How Music Effects Emotions On People Psychology Essay

How Music Effects Emotions On People Psychology Essay I made a decision to pick up music on the day that I found out how amazing music was. I sat into a band practice where they played a piece called Fire Dance. Ironically, when the band started playing, I had a brief scene of a calm ocean, with ripples of waves coming towards me. As the band continued, and as the music got louder, faster and more intense, I experienced fierce and powerful ocean waves crashing down on each other. This is possibly due to the clashing of cymbals that always happen right after the band reaches the peak of its crescendo. I use the term experienced because I not only had an image of it, but I also became engulfed by emotions that had so suddenly sprung out from nowhere. The most expressive words that I can use for the emotions I had felt from the music and image are grace, power and majesty. I was so overwhelmed by the majesty of the music that I cried a few tears and I had slight breathing difficulties because my chest had felt tight. This was all new to me . I had no prior music training and neither did the music trigger any past memories. I had finally understood why people become musicians. I glanced around after the band finished playing, and realised that I was the only one who was affected by the music. I was somewhat embarrassed by my reaction. So far, this is my most vivid and interesting experience brought to me by music. There are two positions on how music effects emotions on us. One is the cognitivist view which supports music as appearing to evoke emotions, the brain acknowledges the emotions in the music, but the listener does not experience any actual emotions (Thompson,2009). The other is the emotivist view which supports the idea of emotions being induced by music, and these emotions are felt, which is observed by physiological arousals (Storr, 1992). Music presents emotions through the characteristics of music (such as musical contour, tempo and modality). These characteristics mould the type of emotions experienced by the listener (Kivy,1980,Thompson). One theory suggests music as a language, where various emotions are brought across by different types of musical intervals. For example, an augmented fourth expresses distress, while a major third can express happiness (Cooke, 1959)/(Thompson, 2009). Upon hearing the sounds, the brain interprets it as music, and evaluates or appraises the music to create physiological responses (Zajonc, 1980, Thompson). The arousal of the autonomic nervous system is the response of an animal to an environmental stimulus. This includes changes in breathing rate, heart rate and blood pressure. Since this similar response may also be observed after an exercise, they do not necessarily represent an emotional response. Therefore, cognitive processing is required to link arousal with music, in order to form an emotional experience (Mandler, 1984, Thompson). It is to be noted that this point of view incorporates cognitive reasoning into the emotivist position, but do not support the cognitivist position. Humans have an innate arousal response to unexpected occurrence of events. According to Mandler, composers have the ability to generate increases in arousal by manipulating the expectancy of the listeners, and this ability differentiates music from other stimuli (Mandler, in Thompson, 2009). The expectancy theory explains that deviation of music from the expectations of the listener creates tension/arousal, which is, as discussed above, emotion. Music preference is related to the degree of arousal. It is found that a balanced/moderate degree of incongruity is most preferred, as high incongruity makes the music confusing and unpleasant, and no incongruity makes the music predictable and boring. In other words, deviation from expectancy is directly correlated to degree of arousal, and music of moderate levels of incongruity is considered most pleasant (Berlyne, in Thompson, 2009). These perceived sound patterns (music characteristics/incongruity) of music are experienced by emotions (M eyer, 1956). Experiments have proven emotions are induced by music. Sloboda (1991) conducted a survey on music and physical responses. The results show that many people experience emotions when they listen to music, and some of the emotions experienced include shivers, laughter, tears, racing heart, sweating (Thompson, 2009). A blind experiment was conducted by Rickard, Nikki (2004) to investigate the presence of a difference in physiological arousal between more and less emotionally powerful music (EPM). 21 healthy participants (12 males, 9 females) with varying ages (mean of 25.5years, standard deviation of 8.48) were given music treatments of 3 experimenter-chosen music treatments, and 1 EPM of the individuals choice. The individuals EPM was open to any music genre, but was standardised to a limited duration of 5 to 10 minutes. The other 3 fixed music treatments were: relaxing music, arousing music and a non-musical film scene that will induce intense emotions. Each individuals gender, personality and level of musical experience was noted, but was found that none of these factors produced any significant contribution that can change the level of physiological arousal (Rickard, 2004). Tests were done before and after administering each music treatment, by using saliva sampling, questionnaires, event recorder and sensor electrodes attached to the body to measure various physiological responses. This was to test for hormone (cortisol) production levels, skin temperature and conductance, heart rate, chills and muscle tension (Rickard, 2004). The results taken from the skin conductance and number of chills per minute displayed a very significant increase in arousal for the EPM. It also shows that EPM produces very high levels of physiological arousal, and less EPM produced less arousal. No meaningful conclusions could be found from the other recorded data due to the presence of high variability of results (Rickard, 2004). Studies of Music on Heart Rate Other studies have also found that heart rate, breathing rate, skin conductance are all affected by musical stimulus. Heart rate increases when people are exposed to music with fast tempos and rhythm, loud volume, or any other type of music that stimulates the auditory nerves; and slow tempos and rhythm, smooth melodic harmonies, depressing, sedative and relaxing music will