Food and Beverage Control System

LABORATORY MANUAL Food and Beverage Control System Laboratory Activity No. ___ MAKING A SALES FORECAST Objectives: * To be able to know the future sales of the restaurant * | Materials to be used: Paper Pen Calculator Procedures: 1. Read and analyze the stated assumptions. 2. Supply the data needed for the percentage increase for the forecast 2013. 3. To get the forecasted actual covers, multiply the total covers for each month of 2012 to the assumed percentage increase. 4.To get the forecasted average check, multiply the average check for each month of 2012 to the assumed percentage increase. 5. Then, get the sales forecast for 2013 by multiplying the forecasted total covers to the forecasted average check. Instructions: Make a 2013 sales forecast for KSP Bar and Grill using the following data and assumptions. KSP Bar and Grill, a food outlet with 200 seating capacity, generated the following revenue in the year 2012. Make a sales forecast for year 2013, working on the following ass umptions: 1.There is an expected fifty percent (50%) increase of patronage in the month of February because the food outlet will come out with special promotions on Valentine’s Day (February 14) and Chinese Year (also in the month of February). For November 2013, the projected increase in covers is 40% and 50% by the month of December. 2. With better products, intensive promotions and improved services, 20% increase in covers for 2013 is expected. 3. Because of the upgraded menus, prices will increase by 18% for 2013. | SALES 2012|Months| Total Covers| Average Check| Total F&B Revenue| January| 13,020| P 247. 25| P 3,219,195| February| 19,500| P 253| P 4,933,500| March| 17,250| P 250. 70| P 4,324,575| April| 12,840| P 258. 75| P 3,322,350| May| 12,000| P 255. 30| P 3,063,600| June| 9,600| P 224. 25| P 2,152,800| July| 9,000| P 227. 70| P 2,049,300| August| 7,200| P 224. 25| P 1,614,600| September| 12,960| P 232. 30| P 3,010,608| October| 13,440| P 242. 20| P 3,523,968| Novemb er| 14,640| P 270. 25| P 3,956,460| December| 20,250| P 276| P 5,589,000| | | | P 40,759,956| SALES 2013| Covers| Average Check| Sales in Pesos| Month| % increase| Quantity| % increase| Amount in pesos| | January| | | | | | February| | | | | | March| | | | | | April| | | | | | May| | | | | | June| | | | | | July| | | | | | August| | | | | | September| | | | | | October| | | | | | November| | | | | | December| | | | | | | | | | | | Laboratory Activity No. _______ PREPARING A BUDGET WORKSHEET Objectives:| Materials to be used: Pen Paper Calculator Procedures: 1. Read and analyze the problem. 2. Supply the data needed on revenue for the sales distribution. 3.Divide the revenue of food sales and beverage sales by the total sales to get the ratio of sales over gross sales. 4. Supply the data needed on cost ratio to sales on budget distribution. 5. Multiply the revenue of food sales and beverage sales by the cost ratio to sales to get the budget needed. 6. Supply the data needed on cost r atio to sales on budget allocation from the given data. 7. Multiply the total sales by the cost ratio to sales to get the budget needed for the breakdown of budget allocation. Prepare a budget worksheet for KSP Coffee Shop for the month of August.Assume a sales forecast of P2,890,000 with P890,000 beverage sales and P2,000,000 food sales. Use 38% cost ratio to sales for food cost and 20% cost ratio to sales for beverage cost. Use the following budget allocation: Food/Beverage cost (Cost of Sales) ——————————— 35% Labor cost and employee benefits ———————————– 20% Direct operating expenses ——————————————– 4 % Utilities —————————————â⠂¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€ 5% Rental/Amortization ————————————————— % Advertising ————————————————————- 1 % Repairs and Maintenance ——————————————– 1% Taxes ——————————————————————— 1% Insurance —————————————————————- 2% Depreciation cost —————â₠¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€Ã¢â‚¬â€ 2% Administrative/General expenses ———————————— 3 % Profit ——————————————————————— 18% Total ——————————————————-100%BUDGET WORKSHEET SALES DISTRIBUTION| Source| Revenue| Ratio of Sales Over Gross Sales| Food Sales| | | Beverage Sales| | | Total Sales| | | BUDGET DISTRIBUTION| Budget Items| Budget in Pesos| (Cost Ratio to Sales)| A. Food Cost| | | B. Beverage Cost| | | BREAKDOWN OF BUDGET ALLOCATION| 1. Cost of sales (combined food and beverage)| | | 2. Labor cost and employee benefits| | | 3. Direct Operating Expenses ( supplies, materials, etc. )| | | 4. Rental| | | 5. Administrative expenses| | | 6. Amortization for loan| | | 7. Utilities| | | . Repairs and Maintenance| | | 9. Insurance| | | 10. Depreciation| | | 11. Others – ads, etc| | | Total Budget for Expenses| | | Profit| | | Total| | | Laboratory Activity No. ________ RECIPE COSTING AND PRICE DETERMINATION Objectives:| Materials to be used: Pen Paper Calculator Procedures: The recipe indicates the following ingredients for the preparation of the dish RIB ROAST ROYALEYield: 4 portions Ingredients: 450 grams trimmed US prime rib2 pieces baked potatoes 200 grams fresh butter (1 block)2 pieces dinner rolls 0 grams chives2 portions butter 15 grams tarragon leaves2 portions bottled 40 grams parsley40 grams salt Price list: US prime ribP460. 00 Magnolia fresh butter (1 block)P 24. 00 Refined salt (kilo)P 30. 00 Buttered vegetables (portion)P 4. 00 Chives(kilo)P 30. 00 Portion butter (piece)P 5. 90 Tarragon leaves (bottle of 10 grams)P 25. 00 Parsley (kilo)P 85. 00 Recipe cost: Baked potatoesP 5. 00 Rolls (piece)P 2. 00 Total cost and selling price after getting saleable weight | | Standard Yield| Adjusted Yield| Items| Unit/Size (UOM)| Portion/Size| Unit Cost| Cost| Portion/Size| Cost| US prime rib| | | | | | | fresh butter| | | | | | | chives| | | | | | | tarragon leaves| | | | | | | parsley| | | | | | | baked potatoes| | | | | | | dinner rolls| | | | | | | butter| | | | | | | Buttered vegetables| | | | | | | salt| | | | | | | Total| | | | | | | Buffer margin (10%)| | | | | | | Cost/serving| | | | | | | Selling price| | | | | | | Food Cost %| | | | | | |

A Tale of Two Coaches Essay

The path-goal theory relies on the how a leader motivates their subordinates to accomplish the task before them. This theory evaluates the relationship of the leader’s style of leadership and the characteristics of the subordinate and how the two compliment or supplement each other to achieve the desired outcome. In the cases of Coach Knight and Coach Krzyzewski, both were achievement-oriented. They both had clear goals and expectations of their players, win the game. This is evident by both coaches high lifetime career win totals. They both set high standards that their players were expected to meet. Each team was put through a series of drills and practices to prepare them and help build their confidence to succeed. Coach Krzyzewski â€Å"invested heavily in drills and skills with his players, practicing set plays and exhaustively analyzing practices, game films, and strategies† (Snook, Perlow, & Delacey, 2005, p. 3). The ability of both coaches to use achievement-oriented leadership contributed to their success. Each coach challenged and set high standards for their players. This raised the players’ confidence that they had the ability to achieve their goals. The achievement-oriented leadership demonstrated by each coach helped motivate the players to want to succeed. The leader-member exchange theory is a â€Å"process that is centered on the interactions between leaders and followers† (Northouse, 2013, p. 161). Two main groups of subordinates exist in the LMX model: the in-group and the out-group. Research found that there is a direct connection with high quality leader-member exchanges and job satisfaction and performance. Evaluating the leadership styles of Coach Knight and Coach Krzyzewski shows that there is evidence of the leader-member exchange theory in addition to the positive performance results that were indicated by the research of Dansereau (Northouse, 2013, p.162). Building relationships is important to Coach Krzyzewski. The success of his team was built on the relationships he established with his players and making everyone part of the in-group. He uses his â€Å"high-quality leader-member exchanges† to increase the positive performance of his players. It is a standard practice among his players that when they talk to each other they look each other in the eye. This way they are honest and truthful with each other at all times. Coach K also stated he believed â€Å"people have to be given the freedom to show the heart they possess. I think it’s the leader’s responsibility to provide that  type of freedom. And I believe it can be done through relationships and family. Because if a team is a real family, its members want to show their hearts† (Snook et al., 2005, p. 4). Coach Knight on the other hand was not as concerned about his relationship with his players. His demonstrated attitude was that he was there to do a job and so were the players. A good practice was flawlessly executed drills where players were â€Å"taught to play his game of basketball. Coach Knight’s motivational toolkit included push-ups, wind-sprints, and insulting verbal barbs† (Snook et al., 2005, p. 2). He was a perfectionist and he expected perfection of himself and his players. His players were mainly part of the out-group. They did not appear to spend much time developing relationships and the leader-member exchange was not as high-quality as the leadership experienced by Coach K’s players. The dominant leadership style used by Coach Knight is the Authority-Compliance style. He is task oriented and is looking for results. He is not as concerned about the individual or establishing relationships. On the other hand Coach K is more interested in the relationships with his players. He wanted them to feel a part of his family. His leadership style is more Team Management. He is task oriented but the difference is he places almost equal importance on the interpersonal relationships established with his players. In studying both of these great basketball coaches, who were equally successful, I learned that great successes can be achieved with various leadership styles. The team’s winning records is only one type of success. The larger picture is how willing were the player’s to follow, support, defend, or even send their own son’s to be coached by either Coach Knight or Coach Krzyzewski. Coach Krzyzewski has his players’ universal approval and therefore he is the more effective leader.

Crash Essay Example | Topics and Well Written Essays - 250 words

Crash - Essay Example Hysteric Jean became suspicious of him because he also changes locks at the Persian shop owned by Farhad. They have a Mexican maid she trusts. Farhad had a break in at his shop, so he went with his daughter Dorri to buy a gun. He suspected Daniel, the locksmith, because they had a misunderstanding and he did not pay him for his last job. So found his address and tried to shoot him, but Daniel’s daughter jumps in-front of him. Luckily, the gun had no bullets, so no one is hurt. Police officers John Ryan and Tom Hanson work together. Hanson feels Ryan is racist so he wants to file a complaint but the boss refuses because they could both loose their jobs. Hanson gave Peter a lift one day but shoots him because he thought he had a gun, they then throw his body out on the street. Ryan calls his very sick fathers’ health insurance company for his medication but yells at the black customer service lady. Ryan pulls over film directors Cameron and Christine who get into a fight after she is inappropriately touched by Ryan and believes her husband should have stopped

Evolving Workplace Technologies Essay Example | Topics and Well Written Essays - 500 words

Evolving Workplace Technologies - Essay Example Due to worries the instant messaging, by its ease of initiating and participating in online conversations, contribute to a rise in interruption of tasks, the article investigates the association linking IM and interruption. While some scholars state that IM if used in a strategic manner, it may reduce interruptions, the study finds that the utilization of IM has no effect on extensive amounts of work communication. In contrast, the findings show that individuals who utilize IM at work report being less frequently interrupted than those who do not use IM. Besides, they get involved in most regular computer-mediated communication than non-users, encompassing work-associated and personal communication. McGuire, D., Todnem By, R., & Hutchings, K. ''Towards a model of human resource solutions for achieving intergenerational interaction in organizations.'' Journal of European industrial training, 31 (8), 592-608. Avoiding disputes and attaining inter-generational interaction is turning out to be difficult in workplaces with a mixture of generations. The article offers a model and suggests HR solutions aimed at achieving co-operative generational interaction. The article adopts Park's theory of race associations to discuss the uniqueness of generational work clusters and the challenges along with opportunities that such groups offer during interactions in firms. The paper establishes a research agenda for analyzing how different generations interact in the workplace and acknowledge the limitations of utilizing Park's theory.

