how to Order Mandarin Chinese in a Restaurant

When you are visiting China or Taiwan, you will have lots of opportunities to sample the local cuisine. Since food is a national passion, there are restaurants and food stalls almost everywhere. There are many different types of food available, from the various regional dishes of China to Korean, Japanese, and Western. Fast food outlets are in all major cities, and there are also upscale restaurants specializing in Western food - Italian seems to be the most popular. Restaurant Customs When you enter a restaurant, you will be asked how many people are in your party and will be shown to a table. If an English menu is not available, and you dont read Chinese, you will have to ask for help, either from the waiter or a Chinese friend. Most restaurants are open only during meal times - 11:30 to 1:00 for lunch and 5:30 to 7:00 for dinner. Snacks are available almost any time at coffee houses, tea shops, and street vendors. Meals are eaten relatively quickly, and it is customary to leave the restaurant as soon as everyone is finished. Usually, one person will pay for the whole group, so be sure to take your turn in paying for the meal. Tipping is not common in either Taiwan or China, and you usually pay for the meal at the cash register. Here are some phrases to help you order food in a restaurant. English Pinyin Traditional Characters Simplified Characters How many people are there? QÇ ngwà ¨n jÄ « wà ¨i? è «â€¹Ã¥â€¢ Ã¥ ¹ ¾Ã¤ ½ ? è ¯ ·Ã©â€" ®Ã¥â€¡  Ã¤ ½ ? There are ___ people (in our party). ___ wà ¨i. ___ ä ½ Ã¯ ½ ¡ ___ ä ½ Ã¯ ½ ¡ Smoking or non-smoking? ChÃ… uyÄ n ma? æŠ ½Ã§â€¦â„¢Ã¥â€"Ž? æŠ ½Ã§Æ'Ÿå â€"? Are you ready to order? KÄ›yÇ  diÇŽn cà  i le ma? Ã¥  ¯Ã¤ » ¥Ã© »Å¾Ã¨ Å"ä ºâ€ Ã¥â€"Ž? Ã¥  ¯Ã¤ » ¥Ã§â€š ¹Ã¨ Å"ä ºâ€ Ã¥ â€"? Yes, we are ready to order. WÇ’men yà  o diÇŽn cà  i. 我們è ¦ Ã© »Å¾Ã¨ Å"ï ½ ¡ 我ä » ¬Ã¨ ¦ Ã§â€š ¹Ã¨ Å"ï ½ ¡ Not yet, please give us a few more minutes. Hà ¡i mà ©i. Zà  i dÄ›ng yÄ «xià  . é‚„æ ²â€™. å† Ã§ ­â€°Ã¤ ¸â‚¬Ã¤ ¸â€¹Ã¯ ½ ¡ è ¿ËœÃ¦ ² ¡. å† Ã§ ­â€°Ã¤ ¸â‚¬Ã¤ ¸â€¹Ã¯ ½ ¡ I would like .... WÇ’ yà  o ... . 我è ¦ ... 我è ¦ ... . I will have this. WÇ’ yà  o zhà ¨gà ¨. 我è ¦ Ã©â‚¬â„¢Ã¥â‚¬â€¹Ã¯ ½ ¡ 我è ¦ Ã¨ ¿â„¢Ã¤ ¸ ªÃ¯ ½ ¡ That is for me. Shà ¬ wÇ’de. æ˜ ¯Ã¦Ë†â€˜Ã§Å¡â€žÃ¯ ½ ¡ æ˜ ¯Ã¦Ë†â€˜Ã§Å¡â€žÃ¯ ½ ¡ This is not what I ordered. Zhà ¨ bà ºshà ¬ wÇ’ diÇŽn de. 這ä ¸ Ã¦Ëœ ¯Ã¦Ë†â€˜Ã© »Å¾Ã§Å¡â€žÃ¯ ½ ¡ è ¿â„¢Ã¤ ¸ Ã¦Ëœ ¯Ã¦Ë†â€˜Ã§â€š ¹Ã§Å¡â€žÃ¯ ½ ¡ Please bring us some.... QÇ ng zà  i gÄ›i wÇ’men ... . è «â€¹Ã¥â€  Ã§ µ ¦Ã¦Ë†â€˜Ã¥â‚¬â€˜...ï ½ ¡ è ¯ ·Ã¥â€  Ã§ »â„¢Ã¦Ë†â€˜Ã¤ » ¬...ï ½ ¡ Could I have the bill? QÇ ng gÄ›i wÇ’ zhà  ngdÄ n. è «â€¹Ã§ µ ¦Ã¦Ë†â€˜Ã¥ ¸ ³Ã¥â€" ®Ã¯ ½ ¡ è ¯ ·Ã§ »â„¢Ã¦Ë†â€˜Ã¥ ¸ Ã¥ â€¢Ã¯ ½ ¡ How much is it? DuÃ… shÇŽo qià ¡n? Ã¥ ¤Å¡Ã¥ °â€˜Ã©Å' ¢? Ã¥ ¤Å¡Ã¥ °â€˜Ã©â€™ ±? Can I pay by credit card? WÇ’ kÄ›yÇ  yà ²ng xà ¬nyà ²ngkÇŽ ma? 我å  ¯Ã¤ » ¥Ã§â€ ¨Ã¤ ¿ ¡Ã§â€ ¨Ã¥  ¡Ã¥â€"Ž? 我å  ¯Ã¤ » ¥Ã§â€ ¨Ã¤ ¿ ¡Ã§â€ ¨Ã¥  ¡Ã¥ â€"? The bill is not right. Zhà  ngdÄ n bà ¹duà ¬. Ã¥ ¸ ³Ã¥â€" ®Ã¤ ¸ Ã¥ ° Ã¯ ½ ¡ Ã¥ ¸ Ã¥ â€¢Ã¤ ¸ Ã¥ ¯ ¹Ã¯ ½ ¡

Defining Value Added Animation to Promote Positive Living...