decrease heart rate (Bartlett,1996). Studies of Music on Skin Conductance Producing similar results to Rickards experiment, 4 studies on skin conductance have produced a positive relationship between the change of skin conductivity, and enjoyment (liking) of the music (Bartlett, 1996). However, one experiment found no change in skin conductivity when the subject was indifferent to the type of musical stimulus administered (Davis, 1934). Studies of Music on Respiration Rate One study found an increase in breathing depth/amplitude when there is a greater liking for the music as well as an increase of the music volume (Ries, 1969). Another study tested on pre-mature infants showed an increase in respiration rate with stimulative music, and decrease with sedative music (Lorch et al, 1994). The majority of these studies shows support for the emotivist position. Rickards experiment should be showing positive relationships in all tested areas. A larger group of subjects should be tested on in order to reduce the variability of results. In relation to Rickards experiment and my experience, my EPM would be the Fire Dance piece, and i stand to support the emotivist position as i had exhibited high levels of physiological arousals. Although Rickards experiment was unable to conclude the results of respiratory rate, other studies of respiratory rate (by Ries and Lorch et al) have shown a positive correlation with stimulative music. Although tears were not one of the arousal tested in Rickards experiment, Slobodas survey explains that it is also a type of physiological arousal from EPM. Rickards 4th treatment of administering the subjects own EPM, the study on respiration rate (Ries) and studies on skin conductance all show positive influence of subjective music on the extent of physiological arousal. A common example of the subjectivity of music preference is an event where one individual is highly aroused by a piece of music, but another who had listened to the same music is unaffected (Addis, 1999). However, the skin conductance test (by Davis, 1934) done with subjects who had no particular liking or dislike for the music that was played to them (not stimulating enough), did not produce any significant changes in physiological arousal (related to expectancy theory). This can help explain the reason i found myself the only one affected in the band room that day. To extend our understanding of why in my experience, the music was able to induce beyond emotions, we can first investigate on how common/rare that this kind of experience takes place by conducting surveys on the public. Some interesting survey questions would be: Have you ever experience images coming into your mind when you listen to music?, Are these images related to your past experiences or do they have no relation at all?, one would think that it would be more common and easier for music to access into our episodic memory and draw out a past experience, but what if random images that come purely from the music itself are actually more common? Is one even more common than another? Another idea would be to conduct an experiment that has 2 aims. The first is to observe any relationship between the extent of how emotionally powerful the music is, and images that are brought to them by the music (if any). The second aim is to investigate if music training actually conforms the types of images seen because of the characteristics of music, and this is done by comparing if those with no musical training would experience images that are not related to what the composer is trying to create, more often than their musically trained counterparts . I suggest that this experiment to be done on two separate groups of participants, the musically trained and those with no musical training. The experiment could be done by choosing subjects who have the same character (e.g. introvert or extrovert) so that the music played to them would be emotionally powerful. It has been found that people of similar character like similar music. Subjects chosen should also come from a range of ages (e.g. from 20-60 years old) so that any relationship found would not be limited to one type of generation. Since we have already chosen the subjects according to a certain character, the music that we chose should have different complexities, to cater to different individual EPM (between each individual, and also for those with musical training background) according to Berlynes inverted U shaped preference-complexity graph (Thompson, 2009). In order for us to find out which music played is the most emotionally powerful to each individual, we can test for the extent of physiological arousal (similar to Rickards experiment). The more emotionally powerful the music is, the greater the physiological arousal. For example, the experiment is done on subjects who are introverts whose favourite genre is classical music. The treatment would be a range of classical music from different composers, and with different complexities. The first treatment given should be the least complex and progresses as the next music is played. The experiment conducted must be a blind experiment, i.e. subjects do not have prior knowledge to the aim of the experiment. After presenting each music, subjects would have to answer questions such as How much do you like the music (selecting from a range of 0-10)?, How did you feel when you listen to the music? and Did any images come to your mind? What images did you see? . We can declare the experiment successful, if the results are able to show a pattern where the more emotionally powerful the music, the higher chances of seeing images. Or if we discover that music training do limit musicians ability to experience a variety of images (or even emotions) created as a res ult of certain characteristics of music that had been taught to create a certain scene. This experiment would probably need to be done on a great number of subjects since it is not common for music to produce images in our minds. In a nutshell, music is interpreted in the brain, and the evaluation and appraisal creates emotions by physiological arousals. Different emotions are induced by the discernment of varying sound patterns. The emotivist position is being supported by results from the various research as well as my experience. However, my experience went beyond mere emotions into images produced by music. Future research could be done to better understand how this is caused.

