Translation Literary Translation Essay Example for Free

Translation Literary Translation Essay Preface This book has been five years in the writing. Sections of it have twice been stolen during travel and have been rewritten, hopeniliy better than the first time the fond hope of ail writers who have had their MSS lost, stolen or betrayed. Its progress has been further interrupted by requests for papers for conferences; four of these papers have been incorporated; others, listed in the bibliography are too specialised for inclusion here. It is not a conventional textbook. Instead of offering, as originally planned, texts in various languages for you to translate, I have supplied in the appendices examples of translational text analyses, translations with commentaries and translation criticism. They are intended to be helpful illustrations of many points made in the book, and models for you to react against when you do these three stimulating types of exercise. If the book has a unifying element, it is the desire to be useful to the translator, Its various theories are only generalisations of translation practices. The points I make are for you to endorse or to reject, or simply think about. The special terms I use are explained in the text and in the glossary. I hope you will read this book in conjunction with its predecessor, Approaches to Translation, of which it is in many respects an expansion as well as a revision; in particular, the treatment of institutional terms and of metalanguage is more extensive in the earlier than in this book. I dislike repeating myself writing or speaking, and for this reason I have reproduced say the paper on case grammar, about which at present I havent much more to say, and which isnt easily come by. This book is not written by a scholar, I once published a controversial piece on Corneilles Horace in French Studies, and was encouraged to work for a doctorate, but there was too much in the making that didnt interest me, so 1 gave up. And a German professor refused to review Approaches because it had so many mistakes in the bibliography; which is regrettable (he was asked to point them out, but refused; later, he changed his mind and reviewed the book), but academic detail is not the essential of that or this book either. I am somewhat of a itteralist, because I am for truth and accuracy. I think that words as well as sentences and texts have meaning, and that you only deviate from literal translation when there are good semantic and pragmatic reasons for doing so, which is more often than not, except in grey texts. But that doesnt mean, xt xn IBEFACh as Alex Brothenon (Amsterdam) has disparagingly written without evidence, that I believe in the * absolute primacy of the word1. There are no absolutes in translation, everything is conditional, any principle (e. g.accuracy) may be in opposition to another (e. g, economy) or at least there may be tension between them. Much as at times I should like to get rid of the two bugbears of translation, the dear old context and the dear old readership, alas, we never can. lean only go as far as saying that some words in a text are far less context-bound than others; and that some readerships (say of a set of instructions, of which the readership is the reason for its existence) are more important than others (say a lyric, where the poet and his translator) may only be writing for himself. Again when Halliday writes that language is entirely a social phenomenon and consequently collapses or conflates Biihlers expressive and appellative functions of language into the interpersonal function, stating that there is no distinction between the first two functions in language, I can only say that this is a matter of beliefor philosophy as the expression of belief, and that I disagree. But all this is to some extent a matter of emphasis (and reaction) rather than (diametrical) opposition. The single word is getting swamped in the discourse and the individual in the mass of society -1 am trying to reinstate them both, to redress the balance. If people express themselves individually in a certain type of text, translators must also express themselves individually, even if they are told they are only reacting to, and therefore conforming with, social discourse conventions of the time. Writing a book about translation, 1 am aware that this is a new profession, though an old practice, and that the body of knowledge and of assumptions that exists about translation is tentative, often controversial and fluctuating. This book is intended to be reasonably comprehensive, that is, to discuss most of the issues and problems that come up in translating. (In this aim, at least, the book is original. ) In spite of the controversial nature of several of its chapters, it is therefore designed as a kind of reference book for translators. However, some of the shorter pieces in Chapter 18 are inadequate and can only offer you a few pointers. I hope to expand the book (my last one on translation) for a second edition, and I would welcome suggestions for its improvement,  Acknowledgements I warmly thank Pauline Newmark, Elizabeth Newmark and Matthew Newmark, whom I have consulted so frequently; Vaughan James, who has helped so much at every stage; Vera North, who coped so superbly with the ins and outs of my handwriting; Mary FitzGerald; Sheila Silcock; Margaret Rogers, Louise Hurren; Mary Harrison; Simon Chau, Hans Lindquist, Rene Dirben, Robin Trew, Harold Leyrer, David Harvey. Contents Preface Acknowledgements xi xii Parti 1 2. Principles Introduction The Analysis of a Text Reading the text The intention of the text The intention of the translator Text styles The readership Stylistic scales Attitude Setting The quality of the writing Connotations and denotations The last reading Conclusion 11 11 12 12 13 13 14 15 15 16 16 17 17 19 19 19 20 22 23 3 The Process of Translation Introduction The relation of translating ro translation theory The approach. The textual level The referential level v  CONTENTS The cohesive level The level of naturalness Combining the four levels The unit of translating The translation of texts The translation of proper names Revision Conclusion 23 24 29 30 32 35 36 37 Language Functions, Text-categories and Text-types The expressive function The informative function The vocative function The aesthetic function The pharic function The metalingual function Translation Methods Introduction The methods Comments on the methods Equivalent effect . Methods and Lext-categories Translating Other methods 39 39 40 41 42 43 43 45 45 45 47 48 50 51 52 The Unit of Translation and Discourse Analysis Introduction Coherence Titles Dialogue cohesion Punctuation Sound-effects Cohesion Referential synonyms Enumerators Other connectives Functional sentence perspective Contrasts The lower units of translation Conclusion 54 54 55 56 57 58 58 59 59 60 60 60 63 65 66. CONTENTS vii  68 68 69 70 72 73 73 74 74 75 75 76 77 77 78 80 81 81 82 82 83 83 84 84 85 88 89 90 90 90 90 90 90 91 91 94 95 % 96 97 97 7 Literal Translation Introduction Varieties of close translation The translation of poetry Faithful and false friends Words in their context Elegant variations Back-translation of text (BTT) Accepted translation Constraints on literal translation Natural translation Re-creative translation Literary translation The sub-text The notion of theKno-equivalent1 word The role of context 8 The Other Translation Procedures Transference Naturalisation Cultural equivalent Functional equivalent Descriptive equivalent Synonymy Through-translation Shifts or transpositions Modulation Recognised translation Translation label Compensation Componential analysis Reduction and expansion Paraphrase Other procedures Couplets Notes, additions, glosses 9 Translation and Culture Definitions Cultural categories General considerations Ecology Material culture Vltl CONTENTS Social culture Social organisation political and administrative Gestures and habits Summary of procedures 98 99 102 103 10. The Translation of Metaphors Definitions Translating metaphors Types of metaphor 104 106 106 106 11 The Use of Componeniial Analysis in Translation Introduction Lexical words Cultural words Synonyms Sets and series Conceptual terms Neologisms Words as myths Conclusion U4 114 317 119 120 121 121 122 123 123 12 The Application of Case Grammar to Translation Introduction The translation of missing verbs, i. e. verbalforce The translation of case-gaps Various types of case-partner Contrast and choice in translation Some related issues Case partners of adjectives and nouns A remark on Tesniere Conclusion. 