First assignment to analyze energy problems Example | Topics and Well Written Essays - 500 words

First to analyze energy problems - Assignment Example But compared to nuclear fission, nuclear fusion process is extremely complicated and dangerous. Nuclear fusion requires extreme amounts of heat energy in order to fuse two small nuclei combine to form a single large nucleus. For example, in sun, two hydrogen nuclei combined to form a helium nucleus at a high temperature which resulted in the liberation of enormous amount of energy mainly in the form of hat and light. Sun’s interiors have high pressure and temperature so that fusion can take place easily in the sun. But â€Å"earthbound reactors cannot achieve such high pressures and temperatures of the sun’s interior†, which is the major challenge in conducting nuclear fusion on earth’s surface (National Academy of Engineering) Nuclear fusion can be placed only at the last place in the technology concept map considering the complexities and dangers associated with the process of nuclear fusion. The current nuclear reactors which are operating in some of the counties are handling temperatures of smaller amount when we compare it with the temperatures needed to operate a nuclear fusion reactor. The uncontrollable nature of nuclear energy seems to be the major villain in exploiting nuclear energy with the help of the fusion process. The major social issue associated with the exploitation of nuclear fusion energy is the possibility of huge disasters which can wipe off the entire living things from the earth. Till the technology developed to such a level that the possibility of a disaster becomes zero, it is not advisable to conduct even an experiment on the exploitation of energy from nuclear fusion. We have already witnessed the striking power of nuclear energy in Hiroshima and Nagasaki which is negligible when we compare it with the dimensions of a possible disaster that could be happened due to nuclear fusion process. It is a fact that we facing lot of social issues like terrorism, violence,

Business 4 Essay Example | Topics and Well Written Essays - 500 words

Business 4 - Essay Example The article also notes that key to using all the above powers is by sing them ethnically. This means that carefully applicability of powers where is does not oppress the powerless is welcome. Similarly, the article notes that personal power is negative while social power is positive. This implies that exercising individual power does not do good to serve the interest of the followers but instead portray those in power as authoritative and serving self-interest. Hence, those who best enjoy the power are those with social power. It works in favor of the followers contrary to satisfying the individual interest. The negativity of the personal power comes because it serves the interest of the holder at the expense of the majority. Because of all these, the article notes that power has a role to play in aligning the followers towards the mission they are expected to accomplish. Hence, the functional power sources includes control of critical resources as well as strategic contingencies. Moreover, the article shows that recognizing the symbols of both power and powerless is essential in diagnostic skills for managers. As a manager, one is expected to pay attentive to the subordinate or the followers by understanding their needs. This is important because it eases the administration duties and leading the mass. Similarly, recognizing followers and understanding their needs helps in building political skills that a leader or the person in power can use towards influencing them. Additionally, most organizations striving to excel have organizational politics that have become part of work life. Some portray political behaviors, which comprises of actions not sanctioned to influence others for personal goals. Therefore, it is the duty of a manager-to-manage organizational politics so that it does not derail the good work done by others who are focused and

Critique of an article Example | Topics and Well Written Essays - 500 words

Critique of an - Article Example In connection to this, the author clearly expounded on the two points in the text of his article as outlined in the introduction. The study was carried out to further expound on types of leadership styles that crop within self-managed teams. In achieving this, the author used individuals of almost the same age in the study in order to minimize errors as much as possible. The experimental method used in carrying out the study included 80 randomly selected students in 20 experimental groups (Solansky, 2008). Control variables were also used to represent possible variations. In addition, the information about the samples and what each sample was supposed to have was also provided in order to enhance the success of the experiment. The data collected was based on the observations the instructor made on each group as well as the surveys that were filled by team members. Additionally, analysis of variance was employed in testing leadership processes between teams practicing shared leadership and teams that depend on one leader (Solansky, 2008). All these methods provided detailed information that justified the hypotheses of the research. This was evidenced by the tables that were provided to show mean differences. The findings showed that teamwork enhances competence as well as transaction of ideas when leadership is shared. This was also evidenced in the text of the article as well as on the tables provided. The limitations of the research that was carried were also discussed because of the possible challenges associated with the laboratory environment on the samples. Among the challenges included the possibility of teams facing management problems as a result of controlling individuals with different perspectives. In addition to this, the use of a small sample was also a limitation to the study; it increased the likelihood of occurrence of many errors (Solansky, 2008). Apart from the conclusion of the article matching

Pen Pal Letter about Ballet Essay Example | Topics and Well Written Essays - 1000 words

Pen Pal Letter about Ballet - Essay Example However, during the reign of King Louis XIV is when Ballet made positive progress in French culture. The king always invited Ballet dancers to perform to him whenever he had a function not to forget the King himself performed ballet alongside with noblepersons. The contribution made by King Louis XIV towards development of ballet cannot be underestimated especially by him, establishing the first world’s ballet school (Academie Royale de danse currently known as Paris Opera) and was thus renamed as â€Å"The Sun King†. You might be wondering how King Louis XIV performed exemplary in Ballet dance. The person behind this is none other than Pierre Beauchamp, the guy behind the famous principle that each leg must be â€Å"turned-out†. Another question is how this type of dance found its way to Russia. The credit goes to two Frenchmen called Marius Petipa and Lev Ivanov who was his assistant who traveled to Russia back in the early 1840s and produced more than sixty ba llets. They choreographed three famous ballets namely; Nutcracker, Swan Lake, and Sleeping Beauty. Vaganova method- This method of ballet was developed by Agrippina Vaganova to train dancers on classical ballet. It integrates the romantic style of French ballet with dramatic soulfulness of the Russian character. Her contribution towards ballet made her famous dancers in the dancing history as well as being appointed as the director of Imperial Ballet School in Saints Petersberg. Vaganova method is regarded to be clean having precise moves.

A Background on Egypt Essay Example | Topics and Well Written Essays - 1500 words

A Background on Egypt - Essay Example From the study it is clear that Egypt occupies a strategic position as it is a bridge between two continents and links two chief waterways, the Indian Ocean and the Mediterranean Sea. Its position demands that it dominates its environment otherwise it suffers from the victimization of foreign powers. Egypt survival depends on the Nile River. Indeed, the majority of the country’s citizens live near along the river where the only arable land is found, an area of about 15, 000 square miles. As the discussion declares the country is also considered to be in a very strategic position politically since it’s at the epicenter of three circles. These are the Arab, the African, and the Islamic people. The country considers itself playing a vital role in Africa as it was a major advocate of nonalignment and neutralism. With its strategic position, Egypt remains an important part of major powers’ plan to reach the Arab world. In spite of the country’s unbalanced outcome of its two referendums and parliamentary elections, it experienced a free and fair election for a period of 10 months from November 2011. The country’s politics became a tool through which contentious issues could be settled. During the 2012 elections, twenty-nine parties and several independent candidates competed for the 498 seats available in the People’s Assembly. With the eight political parties that competed in the elections, the Islamists won at least 83 percent of the 18 0 available seats.

Research based behavior management system Paper

Based behavior management system - Research Paper Example Belvel (2010) argues that teachers should transit their roles from classroom managers to classroom leaders as the first step in adopting a new, better approach to classroom management. Before going any further, the importance of and need for classroom behavior management should perhaps be highlighted. According to Oliver & Reschley (2007), positive educational outcomes are better achieved in a trouble free environment. Climate of a classroom may not ensure the achievement of all educational goals, but it definitely helps in the process (Belvel, 2010). 1.1 Behavior Management in classroom Behavior management of students is today’s biggest challenge faced by teachers, especially at levels K 3-7(Partin, 2009). Teachers have the ability to influence student’s behavior both, positively as well as negatively (Partin, 2009). Research has shown that interventions in management strategies especially at K 5 and K 6 Level are very effective in behavior management and academic achievement is enhanced as a result (Abbott, et al; 2010). ... Changes need to be inducted in the teaching practices within classroom settings to ensure smooth running of any classroom (Abbott, et al; 2010). Belvel (2010) argues that teachers should transit their roles from classroom managers to classroom leaders as the first step in adopting a new, better approach to classroom management. Before going any further, the importance of and need for classroom behavior management should perhaps be highlighted. According to Oliver & Reschley (2007), positive educational outcomes are better achieved in a trouble free environment. Climate of a classroom may not ensure the achievement of all educational goals, but it definitely helps in the process (Belvel, 2010). 1.1 Behavior Management in classroom Behavior management of students is today’s biggest challenge faced by teachers, especially at levels K 3-7(Partin, 2009). Teachers have the ability to influence student’s behavior both, positively as well as negatively (Partin, 2009). Research has shown that interventions in management strategies especially at K 5 and K 6 Level are very effective in behavior management and academic achievement is enhanced as a result (Abbott, et al; 2010). 1.2 Reinforcement (and consequences) Research over the past few decades has shown clearly that reinforcement helps in maintaining class control, managing behavior of the students and yielding academic achievement (Porter, 1961; Hall, et al; 1968). Basic explanation of the process of reinforcement is one that follows a behavior, making the behavior more likely to occur again. Agents with whom reinforcement is brought about can be in many forms (Peters, 2010). Partin (2009) has suggested a hierarchy of reinforcers. The