Theories of Translation Essay

1. Introduction Translation, oral or written, is probably as old as the spoken or written word. Throughout the ages, famous writers have tried their hand at â€Å"the art of translatingâ€Å". Translation is usually defined as the communication of the meaning of a source-language text by the means of an equivalent target-language text. It can be also described as an expression of a sense from one language to another as well as transmission of a written or spoken language to another. However, it is a very broad notion that can be comprehended in a lot of various ways. It is also a multi-staged, creative process. Translation offers us the experience and attitudes of another culture or mentality. We cannot imagine a world without the translations of literary master pieces from all countries. The role of translation is to overcome cultural and linguistic barriers among nations. It is a key process in the development of global connectedness. A translator has several identities. First, a translator is a reader, who should know the text and its social and cultural background. He/she should also try to understand the original author`s feelings and thoughts about life and art. Secondly, a translator is a writer, because he must master two or more languages, and have the professional writer`s knowledge about the languages. Thirdly, a translator is a creator who is able to understand the source text well and to recreate the text which is faithful to the source text. If he is a real artist and a good craftsman, his work may even surpass the original. Fourthly, a translator is a researcher. The literature translation is dependent on literature study, which is the premise of translation. A translator`s four identities are mixed and integrated. Nevertheless, regardless of the degree of embellishment, translation cannot avoid altering the work. An American professor, scholar, linguist and polyglot, Werner Winter wrote that perfect translation was impossible. In his opinion, words, like marble, have certain intrinsic qualities that are indivisible from the form they take. That`s why he compares the translator to a sculptor who attempts to replicate a marble statue without the benefit of marble. But, translation is a worthwhile enterprise, despite the built-in flows. Because of our curiosity about other cultures, translation will likely never go out of fashion. Globalization overcomes spatial barriers, thus resulting in the mobility of people and objects; and a proper contact between different linguistic communities. It is manifested not only in the creation of global market, but also in the significance of travel and international movement of people (mass tourism, business travelling, migration and exile) and in the consolidation of a global communication system that distributes images and texts to any place in the world. These developments emphasize the significance of translation, which has been a key of global communication for decades. Some language theorist emphasize that translation has been neglected in the current literature on globalization. However, although the practice of translating is long established, the study of the field developed into an academic discipline until the second half of the twentieth century. Before that, translation had normally been an element of language learning in modern language courses. (Munday, 2001:7). The globalization theory focuses on mobility and deterritoriallzation, trying to obscure the complexities involved in overcoming cultural and linguistic barriers and to make the role of translation less important. However, many scholars indicate that translation helps us not only to get a better insight into the world, but to get to know ourselves better. The practice of translation comprises the selection and importation of cultural goods from outside a given circuit, and their transformation into terms which the receiving community can understand, if only in linguistic terms, and which it thus recognizes, to some extent, at least, as its own. And because each translation offers its own, over determined, distinct construction of â€Å"otherness† of the imported text, we can learn a  great deal from these cultural constructions – and from the construction of self which accompanies them. The paradigms and templates which a culture uses to build images of foreign offer privileged insight into self- definition. (Riccardi, 2002:17). 2. Theories of Translation There are many translation theories because translating can be viewed from a lot of various perspectives. Some translators claim that they have no theory of translation. But many linguists emphasize that every translator has his own theory of translation. Some persons object to a theory of translation; first of all, because it  seems unnecessary or even misleading. This is seriously true of some wrong theories of translation, but everyone has a theory of translation as to what one should do, how it should be done, and why. Such a theory may be overt or covert; it may be well defined or only vaguely felt. The truth of the matter is that everyone does have a theory of what one should do in translating, and many of these theories are quite inadequate. Good translations inevitably represent