125 125 126 129 132 134 135 136 138 138 13 The Translation of Neologisms Introduction Old words with new senses New coinages Derived words Abbreviations Collocations Eponyms Phrasai words 140 140 141 142 143 145 145 146 147 CONTENTS }X Transferred words Acronyms Pseudo-neologisms The creation of neologisms A frame of reference for the translation of neologisms 147 148 148 149 150 14 Technical Translation Introduction Technical style Terms Varieties of technical style Technical and descriptive terms Beginning technical translation Translation method The title Going through the text Conclusion Appendix; sampletest. 151 151 151 152 152 153 154 L55 156* 158 IfrO 161 15 The Translation of Serious Literature and Authoritative Statements Introduction Poetry The short story/novel Drama Conclusion 162 162 162 170 172 173 16 Reference Boohs and their Uses; Tracing theUnfindable Word Introduction Resources [ Unfindables words 174 174 175 176 17 Translation Criticism Introduction Planofcriticism Text analysts The translators purpose Comparing the translation with the original The evaluation of the translation The translations future Marking a translation Quality in translation. 184 184 186 186 186 ! 87 188 189 189 192 X CONTENTS 18 Shorter Items Words and context The translation of dialect You and the computer Function and description The translation of eponyms and acronyms Familiar alternative terms When and how to improve a text Collocations The translation of proper names The translation of puns  ¦ The translation of weights, measures, quantities and currencies Ambiguity 193 193 194 195 198 198 201 204 212 214 217 217 218 221 225 19 20 Revision Hints for Exams and Deadlines By Way of a Conclusion Part II Methods. Introductory note Test 1 Tower needs clear eyes1, The Economist Text 2 Vppcr gastroint^imal endoscopy1, British Medical Journal Text 3 Brideshead Revisited (Waugh) Text 4 4Une certaine idee de la France (De Gaulle) Text 5 4Le Parti Socialiste (Source unknown) Text 6 Ala Recherche du Temps Perdu (Proust) Text 7 Presentation dun cas de toxoplasmose, Bordeaux Medical Text 8 Dialysebehandlung bei akutem Nierenversagen, Deutsche Medizinische Wochenschrifi Text 9 Alexander von Humboldt (Hein) Text 10 VAdoraticm (BoreL) Text 11 Die Blasse Anna (Boll) Text 12 La SocUti Francaise (Dupeux) Text 13 ZumWohlealler\SC,4Z^. 229 231 234 238 242 245 248 250 254 259 264 267 272 277 Glossary Abbreviations Medical terminology BihHograpky Name index Subject index 282 286 288 289 291 292 PART I Principles Figures appear in Part I as follows: 1 2 3 4 5 6 7 8 The dynamics of translation A functional theory of language Language functions, text-categories and text-types The Translation of metaphor Scalar diagrams Equation diagram Matrix diagram Parallel tree diagram  ¦ * 20 40 105 116 116 117 117 CHAPTER 1 Introduction. My purpose in this book is to offer a course in translation principles and methodology for final-year-degree and post-graduate classes as well as for autodidacts and home learners. Further, I have in mind that I am addressing non-English as well as English students, and I will provide some appropriate English texts and examples to work on. 1 shall assume that you, the reader, are learning to translate into your language of habitual use, since that is the only way you can translate naturally, accurately and with maximum effectiveness. In fact, however, most translators do translate out of theii own language (service translation) and contribute greatly to many peoples hilarity in the process. Further, I shall assume that you have a degree-level reading and comprehension ability in one foreign language and a particular interest in one of the three main areas of translation: (a) science and technology, (b) social, economic and/or political topics and institutions, and (c) literary and philosophical works. Normally, only (a) and (b) provide a salary; (c) is free-lance work. Bear in mind, however, that knowing a foreign language and your subject is not as important as being sensitive to language and being competent to write your own language dexterously, clearly, economically and resourcefully. Experience with translationese, for example, Strauss Opus 29 stands under the star of Bierbaum who in his lyric poems attempted to lie in the echoes of the German love poetry with ihe folk song and with the impressionistic changes, Opus 29 tekt im Zekhen Bkrboums, der als Lyriker versuchtet Nachklange des Mintwsangs mil dem Volkslied und mit impressicmistischen XPendungen zu verknupfen. (Record sleeve note) shows that a good writer can often avoid not only errors of usage but mistakes of fact and language simply by applying his common sense and showing sensitivity to language. Being good at writing has little to do with being good at essays, or at English 1 as you may have learned it at school. It means being able to use the 3 4 PRINCIPLES  appropriate words in the appropriate order for the obiect or process you are attempting to describe; continuously trying to improve your writing (a translation is never finished); and increasing your own English vocabulary co-extensively with your knowledge of new facts and new foreign-language words. And it means making flexible use of the abundant grammatical resources of your language, which are enriched by contemporary speech. It is something which, like translation, you can learn: you are not born a good writer; you do not have to be one now; you have to be determined to become one, to relate new experience to fresh language. Finallyj it means having a sense of order and pertinence learning to construct a specific {gezieh, purposeful) beginning, body and conclusion for your subject: a beginning that defines and sets the subject out; a body1 that gives and illustrates the pros and cons of the argument; a conclusion that states your own verdict — and all without irrelevance. A translator has to have a flair and a feel for his own language. There is nothing mystical about this sixth sense, but it is compounded of intelligence, sensitivity and intuition, as well as of knowledge. This sixth sense, which often comes into play (joue) during a final revision, tells you when to translate literally, and also, instinctively, perhaps once in a hundred or three hundred words, when to break all the rules of translation, when to translate malheur by catastrophe* in a seventeenth-centurv text, I cannot make you into a good translator; I cannot cause you to write well. The best I can do is to suggest to you some general guidelines for translating. I shall propose a way of analysing the source language text; I shall discuss the two basic translation methods; and I shall set out the various procedures for handling texts, sentences and other units. I shall at times discuss the relation between meaning, language, culture and translation. By offering plenty of examples I hope to provide enough practice for you to improve your performance as a translator. 