DEFINING VALUE ADDED ANIMATION TO PROMOTE POSITIVE LIVING ENVIRONMENT: A CRITICAL STUDY OF UPIN AND IPIN Introduction The global animation industry is growing very fast, as practitioners, we are all caught up in the excitement of producing our own animated creations to keep abreast of trends and take advantage of the â€Å"hype†. However, there is a tendency to blindly follow animation styles that are already well established in popular culture. Located in Southeast Asia, Malaysia is strategically situated between the East and West and sandwiched between the great civilizations of China and India; thus it has always been exposed to different cultural influences that have shaped its local culture. Therefore, cultural adaptability and hybridity†¦show more content†¦Ã¢â‚¬Å"Malaysian animations are generally appealing†¦ the only concern I have is- I can’t really feel the uniqueness of Malaysian values that they should have†¦ Every one of those productions seems struggling to earn recognition...† He also pointed out, when looking at Malaysian animations, he could not see any elements that hold them as a whole. Every Malaysian animation that he has seen is very heavily influenced by others like Western and Japanese animations, whereas, Malaysian identities are hardly found. To him, as a product coming from a supposedly ‘unique’ country with unique cultures, it should strongly bear its own distinctive ‘trademark’ and can give positive examples to the audience. This unique characteristic could be an effective vehicle to educate audience at all level. As western and foreign influences in animation are very much the issue for Malaysian animation productions, it is very hard to pull ourselves away from this ‘norm’ since people are thinking that following ‘the trend’ is the right thing to do. Although to start with, animation shorts that were produced by National Film of Malaysia in the year 1983, directed and made possible by Hassan Mutalib, were quite interesting and can be considered as successful to portray Malaysian scene. It did not only have Malaysian flavours in its looks, the contents were also very much Malaysian.

The Source of Creativity in Writers Free Essays

string(105) " is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other\." We laymen have always been intensely curious to know like the Cardinal who put a similar question to Ariosto – from what sources that strange being, the creative writer, draws his material, and how he manages to make such an impression on us with it and to arouse in us emotions of which, perhaps, we had not even thought ourselves capable. Our interest is only heightened the more by the fact that, if we ask him, the writer himself gives us no explanation, or none that is satisfactory; and it is not at all weakened by our knowledge that not even the clearest insight into the determinants of his choice of material and into the nature of the art of creating imaginative form will ever help to make creative writers of us. If we could at least discover in ourselves or in people like ourselves an activity which was in some way akin to creative writing! An examination of it would then give us a hope of obtaining the beginnings of an explanation of the creative work of writers. We will write a custom essay sample on The Source of Creativity in Writers or any similar topic only for you Order Now And, indeed, there is some prospect of this being possible. After all, creative writers themselves like to lessen the distance between their kind and the common run of humanity; they so often assure us that every man is a poet at heart and that the last poet will not perish till the last man does. Should we not look for the first traces of imaginative activity as early as in childhood The child’s best-loved and most intense occupation is with his play or games. Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, re-arranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his world of play, the child distinguishes it quite well from reality; and he likes to link his imagined objects and situations to the tangible and visible things of the real world. This linking is all that differentiates the child’s ‘play’ from ‘phantasying’. The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously – that is, which he invests with large amounts of emotion while separating it sharply from reality. Language has preserved this relationship between children’s play and poetic creation. It gives [in German] the name of ‘Spiel’ [‘play’] to those forms of imaginative writing which require to be linked to tangible objects and which are capable of representation. It speaks of a ‘Lustspiel’ or ‘Trauerspiel’ [‘comedy’ or ‘tragedy’: literally, ‘pleasure play’ or ‘mourning play’] and describes those who carry out the representation as ‘Schauspieler’ [‘players’: literally ‘show-players’]. The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for many things which, if they were real, could give no enjoyment, can do so in the play of phantasy, and many excitements which, in themselves, are actually distressing, can become a source of pleasure for the hearers and spectators at the performance of a writer’s work. There is another consideration for the sake of which we will dwell a moment longer on this contrast between reality and play. When the child has grown up and has ceased to play, and after he has been labouring for decades to envisage the realities of life with proper seriousness, he may one day find himself in a mental situation which once more undoes the contrast between play and reality. As an adult he can look back on the intense seriousness with which he once carried on his games in childhood; and, by equating his ostensibly serious occupations of to-day with his childhood games, he can throw off the too heavy burden imposed on him by life and win the high yield of pleasure afforded by humour. As people grow up, then, they cease to play, and they seem to give up the yield of pleasure which they gained from playing. But whoever understands the human mind knows that hardly anything is harder for a man than to give up a pleasure which he has once experienced. Actually, we can never give anything up; we only exchange one thing for another. What appears to be a renunciation is really the formation of a substitute or surrogate. In the same way, the growing child, when he stops playing, gives