effective theories; in other words, organized sets of principles and procedures. A theory,  however, is more than simply a list of rules, for no list could ever cover everything which a translator must or can do. The theory is an organized set of principles pointing the way to finding proper solutions. (Jin and Nida, 2006:7). Translation theorists are usually worried about differences between literary and non-literary text, between poetry and prose, etc. There are many different theories of translation. One reason for that is the fact is that the process of translating can be seen from a lot of various points of view. The other reason is that translating has existed since the beginning of human history. Many language experts point out that traditional translation theorists divided translation into two types. Traditional translation theorists divided translation into two types: literary and non-literary. In literary translation (i. e. , the translation of literature) the translators were both concerned with â€Å"sense† and â€Å"style†. But in non-literary translation the emphasis was on sense. It was meant not to be â€Å"word for word† but â€Å"sense for sense† translation. In the later half of the twentieth century with the advent of Structuralism, Deconstruction and Reader-Response Criticism, Translation Studies took a new turn. (Das, 2008:27). Even nowadays, despite the great variety of translation theories, we don`t have any complete theory of translation. The main reason for that is the fact that translating is utterly a process which depends upon numerous disciplines: neurophysiology, communication theory, psychology, cultural anthropology and linguistics. Actually, it seems inappropriate to speak of â€Å"theories of translation†, since all that has been achieved are several sagacious perspectives on this complicated attempt. If we want to understand the nature of translation, the processes and procedures associated with all kinds of translations must be the center of our attention. Besides, we should point out different attitudes towards the complex task of translating, particular directions which provide good comprehension of interlingual communication. The four major perspectives on the problems of translating are: the philological perspective, the linguistic perspective, the communicative perspective and the sociosemiotic perspective. They should be regarded as complementary and supplementary. On the other hand, they show a historical development of translation. When there are differences in translation, we ask ourselves which of several translations should be the right translation. However, many scholars emphasize that different translations at different points in time â€Å"reflect different style and different ideas about translation†. (Rubel and Rosman, 2003:14). 3. Philologucal Perspective on Translation During the seventeenth and eighteenth centuries in Europe, the philological perspective on translation was first and foremost concentrated on â€Å"faithfulness† of translation. The philological theories of translation were based on a philological approach to literary analysis and they were concerned with all kinds of stylistic features and rhetorical devices. This approach emphasizes: 1. the source of the thematic and formal features of the text; 2. the stylistic peculiarities of the author; 3. the thematic strructure. The philological approach to translation is source-oriented, author-centered and it does not examine the reasons that account for certain translation behaviour. The philological theories of translation have been concerned primarily with literary texts. Generally, the scholar`s discussions were about the degree of freedom that should be allowed, particulary in the case of Bible translation. Nevertheless, many translators accomplished masterly in combining sensitivity to style. Ocatavio Paz explained the most imprtant limitations of the philological perspective. In the field of verbal expression, Paz defines the function of words both in a poetic and prose text and †here again the emphasiz is on the recognition of the plurality of meaning†. (Schulte and Biguenet, 1992:7). Words create connotations that reflect multiple ways of interpreting the text. A lot of language experts protested strongly against the domination of philology and its methodology in translation theory, with the result that many people began to recognize the necessity of a more linguistic orientation for translation theory and practise. 