9 The trmhvthe facts of the matter) SL writer 2 SL norms TEXT 10 Translator 5 TL relationship 6 TL norms 3 SL culture 4 SL setting and tradition Figure I. The dynamics of translation 7 TL culture 8 TL setting and tradition INTRODUCTION  5 What is translation? Often, though not by any means always, it is rendering the meaning of a text into another language in the way that the author intended the text. Common sense tells us that this ought to be simple, as one ought to be able to say something as well in one language as in another. On the other hand, you may see it as complicated, artificial and fraudulent, since by using another language you are pretending to be someone you are not. Hence in many types of text (legal, administrative, dialect, local, cultural) the temptation is to transfer as many SL (Source Language) words to the TL (Target Language) as possible. The pity is, as Mounin wrote, that the translation cannot simply reproduce, or be, the original. And since this is so, the first business of the translator is to translate. A texi may therefore be pulled in ten different directions, as follows: (1) The individual style or idiolect of the SL author. When should it be (a) preserved, (b) normalised? (2) The conventional grammatical and lexical usage for this type of text, depending on the topic and the situation. (3) Content items referring specifically to the SL, or third language (i. e, not SL or TL) cultures. (4) The typical format of a text in a book, periodical, newspaper, etc. , as influenced by tradition at the time. (5) The expectations of the putative readership, bearing in mind their estimated knowledge of the topic and the style of language they use, expressed in terms of the largest common factor, since one should not translate down (or up) to the readership, (6), (7), (8) As for 2,3 and 4 respectively, but related to the TL, (9) What is being described or reported, ascertained or verified (the referential truth), where possible independently of the SL text and the expectations of the readership. (10) The views and prejudices of the translator, which may be personal and subjective, or may be social and cultural, involving the translators group loyalty factor*, which may reflect the national, political, ethnic, religious, social class, sex, etc. assumptions of the translator. Needless to say, there are many other tensions in translations, for example between sound and sense, emphasis (word order) and naturalness (grammar), the figurative and the literal, neatness and comprehensiveness, concision and accuracy. Figure 1 shows how many opposing forces pull the translation activity {Vactivitti traduisante) in opposite directions. The diagram is not complete. There is often a tension between intrinsic and communicative, or, if you like, between semantic and pragmatic meaning. When do you translate Ilfaitfroid as Its cold1 and when as Im cold, Tm freezing1, Tm so cold, etc,, when that is what it means in the context? All of which suggests that translation is impossible. Which is not so. Why a book of this sort? Because I think there is a body of knowledge about translation which, if applied to solving translation problems, can contribute to a translators training. Translation as a profession practised in international organi- 6 PRINCIPLES sations, government departments, public companies and translation agencies (now often called translation companies) began only about thirty years ago; even now, the idea that ail languages (there are 4000) are of equal value and importance, and that everyone has a right to speak and write his own language, whether it is a national or a minority language (most countries are at least *bilinguaP) is not generally recognised. Translation as a profession has to be seen as a collaborative process between translators, revisers, terminologists, often writers and clients (literary works have to be checked by a second native TL reviser and desirably a native SL speaker), where one works towards a general agreement. Nevertheless, finally, only one person can be responsible for one piece or section of translation; it must have the stamp of one style. The principle with which this book starts is that everything without exception is translatable; the translator cannot afford the luxury of saying that something cannot be translated, Danila Seleskovitch, a brilliant interpreter and writer, has said: Everything said in one language can be expressed in another on condition that the two languages belong to cultures that have reached a comparable degree of development/ The condition she makes is false and misleading. Translation is an instrument of education as well as of truth precisely because it has to reach readers whose cultural and educational level is different from, and often lower or earlier, than, that of the readers of the original one has in mind computer technology for Xhosas. Foreign1 communities have their own language structures and their own cultures, foreign individuals have their own way of thinking and therefore of expressing themselves, but all these can be explained, and as a last resort the explanation is the translation. No language, no culture is so primitive that it cannot embrace the terms and the concepts of, say, computer technology or plainsong, But such a translation is a longer process if it is in a language whose culture does not include computer technology. If it is to cover ail the points in the source language text, it requires greater space in the target language text. There-fore, whilst translation is always possible, it may for various reasons not have the same impact as the original. Translation has its own excitement, its own interest. A satisfactory translation is always possible, but a good translator is never satisfied with it. It can usually be improved. There is no such thing as a perfect, ideal or ^correct translation, A translator is always trying to extend his knowledge and improve his means of expression; he is always pursuing facts and words. He works on four levels: translation is first a science, which entails the knowledge and verification of the facts and the larguage that describes them- here, what is wrong, mistakes of truth, can be identified; secondly, it is a skill, which calls for appropriate language and acceptable usage; thirdly, an art, which distinguishes good from undistinguished writing and is the creative, the intuitive, sometimes the inspired, level of the translation; lastly, a matter of taste, where argument ceases, preferences are expressed, and the variety of meritorious translations is the reflection of individual differences. Whilst accepting that a few good translators (like a few good actors) are INTRODUCTION 7 naturals, I suggest that the practical demands on translators are so wide, and the subject still so wrapped up in pointless arguments about its feasibility, that it would benefit students of translation and would-be translators to follow a course based on a wide variety of texts and examples. This book claims to be useful, not essential. It attempts to set up a framework of reference for an activity that serves as a means of communication, a transmitter of culture, a technique (one of many, to be used with discretion) of language learning, and a source of personal pleasure. As a means of communication, translation is used for multilingual notices, which have at last appeared increasingly conspicuously in public places; for instructions issued by exporting companies; for tourist publicity, where it is too often produced from the native into the foreign language by natives as a matter of national pride; for official documents,  such as treaties and contracts; for reports, papers, articles, correspondence? textbooks to convey information, advice and recommendations for every branch of knowledge. Its volume has increased with the rise of the mass media, the increase in the number of independent countries, and the growing recognition of the importance of linguistic minorities in all the countries of the world. Its importance is highlighted by the mistranslation of the Japanese telegram sent to Washington just before the bomb was dropped on Hiroshima, when mokasuiu was allegedly translated as ignored instead of considered, and by the ambiguity in UN Resolution 242, where the withdrawal from occupied territories was translated as le retrait des tmitoires occupes, and therefore as a reference to all of the occupied territory to be evacuated by the Israelis. Translation has been instrumental in transmitting culture, sometimes under unequal conditions responsible for distorted and biased translations, ever since