up nothing but the link with real objects; instead playing, he now phantasies. He builds castles in the air and creates what are called day- dreams. I believe that most people construct phantasies at times in their lives. This is a fact which has long been overlooked and whose importance has therefore not been sufficiently appreciated. People’s phantasies are less easy to observe than the play of children. The child, it is true, plays by himself or forms a closed psychical system with other children for the purposes of a game; but even though he may not play his game in front of the grown-ups, he does not, on the other hand, conceal it from them. The adult, on the contrary, is ashamed of his phantasies and hides them from other people. He cherishes his phantasies as his most intimate possessions, and as a rule he would rather confess his misdeeds than tell anyone his phantasies. It may come about that for that reason he believes he is the only person who invents such phantasies and has no idea that creations of this kind are widespread among other people. This difference in the behaviour of a person who plays and a person who phantasies is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other. You read "The Source of Creativity in Writers" in category "Papers" A child’s play is determined by wishes: in point of fact by a single wish-one that helps in his upbringing – the wish to be big and grown up. He is always playing at being ‘grown up’, and in his games he imitates what he knows about the lives of his elders. He has no reason to conceal this wish. With the adult, the case is different. On the one hand, he knows that he is expected not to go on playing or phantasying any longer, but to act in the real world; on the other hand, some of the wishes which give rise to his phantasies are of a kind which it is essential to conceal. Thus he is ashamed of his phantasies as being childish and as being unpermissible. But, you will ask, if people make such a mystery of their phantasying, how is it that we know such a lot about it? Well, there is a class of human beings upon whom, not a god, indeed, but a stern goddess – Necessity – has allotted the task of telling what they suffer and what things give them happiness. These are the victims of nervous illness, who are obliged to tell their phantasies, among other things, to the doctor by whom they expect to be cured by mental treatment. This is our best source of knowledge, and we have since found good reason to suppose that our patients tell us nothing that we might not also hear from healthy people. Let us now make ourselves acquainted with a few of the characteristics of phantasying. We may lay it down that a happy person never phantasies, only an unsatisfied one. The motive forces of phantasies are unsatisfied wishes, and every single phantasy is the fulfilment of a wish, a correction of unsatisfying reality. These motivating wishes vary according to the sex, character and circumstances of the person who is having the phantasy; but they fall naturally into two main groups. They are either ambitious wishes, which serve to elevate the subject’s personality; or they are erotic ones. In young women the erotic wishes predominate almost exclusively, for their ambition is as a rule absorbed by erotic trends. In young men egoistic and ambitious wishes come to the fore clearly enough alongside of erotic ones. But we will not lay stress on the opposition between the two trends; we would rather emphasize the fact that they are often united. Just as, in many altar- pieces, the portrait of the donor is to be seen in a corner of the picture, so, in the majority of ambitious phantasies, we can discover in some corner or other the lady for whom the creator of the phantasy performs all his heroic deeds and at whose feet all his triumphs are laid. Here, as you see, there are strong enough motives for concealment; the well-brought-up young woman is only allowed a minimum of erotic desire, and the young man has to learn to suppress the excess of self-regard which he brings with him from the spoilt days of his childhood, so that he may find his place in a society which is full of other individuals making equally strong demands. We must not suppose that the products of this imaginative activity – the various phantasies, castles in the air and day-dreams – are stereotyped or unalterable. On the contrary, they fit themselves in to the subject’s shifting impressions of life, change with every change in his situation, and receive from every fresh active impression what might be called a ‘date-mark’. The relation of a phantasy to time is in general very important. We may say that it hovers, as it were, between three times – the three moments of time which our ideation involves. Mental work is linked to some current impression, some provoking occasion in the present which has been able to arouse one of the subject’s major wishes. From there it harks back to a memory of an earlier experience (usually an infantile one) in which this wish was fulfilled; and it now creates a situation relating to the future which represents a fulfilment of the wish. What it thus creates is a day-dream or phantasy, which carries about it traces of its origin from the occasion which provoked it and from the memory. Thus past, present and future are strung together, as it were, on the thread of the wish that runs through them. A very ordinary example may serve to make what I have said clear. Let us take the case of a poor orphan boy to whom you have given the address of some employer where he may perhaps find a job. On his way there he may indulge in a day-dream appropriate to the situation from which it arises. The content of his phantasy will perhaps be something like this. He is given a job, finds favour with his new employer, makes himself indispensable in the business, is taken into his employer’s family, marries the charming young daughter of the house, and then himself becomes a director of the business, first as his employer’s partner and then as his successor. In this phantasy, the dreamer has regained what he possessed in his happy childhood – the protecting house, the loving parents and the first objects of his affectionate feelings. You will see from this example the way in which the wish makes use of an occasion in the present to construct, on the pattern of the past, a