4. Lingustic Perspective on Translation The developement of linguistic perspective can be attributed to two principal factors: 1. the application of the rapidly expanding science of lingustics to several different areas of intellectual activity (language learning, cognitive antrophology, and semiotics), and 2. machine translation. Linguistic theories of translation are based on a comparision of the linguistic structures of source and receptor texts rather than on a comparision of literary genres and stylistic features. Linguistic approach refers to the approach which makes linguistics the key in translating. Linguistics and the growth of linguistically oriented theory are closely related. Linguistic perspective reflects the trend of language study. Translation studies fought for a proper place of its own. Linguistic approach has largely contributed to the initial scientifization of translation studies. Through the use of transformations, Noah Chomsky and his collegues added a new influental sphere to language structure. Several philosophers have made their indirect improvements of the linguistic perspective as well. A lot of books on translating and on correlations in language structures were published during this period. However, this approach to translation has tended to neglect the semantics of lexical structures. In the second place, this kind of perspective depends too much on the ideal speaker and hearer. There are no such ideal individuals, and the translator must be concerned with the various types of limitations that actual speakers and hearers have. In the third place, linguistic approach to translation neglected verbal communication, and language cannot be discussed as though verbal communication occurs in a cultural vacuum. 5. Communicative Perspective on Translation. Dissatisfaction with a strictly linguistic approach to translation is evidenced in Eugene Nida`s relating translation to a communicative theory, rather than a specific linguistic theory. The book From One Language to Another (de Ward and Nida, 1986), made the communicative approach predominant. When one proceeds from the level of gramatical categories (which are largely implicit) to the level of words, which are symbols for dynamic and explicit features of culture, one is obliged to interpret the meaning of such linguistic units in light of the cultural context. That is to say, the meaning of a unit must be described in terms of the sum total of what it signals in all the contexts in which it is used. (Nida, 1975:6). The communicative perspective demonstrates the significance of several fundamental elements, such as: source, message, receptor, feedback, noise, setting and medium. It also analyzes the problem of encoding and decoding. Communicative approach focuses upon various processes in communication and because of that the relation between sociolinguistics and translation is a very natural one. Any approach to translating established on communication theory has to give great attention to the paralinguistic and extralingustic characteristics of oral and written messages. For persuasive and good outcome, form and content must be inseparable. Eqivavalence is also Nida`s preoccupation. He rejects †free† versus †literal† debate in favour of the concept of formal and dynamic eqivalence – a concept that shifts the emphasiz to the target audience. Eugene Nida`s scientific approach has evolved into a quest for a more systematic classifications of all translation theories, which should be based on linguistics, philology and semiotics. 6. Sociosemiotic Perspective on Translation Sociosemiotic approach to translation has been undertaken by de Ward, Nida and Toury. Language must be viewed as a shared set of habits using the voice to communicate. Language experts point out that the existence of shared values and of regular communication patterns requires empirical investigation. To the extent that speakers share knowledge of the communicative constrants and options govering a significiant number of social situations, they can be said to be members of the same speech community. Since such shared knowledge depends on intensity of  contact and communication networks, speech community boundiers tend to coincide with wider social units, such as countries, tribes, religious or ethnic groupings. (Gumperz and Hymes,1986:16). Scholars indicate that members of the same speech community need not all speak the same language nor use the same lingistic forms on similar occassions: All that is required is that there be at least one language in common and that rules governing basic communicative strategies be shared so that speaker can decode the social meaning carried by alternative modes of  communication. (Gumprez and Hymes, 1986:16). On the other hand, the primary concern of the translator is to transfer the meaning of the source language to the target language. Meaning is the point of departure and the end product of translation operations. It is neither possible nor desirible to reproduce every aspect of meaning for every word in a source text. We have to try, as much as possible, to convey the meaning of key words which are focal to understanding and developement of a text, but we cannot and should not distract the  reader by looking at every word in isolation and attempting to present him/her with a full linguistic account of its meaning. (Baker,1992:26). Semiotics is the scientific study of properties of signing systems, whether natural or artificial. In its oldest sense, it refers to the study within philosophy of sign and symbol systems in general. The modern use of the word covers the investigation of patterned human communication in all its modes. Sociosemiotic approach to translation uses a realistic epistemology that describes the real world. Its starting point is verbal creativity. Sociosemiotic perspective also appreciates the adaptility of the language, the blurred limitations of usage and the ambiguity of meaning, which makes language such a sophisticated tool for dialogue. Besides, this approach is fundamentally interdisciplinary, regarding the multiplicity of codes. In linguistic communication, as in any other communication, there are at least five essential elements involved: 1. the topic (the message transmitted), 2. the code (the system of symbols with which the message is processed and sent out),  3.  