Pride and Prejudice Essay Example for Free

Pride and Prejudice Essay Jane Austen’s novel Pride and Prejudice (1813) is believed to originate from the manuscript called First Impressions that have been written between 1796 and 1797. The initial title indicates that characters’ behavior and evaluations are influenced by their first impressions. The second title stresses the importance of such psychological traits and mechanisms as pride and prejudice. In a course of the novel personages change a lot so far as they understand that perfunctory attitudes and assessments are false when being devoid of knowledge of the context and understanding of an individual’s character. The present paper tackles upon analysis of Austen’s book as being researched through a lens of psychology. Contemporary science introduced the â€Å"social stereotypes† concept which significantly influences people’s interaction within a given social group. Among many other important contributions, the novel of interest teaches us to approach carefully decisions as related to our interpersonal acting and judgment of group members according to first impressions. The effects, dangers and consequences of premature evaluations as based on social stereotypes will be analysed with specific examples from the book. The novel under review is believed to be an example of psychological writing or novel of human relationships. As Sherry has acknowledged, the writer is always aware of â€Å"the presence of other individuals with whom it is either a duty or a pleasure to mix† (611). The very title of the book consists of two psychological concepts. The one of â€Å"pride† denotes a trait of character associated with high self-esteem. Another one of â€Å"prejudice† refers to a situation when a person makes decisions regardless of the context and relevant features of a case or individual. In regard to the issue of Austen’s psychologism, critic Bloom has cited Ian Watt, an important theorist of literature from Stanford University. The latter has claimed Austen to be the commenting narrator† in the sense that her â€Å"analyses of †¦ characters and their states of mind, and her ironical juxtaposition of motive and situation †¦ do not seem to come from an intrusive author but rather from some august and impersonal spirit of social and psychological understanding† (39). In his turn, another literary critic, Ryan, has defined Austen’s psychologism as an â€Å"experiment in schematic psychology† (33). The latter definition with its emphasis on the writer’s schematism in delineating people’s behavioral patterns and analyzing their internal and external drives seems to be really accurate, given the recent developments in psychological science. Just think of the plain statistics: in Austen’s text, there are 48 references to the phenomenon of â€Å"pride,† which is accessible through direct observation, but there are only 8 cases of mentioning the phenomenon of â€Å"prejudice,† which requires a deeper understanding of psychological mechanisms and social contexts. It seems that the writer lacks instruments and concepts to analyze human behavior at a deeper level but this is not Austen’s fault. Being unaware of any of the recent theories of social sciences, she nevertheless hits the very essence of the process that would later be called â€Å"social stereotyping. † Let us prove this hypothesis on the example of the â€Å"pride† concept. First time it is explained in Chapter 5 by Mary Bennet, the most earnest of the Bennets, who is interested in social theory. Upon the ball at which the local society has got acquainted with Fitzwilliam Darcy, the rich and handsome gentleman from London, women start discussing the newcomer and label him as being â€Å"eat up with pride† (Austen 25). On occasion, Mary has demonstrated her education, saying: Pride is a very common failing†¦ human nature is particularly prone to it, and †¦ there are very few of us who do not cherish a feeling of self-complacency on the score of some quality or other, real or imaginary. Vanity and pride are different things, though the words are often used synonymously. A person may be proud without being vain. Pride relates more to our opinion of ourselves, vanity to what we would have others think of us. (ibid. ) The validity of Mary’s (i. e. , Austen’s) remark has been acknowledged many decades afterwards by contemporary psychologists including Hunyady and Ryan. Whereas Mary Bennet operates the phrase â€Å"opinion of ourselves,† when referring to characteristics ascribed to the self by an individual, Ryan uses the term â€Å"self-ratings† (191), and Hunyady employs the term â€Å"self-image† (189). Both Mary (i. e. Austen) and modern scientists are aware of the complexity of perceptions as featured by the subject and members of the group. To proceed with comparison, whereas in the novel there is made a distinction between â€Å"pride† as a self-rating and â€Å"vanity† as the rating imposed by the community, Ryan speaks about the concept of â€Å"social stereotype. † The psychologist has ac knowledged that it consists of the two basic elements: â€Å"the perceived stereotypicality of a group (i. e. , the perceived extremity of the central tendency) and the perceived dispersion, or diversity, of group members† (191). This point is not Ryan’s unique invention. On the same issue, another social scientist, Hunyady, has stressed the duality of social processes as occurring both within the specific group and outside it. Observing the complexity of relationships in dynamic social contexts, Hunyady has emphasized the following: †¦ [T]he categories of persons and the related stereotypes do not stand on their own but rather are components of some kind of a system. †¦ [S]tereotypes are the mosaic pieces of a picture formed of the whole society. One not only gets to know his individual companions or groups of his companions but also tries to get a comprehensive view of the entire human world and of society, in which he and his fellows have a place and a more or less stable environment. (189) In other words, psychologists argue that in a process of exhibiting the new object to the social group, the behavior of group members in regard to this object is predicted by realistic group conflict theory and social cognition theories of social categorization. Every subject unit of the group obeys to a certain set of normative regulations. An individual does not function on his/her own but clearly fits into this or that community. Subsequently and inevitably, a person evaluates oneself according to the degree of membership, or the extent to which his/her ratings of the self, the group and social processes conform to the summated ratings of other people belonging to that group. As Ryan has indicated, there is a â€Å"central tendency,† or the core perception of the phenomenon that is agreed upon by all group members as being guided by a set of shared norms, and there are also deviations from the mainstream. The latter are allowed by those group subjects who are less inclined to stereotype the phenomena of life due to their intellect and character. Taking this conceptual framework into consideration, we should admit that the stages of the social stereotyping process are brilliantly revealed by Austen in Pride and Prejudice, albeit the narrator employs a simple, non-scientific language. There is a specific group in the countryside 19th century England whose members share the common regulations concerning people and events. The highest value is attributed to the upper class membership, wealth, and appearance. There is â€Å"the aura of a small, enclosed community of talking, visiting, and company† (Sherry 611) that confines every person to the specific role and place. In this social atmosphere, first impressions, which are based on the abovementioned features of appearance and sweet manners (i. e. , those which do not deviate from the central tendency), become the long-lasting tags for an individual. It is extremely difficult to overcome the sustainability of these immediately formed stereotypes. Since the very moment of his entry to the ball room, Fitzwilliam Darcy drew the group’s attention. He is a new person to the community, and at first sight he seems to be in accord with the shared set of norms so far as the man is high, good-looking and enjoys a substantial income of ten thousand a year. However, conforming to the stereotype of a â€Å"good man† in the sense of outlook and social position, Darcy becomes a breacher of discipline in terms of his relationships with other group members. Darcy is claimed â€Å"to be proud; to be above his company, and above being pleased; and not all his large estate in Derbyshire could then save him from having a most forbidding, disagreeable countenance† (Austen 14). The reason for such a shift in attitudes is the man’s denial of the spirit of companionship that is somewhat more important to the community than the characteristics of its individual subjects, however handsome and wealthy they are. The clue to understanding the first impression of Darcy is provided in the scene where young women are discussing him after the ball. Charlotte Lucas, the best friend of the second Bennets daughters Elizabeth, who is the main female personage of the story, justifies Darcy by the fact that his high self-rating is understandable so far as he possesses every feature admired within the group: His pride does not offend me so much as pride often does, because there is an excuse for it. One cannot wonder that so very fine a young man, with family, fortune, everything in his favour, should think highly of himself. If I may so express it, he has a right to be proud. (Austen 25) In other words, this is not the man’s high self-esteem that hurts the senses of the locals. His drawback tackles upon not the pardonable attitude of pride but the regrettable vanity, or the overt negligence of the shared persuasion that the given social group is the best environment for any dignified individual. Regarding the eagerness to enter the local community and borrow its toolkit of stereotypes, Darcy represents a sharp contrast to an amiable young officer, Mr. Wickham. The latter is as handsome as the former but is more eagerly accepted by the group so far as he gladly steps into social intercourses with every member of the circle. As the personage himself has confessed, â€Å"I have been a disappointed man, and my spirits will not bear solitude. I must have employment and society† (Austen 98). This weakness and lack of the so to say inner rod is initially perceived as a virtue by group members. Austen’s mastery is made evident in the scenes documenting the usual intercourse between group members so that the reader can get impression of the relationships permeating the group atmosphere and learn the principles which back up the social stereotypes of that time. To make a clue to her heroes’ characters, the writer provides short explanations of the people’s psychological background. People and events are evaluated by many people who exchange remarks on the issue of interest, although Austen takes a particular interest in the phenomena as perceived through the eyes of Elizabeth Bennet. This is a beautiful and intelligent young lady of 20 years old who displays â€Å"a lively, playful disposition, which delighted in anything ridiculous† (Austen 16). She deserves the reader’s appreciation, demonstrating â€Å"more quickness of observation and less pliancy of temper than her sister, and †¦ a judgement too unassailed by any attention to herself† (Austen 20). Due to her intellect and sociable yet a bit absent-minded character, Elizabeth exhibits the perfect ability to deviate from the central tendency in her assessments and evaluations of life matters. The second of Bennet’s daughters is obviously the only group member who could have appreciated Darcy’s ability to let the world slide, if not for the case of personal injustice. She cannot forget the pain that has been caused to her own self-esteem. The thing is that Elizabeth has heard the handsome newcomer admitting that she is not enough beautiful to dance with. The remark is enough for the young lady to start detesting the offender to her pride. As Elizabeth herself has stated, â€Å"I could easily forgive his pride, if he had not mortified mine† (Austen 25). The first impression of Darcy’s rudeness at the ball is driven by the clash of self-esteems, and negative perceptions color the young lady’s further conceptualization of the hero up to the very moment when he reveals his love toward her in Chapter 34. The futility of first impressions is demonstrated through the description of Elizabeth’s relationships with Darcy and Wickham as well as her understanding of Bingley’s character. As it has been stated earlier, all three men fit the shared group’s concept of â€Å"an appropriate gentleman† in terms of their looks and wealth, albeit Wickham is not as rich as the other two men and pretends to be a man who is unjustly insulted. He pretends to be modest and good-hearted when he says, â€Å"I have no right to give my opinion† or â€Å"I am not qualified to form one† (Austen 96) in regard to Darcy’s background, and immediately afterwards he does his best to ruin Fitzwilliam’s reputation. All Wickham’s envy of Darcy is demonstrated in the following characterization: â€Å"The world is blinded by his fortune and consequence, or frightened by his high and imposing manners, and sees him only as he chooses to be seen† (Austen 97). The remark provides the reader with a hint concerning Darcy’s manner of functioning within the upper class social circle. Among this threesome with Bingley being superficial and Wickham being villainous, Darcy is the only person to be criticized for the lack of that â€Å"agreeable manner† that Wickham demonstrates speaking even about insignificant matters. The intelligent and kind-hearted Lizzy cannot but â€Å"feel that the commonest, dullest, most threadbare topic might be rendered interesting by the skill of the speaker† (Austen 94) when she socialized with Wickham, whereas Darcy’s brisk and unwilling manner of speaking makes the young lady feel uncomfortable. This is true that being compared to his friend Bingley or his rivalry Wickham, Darcy is not the object to readily fall in love and admiration with. He dances only with the two selected ladies and neglects the rest. This manner is regarded an offense to the aura of amiability, and he abstains from the social chit-chat. Besides this gentleman directly expresses his opinions of other people instead of camouflaging them under the veil of behind-the-back gossip. This personage makes it too clear that the local society is â€Å"a collection of people in whom there was little beauty and no fashion, for none of whom he had felt the smallest interest, and from none received either attention or pleasure† (Austen 22). He reveals indignation, boredom, or sarcasm in the situations when other men pretend to be pleased and amused. Judging from first impressions, Charles Bingley is more favored by the locals since he treats them as the nicest people he has ever met. In his turn, Wickham’s reputation is based on the assumption that Darcy has devoid him of wealth, which puts the two men in the positions of a victim and an offender. This is only throughout a course of the plot development that the narrator makes clear that Bingley’s sociality is explained by superficiality, and Wickham is a cheater who has attempted to seduce Darcy’s younger sister. Utilizing the theories of social categorization, one may say that Wickham has been admitted to the local group more easily than Darcy because the former has readily belittled his self-rating in public conversations and demonstrated the greater extent of willingness to share the pre-established social regulations of the given group. Being compared to the sweet Mr. Bingley’s behavior, Darcy’s behavioral pattern is rooted in the wider cognitive scope and finer spiritual development. The latter is strong enough to disregard the central tendency as it exists in the given group. Being cleverer than his friend Mr. Bingley, who has managed to become the crowd puller, Darcy falls into the sin that is not pride per se but rather vanity. The local society would gladly accept him as the most important person if he had been willing to put himself on one leg so to say with other group members. It is only in Chapter 10 when the narrator lets readers learn more about Darcy’s understanding of pride and related concepts. In public opinion, his high self-esteem is a manifestation of haughtiness, whereas Wickham’s seemingly low self-rating is a sign of appropriateness as shown through humility. In his turn, Darcy detests â€Å"the appearance of humility† that is genuinely the â€Å"carelessness of opinion, and sometimes an indirect boast† (Austen 60). Contemporary psychologists would call Darcy’s conceptualizations of â€Å"pride,† â€Å"humility,† and â€Å"boast† as being driven by functional utility of human behavior. According to this hero, this is inappropriate to put down one’s self-esteem just for the sake of being praised by other group members. Throughout the novel this personage remains the vivid example of a person who shares certain believes common to the central tendency of stereotypicality but reveals energy to display also diversity in his ratings of the self and other people. The complexity and dynamism of social stereotypes is shown through Darcy’s and Elizabeth’s attitudes to each other. Whereas Lizzy’s stereotypes in regard to the man remain sort of frozen for a while under the man’s â€Å"satirical eye† (Austen 30), Darcy is being engaged into the fast proceeding process, in a course of which he changes the initial perception of the young lady. The narrator specifies Darcy’s turn toward re-evaluating Lizzy Bennet as follows: But no sooner had he made it clear to himself and his friends that she hardly had a good feature in her face, than he began to find it was rendered uncommonly intelligent by the beautiful expression of her dark eyes. To this discovery succeeded some others equally mortifying. Though he had detected with a critical eye more than one failure of perfect symmetry in her form, he was forced to acknowledge her figure to be light and pleasing; and in spite of his asserting that her manners were not those of the fashionable world, he was caught by their easy playfulness. Austen 29) In other words, Darcy’s first rejection of the second daughter of Bennets has been caused by the incongruity between Elizabeth’s outlook and his own classical perception of beauty as a reckless symmetry of forms and elements. It is clear that the gentleman has initially been blinded by both his personal and group set of stereotypes that required women to conform to certain standards. Elizabeth does not seem to be classically beautiful, and her gaiety during the first meeting has poked the man away as a manifestation of social inappropriateness.