countries and languages have been in contact with each other. Thus the Romans pillaged* Greek culture; the Toledo School transferred Arabic and Greek learning to Europe; and up to the nineteenth century European culture was drawing heavily on Latin and Greek translations. In the nineteenth century German culture was absorbing Shakespeare, In this century a centrifugal world literature has appeared, consisting of the work of a small number of international* writers (Greene, Bellow, Solzhenitsyn, Boll, Grass, Moravia, Murdoch, Lessing, amongst those still living, succeeding Mann, Brecht, Kafka, Mauriac, Valery, etc. )* which is translated into most national and many regional languages. Unfortunately there is no corresponding centripetal cultural movement from regional or peripheral authors. That translation is not merely a transmitter of culture, but also of the-truth, a force for progress, could be instanced by following the course of resistance to Bible translation and the preservation of Latin as a superior language of the elect, with a consequent disincentive to translating between other languages. As a technique for learning foreign languages, translation is a two-edged instrument: it has the special purpose of demonstrating the learners knowledge of the foreign language, either as a form of control or to exercise his intelligence in order to develop his competence. This is its strong point in foreign-language classes, which has to be sharply distinguished from its normal use in transferring meanings and conveying messages. The translation done in schools, which as a 8 PRINCIPLES  discipline is unfortunately usually taken for granted and rarely discussed, often encourages absurd, stilted renderings, particularly of colloquial passages including proper names and institutional terms (absurdly encouraged by dictionary mistranslations such as Giacopo for James1 and Siaatsrat for Trivy Councillor). Even a sentence such as: Quune maillc $auiat parfois a ce nssu de perfection auquel Brigitte Finn travailinit uvec une vigilance de toutes les seamdes, detail dans Yordre et elle sen consolait pourvu que cefut sans temotn. Mauriac, l.a Phanstenne^ might produce something like this from a sixth-former: That a stitch should sometimes break in that tissue of perfection at which Brigitte Pian was working with a vigilance to which she devoted every second, this was in order and she consoled herself for it provided it was without witness, which proves that each word construction is understood, where a more likely reading would be: If Brigitte Pian sometimes dropped a stitch in the admirable material she was working on with such unremitting vigilance, it was in the natural order of things and she found consolation for it, provided she had no witnesses. A translator, perhaps more than any other practitioner of a profession, is continually faced with choices, for instance when he has to translate words denoting quality, the words of the mental world (adjectives, adverbs, adjectival nouns, e. g. good, well*, goodness), rather than objects or events. In making his choice, he is intuitively or consciously following a theory of translation, just as any teacher of grammar teaches a theory of linguistics. La traduction appelle une theorie en acte, Jean-Rene Ladmiral has written. Translation calls on a theory in action; the translator reviews the criteria for the various options before he makes his selection as a procedure in his translating activity. The personal pleasure derived from translation is the excitement of trying to solve a thousand small problems in the context of a large one. Mystery, jigsaw, game, kaleidoscope, maze, puzzle, see-saw, juggling- these metaphors capture the play1 element of translation without its seriousness. (But pleasure lies in play rather than i 1 seriousness. ) The chase after words and facts is unremitting and requires imagination. There is an exceptional attraction in the search for the right word, just out of reach, the semantic gap between two languages that one scours Roget to fill. The relief of finding it, the smirk* after hitting on the right word when others are still floundering? is an acute reward, out of proportion and out of perspective to the satisfaction of filling in the whole picture, but more concrete. The quality of pleasure reflects the constant tension between sentence and word. You may have heard of a relatively new polytechnic/university subject called Translation Theory (Translatology1 in Canada, Traductologia in Spain, (Iter-INTRODUCTION 9 setzungswissenschaft in German-speaking countries, Translation Studies in the Netherlands and Belgium); this book is intended to introduce it to you. In a narrow sense, translation theory is concerned with the translation method appropriately used for a certain type of text, and it is therefore dependent on a functional theory of language. However, in a wider sense, translation theory is the body of knowledge that we have about translating, extending from general principles to guidelines, suggestions and hints. (The only rule I know is the equal frequency rule, viz, that corresponding words, where they exist metaphors, collocations, groups, clauses, sentences, word order, proverbs, etc. should have approximately equal frequency, for the topic and register in question, in both the source and target languages.) Translation theory is concerned with minutiae (the meanings of semi-colons, italics, misprints) as well as generalities (presentation, the thread of thought underlying a piece), and both may be equally important in the context. Translation theory in action, translation theory used operationally for the purpose of reviewing all the options (in particular, sensitising the translator to those he had not been aware of) and then making the decisions in fact the teeth of the theory is a frame of reference for translation and translation criticism, relating first to complete texts, where it has most to say, then, in descending level, to paragraphs, sentences, clauses,  word groups (in particular, collocations), words -familiar alternative words, cultural and institutional terms, proper names, 1 non-equivalent words, neologisms and key conceptual terms morphemes and punctuation marks. Note that metaphor, perhaps the most significant translation problem, may occur at all levels from word to text, at which level it becomes an allegory or a fantasy. What translation theory does is, first, to identify and define a translation problem (no problem no translation theory!); second, to indicate all the factors that have to be taken into account in solving the problem; third, to list all the possible translation procedures; finally, to recommend the most suitable translation procedure, plus the appropriate translation. Translation theory is pointless and sterile if it does not arise from the problems of translation practice, from the need to stand back and reflect, to consider all the factors, within the text and outside it, before coming to a decision, I close this chapter by enumerating the new elements in translation nov.\ as opposed to, say, at the beginning of the century: (1) The emphasis on the readership and the setting, and therefore on naturalness, ease of understanding and an appropriate register, when these factors are appropriate. (2) Expansion of topics beyond the religious, the literary and the scientific to technology, trade, current events, publicity, propaganda, in fact to virtually every topic of writing. (3) Increase in variety of text formats, from books (including plays and poems) to articles, papers, contracts, treaties, laws, notices, instructions, advertisements,  10 PRINCIPLES (4) (5) (6) (7) publicity, recipes, letters, reports, business forms, documents, etc. These now vastly outnumber books, so it is difficult to calculate the number or the languages of translations on any large scale. Standardisation of terminology. The formation of translator teams and the recognition of the revisers role. The impact of linguistics, sociolinguistics and translation theory, which will.