the sender (the encoder of the message), 4. the receiver (the decoder of the message), 5. the channel of contact (between the sender and the receiver). Each of these categories of sociosemiotic meaning is related primarily to one or more of these five elements. The complete indications of sociosemiotic theories of translation, are only now appearing. However, they possess the potential for becoming very important perceptives for more definable and adequate outcomes. 7. Conclusion These four major perspectives on the problems of translating do not ivalidate one another. On the contrary, they contribute to a better understanding of interlingual communication. These diverse approaches to the problems of translating are essentialy matters of different perspectives. If the focus of attention is on particular texts (and especially if these are of so-called literary quality), the underlying theory of translation is best regarded as philological. If, however, the focus of attention is on the correspondance in language form and content, that is, on the structural differences between the source and receptor languages, the corresponding theory may be regarded as linguistic. If the focus is on translation as a part of an actual communication process, the corresponding theories may be regarded as communitave. If the focus is on plasticity of language, the corresponding theories may be regarded as sociosemiotic. The purposes of translation are so diverse, the texts so different, and the receptors so varied that one can readily understand how and why many distinct formulations of principles and practises of translation have been proposed. All who have written seriously on translating agree that translators should know both the source and the receptor language, should be familiar with the subject matter, and should have some facility of expression in the receptor language. In discussing the various theories of translation, it is important to recognize that these theories are seldom developed in comprehensive form. In most cases, the theories are far more implicit than explicit. But, many scholars point out that a good transltion can be recognized very easily. In fact this type of translation is distinguished by its elegance and  concision, its attention to natural word order, to the deployment of clauses and phrases more frequently used than their formal equivalent in source language: a good translation is deft, neat and closely shadowing its original. (Newmark, 1991:34). However, the fact that patterns of human behaviour are constantly subject to change means that literary taste and judgement with respect to types of translation also change. There is, therefore, no permanent set of criteria for judging the acceptability of translation, but change also implies fluctuation in judgement. Accordingly, one must expect that over a period of time not only will the attitudes of many people change with respect to a translation, but the same individual may react to a particular translation in different ways at different times, depending on his own emotional state or needs. It seems to me that language experts will perhaps invent some new approach to translation. However, despite the fact that scholars have different opinions about perspectives on translation, translation will never cease to exist. Good translators love their work because it is useful and creative. They love exploring the wods, which are a mirror of their times – of the events, the preoccupations, the inventions and discoveries. Every word represents a treasure of mankind`s wisdom. In my opinion, we can learn so much from the act of translation when we are involved in the process. We can learn about our own writing, our language, foreign language and about language itself. Bibiliography 1. Baker, Mona. (1992). In Other Words. London: Routledge. 2. Das, Bijay Kumar. (2008). A Handbook of Translation Studies. New Delhi: Atlantic Publishers &Distributors. 3. Gumprez, John and Hymes, Del. (1986). Directions in Sociolinguistics. New York: Basil Blackwell Inc. 4. Jin, Di and Nida, A. Eugene. (2006). On Translation. Hong Kong: City University Hong Kong Press. 5. Munday, Jeremy. (2001). Introducing Translation Studies. New York:Routlege. 6. Newmark, Peter. (1991). About Translation. UK:Multilingual Matters. Ltd. 7. Nida, A. Eugene. (1975). Language Structure and Translation. Stanford: Stanford University Press. 8. Riccardi, Allesandra. (2002). Translation Studies: perspectives on emerging discipline. Cambridge: The Press Syndicate of the University of Cambridge. 9. Ruber, Paula and Rosman, Abraham. (2003). Translating Cultures. Oxford:Berg. 10. Schulte, Rainer and Biguent, John. (1992). Theories of Translation. Chicago and London: The University of Chicago Press. Contents 1. Introduction†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 1 2. Theories of Translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦3 3. Philological Perspective on Translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 5 4. Linguistic Perspective on Translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 6 5. Communicative Perspective on Translation†¦.. 7 6. Sociosemiotic Perspective on Translation†¦Ã¢â‚¬ ¦. 8 7. Conclusion†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 10 8. Bibliography†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 12 9. Contents†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦13

