These experiences, whether positive or negative, affect their cognitive understanding of the lessons. Negative experiences develop apprehension in utilizing e-learning, so it is the duty of instructional designer to motivate these students. This paper aims to develop a storyline that will be the basis in applying the principles of instructional design. Storyline The educational system has changed the process of learning through the use of the internet. E-learning has been promoted because it i s more effective in incorporating knowledge on students than ordinary classroom instructions. The students utilize e-mail as a method of communicating with their professor. E-mail contains the link to the instructional materials provided by the professor, which informs students to study. Online learning also includes reviews, tests, and assignments. Students allot time for the application of their learning and professor encourages them to meet the deadline. This method is advantageous to students because they could access their study materials anywhere provided that there is an internet connection. Students living in a rural area are provided with broadband due to the difficulty in accessing their instructional materials. The common trend is that students have their own personal computers at home, while other students rent at the internet cafes. Flexibility is the main characteristic of utilizing information and technology; thus, students can study the course materials depending on their convenient time and place. It is expected that students will get high scores, but during the checking of assignments and tests, the teacher noticed that other students have low scores and only few got an average score. The teacher marvels at the poor performance of students because this reflects to the professor’s method of teaching. Thus, the professor began to study the problems of students in coping with the new method of learning. The teacher wants to find out the problem in his teaching method and begins to investigate on the negative experience that the students encountered. The questionnaires were sent via e-mail that contains the feedback and comments of students. Upon receiving the comments, the instructor discovers that the problems are focused on the instructional materials and the technical aspect. For the instructional materials, the students comment that the learning process was very boring or the materials are not interesting. Due to the monotonous feelin g of students, they never bothered to understand the concept in the text. The result is poor performance or low scores in their assignments and tests. Another comment received by the professor is the limited value of online information. The students complained that the materials are not new, which discourage them to study seriously. The professor wonders because this is in contrast with the study of Merrill (2002) that one of the principles of instruction pertains to the â€Å"

Piaget's Brand and Competitive Analysis Essay Example | Topics and Well Written Essays - 2500 words

Piaget's Brand and Competitive Analysis - Essay Example However, the brand decided to expand by diversifying into jewelry making. They increased their expertise in gold by acquiring various gold work-shops throughout Geneva. 1990x-Now: During this period Piaget introduced various top-notch watches such as, Tanagra, Miss Protocole and 600P tourbillon caliber watches. During this period it also expanded by opening up production facilities in other cities of Switzerland. It also celebrated its 130th anniversary in the year 2004. In 2008, it was rated as the sixth largest luxury brand. As far as the future plans of the company are concerned, it wants to enrich and further master the art of watch making and jewelry manufacturing. It strengthens its faith in providing high-quality luxury items to its customers by increasing their know-how in watches and jewelry. (The Watch Quote, 2009) As far as the target market of Piaget is concerned, it serves to only a small market. The reason behind serving such a small market is that most of these watches are manually produced and are not produced in bulk so that they do not lose prestige associated with them. As a result, Piaget is content serving a small market, a market which includes rich people and those who can afford the expensive prices that are commanded by Piaget. Looking at the abov Piaget is very much aware of Synergy effect and that's why all the component parts of its watches are produced by the firm itself and Piaget believes in using top-quality material for all its watches. BRANDS CLASSIFICATION GRAPHS: 1) Feminity vs. Masculinity: SPORTS vs. Refinement Tradition Vs. Creativity Watch vs. Jewelry BATTLE OF THE BRANDS (COMPETITIVE ANALYSIS): Looking at the above graphical analysis, one can easily say that the five closest competitors for Piaget are: Cartier, Baume and Mercier, Richard Mille, IWC and Rolex. These firms are providing competition to Piaget by offering the same level of service and producing good which are close to the products that Piaget is producing, Similarly, Piaget is also affected by the pricing and advertising decision of these firms and there is a mutual interdependence between these firms. Starting from the type of market these companies lets compare and contrast these companies from Paiget's strategy. Most of

Enterprise Internet Solutions Essay Example | Topics and Well Written Essays - 3750 words