picture of the future. There is a great deal more that could be said about phantasies; but I will only allude as briefly as possible to certain points. If phantasies become over-luxuriant and over-powerful, the conditions are laid for an onset of neurosis or psychosis. Phantasies, moreover, are the immediate mental precursors of the distressing symptoms complained of by our patients. Here a broad by-path branches off into pathology. I cannot pass over the relation of phantasies to dreams. Our dreams at night are nothing else than phantasies like these, as we can demonstrate from the interpretation of dreams. Language, in its unrivalled wisdom, long ago decided the question of the essential nature of dreams by giving the name of ‘day-dreams’ to the airy creations of phantasy. If the meaning of our dreams usually remains obscure to us in spite of this pointer, it is because of the circumstance that at night there also arise in us wishes of which we are ashamed; these we must conceal from ourselves, and they have consequently been repressed, pushed into the unconscious. Repressed wishes of this sort and their derivatives are only allowed to come to expression in a very distorted form. When scientific work had succeeded in elucidating this factor of dream-distortion, it was no longer difficult to recognize that night-dreams are wish-fulfilments in just the same way as day-dreams – the phantasies which we all know so well.  ¹ Cf. Freud, The Interpretation of Dreams (1900a). So much for phantasies. And now for the creative writer. May we really attempt to compare the imaginative writer with the ‘dreamer in broad daylight’, and his creations with day-dreams? Here we must begin by making an initial distinction. We must separate writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who seem to originate their own material. We will keep to the latter kind, and, for the purposes of our comparison, we will choose not the writers most highly esteemed by the critics, but the less pretentious authors of novels, romances and short stories, who nevertheless have the widest and most eager circle of readers of both sexes. One feature above all cannot fail to strike us about the creations of these story-writers: each of them has a hero who is the centre of interest, for whom the writer tries to win our sympathy by every possible means and whom he seems to place under the protection of a special Providence. If, at the end of one chapter of my story, I leave the hero unconscious and bleeding from severe wounds, I am sure to find him at the beginning of the next being carefully nursed and on the way to recovery; and if the first volume closes with the ship he is in going down in a storm at sea, I am certain, at the opening of the second volume, to read of his miraculous rescue – a rescue without which the story could not proceed. The feeling of security with which I follow the hero through his perilous adventures is the same as the feeling with which a hero in real life throws himself into the water to save a drowning man or exposes himself to the enemy’s fire in order to storm a battery. It is the true heroic feeling, which one of our best writers has expressed in an inimitable phrase: ‘Nothing can happen to me! ’ It seems to me, however, that through this revealing characteristic of invulnerability we can immediately recognize His Majesty the Ego, the hero alike of every day-dream and of every story. Other typical features of these egocentric stories point to the same kinship. The fact that all the women in the novel invariably fall in love with the hero can hardly be looked on as a portrayal of reality, but it is easily understood as a necessary constituent of a day-dream. The same is true of the fact that the other characters in the story are sharply divided into good and bad, in defiance of the variety of human characters that are to be observed in real life. The ‘good’ ones are the helpers, while the ‘bad’ ones are the enemies and rivals, of the ego which has become the hero of the story. We are perfectly aware that very many imaginative writings are far removed from the model of the naà ¯ve day-dream; and yet I cannot suppress the suspicion that even the most extreme deviations from that model could be linked with it through an uninterrupted series of transitional cases. It has struck me that in many of what are known as ‘psychological’ novels only one person – once again the hero – is described from within. The author sits inside his mind, as it were, and looks at the other characters from outside. The psychological novel in general no doubt owes its special nature to the inclination of the modern writer to split up his ego, by self- observation, into many part-egos, and, in consequence, to personify the conflicting currents of his own mental life in several heroes. Certain novels, which might be described as ‘eccentric’, seem to stand in quite special contrast to the type of the day-dream. In these, the person who is introduced as the hero plays only a very small active part; he sees the actions and sufferings of other people pass before him like a spectator. Many of Zola’s later works belong to this category. But I must point out that the psychological analysis of individuals who are not creative writers, and who diverge in some respects from the so-called norm, has shown us analogous variations of the day-dream, in which the ego contents itself with the role of spectator. If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. Let us, for instance, try to apply to these authors’ works the thesis we laid down earlier concerning the relation between phantasy and the three periods of time and the wish which runs through them; and, with its help, let us try to study the connections that exist between the life of the writer and his works. No one has known, as a rule, what expectations to frame in approaching this problem; and often the connection has been thought of in much too simple terms. In the light of the insight we have gained from phantasies, we ought to expect the following state of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work. The work itself exhibits elements of the recent provoking occasion as well as of the old memory. Do not be alarmed at the complexity of this formula. I suspect that in fact it will prove to be too exiguous a pattern. Nevertheless, it may contain a first approach to the true state of affairs; and, from some experiments I have made, I am inclined to think that this way of looking at creative writings may turn out not unfruitful. You will not forget that the  stress it lays on childhood memories in the writer’s life – a stress which may perhaps seem puzzling – is ultimately derived from the assumption that a piece of creative writing, like a day-dream, is a continuation of, and a substitute for, what was once the play of childhood. We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the re-fashioning of ready- made and familiar material. Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite extensive. In so far as the material is already at hand, however, it is derived from the popular treasure-house of myths, legends and fairy tales. The study of constructions of folk-psychology such as these is far from being complete, but it is extremely probable that myths, for instance, are distorted vestiges of the wishful phantasies of whole nations, the secular dreams of youthful humanity. You will say that, although I have put the creative writer first in the title of my paper, I have told you far less about him than about phantasies. I am aware of that, and I must try to excuse it by pointing to the present state of our knowledge. All I have been able to do is to throw out some encouragements and suggestions which, starting from the study of phantasies, lead on to the problem of the writer’s choice of his literary material. As for the other problem – by what means the creative writer achieves the emotional effects in us that are aroused by his creations – we have as yet not touched on it at all. But I should like at least to point out to you the path that leads from our discussion of phantasies to the problems of poetical effects. You will remember how I have said that the day-dreamer carefully conceals his phantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pleasure by his disclosures. Such phantasies, when we learn them, repel us or at least leave us cold. But when a creative writer presents his plays to us or tells us what we are inclined to take to be his personal day dreams, we experience a great pleasure, and one which probably arises from the confluence of many sources. How the writer accomplishes this is his innermost secret; the essential ars poetica lies in the technique of overcoming the feeling of repulsion in us which is undoubtedly connected with the barriers that rise  between each single ego and the others. We can guess two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal – that is, aesthetic – yield of pleasure which he offers us in the presentation of his phantasies. We give the name of an incentive bonus, or a fore-pleasure, to a yield of pleasure such as this, which is offered to us so as to make possible the release of still greater pleasure arising from deeper psychical sources. In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a fore-pleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is due to the writer’s enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the threshold of new, interesting and complicated enquiries; but also, at least for the moment, to the end of our discussion. How to cite The Source of Creativity in Writers, Papers The Source of Creativity in Writers Free Essays string(105) " is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other\." We laymen have always been intensely curious to know like the Cardinal who put a similar question to Ariosto – from what sources that strange being, the creative writer, draws his material, and how he manages to make such an impression on us with it and to arouse in us emotions of which, perhaps, we had not even thought ourselves capable. Our interest is only heightened the more by the fact that, if we ask him, the writer himself gives us no explanation, or none that is satisfactory; and it is not at all weakened by our knowledge that not even the clearest insight into the determinants of his choice of material and into the nature of the art of creating imaginative form will ever help to make creative writers of us. If we could at least discover in ourselves or in people like ourselves an activity which was in some way akin to creative writing! An examination of it would then give us a hope of obtaining the beginnings of an explanation of the creative work of writers. We will write a custom essay sample on The Source of Creativity in Writers or any similar topic only for you Order Now And, indeed, there is some prospect of this being possible. After all, creative writers themselves like to lessen the distance between their kind and the common run of humanity; they so often assure us that every man is a poet at heart and that the last poet will not perish till the last man does. Should we not look for the first traces of imaginative activity as early as in childhood The child’s best-loved and most intense occupation is with his play or games. Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, re-arranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his world of play, the child distinguishes it quite well from reality; and he likes to link his imagined objects and situations to the tangible and visible things of the real world. This linking is all that differentiates the child’s ‘play’ from ‘phantasying’. The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously – that is, which he invests with large amounts of emotion while separating it sharply from reality. Language has preserved this relationship between children’s play and poetic creation. It gives [in German] the name of ‘Spiel’ [‘play’] to those forms of imaginative writing which require to be linked to tangible objects and which are capable of representation. It speaks of a ‘Lustspiel’ or ‘Trauerspiel’ [‘comedy’ or ‘tragedy’: literally, ‘pleasure play’ or ‘mourning play’] and describes those who carry out the representation as ‘Schauspieler’ [‘players’: literally ‘show-players’]. The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for many things which, if they were real, could give no enjoyment, can do so in the play of phantasy, and many excitements which, in themselves, are actually distressing, can become a source of pleasure for the hearers and spectators at the performance of a writer’s work. There is another consideration for the sake of which we