Effective teachers Essay Example for Free

Effective teachers Essay I. The Power of an Effective Teacher and Why We Should Assess It This is the value of the teacher, who looks at a face and says theres something behind that and I want to reach that person, I want to influence that person, I want to encourage that person, I want to enrich, I want to call out that person who is behind that face, behind that colour, behind that language, behind that tradition, behind that culture. I believe you can do it. I know what was done for me. The transformative power of an effective teacher is something almost all of us have experienced and understand on a personal level. If we were particularly fortunate, we had numerous exceptional teachers who made school an exciting and interesting place. Those teachers possessed a passion for the subjects that they taught and genuine care for the students with whom they worked. They inspired us to play with ideas, think deeply about the subject matter, take on more challenging work, and even pursue careers in a particular field of study. Some exceptional teachers achieve celebrity status, such as Jaime Escalante, the math teacher who inspired the film Stand and Deliver, but thousands of unsung heroes go unrecognized in their remarkable work with students on a daily basis. ? II. Qualities of an Effective teacher Think back to when you were in school. Who was your favourite teacher? Who was the teacher you dreaded having? Almost everyone will instantly be able to answer these two questions. We’ve all had terrific teachers and, unfortunately, most of us have had teachers that were not effective. So what qualities does an effective teacher have that an ineffective teacher does not? The answer is that it takes a perfect blend of several qualities to create a truly effective teacher who can have a lasting impact on virtually every student. In this article, we examine ten qualities that virtually every effective teacher will possess. a)An effective teacher loves to teach. The single most important quality that every teacher should possess is a love and passion for teaching young people. Unfortunately, there are teachers who do not love what they do. This  single factor can destroy a teacher’s effectiveness quicker than anything else. Teachers who do not enjoy their job cannot possibly be effective day in and day out. There are too many discouraging factors associated with teaching that is difficult enough on a teacher who absolutely loves what they do, much less on one who doesn’t have the drive, passion, or enthusiasm for it. On top of that, kids are smarter than what we give them credit for. They will spot a phony quicker than anyone and thus destroy any credibility that the teacher may have. b)An effective teacher demonstrates a caring attitude. Even teachers who love their job can struggle in this area, not because they don’t care, but because they get caught up so much in the day to day routine of teaching that they can forget that their students have lives outside of school. Taking the time to get to know a student on a personal level takes a lot of time and dedication. There is also a line that no teacher wants to cross where their relationship becomes too personal. Elite teachers know how to balance this without crossing that line and once a student believes the teacher truly cares for them, then there is no limit to what that student can achieve. c)An effective teacher can relate to his or her students. The best teachers work hard to figure out how to relate to each of their students. Common interest can be hard to find, but exceptional teachers will find a way to connect with their students even if they have to fake it. For instance, you may have a student who is a Lego fanatic. You can relate to that student if you do something as simple as ordering a Lego catalogue and then going through it and discussing it with that student. Even if you have no actual interest in Lego’s, the student will think you do and thus naturally create a connection. d)An effective teacher is willing to think outside the box. There is no one set cookie cutter way to teach. A cookie cutter approach would likely be boring for both teachers and students. What makes teaching so exciting is that kids learn differently, and we have to find and utilize different strategies and differentiated learning to reach every student. What works for one student, will not work for every student. Teachers have to be willing to be creative and adaptive in their lessons, thinking outside the box on a continual basis. If you try to teach every concept in the same manner, there will be students who miss out on key factors because they aren’t wired to learn that way. e)An effective teacher is an excellent communicator. To be the best possible teacher you must be an effective communicator. However, in this area you are not just limited to being a skilled communicator to your students although that is a must. You must also be a strong communicator with parents of your students as well as your faculty/staff team within in your building. If you have a difficulty communicating with any of these three groups, then you limit your overall effectiveness as a teacher. f)An effective teacher is proactive rather than reactive. This can be one of most difficult aspects for a teacher to conquer. Intense planning and organization can ultimately make your job all the more less difficult. Teachers who plan ahead, looking for aspects that they might have issues with, and proactively looking for solutions to solve those problems will have less stress on them, than those teachers who wait until a problem arises and then tries to address it. Being proactive does not replace being adaptive. No matter how well you plan, there will be surprises. However, being proactive can cut down on these surprises tremendously, thus making you more effective overall. g)An effective teacher strives to be better. A teacher who has grown complacent in what they do is the most ineffective kind of teacher. Any teacher who is not looking for new and better teaching strategies isn’t being an effective teacher. No matter how long you have taught, you should always want to grow as a teacher. Every year there is new research, new technology, and new educational tools that could make you a better teacher. Seek out professional development opportunities and try to apply something new to your class every year. h)An effective teacher uses a variety of media in their lessons. Like it or not we are in the 21st century, and this generation of students was born in the digital age. These students have been bombarded by technological advances unlike any other generation. They have embraced it, and if we as teachers do not, then we are falling behind. This is not to say that we should eliminate textbooks and worksheets completely, but effective teachers are not afraid to implement other forms of media within their lessons. i)An effective teacher challenges their students. The most effective teachers, are often the ones that many students think are the most difficult. This is because they challenge their students and push them harder than the average teacher does. These are the teachers who are often students’ least favourite teachers at the time, but then later on in life they are the ones that we all remember and want to thank, because of how well they prepared us for life after our time with them. Being an effective teacher does not mean you are easy. It means that you challenge every one of your students and maximize your time with them so that they learn more than they ever thought they could learn. j)An effective teacher understands the content that they teach and knows how to explain that content in a manner that their students understand. There are teachers who do not know the content well enough to effectively teach it. There are teachers who are truly experts on the content, but struggle to effectively explain it to their students. The highly effective teacher both understands the content and explains it on level. This can be a difficult skill to accomplish, but the teachers who can, maximize their effectiveness as a teacher. III. Effective teaching strategies Six keys to classroom Excel a) Interest and explanation – â€Å"When our interest is aroused in something, whether it is an academic subject or a hobby, we enjoy working hard at it. We come to feel that we can in some way own it and use it to make sense of the world around us. † (p. 98). Coupled with the need to establish the relevance of content, instructors need to craft explanations that enable students to understand the material. This involves knowing what students understand and then forging connections between what is known and what is new. b) Concern and respect for students and student learning – Rams den starts with the negative about which he is assertive and unequivocal. â€Å"Truly awful teaching in higher education is most often revealed by a sheer lack of interest in and compassion for students and student learning. It repeatedly displays the classic symptom of making a subject seem more demanding than it actually is. Some people may get pleasure from this kind of masquerade. They are teaching very badly if they do. Good teaching is nothing to do with making things hard. It is nothing to do with frightening students. It is everything to do with benevolence and humility; it always tries to help students feel that a subject can be mastered; it encourages them to try things out for themselves and succeed at something quickly. † (p. 98) c) Appropriate assessment and feedback – This principle involves using a variety of assessment techniques and allowing students to demonstrate their mastery of the material in different ways. It avoids those assessment methods that encourage students to memorize and regurgitate. It recognizes the power of feedback to motivate more effort to learn. d)Clear goals and intellectual challenge – Effective teachers set high standards for students. They also articulate clear goals. Students should know up front what they will learn and what they will be expected to do with what they know. e)Independence, control and active engagement – â€Å"Good teaching fosters [a] sense of student control over learning and interest in the subject matter. † (p. 100). Good teachers create learning tasks appropriate to the student’s level of understanding. They also recognize the uniqueness of individual learners and avoid the temptation to impose â€Å"mass production† standards that treat all learners as if they were exactly the same. â€Å"It is worth stressing that we know that students who experience teaching of the kind that permits control by the learner not only learn better, but that they enjoy learning more. † (p. 102. ) f)Learning from students – â€Å"Effective teaching refuses to take its effect on students for granted. It sees the relation between teaching and learning as problematic, uncertain and relative. Good teaching is open to change: it involves constantly trying to find out what the effects of instruction are on learning, and modifying the instruction in the light of the evidence collected. † ?