Enterprise Internet Solutions - Essay Example The new controls that ASP.Net provides can be used to develop graphically attractive and well structured applications. The object oriented controls like programmable list boxes and validation controls add to the functionality and control of the overall application. The applications developed using ASP.Net provides form based authentication including cookie management and automatic redirection of unauthorised login attempts. In addition, 'ASP.Net allows for user accounts and roles, to give each user with a given role access to different server code and executables' (W3 Schools.com, n.d.). Since the ASP.Net code is compiled at the server upon first request and is kept in the cache memory, the performance of the application is greatly enhanced and response time for users' requests gets lower. ASP.Net allows real time configuration and maintenance without the need to get the application down. Server is not required to be restarted to make the changes make effect. This provides easier configuration and deployment capabilities, while ensuring availability of the application at all times. The application requires authentication mechanism whereby the users are authorised to access various parts of the application. ASP.Net provides this feature through its powerful authentication controls as described above. With the advent of technology, the information needs of the people have increased with a simultaneous increase in the urgency index, to wait for the desired information. Nowadays, everyone prefers to receive information on his/her mobile phone instead to go to a personal computer or open a notebook. As a result of this change, many mobile applications have been developed to cater to the market needs. However, since there is limited space on a cell phone screen, the companies only provide information in a summarised form, having maximum benefit for the user. Business Requirements Analysis WFDF may provide following information on mobile phones: Contest rules and

Recreation and Sports Essay Example for Free

Recreation and Sports Essay Fun-Spot Fun Park began as a small amusement park in 1985. Starting with nothing more than a merry-go-round, a slide, pony rides, and an ice cream stand, Fun-Spot has grown into a popular family attraction with 20 rides, a restaurant, and an outdoor performing arts theater. My wife, Lisa, and I didnt know what we were getting into, commented Peter Smith, the owner. We just knew that weekenders coming to the lakes in our village represented a potential un-served market. Today, thousands of visitors come to Fun-Spot: families, children of all ages, and even senior citizens who enjoy walking through the gardens and arbor. Theres something here for everyone, Peter said with a smile. Dozens of companies hold annual company picnics here. We have welcomed class field trips. And we even had one wedding here at the park! Heres the funny thing, Peter chimed in. We really dont know why weve been so successful! There is nothing else like Fun-Spot Fun Park in the area. We were just lucky. I think its the ambience of the park that has brought so many visitors, Lisa added. We provide a total package of entertainment. Plus, we try to change our rides and various attractions from time to time. Peter and Lisa admitted that making every visitor happy is a priority. That has always been our philosophy, they said. Like it says on the entrance to the park, Were here to make you happy! And weve always been able to deliver on that because weve never allowed ourselves to grow too big too quickly. Essay Questions: 1.How should Peter design a strategic plan for Fun-Spot ? 2.Explain how Peter can use the Product-Market Expansion Grid to plan for the expansion/future growth of Fun Spot?