will dwell a moment longer on this contrast between reality and play. When the child has grown up and has ceased to play, and after he has been labouring for decades to envisage the realities of life with proper seriousness, he may one day find himself in a mental situation which once more undoes the contrast between play and reality. As an adult he can look back on the intense seriousness with which he once carried on his games in childhood; and, by equating his ostensibly serious occupations of to-day with his childhood games, he can throw off the too heavy burden imposed on him by life and win the high yield of pleasure afforded by humour. As people grow up, then, they cease to play, and they seem to give up the yield of pleasure which they gained from playing. But whoever understands the human mind knows that hardly anything is harder for a man than to give up a pleasure which he has once experienced. Actually, we can never give anything up; we only exchange one thing for another. What appears to be a renunciation is really the formation of a substitute or surrogate. In the same way, the growing child, when he stops playing, gives up nothing but the link with real objects; instead playing, he now phantasies. He builds castles in the air and creates what are called day- dreams. I believe that most people construct phantasies at times in their lives. This is a fact which has long been overlooked and whose importance has therefore not been sufficiently appreciated. People’s phantasies are less easy to observe than the play of children. The child, it is true, plays by himself or forms a closed psychical system with other children for the purposes of a game; but even though he may not play his game in front of the grown-ups, he does not, on the other hand, conceal it from them. The adult, on the contrary, is ashamed of his phantasies and hides them from other people. He cherishes his phantasies as his most intimate possessions, and as a rule he would rather confess his misdeeds than tell anyone his phantasies. It may come about that for that reason he believes he is the only person who invents such phantasies and has no idea that creations of this kind are widespread among other people. This difference in the behaviour of a person who plays and a person who phantasies is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other. You read "The Source of Creativity in Writers" in category "Papers" A child’s play is determined by wishes: in point of fact by a single wish-one that helps in his upbringing – the wish to be big and grown up. He is always playing at being ‘grown up’, and in his games he imitates what he knows about the lives of his elders. He has no reason to conceal this wish. With the adult, the case is different. On the one hand, he knows that he is expected not to go on playing or phantasying any longer, but to act in the real world; on the other hand, some of the wishes which give rise to his phantasies are of a kind which it is essential to conceal. Thus he is ashamed of his phantasies as being childish and as being unpermissible. But, you will ask, if people make such a mystery of their phantasying, how is it that we know such a lot about it? Well, there is a class of human beings upon whom, not a god, indeed, but a stern goddess – Necessity – has allotted the task of telling what they suffer and what things give them happiness. These are the victims of nervous illness, who are obliged to tell their phantasies, among other things, to the doctor by whom they expect to be cured by mental treatment. This is our best source of knowledge, and we have since found good reason to suppose that our patients tell us nothing that we might not also hear from healthy people. Let us now make ourselves acquainted with a few of the characteristics of phantasying. We may lay it down that a happy person never phantasies, only an unsatisfied one. The motive forces of phantasies are unsatisfied wishes, and every single phantasy is the fulfilment of a wish, a correction of unsatisfying reality. These motivating wishes vary according to the sex, character and circumstances of the person who is having the phantasy; but they fall naturally into two main groups. They are either ambitious wishes, which serve to elevate the subject’s personality; or they are erotic ones. In young women the erotic wishes predominate almost exclusively, for their ambition is as a rule absorbed by erotic trends. In young men egoistic and ambitious wishes come to the fore clearly enough alongside of erotic ones. But we will not lay stress on the opposition between the two trends; we would rather emphasize the fact that they are often united. Just as, in many altar- pieces, the portrait of the donor is to be seen in a corner of the picture, so, in the majority of ambitious phantasies, we can discover in some corner or other the lady for whom the creator of the phantasy performs all his heroic deeds and at whose feet all his triumphs are laid. Here, as you see, there are strong enough motives for concealment; the well-brought-up young woman is only allowed a minimum of erotic desire, and the young man has to learn to suppress the excess of self-regard which he brings with him from the spoilt days of his childhood, so that he may find his place in a society which is full of other individuals making equally strong demands. We must not suppose that the products of this imaginative activity – the various phantasies, castles in the air and day-dreams – are stereotyped or unalterable. On the contrary, they fit themselves in to the subject’s shifting impressions of life, change with every change in his situation, and receive from every fresh active impression what might be called a ‘date-mark’. The relation of a phantasy to time is in general very important. We may say that it hovers, as it were, between three times – the three moments of time which our ideation involves. Mental work is linked to some current impression, some provoking occasion in the present which has been able to arouse one of the subject’s major wishes. From there it harks back to a memory of an earlier experience (usually an infantile one) in which this wish was fulfilled; and it now creates a situation relating to the future which represents a fulfilment of the wish. What it thus creates is a day-dream or phantasy, which carries about it traces of its