Larval Cyathostomes in Horse: Case Study Report

Larval Cyathostomes in Horse: Case Study Report A two-year-old Dutch Warmblood gelding presented with extreme weight loss and diarrhoea in December. The horse had been at pasture with seven others for the last three months with daily supplementary hay. The horse was rugged and had not been closely examined for six weeks however had been observed eating on a daily basis. On the day of admission to the hospital the horse had been seen standing alone, in-appetent with severe diarrhoea. On arrival to the hospital the horse was quiet, alert and responsive, body condition score 1/9 (284kg bwt). There was faecal staining down the hindquarters and tail. The heart rate and respiratory rate were elevated (76 beats per minute and 20 breaths per minute). Mucus membranes were pink and moist with a capillary refill time of 2seconds. Gastrointestinal sounds were increased. Skin tent was extremely prolonged, indicating significant dehydration. Abdominal ultrasound revealed a fluid filled colon and caecum with good SI motility and no evidence of bowl thickening. Although no abnormalities were detected per rectum, upon completion of the examination a large number of cyathostome larvae were visible on the rectal sleeve. Faecal analysis was negative for strongyle eggs. The significant clinicopathological abnormalities are presented below: Fibrinogen 6.3g/L (1.8-3.7g/L) Serum Amyloid A (SAA) 180mg/L ( Haematocrit (HCT) 45.1% (24-44%) Albumin 15g/L (31-38g/L) Blood lactate 3.1mmol/L (0.2-0.7mmol/L) Problem list Acute weight loss Poor body condition Diarrhoea Dehydration Differential diagnosis for diarrhoea Infectious: Samonellosis, Clostridium perfringens, Clostridia difficile, Lawsonia intracellularis, Parasitic: Strongylosis, larval cyathostomiasis Toxic: NSAID Miscellaneous: carbohydrate overload, sand enteropathy Due to the horse’s age, number of horses at pasture and poor worming history the most likely diagnosis was a larval cyathostomosis. Although the faecal worm egg count was negative this does not take into account the encysted burden of worms and therefore cannot rule out infection. The presence of red worm larvae on the rectal sleeve following rectal examination indicates the presence of larvae. An intravenous catheter was placed and maintainance fluids were administered to rectify the dehydration. 4L of plasma (Hypermune, Veterinary Immunogenics) was also given to provide anti-endotoxic and colloidal support. Dexamethasone (Dexadresson, Intervet) 0.05mg/kg IV every other day was administered initially. The horse was also started on fenbendazole (FBZ) (Panacur Guard) 7.5mg/kg SID for 5days. Additional supportive therapy included free access to palatable feed and fresh water. The following day, the horse was quiet with a moderate appetitite. Faeces became more watery so treatment with di-tri-octahedral smectite (Biosponge, Platinum Performance)1g/kg q6hrs per nasogastric tube and codeine phosphate (Codeine Phosphate, Crescent Pharma) 1mg/kg PO TID was started and adjusted daily according to faecal consistency. On day 3 the horse appeared slightly colicky and appetite reduced. Treatment with a single dose of flunixin meglumine (Finadyne, MSD Animal Health) 1.1mg/kg improved signs of abdominal pain. The following day the horse was brighter and appetite improved. The intravenous fluids were discontinued. At this point dexamethasone was replaced by oral prednisolone (Equisolon, Boerhinger Ingleheim) 1mg/kg PO SID. The diarrhoea improved over the following two days and on day 6 the codeine and biosponge were also discontinued. On day 7 of hospitalisation the horse was given moxidectin (MOX) (Equest, Pfizer) 0.4mg/kg to treat any parasites resistant to the fenbendazole therapy. A further blood sample on day 10 revealed improvement in HCT, fibrinogen and SAA. The albumin remained low at 15g/L but considering the horse’s dehydration on admission, this was slightly improved and would be expected to take weeks to return to a normal range. The horse was discharged. At this point the horse had a good appetite, was very bright and was passing normal droppings. Weight had increased from 284kg on admission to 305kg. Discussion Strongylid round worm, subfamily Cyathostominae, and infestation may affect up to 100% of pastured animals (Tolliver et al, 1987, Lyons et al, 1999, Lind et al, 2003). In adult horses, the disease is usually asymptomatic or observed in sub-clinical forms however in horses, which have not been treated, treated infrequently or are on heavily grazed pasture can reach hundreds of thousands (Chapman et al, 2003, Gasser et al, 2004). The most common clinical manifestation of cyathosome infection is associated with acute larval cyathostomosis (Murphy et al, 1997). The poor worming history, minimal pasture management and heavily grazed pasture in this case indicated that this was likely. As with this case larval cyathostomosis is usually diagnosed in horses of 1-3years of age and is most commonly associated with severe weight loss, weakness, acute or chronic diarrhoea, subcutaneous oedema, pyrexia and colic (Lyons et al, 2000). In the UK age ( The blood results in this case alongside the diarrhoea and weight loss indicated a protein losing enteropathy. A decrease in total protein levels, particularly albumin, and neutrophilia are common presentations of horses infested with cyathostomes (Steinbach et al, 2006). The synchronous reactivation of the encysted larvae (EL3) into the gut lumen can cause extensive bowl inflammation which can not only result in enteral protein loss and impaired nutrient absorption, but also entrance of bacterial toxins into the tissues (Abbot, 1998, Giles et al, 1985 and Reid et al, 1995). This can be fatal in up to 50% of cases (Love et al, 1999). The plasma administered in this case aimed to provide colloidal support due to the reduced albumin, and act as an anti-endotoxic agent (Tennant-Brown, 2011). The debilitated condition the horse was in in this case led to consideration of the most appropriate treatment. There is a concern over worsening of a horses condition following administration of anthelmintics, however there is a balance between this and a delay in treatment leaving sufficient time for recovery following anthelmintic treatment (Johns, 2014). Johns (2014) describes the potential for using fenbendazole in severely emaciated horses. The concern with determining treatment is that the mucosal stages constitute the major cyathostomin burden, which is not particularly susceptible to most anthemintics (Love and Mckeand 1997). Chemotherapeutic strategies are not always successful in severe cases however the main two drugs licensed treatments for encysted larvae are FBZ or MOX. The initial treatment used in this case was Fenbendazole 7.5mg/kg bwt administered daily for 5 consecutive days. It has been shown to provide >95% efficacy vs. total mucosal larvae, including >91% efficacy against inhibited EL3 (Duncan et al, 1998). A single dose of moxidectin 0.4 mg/kg bwt was administered on day 7. This has been shown to have a persistent effect and be effective against all life cycle stages, including 90.8% efficacy against EL3 (Reinemyer et al, 2003). There have been limited reports of resistance and as such is recommended for the treatment of larval cyathostominosis (Reinemyer et al, 2003 and Molento et al, 2008). The reason for this follow treatment with moxidectin is due to the world wide prevalence of FBZ resistance, and even 5day courses at 7.5 or 10mg/kg bwt cannot overcome this resistance (Tarigo-Martinie et al, 2001). Although there is little research to support it, clinicians often choose to treat larval cyathostomes with a 5day course of fenbendazole followed by moxidectin. Reasoning behind this maybe due to FBZ killing larvae at a slower rate and therefore avoids a severe anaphylactic reaction associated with larval death. Also due to the resistance seen with fenbendazole, it leads to a ‘belt and braces’ approach to remove the encysted parasites. A concern with moxidectin is the risk of toxicity in severely-debilitated horses. Because of its highly lipophilic nature, moxidectin can become highly concentrated in the serum of animals with little body fat, such as this case, which increases the risk of neurotoxicity as it able to cross the blood-brain barrier, which is described in the literature (Johnson et al, 1999 and Muller et al, 2003). In many reported cases clinical signs have been evident following treatment of affected horses, a syndrome thought to be due to the inflammatory reaction associated with parasite death. A study performed by Steinbach et al, (2006) found a five-day course of fenbendazole caused extensive inflammation and ulceration of the intestinal wall associated with parasite death. However moxidectin treatment led to disintegration of larvae without the severe inflammatory response which supports the use of the latter drug in treatment of clinical cases, and questions the treatment protocol used in this case (Steinbach et al, 2006). Anthelmintic treatment is often administered alongside steroid therapy, which is important if heavy larval loads are suspected as with this case. The inflammatory reaction created by parasite death is often managed with corticosteroid treatment. Often treatment is started prior to larvicidal medication particularly if heavy larval loads are suspected. This aims to prevent acute exacerbation of the disease by rapid death of encysted larvae (Church et al, 1986). Church et al (1986) found that the administration of steroids alongside the anthelmintics lead to a synergistic drug effect. The corticosteroid lessens the immune mechanisms contributing to larval arrestment allowing the mucosal larvae to resume maturation and therefore more susceptible to the action of anthelmintics (Church et al, 1986). Although there has been no further evidence for its use, in clinical practice there appears to be a therapeutic advantage with cyathostomosis cases in giving oral corticosteroid concurrently w ith anthelmintics (Love and McKeand, 1997). As this was a concern in this case corticosteroid treatment was used alongside anthelmintic therapy. Codeine Phosphate although not licensed in horses, was used in this case to provide symptomatic relief of diarrhoea. It works by reducing gastrointestinal secretions and delaying intestinal transit. There was improvement seen in faecal consistency after 48hours and the dose was altered accordingly (Murphy et al, 1997). Studies are currently underway to develop a diagnostic assay to allow the detection and quantification of mucosal cyathostomes to allow for targeted treatment (Proudman and Matthews, 2000). FEC underestimate the true parasite burden when larval populations predominate and luminal adult burdens are low (Dowdall et al, 2002). This was seen in this case where the FEC was negative however the clinical signs and presence of larval on the rectal sleeve all suggested larval cyathstomiasis. The successful outcome in this case supported the treatment protocol used. However after consideration of the literature it would be prudent to question whether moxidectin alongside corticosteroid therapy would provide less intestinal inflammation, reducing the severity of clinical signs alongside ensuring the death of the encysted parasites.