Theories of Crime | Introduction

Theories of Crime | Introduction There are many theories of crime which fit into four different models each explaining crime through varied approaches, in this essay I will be discussing the weakest of these theoretical explanations of crime and the strongest. The weakest theory of crime is Biological Positivism which is part of the Predestined Actor Model which is a positivist model explaining criminal behaviour based on scientific factors beyond a persons control. Biological positivism has been heavily criticised by many criminologists due to their explanations that the internal factors of a person is what causes crime, this will be explored further and proven to be the weakest theory throughout the essay. The strongest theory of crime is Left Realism, which is an integrated explanation. This theory takes into account elements of other approaches and realises that there are multiple causes of crime therefore making it one of the strongest theoretical explanations, this will be elaborated on in the body of the essa y and will be further proven why it is the strongest of all the theories. Throughout the essay I will be addressing the main points, the key thinkers, their explanations of crime and why it was chosen for each theory, which will then conclude in support of my claim of the weakest and strongest theories. Lombroso was the founding father of biological positivism and his theory suggested that people were born criminal; this explanation was influence by Darwins work on evolution and atavism. Although he was a biological positivist his work gradually turned towards environmental factors therefore suggesting that biological factors as the cause of criminality was not enough of an explanation and poverty for example also became influential. Lombroso was interested in criminal behaviour and categorized criminals as born criminals, insane criminals, occasional criminals and criminals of passions. He set the scene for all positivist work and other biological positivists based their work on Lombrosos findings. However Lombrosos work has been criticised, as it used outdated methodology which was very basic therefore he was unable to create any meaningful conclusions. Furthermore he did not consider female offenders, any criminal acts which were carried out by women he disregarded and stated tha t the men were responsible for the female involvement, therefore lacking in validity (Burke, 2009). Matza in 1964 went on to say that a criminal is a specific type of person, that is different to those that are not criminals and that crime occurs due to factors outside of their control. However, this then ignores the aspect that humans have free will to commit crimes therefore disagreeing with theories in the rational actor model like Classical theory, which states that people choose to commit crimes. There are many theories in biological positivism which all state that individuals are compelled to commit crime as it is part of their biological make-up, such as physical factors, theories related to the body, chromosomal anomalies, etc. however these have be criticised as you will see below. Physical type theories were the first to come out and this was based on the idea that criminals stand out based on of their appearance. Lombroso did research on atavism as mentioned above, that criminals are born criminal and show signs of criminal throwbacks for example long ears and sloping foreheads. As a result of this, people speculated that those with physical atavistic characteristics were criminals and used it as a prevention tactic. However this only related to a small amount of criminals and therefore is not very reliable and many with these characteristics could be wrongly accused of criminality. In todays society Lombrosos work is considered outdated and discredited due to the theory that a persons physical appearance increases the likelihood of them being a criminal, this is seen as absurd and meaningless, hence perceived as a weak theory. Phrenology, which is the study of skulls was also used to explain crime, Gall stated that by looking at the shape and bums of a skull can indicate a persons character and specified that the area above the right ear determines how violent that person is. This theory has been criticised immensely along with physiognomy, which tells a persons character through facial featured, due to its lack of credibility. There is not enough substantial evidence to prove this theory amongst a vast population because people are individuals with an individual biological make-up (Maguire, 1997). Sheldon has done some similar work on linking body shape to behaviour, (his theory of somatypes) and identified three forms of body types which relate to certain personalities. He established that offending behaviour and crime is linked with mesomorphs, who are muscular and athletic with an aggressive personality. However it does not consider that these types of people may be targeted by the police more than the other two body types therefore is supporting his theory as those athletic built individuals are getting caught, where as other body types are not. These physical theories are very weak as they are ignoring different aspects of the interaction between the physical characteristics of the person and their social circumstances. (Burke, 2009:74) People from poor families and areas may have a poor diet therefore causing them to be small, while young people working manual jobs are more likely to be muscular. These people are over-represented with criminals, which could be explained by socio-cultures not via biological factors (Burke, 2009). Furthermore, to support the statement that biological positivism is a weak theory, Sheldons work was follow up by a Cambridge Study in Delinquent Development and found there was no physical difference between offenders and non offenders, therefore suggesting there is no reliability due to the inconsistency. Further criticisms of this theory are based on its methodology, as the sample of offenders and non offenders are not representative to society as mentioned above it does not account for those who do not get caught, it ignored the sifting process in the criminal justice system. It also disregards interaction with the environment, as those individuals with physical stigmas may retaliate against their social environment and labels given to them therefore living up to the expectation leading to a self fulfilling prophecy (Taylor, Walton, Young, 1973). Chromosomal Anomalies is another category of biological theory criminologists have used to explain crime, it looks at the link between abnormal chromosomes and criminal behaviour. A normal female complement is XX and male is XY, an abnormal complement is when there are chromosomes missing or there are too many for example the XYY. Brown in 1962 found that those with sex chromosome abnormalities had higher rates of delinquency than his other patients. Casey et al (1966) followed on from his work and did the first major studies at a secure hospital and found supporting results for men with an extra Y chromosome as well as them being taller and having low intelligence (Taylor, Walton, Young, 1973). The limitations for this theory are similar to that of the body type category, for example those with an extra Y chromosome may be taller and well built therefore targeted and treated harsher by agents of the criminal justice system like the police and judges. Further limitations which makes this theory the weakest, is that there are many individuals that are normal and do not behave criminally in society that have extra chromosomes, therefore suggesting that others factors have to be involved. In addition this theory also ignored the fact that those young men with an extra Y chromosome came from a working class background, therefore the cause of