The Perspective Of Reception Aesthetics English Language Essay

The Perspective Of Reception Aesthetics English Language Essay Mao Zedong(1893-1976), who led the Chinese people to have obtained liberation and independence and established their own country, is a great leader, a distinguished statesman, a prominent thinker and a famous strategist. He is loved and respected by the Chinese people. However, at the same time, his fame as a poet is incontrovertible. Willis Barnstone, Professor of Comparative Literature at Indiana University in Bloomington, considers Mao Zedong an original master, one of Chinas most important poets (He Qixin, 1992:8). His poems, a crystallization of politics, history, military affairs, philosophy and art, upholds and represents the advanced Chinese culture. And his poems are cherished as a gleaming gem in Chinese contemporary literature. Zang Kejia once commented on Maos poems like this, His poems open up a new realm for Chinese classical poetry and reach the peak of modern poetry.(Lv Zuyin, 2007) Considering the highly artistic, idealistic and cultural value of Maos poetry, it is of great significance to work on its translation and the study of existing translations so as to improve their quality, guide future translation and expand the influence of Chinese poetry and culture. However, in fact, the study of English translation of Maos poetry has lagged far behind the study of Maos poetry itself. And these studies have mainly focused on the roles of the translator and the translated versions from the perspective of deconstruction. The former study analyzes the translators roles as a reader, a decision-maker and as a writer in the process of translation, and as a cultural mediator in cultural turn. It demonstrates the significance of translators roles more clearly and forcefully. The latter analyzes the ideological content in different English versions of Mao Zedongs poems. It reveals that translation is a dynamic rather than a static process under the constant influence of different ideologies. Until recent years, under the free atmosphere in the academic study, great changes have taken place in the study of Mao Zedongs poetry. The aesthetic study has achieved a great many results from the multi-level or multi-angle aspects, moreover, the linguistic features or the aesthetic features have been covered as well as the humanistic study. However, the aesthetic study of Mao Zedongs poetry has less referred from the formal and the rhetoric perspective, thus this thesis is just an attempt to the field. To present a clear account of this research, here is the outline of this thesis: The introduction briefs the writing motive of this thesis; Chapter Two reviews Reception Aesthetics theory and its core concepts, as well as feasibility studies for the translations of Mao Zedongs poems with RA; Chapter Three reproduces formal beauty and rhetorical beauty of Mao Zedongs poems; Chapter Four is a comparative study of how the construction, rhymes, rhythms and rhetoric of Maos poems are reproduced and refreshed in the four English versions (Oxford version, The official version, Zhao Zhentaos version and Xu Yuanchongs version); Chapter Five makes a summary of the comparison and discusses the losses and gains in Maos poetry translation and analyzes the reasons. The conclusion sums up the whole thesis. Chapter One Introduction to Maos Poetry and Its Four Selected English Versions 1.1 Introduction to Mao Zedongs Poetry In Maos lifetime, he wrote 67 poems altogether. Among them, 42 poems were revised and agreed by him to publish finally during his life. While another 25 poems were released to the public after his death. The writing of Maos poetry is closely related with his living background, as well as the modern history of China and the world. So, only carefully study the history background and the concrete processes of many great events, as well as Maos experience, thoughts, character and mentality, we can reveal the rich and deep connotation of Maos poems. Style of poetry refers to poems characteristics and personality of some poet. All good poems have their own styles, and all poems by famous poets have their own styles, so do Maos poems. Just as Mao Anqing had commented his father Father is a man of affectionate nature. When his emotions exalt to poems, his poems find their lives. No matter grief and joy, or vulgarism and elegance, all rest his feelings on poeple. So, to read his poems is to know him. (Xu Yuanchong, 1993:3). Thus Mao composed his poems with his whole heart and the living background. Besides, Mao likes reading and studying classical Chinese poetry, discussing about poems and arts with poets and scholars, and enjoys summarizing his poem creative experience to form his unique characteristics. 1.1.1 Profound Ideological Contents As mentioned above, the number of Maos poems is small. But each of them is full of luxuriant imagery, profound meaning and philosophy. Meanwhile, covering various themes like nature, society and life, these poems are rich in epochal character and combativeness, and always encourage people to pursuit higher target. In order to study, the 42 poems can be divided into four groups according to diachronic: The first group has 4 poems created from the founding of the Chinese Communist Party to First Great Revolution (April 1918-July 1927). Changsha, tune: Spring in a Pleasure Garden'(à £Ã¢â€š ¬Ã…  Ãƒ ¦Ã‚ ²Ã‚ Ãƒ ¥Ã¢â‚¬ ºÃ‚ ­Ãƒ ¦Ã‹Å" ¥Ã‚ ·Ãƒ ©Ã¢â‚¬ ¢Ã‚ ¿Ãƒ ¦Ã‚ ²Ã¢â€ž ¢Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹) is a good example. These poems are Maos youth work, which are slightly inferior to later ones. But they are also very inspiring for their lofty spirits and soaring determinations. The second group has 16 poems created from the Agrarian Revolution and the Anti-Japanese War ( August 1927-August 1945), like The Autumn Harvest Uprising, Tune: the Moon over the West River' (à £Ã¢â€š ¬Ã…  Ãƒ ¨Ã‚ ¥Ã‚ ¿Ãƒ ¦Ã‚ ±Ã… ¸Ãƒ ¦Ã…“ˆÂ ·Ãƒ §Ã¢â‚¬ ¹Ãƒ ¦Ã¢â‚¬ Ã‚ ¶Ãƒ ¨Ã‚ µÃ‚ ·Ãƒ ¤Ã‚ ¹Ã¢â‚¬ °Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹), Mount Jinggang, Tune: the Moon over the West River' (à £Ã¢â€š ¬Ã…  Ãƒ ¨Ã‚ ¥Ã‚ ¿Ãƒ ¦Ã‚ ±Ã… ¸Ãƒ ¦Ã…“ˆÂ ·Ãƒ ¤Ã‚ ºÃ¢â‚¬ ¢Ãƒ ¥Ã¢â‚¬  Ã‹â€ Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹)etc. This period is a prolific period in Maos life. Recording the most difficult historical period of the Chinese revolution, the poems are ingeniously conceived with great subjetcs and full of lofty revolutionary heroism and optimistic spirits. The third group has 2 poems created during the War of Liberation (September 1945- September 1949), like Capture of Nanjing by the Peoples Liberation Army(à £Ã¢â€š ¬Ã…  Ãƒ ¤Ã‚ ¸Ã†â€™Ãƒ ¥Ã‚ ¾Ã¢â‚¬ ¹Ã‚ ·Ãƒ ¤Ã‚ ºÃ‚ ºÃƒ ¦Ã‚ °Ã¢â‚¬ËœÃƒ ¨Ã‚ £Ãƒ ¦Ã¢â‚¬ Ã‚ ¾Ãƒ ¥Ã¢â‚¬  Ã¢â‚¬ ºÃƒ ¥Ã‚ Ã‚  Ãƒ ©Ã‚ ¢Ã¢â‚¬  Ãƒ ¥Ã‚ -à ¤Ã‚ ºÃ‚ ¬Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹) etc. Though the number of poems is small, they were written before the victory of the Chinese revolution, with strong actuality, magnificent style and clear attitude. The last group has 20 poems created with the perspective in Maos poems from revolution to socialist transformation and construction, after the founding of Peoples Republic of China in 1949, like Swimming, Tune: Prelude to the Melody of Water' (à £Ã¢â€š ¬Ã…  Ãƒ ¦Ã‚ °Ã‚ ´Ãƒ ¨Ã‚ °Ã†â€™Ãƒ ¦Ã‚ ­Ã…’à ¥Ã‚ ¤Ã‚ ´Ã‚ ·Ãƒ ¦Ã‚ ¸Ã‚ ¸Ãƒ ¦Ã‚ ³Ã‚ ³Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹) and so on. The poems have quite a new approach to the subjects with enterprising spirit, more allusions and humorous language, which are rich in romantic color and high artistry. However, according to synchronism, Maos poems can be divided into three groups: The first group concentrates to describe natural scenery, such as Changsha, tune: Spring in a Pleasure Garden'(à £Ã¢â€š ¬Ã…  Ãƒ ¦Ã‚ ²Ã‚ Ãƒ ¥Ã¢â‚¬ ºÃ‚ ­Ãƒ ¦Ã‹Å" ¥Ã‚ ·Ãƒ ©Ã¢â‚¬ ¢Ã‚ ¿Ãƒ ¦Ã‚ ²Ã¢â€ž ¢Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹), the Yellow Crane Tower, Tune: Buddhist Dancers' (à £Ã¢â€š ¬Ã…  Ãƒ ¨Ã‚ Ã‚ ©Ãƒ ¨Ã‚ Ã‚ ¨Ãƒ ¨Ã¢â‚¬ ºÃ‚ ®Ã‚ ·Ãƒ ©Ã‚ »Ã¢â‚¬Å¾Ãƒ ©Ã‚ ¹Ã‚ ¤Ãƒ ¦Ã‚ ¥Ã‚ ¼Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹) etc. These poems exhibit magnificence of natural scenes and extol the life of nature. The second group mainly describes society and history, such as Mount Jinggang, Tune: the Moon over the West River' (à £Ã¢â€š ¬Ã…  Ãƒ ¨Ã‚ ¥Ã‚ ¿Ãƒ ¦Ã‚ ±Ã… ¸Ãƒ ¦Ã…“ˆÂ ·Ãƒ ¤Ã‚ ºÃ¢â‚¬ ¢Ãƒ ¥Ã¢â‚¬  Ã‹â€ Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹) and two tunes of Pride of Fishermen(à £Ã¢â€š ¬Ã…  Ãƒ ¦Ã‚ ¸Ã¢â‚¬ Ãƒ ¥Ã‚ ®Ã‚ ¶Ãƒ ¥Ã¢â‚¬Å¡Ã‚ ²Ãƒ £Ã¢â€š ¬Ã¢â‚¬ ¹) and so on. These poems pay attention to describe the fighting of peoples army and the historical changes of whole society. And the last group mainly describes life and love, such as Seeing Luo Zhanglong off to Japan(à £Ã¢â€š ¬Ã…  Ãƒ ¤Ã‚ ¸Ã†â€™Ãƒ ¥Ã‚ Ã‚ ¤Ã‚ ·Ãƒ ©Ã¢â€š ¬Ã‚ Ãƒ §Ã‚ ºÃ‚ µÃƒ ¥Ã‚ ®Ã¢â‚¬ ¡Ãƒ ¤Ã‚ ¸Ã¢â€š ¬Ãƒ ©Ã†â€™Ã… ½Ãƒ ¤Ã‚ ¸Ã…“à ¨Ã‚ ¡Ã…’à £Ã¢â€š ¬Ã¢â‚¬ ¹). These poems show the poet has the experience of death and parting, and even loneliness as normal people. In a word, no matter how classify, no matter how length it is, Maos poems create an absorbing poetic imagery with wonderful design, rich ideas and sentiments, and are good at expressing the complicated historical causes with terse language. Distinct Artistic Style Style is the unique spiritual temperament and creative personality showed in writers own works by themselves. It runs through all works of a writer, as well as every writings theme which composes the work, such as rhyme, rhythm, diction, rhetorical devices, and text structure and so on. Therefore, style is the writer (Buffon ¼Ã…’1753). Maos poetry is full of candid and vigorous artistic style. First, from the internality of poetry, Mao likes Li Bai, Li He and Li Shangyin (known as Three Li) very much, and is in especial love of poetry by Cao Cao. Their poems are full of broad minds and high aspirations, which strike a chord in Mao Zedong, for passion is the emotional characteristic in Maos life. Mao also said only writing out the writers own bosom and sentiment in poems, it can strike a responsive chord in readers and make them excited. (à ¥Ã‹â€ Ã‹Å"à ¦Ã‚ ±Ã¢â‚¬ °Ãƒ ¦Ã‚ °Ã¢â‚¬ËœÃ‚ ¼Ã…’2002:19). Second, from the styles of poetry, Mao pursuits the styles of diligence, fortitude, largeness and boldness. He once said I prefer Cao Caos poems, with powerful spirits and grieving feelings, which shows him a true man. (à ¦Ã‹Å"â€Å"à ¥Ã‚ ­Ã… ¸Ãƒ ©Ã¢â‚¬  Ã¢â‚¬ ¡Ã‚ ¼Ã…’à ¦Ã‹Å"â€Å"à §Ã‚ »Ã‚ ´Ã‚ ¼Ã…’2003 ¼Ã… ¡67). Mao also said Li Bais poems are unconstrained and imaginable, which make people relaxed and happy. So, reading Li Bais poems more could make readers open th eir minds. (à ¥Ã‹â€ Ã‹Å"à ¦Ã‚ ±Ã¢â‚¬ °Ãƒ ¦Ã‚ °Ã¢â‚¬ËœÃ‚ ¼Ã…’2002:191). In all, the spirits of vigor, perseverance and self-reliance in these poems tally with Maos poetic features well. Third, from the expressions of poetry, Mao likes romantic works with rich imagination and usages of exaggeration and personification. So, Mao admires the famous poet Su Dongpo of powerful and free school in Song Dynasty very much, as well as the famous poetess Li Qingzhao of subtle and concise school. Therefore, Maos poems have characteristics of the two schools, just as he criticized himself I has a bias in favor of the style of boldness, but never totally ignore the style of gracefulness (à ¥Ã‚ ¾Ã‚ Ãƒ ¦Ã‚ ¶Ã¢â‚¬ ºÃ‚ ¼Ã…’1955:413). 