Financial Crises And Global Capital Flows :: essays research papers

<a href="http://www.geocities.com/vaksam/">Sam Vaknin's Psychology, Philosophy, Economics and Foreign Affairs Web Sites The recent upheavals in the world financial markets were quelled by the immediate intervention of both international financial institutions such as the IMF and of domestic ones in the developed countries, such as the Federal Reserve in the USA. The danger seems to have passed, though recent tremors in South Korea, Brazil and Taiwan do not augur well. We may face yet another crisis of the same or a larger magnitude momentarily. What are the lessons that we can derive from the last crisis to avoid the next? The first lesson, it would seem, is that short term and long term capital flows are two disparate phenomena with very little in common. The former is speculative and technical in nature and has very little to do with fundamental realities. The latter is investment oriented and committed to the increasing of the welfare and wealth of its new domicile. It is, therefore, wrong to talk about â€Å"global capital flows†. There are investments (including even long term portfolio investments and venture capital) – and there is speculative, â€Å"hot† money. While â€Å"hot money† is very useful as a lubricant on the wheels of liquid capital markets in rich countries – it can be destructive in less liquid, immature economies or in economies in transition. The two phenomena should be accorded a different treatment. While long term capital flows should be completely liberalized, encouraged and welcomed – the short term, â€Å"hot money† type should be controlled and even discouraged. The introduction of fiscally-oriented capital controls (as Chile has implemented) is one possibility. The less attractive Malaysian model springs to mind. It is less attractive because it penalizes both the short term and the long term financial players. But it is clear that an important and integral part of the new International Financial Architecture MUST be the control of speculative money in pursuit of ever higher yields. There is nothing inherently wrong with high yields – but the capital markets provide yields connected to economic depression and to price collapses through the mechanism of short selling and through the usage of certain derivatives. This aspect of things must be neutered or at least countered. The second lesson is the important role that central banks and other financial authorities play in the precipitation of financial crises – or in their prolongation. Financial bubbles and asset price inflation are the result of euphoric and irrational exuberance – said the Chairman of the Federal Reserve Bank of the United States, the legendary Mr.

Planet Of The Apes Satire Essay -- essays research papers

The setting of the movie compared to the setting in the book makes Planet of the Apes one of the greatest satires. In the movie, the setting takes place on earth in the future where apes deny and are afraid of the past, whereas the setting in the book is on a different planet where apes are civilized and technologically advanced, and the humans were primitive creatures. The orangutans in the movie prevent what happened to the humans from happening to the apes. Orangutans, such as Zaius went to great work as destroying the cave where the evidence of the humans reigned is revealed and removing Landen’s memory. In the book civilization of humans on Earth is equal to and may even surpass the civilization of the apes on Sorror. The point of view in the book is through Ulysees’ mind. He is clam and patient. Taylor in the movie is an impatient angry man who is never satisfied and is outraged by the fact that apes are running the planet and have locked him up. In the movie Tayl or is a misanthrope who is hot-tempered and not respectful to the apes. He calls them "Bloody Baboons!" Taylor left Earth to find a better place and ended up where he started. In the book, Ulysee is kind and respectful towards the apes, and he was granted citizenship to their civilization and begins to assign apes human features. Ulysee was granted citizenship because of the speech he made before them. He gave that speech with respect and loyalty towards the apes for acceptance. The tones in the boo... Planet Of The Apes Satire Essay -- essays research papers The setting of the movie compared to the setting in the book makes Planet of the Apes one of the greatest satires. In the movie, the setting takes place on earth in the future where apes deny and are afraid of the past, whereas the setting in the book is on a different planet where apes are civilized and technologically advanced, and the humans were primitive creatures. The orangutans in the movie prevent what happened to the humans from happening to the apes. Orangutans, such as Zaius went to great work as destroying the cave where the evidence of the humans reigned is revealed and removing Landen’s memory. In the book civilization of humans on Earth is equal to and may even surpass the civilization of the apes on Sorror. The point of view in the book is through Ulysees’ mind. He is clam and patient. Taylor in the movie is an impatient angry man who is never satisfied and is outraged by the fact that apes are running the planet and have locked him up. In the movie Tayl or is a misanthrope who is hot-tempered and not respectful to the apes. He calls them "Bloody Baboons!" Taylor left Earth to find a better place and ended up where he started. In the book, Ulysee is kind and respectful towards the apes, and he was granted citizenship to their civilization and begins to assign apes human features. Ulysee was granted citizenship because of the speech he made before them. He gave that speech with respect and loyalty towards the apes for acceptance. The tones in the boo...