origin from the occasion which provoked it and from the memory. Thus past, present and future are strung together, as it were, on the thread of the wish that runs through them. A very ordinary example may serve to make what I have said clear. Let us take the case of a poor orphan boy to whom you have given the address of some employer where he may perhaps find a job. On his way there he may indulge in a day-dream appropriate to the situation from which it arises. The content of his phantasy will perhaps be something like this. He is given a job, finds favour with his new employer, makes himself indispensable in the business, is taken into his employer’s family, marries the charming young daughter of the house, and then himself becomes a director of the business, first as his employer’s partner and then as his successor. In this phantasy, the dreamer has regained what he possessed in his happy childhood – the protecting house, the loving parents and the first objects of his affectionate feelings. You will see from this example the way in which the wish makes use of an occasion in the present to construct, on the pattern of the past, a picture of the future. There is a great deal more that could be said about phantasies; but I will only allude as briefly as possible to certain points. If phantasies become over-luxuriant and over-powerful, the conditions are laid for an onset of neurosis or psychosis. Phantasies, moreover, are the immediate mental precursors of the distressing symptoms complained of by our patients. Here a broad by-path branches off into pathology. I cannot pass over the relation of phantasies to dreams. Our dreams at night are nothing else than phantasies like these, as we can demonstrate from the interpretation of dreams. ? Language, in its unrivalled wisdom, long ago decided the question of the essential nature of dreams by giving the name of ‘day-dreams’ to the airy creations of phantasy. If the meaning of our dreams usually remains obscure to us in spite of this pointer, it is because of the circumstance that at night there also arise in us wishes of which we are ashamed; these we must conceal from ourselves, and they have consequently been repressed, pushed into the unconscious. Repressed wishes of this sort and their derivatives are only allowed to come to expression in a very distorted form. When scientific work had succeeded in elucidating this factor of dream-distortion, it was no longer difficult to recognize that night-dreams are wish-fulfilments in just the same way as day-dreams – the phantasies which we all know so well. ? Cf. Freud, The Interpretation of Dreams (1900a). So much for phantasies. And now for the creative writer. May we really attempt to compare the imaginative writer with the ‘dreamer in broad daylight’, and his creations with day-dreams? Here we must begin by making an initial distinction. We must separate writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who seem to originate their own material. We will keep to the latter kind, and, for the purposes of our comparison, we will choose not the writers most highly esteemed by the critics, but the less pretentious authors of novels, romances and short stories, who nevertheless have the widest and most eager circle of readers of both sexes. One feature above all cannot fail to strike us about the creations of these story-writers: each of them has a hero who is the centre of interest, for whom the writer tries to win our sympathy by every possible means and whom he seems to place under the protection of a special Providence. If, at the end of one chapter of my story, I leave the hero unconscious and bleeding from severe wounds, I am sure to find him at the beginning of the next being carefully nursed and on the way to recovery; and if the first volume closes with the ship he is in going down in a storm at sea, I am certain, at the opening of the second volume, to read of his miraculous rescue – a rescue without which the story could not proceed. The feeling of security with which I follow the hero through his perilous adventures is the same as the feeling with which a hero in real life throws himself into the water to save a drowning man or exposes himself to the enemy’s fire in order to storm a battery. It is the true heroic feeling, which one of our best writers has expressed in an inimitable phrase: ‘Nothing can happen to me! ’ It seems to me, however, that through this revealing characteristic of invulnerability we can immediately recognize His Majesty the Ego, the hero alike of every day-dream and of every story. Other typical features of these egocentric stories point to the same kinship. The fact that all the women in the novel invariably fall in love with the hero can hardly be looked on as a portrayal of reality, but it is easily understood as a necessary constituent of a day-dream. The same is true of the fact that the other characters in the story are sharply divided into good and bad, in defiance of the variety of human characters that are to be observed in real life. The ‘good’ ones are the helpers, while the ‘bad’ ones are the enemies and rivals, of the ego which has become the hero of the story. We are perfectly aware that very many imaginative writings are far removed from the model of the naive day-dream; and yet I cannot suppress the suspicion that even the most extreme deviations from that model could be linked with it through an uninterrupted series of transitional cases. It has struck me that in many of what are known as ‘psychological’ novels only one person – once again the hero – is described from within. The author sits inside his mind, as it were, and looks at the other characters from outside. The psychological novel in general no doubt owes its special nature to the inclination of the modern writer to split up his ego, by self- observation, into many part-egos, and, in consequence, to personify the conflicting currents of his own mental life in several heroes. Certain novels, which might be described as ‘eccentric’, seem to stand in quite special contrast to the type of the day-dream. In these, the person who is introduced as the hero plays only a very small active part; he sees the actions and sufferings of other people pass before him like a spectator. Many of Zola’s later works belong to this category. But I must point out that the psychological analysis of