1.1.3 Magnificent Imagery Just like other classical Chinese poems, Maos poems are tending to use various images. Mao even showed his attitude toward poetry creation in a letter to Chen Yi that poetry conveys ideas by means of images. First, on images, Mao usually expresses feelings by nature, which makes the image great and magnificent. The most used word in his poems is à ¥Ã‚ ¤Ã‚ ©(sky), such as à ¥Ã‚ ¤Ã‚ ©Ãƒ ¨Ã¢â‚¬ ¹Ã‚ ¥Ãƒ ¦Ã…“†°Ãƒ ¦Ã†â€™Ã¢â‚¬ ¦Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ ¤Ã‚ ºÃ‚ ¦Ãƒ ¨Ã¢â€š ¬Ã‚ , à ¤Ã‚ ¸Ã¢â‚¬ ¡Ãƒ §Ã‚ ±Ã‚ »Ãƒ ©Ã…“Å“Ã ¥Ã‚ ¤Ã‚ ©Ãƒ §Ã‚ «Ã… ¾Ãƒ ¨Ã¢â‚¬ ¡Ã‚ ªÃƒ §Ã¢â‚¬ Ã‚ ±, à ¤Ã‚ ¸Ã¢â‚¬ ¡Ãƒ ¦Ã…“ ¨Ãƒ ©Ã…“Å“Ã ¥Ã‚ ¤Ã‚ ©Ãƒ §Ã‚ ºÃ‚ ¢Ãƒ §Ã†â€™Ã¢â‚¬Å¡Ãƒ ¦Ã‚ ¼Ã‚ « and so on. à ¥Ã‚ ±Ã‚ ±(mountain) and à ©Ã‚ £Ã… ½(wind) are second, like à ¨Ã‚ ¸Ã‚ Ãƒ ©Ã‚ Ã‚ Ãƒ ©Ã‚ Ã¢â‚¬â„¢Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ ¤Ã‚ ºÃ‚ ºÃƒ ¦Ã…“ ªÃƒ ¨Ã¢â€š ¬Ã‚ , à ¥Ã‚ ±Ã‚ ±Ã‚ ¼Ã…’à ¥Ã‚ ¿Ã‚ «Ãƒ ©Ã‚ ©Ã‚ ¬Ãƒ ¥Ã…  Ã‚  Ãƒ ©Ã… ¾Ã‚ ­Ãƒ ¦Ã…“ ªÃƒ ¤Ã‚ ¸Ã¢â‚¬ ¹Ãƒ ©Ã… ¾Ã‚ , à ¤Ã‚ ¸Ã¢â‚¬ ¡Ãƒ ¦Ã‚ °Ã‚ ´Ãƒ ¥Ã‚ Ã†â€™Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ ¥Ã‚ Ã‚ ªÃƒ §Ã‚ ­Ã¢â‚¬ °Ãƒ ©- ², à ¨Ã‚ Ãƒ §Ã¢â‚¬ËœÃ… ¸Ãƒ §Ã¢â‚¬ ¹Ãƒ ©Ã‚ £Ã… ½Ãƒ ¤Ã‚ »Ã…  Ãƒ ¥Ã‚ Ã‹â€ Ãƒ ¦Ã‹Å" ¯Ã‚ ¼Ã…’à ¦Ã‚ Ã‚ ¢Ãƒ ¤Ã‚ ºÃ¢â‚¬  Ãƒ ¤Ã‚ ºÃ‚ ºÃƒ ©- ´. à ¦Ã‚ ±Ã… ¸(river), à ¦Ã‚ °Ã‚ ´(water) and à ¦Ã‚ µÃ‚ ·(sea) are third. Consequently, Mao prefers things with imposing vigor, but never uses à ¤Ã‚ ¸Ã‹Å"à ¥Ã‚ £Ã¢â‚¬Ëœ(hill), à ¥Ã‚ °Ã‚ Ãƒ ¦Ã‚ ºÃ‚ ª(stream), à ¥Ã‚ °Ã‚ Ãƒ ¦Ã‚ ²Ã‚ ³(creek). Besides, Mao also prefers snow, rain, wind and frost in nature. According to statistics, there are 12 à ©Ã¢â‚¬ ºÃ‚ ¨(rain), 13 à ©Ã¢â‚¬ ºÃ‚ ª(snow) and 8 à ©Ã…“Å“(frost) in Maos poems. In term of à ¥Ã‚ ¤Ã‚ ©(sky), Maos usage is different from the ancients. à ¥Ã‚ ¤Ã‚ ©(sky) in classical Chinese poetry mostly mapped a gloomy and mournful image, for example, à ¥Ã‚ ¤Ã‚ ©Ãƒ ©Ã¢â‚¬ ¢Ã‚ ¿Ãƒ ¥Ã…“ °Ãƒ ¨Ã‚ ¿Ã…“à ©Ã‚ ­Ã¢â‚¬Å¡Ãƒ ©Ã‚ £Ã… ¾Ãƒ ¨Ã¢â‚¬ ¹Ã‚ ¦Ã‚ ¼Ã…’à ¨Ã¢â‚¬â„¢Ã¢â€ž ¢Ãƒ ¦Ã‚ ·Ã‚ ·Ãƒ ¤Ã‚ ¸Ã‚ Ãƒ ¥Ã‹â€ Ã‚ °Ãƒ ¥Ã¢â‚¬ ¦Ã‚ ³Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ ©Ã… ¡Ã‚ ¾, à ¦Ã‹â€ Ã¢â‚¬ËœÃƒ ¥Ã…  Ã‚ Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ ¥Ã¢â‚¬ ¦Ã‚ ¬Ãƒ ©Ã¢â‚¬ ¡Ã‚ Ãƒ ¦Ã…  -à ¦Ã¢â‚¬Å"Ã… ¾, à ©Ã¢â‚¬ ºÃ‚ Ãƒ ©Ã‚ £Ã… ¾Ãƒ ¦Ã‚ ®Ã¢â‚¬ ¹Ãƒ ¦Ã…“ˆÃ ¥Ã‚ ¤Ã‚ ©, à ¥Ã‚ ¤Ã… ¡Ãƒ ¥Ã‚ °Ã¢â‚¬ËœÃƒ ¦Ã… ¡-à ¦Ã¢â‚¬ žÂ Ãƒ ¥Ã‚ ¯Ã¢â‚¬  Ãƒ ¦Ã¢â‚¬Å¾Ã‚ Ã‚ ¼Ã…’à ¥Ã¢â‚¬ Ã‚ ¯Ãƒ ¦Ã…“†°Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ §Ã… ¸Ã‚ ¥ or à ¤Ã‚ ¸Ã¢â‚¬ °Ãƒ ¥Ã‚ Ã‚ Ãƒ ¤Ã‚ ¸Ã¢â‚¬ °Ãƒ ¥Ã‚ ¤Ã‚ ©Ã‚ ¼Ã…’à §Ã‚ ¦Ã‚ »Ãƒ ¦Ã‚ Ã‚ ¨Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ ¦Ã…“â‚ ¬Ãƒ ©Ã‚ «Ã‹Å" etc. instead, à ¥Ã‚ ¤Ã‚ ©(sky) in Maos poems shows a strong revolution will, and is often used to describe the glories and the foibles of man, such as à ¥Ã‚ ¤Ã‚ ©Ãƒ §Ã‚ ¿Ã‚ »Ãƒ ¥Ã…“ °Ãƒ ¨Ã‚ ¦Ã¢â‚¬  Ãƒ ¦Ã¢â‚¬ ¦Ã‚ ¨Ãƒ ¨Ã¢â€š ¬Ã…’à ¦Ã¢â‚¬ ¦Ã‚ ·, à ¥Ã¢â‚¬ ºÃ‚ ½Ãƒ ©Ã¢â€ž ¢Ã¢â‚¬ ¦Ãƒ ¦Ã¢â‚¬Å¡Ã‚ ²Ãƒ ¦Ã‚ ­Ã…’à ¦Ã‚ ­Ã…’à ¤Ã‚ ¸Ã¢â€š ¬Ãƒ ¦Ã¢â‚¬ ºÃ‚ ²Ã‚ ¼Ã…’à §Ã¢â‚¬ ¹Ã¢â‚¬Å¡Ãƒ ©Ã‚ £Ã¢â€ž ¢Ãƒ ¤Ã‚ ¸Ã‚ ºÃƒ ¦Ã‹â€ Ã¢â‚¬ËœÃƒ ¤Ã‚ »Ã… ½Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ ¨Ã‚ Ã‚ ½, à ¤Ã‚ ¸Ã¢â€š ¬Ãƒ ¥Ã¢â‚¬ Ã‚ ±Ãƒ ©Ã¢â‚¬ ºÃ¢â‚¬Å¾Ãƒ ©Ã‚ ¸Ã‚ ¡Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ ¤Ã‚ ¸Ã¢â‚¬ ¹Ãƒ §Ã¢â€ž ¢Ã‚ ½, à ¤Ã‚ ¸Ã‚ ºÃƒ ¦Ã…“†°Ãƒ §Ã¢â‚¬ °Ã‚ ºÃƒ §Ã¢â‚¬ °Ã‚ ²Ãƒ ¥Ã‚ ¤Ã… ¡Ãƒ ¥Ã‚ £Ã‚ ®Ãƒ ¥Ã‚ ¿- ¼Ã…’à ¦Ã¢â‚¬ ¢Ã‚ ¢Ãƒ ¥Ã‚ Ã‚ «Ãƒ ¦- ¥Ãƒ ¦Ã…“ˆÃ ¦Ã‚ Ã‚ ¢Ãƒ ¦- °Ãƒ ¥Ã‚ ¤Ã‚ ©, à ©Ã‚ £Ã… ¾ à ¨Ã‚ µÃ‚ ·Ãƒ §Ã… ½Ã¢â‚¬ °Ãƒ ©Ã‚ ¾Ã¢â€ž ¢Ãƒ ¤Ã‚ ¸Ã¢â‚¬ °Ãƒ §Ã¢â€ž ¢Ã‚ ¾Ãƒ ¤Ã‚ ¸Ã¢â‚¬ ¡Ã‚ ¼Ã…’à ¦Ã‚ Ã¢â‚¬ ¦Ãƒ ¥Ã‚ ¾-à ¥Ã¢â‚¬ËœÃ‚ ¨Ãƒ ¥Ã‚ ¤Ã‚ ©Ãƒ ¥Ã‚ ¯Ã¢â‚¬â„¢Ãƒ ¥Ã‚ ½Ã‚ » and so on, which obviously represent Maos heroic character and broad mind. Second, Maos images in his poems are colorful. Among various colors, Mao likes red best. For example, à ¤Ã‚ ¸Ã‚ Ãƒ §Ã‹â€ Ã‚ ±Ãƒ §Ã‚ ºÃ‚ ¢Ãƒ ¨Ã‚ £Ã¢â‚¬ ¦Ãƒ §Ã‹â€ Ã‚ ±Ãƒ ¦Ã‚ ­Ã‚ ¦Ãƒ ¨Ã‚ £Ã¢â‚¬ ¦, à §Ã…“†¹Ãƒ ¤Ã‚ ¸Ã¢â‚¬ ¡Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ §Ã‚ ºÃ‚ ¢Ãƒ ©Ã‚ Ã‚ , à ©Ã‚ £Ã… ½Ãƒ ¥Ã‚ ±Ã¢â‚¬ ¢Ãƒ §Ã‚ ºÃ‚ ¢Ãƒ ¦Ãƒ ¥Ã‚ ¦Ã¢â‚¬Å¡Ãƒ §Ã¢â‚¬ Ã‚ » etc. While, in à ¨Ã‚ µÃ‚ ¤Ãƒ ¦Ã‚ ©Ã¢â€ž ¢Ãƒ ©Ã‚ »Ã¢â‚¬Å¾Ãƒ §Ã‚ »Ã‚ ¿Ãƒ ©Ã‚ Ã¢â‚¬â„¢Ãƒ ¨Ã¢â‚¬Å" Ãƒ §Ã‚ ´Ã‚ «Ã‚ ¼Ã…’à ¨Ã‚ °Ã‚ Ãƒ ¦Ã…’ Ãƒ ¥Ã‚ ½Ã‚ ©Ãƒ §Ã‚ »Ã†â€™Ãƒ ¥Ã‚ ½Ã¢â‚¬Å"à §Ã‚ ©Ã‚ ºÃƒ ¨Ã‹â€ Ã… ¾, metonymy is vividly used to describe rainbows magnificence with seven basic colors. At last, Mao is good at using creative and impassioned verbs to present a dynamic and exultant picture of nature. Just like à ©Ã‚ ¹Ã‚ °Ãƒ ¥Ã¢â‚¬ ¡Ã‚ »Ãƒ ©Ã¢â‚¬ ¢Ã‚ ¿Ãƒ §Ã‚ ©Ã‚ ºÃ‚ ¼Ã…’à ©Ã‚ ±Ã‚ ¼Ãƒ §Ã‚ ¿Ã¢â‚¬ Ãƒ ¦Ã‚ µÃ¢â‚¬ ¦Ãƒ ¥Ã‚ ºÃ¢â‚¬ ¢, à ¥Ã¢â‚¬ ¡Ã‚ »(cleave) is more forceful than à ©Ã‚ £Ã… ¾(fly), while à §Ã‚ ¿Ã¢â‚¬ (glide) is quicker than à ¦Ã‚ ¸Ã‚ ¸(swim). A comparatively still object will move in Maos poems. Take à ¥Ã‚ ±Ã‚ ±(mountain) for example, à ¦Ã‚ ¨Ã‚ ªÃƒ §Ã‚ ©Ã‚ ºÃƒ ¥Ã¢â‚¬ ¡Ã‚ ºÃƒ ¤Ã‚ ¸- ¼Ã…’à ¨Ã… ½Ã‚ ½Ãƒ ¦Ã‹Å"† Ãƒ ¤Ã‚ »Ã¢â‚¬Ëœ, à ¤Ã‚ ¸Ã¢â€š ¬Ãƒ ¥Ã‚ ±Ã‚ ±Ãƒ ©Ã‚ £Ã… ¾Ãƒ ¥Ã‚ ³Ã¢â€ž ¢Ãƒ ¥Ã‚ ¤Ãƒ ¦Ã‚ ±Ã… ¸Ãƒ ¨Ã‚ ¾Ã‚ ¹Ã‚ ¼Ã…’à ¨Ã‚ ·Ã†â€™Ãƒ ¤Ã‚ ¸Ã…  Ãƒ ¨Ã¢â‚¬ËœÃ‚ ±Ãƒ ¨Ã…’ Ãƒ ¥Ã¢â‚¬ ºÃ¢â‚¬ ºÃƒ §Ã¢â€ž ¢Ã‚ ¾Ãƒ ¦-†¹, à ¥Ã‚ ±Ã‚ ±Ãƒ ¨Ã‹â€ Ã… ¾Ãƒ ©Ã¢â‚¬Å" ¶Ãƒ ¨Ã¢â‚¬ ºÃ¢â‚¬ ¡. à ¥Ã‚ ±Ã‚ ±(mountain) in Maos poems is not stable and silent, but could dance, fly, walk and even run, in all, with kinds of ways to move. (à ¦Ã¢â‚¬ ºÃ‚ ¾Ãƒ §Ã… ½Ã‚ ²Ãƒ §Ã… ½Ã‚ ²Ã‚ ¼Ã…’2005) Therefore, images of Maos poems are magnificent, glorious, moving and bright colors. These not only show his heroic bearing as a giant of Chinese revolution, but produce unique rich images of classical Chinese poetry. When translating Maos poems, translators should pay attention to these characteristics. 1.2 Introduction to Four Selected English Versions According to incomplete statistics, domestic versions of Maos poetry have come to more than 200 now, including Chinese versions, minority versions, foreign versions, as well as handwriting versions, copybook versions and melodization versions and so on. Among them, the most influential ones are Mao Tze-tung: Nineteen Poems, Mao Zedong Poems (37 pieces), Collection of Mao Zedongs Poem (50 pieces) published by Peoples Literature Publishing House and Collection of Mao Zedongs Poem (67 pieces) by Central Committee Documents Publishing House. Various versions of Mao poems not only make a profound and lasting influence in poetry circle, but lay a foundation for the further research. Since rhetorical devices translation in four English versions of Maos poems will be studied in this thesis. it is indispensable to know about the four selected English versions. This part will give an overall introduction to these versions; the basic information about each version will be presented in the table below: Basic publishing information about the four selected English versions Oxfords version Official version Zhaos version Xus version Translator Michael BullockJerome Chen Yuan Shuipai, Ye Junjian, Adler etc. Zhao Zhentao Xu Yuanchong Book Name Mao and the Chinese Revolutio: with Thirty-Seven Poems by Mao Tse-tung Mao Tse-tung Poems Mao Zedong Poems Selected Poems of Mao Zedong Publishing House Oxford University Press Foreign Languages Press Hunan Normal University Press China Translation Press Company Publishing place New York; London; Peking Changsha Beijing Time 1965 1976 1992 1993 Among the four versions, the former one is translated by foreigners and the latter three by Chinese. The former one is in the form of prose and the latter three are in the form of poetry with rhyme and rhythm. In the following part, more detailed information about the translator and the format and general characteristics of each version will be provided respectively for comprehensive and better understanding of their translations. 1.2.1 Oxfords Version It is the translation that doesnt come from Chinese translators, but sinologists aboard. Among these translations, the translators special position decides there never occurs any anxiety and fear, and there also has no need to bow in worship before the original author. For the subjects of translating will appear in the horizons of readers from the English-speaking world first as a literature works, the translators consider more needs of that kinds of readers when they translate. Also, it is easy to find that the translating activities by foreign scholars mainly happened in 1960s-1970s, so there will be more chance to have commons among these translations for the short time-span. In 1965, the Chinese (-Born) American scholar Jerome Chen collaborated on Mao and the Chinese Revolution: with Thirty-seven Poems by Mao Tse-tung with American scholar Michael Bullock, and published it in London and New York by Oxford University Press. As a history professor, Jerome Chen studies Chinese movement of communism and knows much about Chinas revolution and has a relatively comprehensive and deep understanding of what Maos poetry writes about. There is an introduction to Maos poems before the translations. After each translated poem, notes including the writing background and explanations of some important Chinese cultural things are given to help English readers gain a relatively complete understanding of the poems. 1.2.2 The Official Version The official translation is Mao Tse-tung poems published by Foreign Language Press in 1976. In this book, there is a photo of Mao Zedong and one of his calligraphy on the preface. The title of each poem was printed in red, while the subtitle and the lines of each poem were all printed in blank. After these translated poems, there is a NOTE ON THE VERSE FORM by translators to briefly explain the style of the poem. Because the original author Mao Zedong was occupying the leader of the nation at that time, the translating activities was held by officials and became a serious political task under the guidance of leaders from countrys most powerful office. The translation was completed by Mao Zedong poems translation group and issued by the government. All of these made the 1976 translation have great difference with others, no matter from contents or forms. 1.2.3 Zhao Zhentaos Version The name of Zhaos version is Mao Zedond Poems with thirty-nine poems. It was published by by Hunan Peoples Publishing House in 1992. There are two prefaces in the version: one is written by Han Suyin and the other by the translator himself. The translator also wrote two articles about several issues in the translated versions of Maos poetry. The two articles mainly point out the mistakes or something improper in the translated versions which show the translators carefulness and earnestness on the understanding of Maos poetry and his great faithfulness to the original especially in details. In this version, the translator adopts the form of Chinese-English contrast and provides the simple notes after each translated poem. 1.2.4 Xu Yuanchongs Version This version is named Seletced Poems of Mao Zedong containing forty-seven poems and it is published by China Translation and Publishing Corporation in 1993 for the memory of the 100th anniversary of Maos birth. In this version, there are English notes after each poem. Xu Yuanchong, the gifted and well-known poem translator, who is a professor of Beijing University and has achieved a lot in the field of translation, has idea of translating poetry with poetry. With his translation theory of three beauties, he thought the translated poem should be as beautiful as the original in sense, sound and form, and that among the three beauty, beauty in sense comes first, and beauty in sound second, and beauty in form third, and that if it is impossible to achieve all beauties at the same time, the resemblance in form will come first and then in sound as to achieve faithfulness and beauty in sense. (Xu Yuanchong, 1992) In this version, there is a photo of Mao Zedong with Mao Anqing and Shao Hua on the first page and the short preface written by them. Besides these, there is the preface written by the translator himself in both Chinese and English about his translation views and principles, mainly about the application of Three Beauty Principle in translating Maos poems. The translator also adopts the form of Chinese-English contrast and provides the English notes and some background information after each translated