Jacques Cousteau :: essays papers

Jacques Cousteau Jacques-Yves Cousteau was born in St. Andre de Cubazac, France in 1910. The son of a lawyer, Jacques was warned by doctors to avoid strenuous activities due to chronic enteritis and anenemia. This did not affect his sense for adventure. At age 11, he built a foot working model of a two hundred ton marine crane. At age 13, he made a battery powered automobile. In 1930, at the age of twenty, Jacques entered the French Naval Academy. Form 1933 to 1935 he served in the Far East aboard the cruiser Primaguet and ashore in Shanghai. He trained as a Navy flier until a serious automobile accident ended his aviation career. For his war efforts he was awarded two medals. One for honor and the other, A Purple Heart. Afterwards, he took part in mapmaking study along the Indochina Coast. In 1936, near Toulon, he tried underwater goggles for the first time, and his future course was set. In 1943, he and Emile Gagnan developed the first regulated compressed-air breathing device for sustained, unencumbered diving. After World War II, he created and organized, in conjunction with Commander Philippe Tailliez and Frà ©dà ©ric Dumas, an underwater research unit to carry out technical experiments and laboratory studies in diving. In 1950 he founded "Campagne Oceanographique Francaise". Also, in the same year, Captain Cousteau acquired Calypso, a retired minesweeper of American construction. Over the next year, she was transformed into an oceanographic vessel, and the adventures of the now-famous ship began. In the four decades since, she has sailed literally around the world and has explored many of the planet's major rivers. In collaboration with engineer Jean Mollard, Cousteau designed the Diving Saucer in 1959, a round, highly maneuverable, two-person submersible capable of diving to a depth of 350 meters. In 1965, twin one-man submersibles, the Sea Fleas, were launched by Cousteau. He also directed three experiments in saturation-diving techniques: Conshelf I off Marseille (1962), Conshelf II in the Red Sea (1963), and finally Conshelf III (1965), near Nice, in which six men breathing a helium- oxygen mixture lived and worked at 100 meters for three weeks. This was the first of its kind. Not only is Captain Cousteau a oceanographer, he is also a author and documentarian. Jacques Cousteau has produced more than seventy films for television, films which have won numerous Emmys and other awards. He has also produced three full-length theatrical feature films, The Silent World, World Without Sun, and Voyage to the Edge of the World. Cousteau has written, in collaboration with various co-authors, more than fifty books,

Sylvia Plath Poem Comparison Essay

Sylvia Plath Poem Comparison Essay Saying Sylvia Plath was a troubled woman would be an understatement. She was a dark poet, who attempted suicide many times, was hospitalized in a mental institution, was divorced with two children, and wrote confessional poems about fetuses, reflection, duality, and a female perspective on life. Putting her head in an oven and suffocating was probably the happiest moment in her life, considering she had wanted to die since her early twenties. However, one thing that was somewhat consistent throughout her depressing poetry would be the theme of the female perspective.The poems selected for analysis and comparison are, †A Life†(1960),†You’re†(1960), â€Å"Mirror† (1961), â€Å"The Courage of Shutting-Up† (1962) and finally, â€Å"Kindness† (1963). All five of these previously discussed poems have some sort of female perspective associated with them, and that commonality is the focus point of this ess ay. The first poem listed, â€Å"A Life†, was written in November 1960, and is a fairly long poem for Plath’s standards. There are eight stanzas, and thirty five lines, and one overall message.The general message of the poem is to discuss appearance and reality, and to compare them. Plath reiterates that appearance cannot be maintained, and she uses a mix of delicate diction in the beginning-to represent appearances- and transitions to aggressive diction when she moves back to reality. The female perspective is most prevalent when Plath starts the â€Å"reality† part of the poem, and talks about a woman, who seems to be hospitalized, and isolated like a â€Å"fetus in a bottle. † The idea of a troubled patient seems to be a personal reflection on Plath’s asylum days. A Life† begins delicately, and Plath uses phrases such as â€Å"clear as a tear†, or â€Å"†¦glass†¦will ping like a Chinese chime†¦ though nobody looks up or bothers to answer†¦Ã¢â‚¬  to create a sort of â€Å"fishbowl effect†- a fragile, yet isolated world, transparent and watched by others. Plath also uses water-like diction, like â€Å"sea waves†, â€Å"sea†, and even the darker word, â€Å"drowned† to create such an effect. When the poem transitions back to reality, it seems like the previously mentioned â€Å"fishbowl† was just thrown into the violent ocean.Plath uses diction like â€Å"private blitzkrieg†, â€Å"fetus in a bottle† â€Å"grief and anger†, and even â€Å"age and terror† to create the awkward, violent, and even disturbing reality that this woman in the poem lives in. â€Å"You’re†, written in 1960 during Plath’s pregnancy, is a poem about Sylvia’s baby-to-be. There are two stanzas, each with nine lines, as to represent the nine months of pregnancy. The female perspective here couldn’t be more obvious- a pregnant mother reflecting on her pregnancy and describing her child; men can’t share that experience. â€Å"You’re† is one of Plath’s happier poems, and doesn’t go very deep as some of her other poems do.The first stanza is describing the unborn fetus as â€Å"clownlike†, â€Å"moon-skulled† and â€Å"gilled. † Visualizing a fetus with an underdeveloped head, upside-down and breathing in liquid constantly is explanation enough for this diction. Plath also discusses the nocturnal nature of babies, and the silence of the bread-like creature growing inside her. The second stanza discusses the idea that a baby is â€Å"looked for like mail†, and that the fetus seems snug and jumpy. The most profound line in the entire poem is the last line, â€Å"A clean slate, with your own face on†, describing the baby’s soon-to-be new beginnings as a fresh start, a â€Å"clean slate. â€Å"Mirror† written in 1961, is the qu intessential of Plath poems, in that it expresses three of Plath’s most common themes greatly in one depressing poem: duality, reflection, and the female perspective. The female perspective in this poem is best described as a troubled woman who constantly searches for the truth in mirrors, but finds no answers. The mirror discussed in the first stanza is exact and truthful, but almost pretentious, in that it considers itself almost godlike.The lake is where the woman seems to find the most comfort in, seeing the distorted images of her, the candles, and the moon. The last few lines seem to attribute her depression to her age, and maybe the fact that she never got to enjoy her childhood, her young years, and she despises seeing herself grow old in the reflection of the lake. â€Å"The Courage of Shutting-Up† was written in 1962, a year before Sylvia’s end, and uses the ideas of repetition, speech, and censorship to express her ideas on female obedience and civil censorship.The female perspective here is the idea of not being able to speak out, and living in repetition, with a defeated tongue- hung up on the wall like a trophy. The poem uses many different types of diction, but most of it is masculine, and war-like, as if Plath was fighting a war against men. The first stanza of the poem begins with â€Å"The courage of the shut mouth, in spite of artillery! † and follows with bits of diction to describe a record player, with â€Å"black disks†¦ of courage†¦Ã¢â‚¬  as to describe Plath’s thoughts and feelings just playing over and over again, â€Å"asking to be heard. The second stanza continues with the record player metaphor, â€Å"a needle in its groove†, and transitions to an overqualified tattooist in the third stanza, once a surgeon (maybe a metaphor for Sylvia’s downgrade from a great poet to a dumpy mother) who repeats the same overused tattoos over and over, silently, and solemnly. The fourth stanza returns to the metaphor of war, and artillery as well as the record player. The tongue is introduced, and is described as â€Å"indefatigable, purple. † The poem then questions if the tongue is dangerous, and if it must be cut out.The answer to that question must’ve been yes, because the tongue is then described as a trophy, hung up on the mantle like the â€Å"fox