Understanding Marketing Objectives Questions

Marketing objectives must be based around the corporate objectives. 3. In Chapter 1 the concept of SMART objectives was introduced. Give six examples of SMART marketing objectives. (6 marks) Increase market share by 10% within 2 years Achieve sales revenue of E 10 million within 2 years. Introduce 5 new products by 2016. Increase consumer awareness of the business by in 2016. Improve overall added value on product X by E per unit this year. Increase repeat sales to 60% within 3 years. 4. What problem might arise if a firm's marketing department ignored its corporate objectives? (4 marks)A problem that may arise if a firms marketing department ignored its corporate objectives is that a lack of coordination within the business is likely. This is because the marketing department's targets may not be clear to the other departments and when they are achieved, they may serve no use to the rest of the business as they will not correspond to the corporate objectives. 5. Analyses two reasons why a printing company would set marketing objectives. (6 marks) Two reasons why a printing company would set marketing objectives is because it allows the printing company to measure their success.This can be done by comparing their targeted figure to their actual figure. Also, a printing company would set marketing objectives to motivate employees of the marketing department. These employees can then be rewarded for their ability to achieve their targets by financial or non-financial rewards. 6. Identify and explain three internal factors that might influence a fashion retailers marketing objectives. An internal factor that might influence fashion retailers marketing objectives could be the corporate objectives. This is because the marketing objectives would aim to help achieve the corporate objectives.Due to this, the corporate objectives will influence on the targets that the marketing department can make. For example, if the corporate objectives were to raise the quality of the ir product, then the marketing department could not have the objective of lowering costs as tit would be inconsistent with the corporate objectives. Another internal factor that might influence a fashion retailers marketing objectives could be the staff available. This is because the marketing objectives will not be able to be met unless the staffs have the capability to achieve them.For example, if the marketing objectives were to improve their products quality, the staff available may not have the necessary training or skills In order to actually achieve this objective. Finally, the last internal factor that might influence a fashion retailer's marketing objectives could be the departments finances. This is because the marketing department will be limited to the objectives that they can make based on whether they can actually afford to achieve their objective. If they do not have the necessary finances to achieve their objective then the objective was not SMART as it wasn't realis tic. . Identify and explain three external factors that might influence a fashion retailer's marketing objectives. An external factor that might influence a fashion retailer's marketing objectives might be the needs or wants Of the consumers. This is because, especially with fashion, the wants of the consumer are always changing. Therefore, the department must always be dynamic with their decisions to make sure that they meet these needs and wants of the consumers. When setting objectives, the marketing department must also be dynamic with their sections.This is because when consumer wants change, the marketing objectives will be influenced. For example, if the wants of the consumer change to lower quality and lower priced clothing, then if the marketing department had the objective of raising quality, then they would have a reduction in demand as the demand is moving elsewhere in an always changing market. Another external factor that might influence a fashion retailers marketing o bjectives could be changes in the economy. This is because the economy will decide on how much money people have to spend.If people have less to Penn then the customer numbers for a fashion retailer would fall because expensive fashion is not necessarily a need. Finally, the last External factor that might influence a fashion retailer's marketing objectives could be the actions of competitors. This is because their actions will have an impact on a company's sales and customers. As fashion is a very competitive market, the actions of more competitors are likely to have a larger impact on sales and customers. [f the fashion retailer's objectives are based around these, they can be heavily influenced by competition.