poem. The above versions are short for Oxfords, the Official, Zhaos and Xus separately in the following discussion. Chapter Two Reception Aesthetic Theory Review 2.1 A Brief Introduction to Reception Aesthetic Theory Reception theory is neither a general study of essence of aesthetics nor a study of criticism about literary art theory. It is rather the system of methodology concerning the study of succession of factors and laws in readers reception process, based on the theories of phenomenology and hermeneutics and aimed at readers reception in the literary work. (Davis, Linell, 2001:33) Reception aesthetics (or reception theory) was developed in German, arouse in the later of 1960s and matured in 1970s. Its main representatives are some professors from Constance University of south German, such as H.R.Jauss, W.Iser. RA broke through the traditional critical molds with writer center and works center and turned to the mold with reader center, which opened up the sight of art criticism. No matter how great difference and divarication the inside of reception aesthetics exist, there is a common basic theory, which puts readers (or reception subjects) in the central position of literature activities. According to reception aesthetics, literature is a new communication activity and it must have certain condition and place. The artworks are a medium (or tool) for artists and readers to communicate. If the words written by writers havent read by readers, they are just semi finished articles (i.e. text) and have the potential ability to be literature works, but not real ones; only read by receptionists (readers), they will be real literature works. According to this theory, writers must preset a reader (i.e. implied reader or potential reader) when writing, Literature works are regarded as a dynamic communication form between text and reader, but not a free thing. So, writing for writer is to communicate and make dialogues with his preset reader. Reception Aesthetic theory challenges traditional author centered or text centered theories which ignore the function and status of readers as well as the interaction between readers and texts. Reception theory soon spreads all over the world, and becomes a very important theory of literature and criticism. Just as Holub said, Virtually, every methodological perspective and area of literary endeavor has responded to the challenge that has raised by reception theory. (Houlb, 1984:15) 2.2 Core Concepts of Reception Aesthetics 2.2.1 Horizon of expectation Horizon of Expectation is the core conception of reception aesthetics, which refers to receptor about oriental psychological structural schema. This directional emotion is transformed from the current life and aesthetics experience, and it is a mental foundation for aesthetics, including the education level of receptor, living experience, aesthetics and literature interest, as well as experience, knowledge and works expectation formed from the familiarity about various forms and skills, which have been gotten from the whilom aesthetics experience. Among these factors forming horizon of expectation, the times, nation, culture and class where readers are make radical influence on receptors appreciation and interests. Horizon of Expectation theory points, the literature participation of any reception subjects is just a process that their horizon of expectations seek to express. Only if the works must adapt for readers horizon of expectation, they will arouse their interests and set up a channel for reception objects and subjects, then, get into the reception process. If works horizon of expectation is far away from readers, the works will lose their attraction and the channel wont be built, at last, the works will fail to make receptors get into the reception process. Translation also takes readers as objects. The direct receptor of translation is the main body of readingreaders. If there are no readers, the meaning, connotation and expression forms cannot become the objects of aesthetics, and translation also cannot have a definite object in view when conveying its information. Therefore, in this theory, readers are regarded as an important part of translating to research. 2.2.2 Fusion of horizon Since we have horizon of readers, it is not strange that horizon also includes the authors horizon and the translators horizon. The authors horizon has effect on the creation of works, which means, with different backgrounds and experiences, different authors will create different styles of works. The readers horizon mainly concerns about the process of reception. The translator, actually, has the function as a bridge. On one side, the translator is the reader who appreciates and understands the original works. On the other side, he or she is a translator. Because different translators have different background like personality, skill, education, interest, views to the world and so on. So, the translators version and recognition about translation activity and original works will be diverse. In order to let the translated versions be accepted, the translator should develop his translation skills and strategies to cater to the readers horizon. The activity of fusion of horizon happens between past experiences which are contained in the original works and present interests of its nowadays readers. It is a dynamic process. 2.2.3 Indeterminacy and blank of meaning Iser mainly focuses on the gap or indeterminacy of the text. To Iser, the most important difference between a literary and a non-literary work is just the indeterminacies that have contained in the works. There are lots of indeterminacy that constitutes the most important elements for literary works, Meaning is not contained in the text itself, but rather is generated during the reading process. It is neither purely textual nor totally subjective, but the result of an interaction between the two: the extent of our participation and the degree of the works determinacy defines the type of text with which we are dealing (Selden, 1986: 327-329). It is the existence of these blanks and gaps that force and stimulate readers to recreate and concrete. Iser proposes that literary works have two poles: artistic pole and aesthetic pole, in which, the artistic pole just means the original text created by the author, the aesthetic pole is about the realization of meaning carried out by the readers. The meaning of one certain work can only be realized through the activity that readers fill in the indeterminacy during reading. When readers read the works, they will commonly make prediction or pre-judgment. When encountered with blanks or gaps, they will fill them up actively from they own creativity, skills and so on. This process is the so called concretization of reading. In the creation of literary works, the author usually describes the main features of the text fully and clearly, while at the same time, omits purposely some unimportant features or clues and leaves them to the reader for aesthetic effect and semantic function. When Jauss was doing research on the role of literature in history, Iser decided to analyze and study the reading process and the role of readers. In Isers mind, it is the reader who helps to form the meaning of text by filling in blanks or gaps. 2.2.4 Implied reader Maybe the most distinctive feature of reception aesthetics is its emphasis on the notion of readers. Different readers have different horizon of expectations before activity of reading. It is not strange that different understanding may occur toward the same literary work. To the theorists of reception theory, literary works are created for readers; readers help to realize the meaning of literary works to a large extent. It is the historical position of literary works. Implied reader roots deeply in the textual structure, the emergence of textually and structurally anticipated acceptor and there is no need to define the acceptor. (Iser, 1971:19). Iser asks for an actual reader or empirical reader, but doesnt consider the expression of the reader. The relationship of implied reader and the text is the central focus for Iser, The implied reader embodies all those predispositions necessary for a literary work to exercise its effect predispositions laid down, not by an empirical outside reality, but by the text itself. Consequently, the implied reader as a concept has his roots firmly planted in the structure of the text; he is a construct and in no way to be identified with any real reader (Zhu Gang, 1998:116). Reception aesthetics believes that the process of literary creation is not a self completed task, it is not self-sufficient. The process is also an activity that helps to communicate thoughts, ideas, and emotions and so on to the other people. Literary works can only be seen as a possible existence before being read and understood. Only after the reception of readers can literary works significance be realized. While during the process of reception, the receptive activity is not a passive one but an initiative one. The readers not just simply read the works, but he or she will fill in the gaps and indeterminacies with his or her own imagination, life experiences, interests, etc. Without participation of the reader, literary works are not true. The aesthetic sense and function of literary can be achieved only through the interaction with readers. It is the reader that creates the beauty and vitality of literary works persistent. 2.2.5 Appealing structure The concept of Appealing structure is put forward firstly by Edmund Husserls student Roman Ingarden. Iser has absorbed many ideas from Ingarden, among which, the concept of indeterminacy and blanks were Isers focal point. It is the existence of indeterminacy which links the writers ideas in the process of writing and the readers reception ideas in the process of reading that make literary works lively and vital à ¢Ã¢â€š ¬Ã‚ ¦only through readers effort can the writers ideas shown in the text be actualized or concretized in different ways and reappear in different looks in readers mind. Indeterminacy of the text and vacancy of meaning urges readers to look for the meaning of the text; as a result, readers are given the right to participate in forming the meaning: the meaning is the result of an interaction between text and reader rather hides in the text to wait to be discovered. Thus an open text and its meaning blanks form the basic structure of the text, which is what we called ap pealing structure. (Houlb, 1984:25). In conclusion, reception aesthetics breaks through the traditional text-centered theories and establishes readers-centered viewpoint. It proposes that the meaning of literary works is depended on the readers. The dynamic interaction of the readers previous experiences and the text gives birth to the concept of the readers response. The readers imagination and interpretation can be fully realized from the indeterminacy and gaps that are contained in the text. The appealing structure forces the readers to participate in the interaction with the text and to actualize the hidden meaning of the text. To reception theorist, literatures historical significance lies in the readers pre-experience which joins literature to history. Different readers with different background, interests, education, aesthetic abilities and so on will interpret the same text differently. Reception aesthetics is either important to literature theory or to criticism. Just as Jauss mentioned, Reception Aesthetics opened a view the possibility of renewing literary history, exhausted and mired in positivism, by giving it the task of seeking a new understanding of the history of literature as a communication process between all three parties, namely, the author, t