heads, the otter heads, and the heads of dead rabbits† before it. This is most likely an extended metaphor of Plath being silenced by her husband, and she can only admire her husband’s trophy in defeat. The poem ends with an image of a forgotten country, whose pride and power is hidden and long gone- probably another metaphor for her power to speak out, taken away by her husband or simply by her gender- as women didn’t have much say in things.The final poem â€Å"Kindness† was written in 1963, in the month of Plath’s suicide, and shortly after her husband left her. T he poem is structured evenly; four stanzas with five lines each. This poem contains the female perspective in that Plath mocks the typical view of kindness- almost satirically mother-like- and she also talks about children and how desperate and almost helpless they are in the whole scheme of things. The poem starts out by stating how full of kindness her house is, and already hints that kindness is and illusion with the word â€Å"smoke† and â€Å"mirrors: shortly after one another, and that these mirror are filled with smiles.The second stanza talks about the cry of a child, but not like a sobbing cry, but a sort of cry of agony, or desperation, and how that is the most real thing that she knows of, and that it is unlike the cry of a rabbit as, the cry of a child has a soul. This second stanza maybe hints at thoughts of Plath killing her children alongside herself, which is a somewhat disturbing thought. The poem continues, and with talk of â€Å"kindness sweetly picking u p the pieces. † Plath also uses delicate diction like â€Å"butterflies† and â€Å"Japanese silks† to maybe express the delicacy of â€Å"kindness. The poem ends, with a sort of final statement to her cheating husband, as presumably â€Å"he† comes in with an effort to console her, â€Å"with a cup of tea†, and Plath responds in another suicide like statement: â€Å"The blood jet is poetry, there is no stopping it. † This is reminiscent of slit wrists, and that you can’t stop the blood flow from a slit wrist. The final line seems to confirm that this poem was directed at her husband, with â€Å"you hand me two children, two roses. When Plath says â€Å"roses†, it immediately brings forth images of flowers at a funeral, rather than roses given as a token of love. Out of the entire selection, this is the most desperate and angry poem reviewed. Now, after the lengthy analyses of all five poems, all five had elements of the female perspective in them, some way or another. In â€Å"A Life† the female perspective was the view of the patient, feeling isolated and trapped in the painful reality that she lives in, and she takes shelter in the fragile â€Å"fishbowl† of a fantasy world she has constructed.In â€Å"You’re†, the female perspective is expressed in pregnancy. This experience is female exclusive, and Plath eagerly awaits the birth of her baby. In â€Å"Mirror†, the female perspective is that of a troubled woman who looks to the reflections of mirrors for answers, and prefers the distorted ripples of the lake to the awful truth of the wall mirror. Depressingly enough, even though the lake is distorted, the woman sees her age rising to meet her day after day, â€Å"like a terrible fish. In â€Å"The Courage of Shutting Up†, the female perspective is that of a woman who is trapped by her repetitive household duties, and the limits on her expression by her husband . Obviously, not being able to speak you mind is a sort of mental imprisonment, and the only way out for Plath was her poems. This poem was the embodiment of those expressions. The female perspective in â€Å"Kindness† was some sort of suicidal anger against her former husband, and a sort of Medea-like want to kill her children to spite her former lover.She talks about â€Å"kindness† as a sort of facade put on by a woman to keep everything together in her household. In comparison to each other, â€Å"Mirror†, â€Å"A Life†, and â€Å"The Courage of Shutting-Up† are all female-minded grievances towards the society that Plath lives in, and the relationship that she is in with her husband. All three involve some sort of negative personal evaluation, as well as being dark and depressing. â€Å"Kindness† and â€Å"You’re† stand alone, in that â€Å"Kindness† is an extremely dark and angry poem directed at Sylvia’s hus band, and â€Å"You’re† is a somewhat hopeful poem about pregnancy.They are direct opposites of each other and both represent different eras in Plath’s life- one of pseudo-happiness, and one of hatred and despair. The female perspective in Plath’s poem’s are always present, no matter what form they come in, or the period in Plath’s life that they were written. Plath has always seen some fascination, some point to be made, in the gender differences of her generation, and she made sure to include the female perspective, which was often unheard, and made it heard.

Men’s Review of the Film ‘Honey’

90 minutes worth of seductive Jessica Alba parading around wearing nothing more than just knickers and bra, one might think they were in for an enjoyable ride. My dear friend, how very wrong you are! As we watch Honey progress from club dancer to music video choreographer we can't help but snigger at the dreadfully cheesy script, and tedious clichis that partner this film. An example which would fittingly highlight this point would be the incident where the line â€Å"Bitch, how you gonna play me like that? is spoken. Now on first hearing this, if you are fortunate enough to have not endured this amateur movie you may primarily believe it is exclaimed by a young, intimidating, black New York thug. Even with such a description, its' likely you will still cringe. However, please prepare yourself for what is written beneath, I have no guarantee that you will survive reading this next section without a frightening, unhealthy bout of laughter erupting from you. The line is not spoken by a young man, as opposed to this, he is somebody we would instead consider most definitely over middle aged, nor is he intimidating either, the big time video director, Michael Ellis,(David Moscow) has middle length curly hair, is that not enough said? And in addition to this, the culprit is far from black; his skin instead is more of a milky colour, enriched with the misfortune of freckles and blemishes. I think a recap is most definitely necessary! â€Å"Bitch how you gonna play me like that? I can confirm, is spoken by a middle aged, approachable white man ! Based on this fact alone, I think I have given you more than enough evidence to suggest that five pounds of your hard earned money should not be spent on such garbage! Moving swiftly on, with a predictable storyline that's been covered far too many times already, please do not give yourself credit if you are on of the majority who correctly guesses the ending to this film. After just ten minutes had you not already guessed Honey would end up with the too good to be true barber (Mekhi Phifer)? Did you not already know that somehow, someway Honey Daniels would transform the lives of hundreds of children and did you not instantly figure out that another ten minutes of such dreadful drizzle would have you in a deep sleep, never wanting to awake? Yes, she might have an attractive face, and yes a somewhat mind-boggling figure, but it seems that Billy Woodruff (director) only selected Alba based on these two unessential facts. With facial expressions to rival a manikin's, and body language consisting of only gyrating and walking, it seems Alba has as good acting skills as one of the spice girls, and in my opinion, far worse dance moves. Now, if you're a naive thirteen year old girl, I can, on some level, understand how you may find this film bearable. However, the way in which the film has been produced means the target audience is extremely narrow, meaning anybody older, with more intelligence and depth would undoubtedly react in a similar way to me, that being a long undisputable chain of snores. Finally, to conclude I shall finish by saying, if you were contemplating going to see ‘Honey' this weekend . . . DON'T! The vital thing to remember here is that you only live once, so not only is it a waste of five pounds but additionally a waste of an hour and a half of your life. To put yourself through such torture will only be a decision you later regret. Take my advice and leave this movie for those teenage girls who simply aspire to be Honey Daniels, and think they understand the cringe worthy language spoken throughout. So remember, if ‘you're flavour's hot', I'm hoping that means your taste is too, I repeat, do not go and see this film !