Similarities Between 1984 And V For Vendetta - 1140 Words

George Orwell wrote 1984 as an alternative historical book for the World War II, and V for Vendetta is a dystopian political thriller film based on 1984 DC series directed by James McTeique, and written by The Wachowskis. In 1984, the dystopian future of humanity was divided into three main lands. Eurasia, Eastasia, and Oceania. History is centered in the life and politics of Oceania. They are from a historian sense a mixture of the Nazi party and the Socialist party. However, its ideology is based on the total power of few people or in other words totalitarianism. This organization is called INGSOC or to be more appealing the Big Brother. The main story shares parallelisms with regards to V for vendetta’s sociopolitical system, and†¦show more content†¦Smith reflects, â€Å"Syme will be vaporized. He is too intelligent. He sees too clearly and speaks too plainly. The Party does not like such people. One day he will disappear. It is written in his face† (1984, 89). In fact, he is vaporized. The party years ago purged rebels in the party who were against their ideology. They use technology as a medium to create a sense of protection for its citizens but in reality, is an artefact to give them omnipresence and maintain everything under control. The final goal for the Big Brother was to penetrate in the soul and heart of their people so they can break them apart and have the total control of them rather than have more martyrs. Unfortunately, in Oceania, the lower class is not educated enough to understand the power that they have. Winston says, â€Å"But the proles, if they only could somehow become conscious of their own strength, would have no need to conspire† (1984, 94). Winston really believes in the power of the masses. He believes that any hope in overthrowing the Party relies in the proles. Statistically speaking the inner party is around 2% of population. The outer party is 13% and the rest is the prole–having everything to their favor. Similarly, In V for Vendetta most of the citizens could destroy the system since they are the majority. However, it is clear that in order for them to react they need a leaderShow MoreRelatedComparing and Contrasting 1984 and V for Vendetta886 Words   |  4 PagesComparing and Contrasting 1984 and V for Vendetta The novel 1984 and the graphic novel V for Vendetta have similar views on how society is being run. However V for Vendetta was based on 1984 since 1984 was written before V for Vendetta. Both of these novels are similar in a way like the themes and how the male protagonists are the one in charge of overturning the government. The first similarity between 1984 and V for Vendetta is that the society is being run by totalitarian rule. It is the governmentRead More1984 and V for Vendetta Comparing and Contrasting Essay754 Words   |  4 Pages1984 And V For Vendetta Comparing And Contrasting Essay George Orwells 1984 and the movie V for Vendetta both have similar views on how society is being run. Since The book 1984 was written before V for Vendetta, so perhaps V for Vendetta may have based some of its ideas on this book. Both 1984 and V for Vendetta have similarities like the way the themes and how the male protagonists are the one in charge of overturning the government. The first similarity between 1984 and V for VendettaRead MoreThere Is No I in Government: George Orwell ´s 1984 Novel1230 Words   |  5 Pagesnumbers in society than in government. Society is limitless, broad, and expanding. Government is small, limited, and finite. 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However, while Zack Snyder s 300 is an attempt to recreate history, and does so in a dramatic, stylized, exaggerated, and biased fashion, V for Vendetta echoes history and uses it as a way to enhance the story. Firstly, it is important to note that both 300 and V for Vendetta are adaptations of graphic novels. Thus, any historical inaccuracies committedRead MoreAnalysis Of George Orwell s A Clockwork Orange 1611 Words   |  7 Pagesconnected but never truly free to do as we please. Or is this the path we are heading towards? 1984 and ‘A clockwork orange’ show a projection of a harsh dystopian future where the people are ruled over and oppressed by dictatorial governments. The minority who are brave enough to rebel are quickly brought to a halt and then conditioned to fit back into a ‘perfect’ society. In George Orwell’s novel ‘1984’, the reader can see how a totalitarian regime can control people s lives through the use ofRead More The Collapse of Somalia and Economic Considerations Essay4780 Words   |  20 Pagesvulnerability of Somalia’s undiversified economy; (3) domestic economic policy failures and â€Å"land-grabbing† by elites; (4) the failure of IMF-World bank structural adjustment programs. The combination of these events, coupled with famine, led to fighting between warlords and the collapse of state. Finally, this essay will analyze how the process of Somalia’s decline necessitated the establishment of a shadow economy that continued to prosper despite the absence of state. In analyzing these issues it isRead MoreStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesApplications 239 3 The Group 9 10 11 12 13 14 15 Foundations of Group Behavior 271 Understanding Work Teams 307 Communication 335 Leadership 367 Power and Politics 411 Conflict and Negotiation 445 Foundations of Organization Structure 479 v vi BRIEF CONTENTS 4 The Organization System 16 Organizational Culture 511 17 Human Resource Policies and Practices 543 18 Organizational Change and Stress Management 577 Appendix A Research in Organizational Behavior Comprehensive