New York 1939-1940 - Trylon and Perisphere :: Architecture History

New York 1939-1940 - Trylon and Perisphere As the 1939 New York World's Fair was divided into many different thematic zones, its planners wanted a central symbol for this event. The original idea was to have a theme center, with twin 250 feet towers and a semicircular hall to display dioramas. Wallace K. Harrison, a prominent New York architect of the Harrison Fouilhoux firm, was selected to design the theme center in November 1936. Harrison wanted a design that would represent a new architecture concept. In his own words, "we found ourselves constantly referring to the domes and campaniles of Venice, perhaps because the flat country and water of the Fair grounds are very like that of the site of Venice and in addition the sky color of New York is practically the same." (Newhouse,82) The idea of a large dome was a starting point for all further designs, and many different ideas were initially developed. There were plans to use a sphere that was suspended by steel cables, giving it a light, airy feel as well as a large balloon , anchored by steel cables and accessible by elevator. A spherical design was not a new idea, however. An earlier example of such a design was proposed by Etienne-Louis Boullà ©e in his project for Newton's Cenotaph in 1783, featuring a huge sphere at the center. In the end a design that featured a sphere 200 feet in diameter raised on pillars was selected. Despite its huge dimensions, with a 200-foot diameter, it was hard to grasp the exact scale of the sphere. Harrison and his design team finally came up with the idea of using a tall spike to frame the sphere, but there was still the problem of placing the two in relation with each other. They found inspiration from drawings by a Soviet constructivist architect named Jacob Tchernikhov, which represented two large spheres connected to a tall spike by way of a ramp. The final design had emerged. It included the Perisphere, a 200 foot spherical exhibit building, the Trylon, a 700 foot tall three sided obelisk, and the Helicline , a 950 foot circular ramp which connected the two and allowed visitors to exit. However the final dimensions of the building was reduced from the original values to a 180 foot sphere and a 610 foot spike due to budget limitations, which threw off the carefully calculated proportions. The Perisphere was elevated from the ground by five steel pillars, and rested over a large reflecting pool.

Contrasting Friendship Essay -- essays papers

Contrasting Friendship â€Å"The two ladies, who had been intimate since childhood, reflected how little they knew each other†. This is how, author, Edith Wharton shows the relationship of two characters, Mrs. Ansley and Mrs. Slade, in the short story â€Å"Roman Fever.† These two women who are supposed to be friends, led envious lives of each other, and because of the way they lived they were very contrasting and conflicting characters. In the end, I believe Mrs. Slade was guiltier for her actions and in fact the whole incident would have never happened if it weren’t for her. Before there widowhood these two ladies led very envious and superficial lives. In describing her friend Mrs. Slade says, â€Å"Mrs. Horace Ansley, twenty-five years ago, had been exquisitely lovely†¦though, of course, still charming, distinguished†¦far more beautiful than her daughter. Horace Ansley was just the duplicate of his wife. Museum specimens of old New York. Good-looking, irreproachable, exemplary†. In return, when Mrs. Ansley was asked about or spoke about Mrs. Slade she would reply, â€Å"Alida Slade’s awfully brilliant; but not as brilliant as she thinks. Mrs. Slade had been an extremely dashing girl; much more so than her daughter who was pretty, of course, and clever in a way, but had none of her mother’s—well vividness†. These two ladies had a friendship based upon nothing but there own jealous and arrogant behavior; as if the only reason they spoke was in spite of one another. As Wharton describes them, â€Å" these tw o ladies visualized each other, each through the wrong end of her little telescope† (258). Wharton realized that these fragments composed the only true communication about their friendship and therefore told the real story of Mrs. Slade and ... ...hat Mrs. Ansley finally decided to shut Mrs. Slade up of her arrogant, superficial talk and she nonchalantly turned to Mrs. Slade and said, â€Å"I had Barbara†. In the end, I believe, it was Mrs. Ansley who had the ultimate revenge. While Mrs. Slade had planned to get rid of Mrs. Ansley that night, Mrs. Ansley not only answered the letter, and had a night of passion with Mrs. Slade’s husband, but she also had his child. Each time Mrs. Slade tried to make Mrs. Ansley feel like she meant nothing, Mrs. Ansley came back with a harsher reality for Mrs. Slade. Throughout the whole story, I believe Mrs. Slade is ultimately at greater fault because she was the one who brought up the letter and she wouldn’t let it go. She felt she had to top Mrs. Ansley each time. Though both women were at fault, in a way, Mrs. Slade had no one to blame for the consequences but herself.

The Great Skater :: Personal Narrative Essay

The Great Skater Like any other sport, ice-skating is obliged to creative people who bring something new to it. These people are known to everyone as the inventors of particular jumps, splits, spins. They are given credit for their work and, sometimes, the skating moves they invented carry their names. For instance, the Lutz jump was invented by Alois Lutz before World War II; the Walley jump was attributed to Bruce Mapes who performed with the Ice Follies in the 1930s. With Mabel Fairbanks that was never the case. The spins she invented never have been officially admitted to be exclusively her creation. For me, it was a profound experience to be coached by her, as I was learning not only the art of skating, but also many things that one can learn from a wise person. I treasure her advice very much. Mabel Fairbanks was a brilliant and a hard working skater. The only problem she experienced over and over was the unwillingness of the skating world to admit that she was deeply talented. It was the second quarter of the 20th century, and she was not allowed to perform the major skating movements--the elements she found the most fun to perform. She was black, she was too good, and the other girls in the show wouldn't look as skillful having Mabel performing next to them. In fact, Sonja Heini once refused to allow Mabel to join Sonja's popular skating troupe because Mabel was too gifted. Mabel was restricted in her skating to the simple elements. But, Mabel wouldn't be Mabel if she didn't extricate herself from the restrictions. How? The solution was ingenious: "If they don't let me skate the conventional way, I'll invent something of my own. This way, nobody and nothing can prevent me from skating to my full abilities." Necessity turned out to be the mother of invention. In a short period of time, Mabel, the first black superstar skater in the history of the United States, came up with the new variations of basic spin. They were so gorgeous! She was the star of the shows at British West Indies with the famous Ice Follies, and in Mexico with the Ice Capades. The only sad thing is that the spins she invented have never been called anything more than just spin's variations. If it were for me, I'd call them Fairbanks spins.