criminality could be due to their exploitation from the ruling class not because of chromosomes. Marxist theory would agree that the cause of criminality was a result of capitalist society and not chromosomes that are not identifiable and unable to predict criminal behaviour. Biological positivists also explained criminality as genetically inherited; they suggested that a criminal gene can be passed on through the family just like physical characteristics. To test this theory they used three sources of data, studies of criminal families, studies of twins and studies of adopted persons. All three sources claimed that criminal behaviour was inherited rather than environmental, however family studies did not considered the effect of an absent parent lending to criminality. In twin studies they could not identify whether criminality was influenced more by environmental or biological factors however did mention that biological theory on its own to explain crime is not enough, therefore is a weak theory to base criminal explanations on. This was also reiterated in adoption studies emphasising that environmental factors play a role and add to the reliability of the theory, therefore showing the weaknesses of the biological theory when it is used to explain crime on its own (Wiley, 1996). There are many weaknesses in the categories within biological theory, from the methods used by criminologists to their shortcomings in ignoring certain aspects including the three data sources that explained inherited criminal characteristics. The main limitations in biological positivism occur throughout all the categories even biochemical explanations such as hormone imbalances and substance abuse which has not been discussed in detail. The reason this theory was chosen as the weakest is due to it many limitations; criminologist largely discredit this approach as it is nowadays seen as outdated and not relevant, therefore there are many better explanation to crime that can be proven. Biological theory only looks at criminality from one approach which is seen as a very over determined view of human actions and a more integrated approach would explain crime better for example the more recent socio-biological explanation of crime. It only explains criminal behaviour effectively in a m inority of offenders and has considerably more limitations as mentioned above. This weakest theory also cannot explain the variation in crime rates and offers no explanation to why and how laws arise. A further reason it was chosen as the worst, was due to the unethical and harsh treatments to prevent crime which in the USA, even results in death, genetic selection and sterilisation. The strongest theoretical explanation of crime is left realism. This theory is chosen as the strongest because unlike biological positivism it does consider other factors and is an integrated model which recognises that there are many causes of crime and contains essential parts from all three models of crime. Jock Young had a major turnaround which altered criminological thinking to the emergence of left realism; when crime rates were meant to decrease due to economic restructuring and improved conditions and instead actually increased, with the increased awareness of victims of crimes and crimes that were previously invisible, and finally a growing public demand and disapproval in efficiency of public service (Newburn, 2007). This new criminology from the left political view, with criminologists such as Young, Lea and Matthews believed crime is a real issue and not socially constructed therefore it needs to be addressed. Left realism is the strongest theory as it takes into account the immediate fears that people have and seek to deal with them (Burke, 2009:264), such as street crimes in high offending areas as those living there are caught right in the middle of it. As mentioned above this theory is seen as theoretically strong as it recognises various causes of crime that are credited. The relationship individuals have with the police could be a cause of crime, if the police are harassing people therefore causing them to retaliate or feel helpless; this will drives them to offend. This theory is supported by labelling theory which makes it stronger because instead of theories disagreeing with the causes it agrees therefore creating validity. The police can also cause moral panics in society which can lead to further criminal behaviour; this could be a distraction by capitalist so that the working class are not aware of the real issues that they should be concerned about, this strength allows the individual to be aware of the capitalist system and the exploitation by the ruling class therefore can avoid crime. A key element of left realism is relative deprivation as a cause of crime. People measure their situation for example what they have got, (money and jobs) against the expectation that society creates. When individuals are unable to reach that expectation they may turn to crime in order to achieve it, this is the theory of anomie suggested by Merton. This explanation adds to the strength of this theory as it highlights economic and social factors of crime. Another key element is subculture, Lea and Youngs subcultural model explains how subcultures are used as a response to problems. Those who are unable to adapt to middle class values create subcultures that include people that share their norms and values so they are no longer frustrated. This therefore can be a response to the problem for the working class individuals; however this subculture may create norms and values to suit the group which may include criminal acts as a way of rebellion against the system (Lea, 2002). The final key element is marginalisation, as certain groups lived on the margins of society and are not accepted by others, consequently turning to crime. All these explanations of crime are some of the best from other theories and now under one theory therefore this is the strongest theoretical explanation of crime. An additional reason this is chosen as the strongest theory is because it provides a solution to crime and not just the causes, this is shown with the square of crime. Left realists state that crime is a gathering of the following four factors and the relationships between the four factors determine the effectiveness of that relationship to preventing crime. The first of the four factor, is the state; where the agents of the system label individuals as offenders which is a major factor of recidivism, the second is the victim; who may encourage criminal behaviour due to lack of defence or through repeated lifestyle (routine activity theory), the third is society; where formal and informal social controls occur and the fourth is the offender; how often they commit crimes and the type of offences, etc. (Burke, 2009). To prevent crime, you have to interfere at each point of the square. For example, in the state the police should have more effective policing and the courts should not make preconceptions. The victim should be more responsible for their protection and maybe change their daily routines regularly. The public (society) to ensure that the required socialisation is taking place in primary years and finally the offenders should exercise their free will and decide not to offend. A criticism of left realism, is that the theory is mainly based on previous approaches. However this can be considered as a positive factor, as the theory is hard to criticise due to the fact it has elements from all modules therefore accounts for many explanations and was chosen as the strongest theory. Further advantages includes how it seeks realistic policies to tackle crime problems and how left realism is about prevention not control, therefore left realists believe that if you punish it will lead to marginalisation, so consequently prevention is better.