individuals who are not creative writers, and who diverge in some respects from the so-called norm, has shown us analogous variations of the day-dream, in which the ego contents itself with the role of spectator. If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. Let us, for instance, try to apply to these authors’ works the thesis we laid down earlier concerning the relation between phantasy and the three periods of time and the wish which runs through them; and, with its help, let us try to study the connections that exist between the life of the writer and his works. No one has known, as a rule, what expectations to frame in approaching this problem; and often the connection has been thought of in much too simple terms. In the light of the insight we have gained from phantasies, we ought to expect the following state of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work. The work itself exhibits elements of the recent provoking occasion as well as of the old memory. Do not be alarmed at the complexity of this formula. I suspect that in fact it will prove to be too exiguous a pattern. Nevertheless, it may contain a first approach to the true state of affairs; and, from some experiments I have made, I am inclined to think that this way of looking at creative writings may turn out not unfruitful. You will not forget that the  stress it lays on childhood memories in the writer’s life – a stress which may perhaps seem puzzling – is ultimately derived from the assumption that a piece of creative writing, like a day-dream, is a continuation of, and a substitute for, what was once the play of childhood. We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the re-fashioning of ready- made and familiar material. Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite extensive. In so far as the material is already at hand, however, it is derived from the popular treasure-house of myths, legends and fairy tales. The study of constructions of folk-psychology such as these is far from being complete, but it is extremely probable that myths, for instance, are distorted vestiges of the wishful phantasies of whole nations, the secular dreams of youthful humanity. You will say that, although I have put the creative writer first in the title of my paper, I have told you far less about him than about phantasies. I am aware of that, and I must try to excuse it by pointing to the present state of our knowledge. All I have been able to do is to throw out some encouragements and suggestions which, starting from the study of phantasies, lead on to the problem of the writer’s choice of his literary material. As for the other problem – by what means the creative writer achieves the emotional effects in us that are aroused by his creations – we have as yet not touched on it at all. But I should like at least to point out to you the path that leads from our discussion of phantasies to the problems of poetical effects. You will remember how I have said that the day-dreamer carefully conceals his phantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pleasure by his disclosures. Such phantasies, when we learn them, repel us or at least leave us cold. But when a creative writer presents his plays to us or tells us what we are inclined to take to be his personal day dreams, we experience a great pleasure, and one which probably arises from the confluence of many sources. How the writer accomplishes this is his innermost secret; the essential ars poetica lies in the technique of overcoming the feeling of repulsion in us which is undoubtedly connected with the barriers that rise  between each single ego and the others. We can guess two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal – that is, aesthetic – yield of pleasure which he offers us in the presentation of his phantasies. We give the name of an incentive bonus, or a fore-pleasure, to a yield of pleasure such as this, which is offered to us so as to make possible the release of still greater pleasure arising from deeper psychical sources. In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a fore-pleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is due to the writer’s enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the threshold of new, interesting and complicated enquiries; but also, at least for the moment, to the end of our discussion. How to cite The Source of Creativity in Writers, Papers

LIVE ANIMAL EXPORTS SHOULD NOT BE BANNED! Essay Example For Students

LIVE ANIMAL EXPORTS SHOULD NOT BE BANNED! Essay Good evening ladies and Gentlemen, adjudicator, chairman and fellow debaters. Firstly I would like to rebut the flaws in the oppositions arguments. Our team strongly believes that the Cormo express has been extremely exaggerated. In fact, feedback from the Australian Quarantine Inspection Service-approved vet on board is that they were in excellent condition and have actually gained body weight since leaving Australia. I also wonder why the Affirmative failed to mention that out of 430 ships that left Australia in 2003. We didnt hear anything about the other 429 and that in my belief is where the whole thing got distorted. Live animal exports are economically important to Australia and the world. Yet this does not mean that we forget the animals rights. Throughout this debate our team has stressed to you the need for animal exports and why we rely on it so much. Our first speaker Renee defined the topic and covered issues such as:*The excellent standards aboard transportation ships*Live exports eliminates animal substitution*And the expert care given to animals before they are loaded onto the ship and while they are on it. Our second speaker Josh continued our case and argued equally important issues such as:*The financial gain*Cultural and industrial beliefs*Benefits of the live animal export industryAs we informed you earlier live exports earn $1 billion simply in Australia. This figure means that live exports account for more than a ninth of the livestock sold in Australia each year. If we were to ban live exports in Australia this would jeopardise the lively hood of most of our farmers. As our second speaker Josh stated 20-30 % of a farmers income in Victoria is from live exports, it is even greater interstate. It is obvious this would be the final blow to farmers after they had lost most of their livestock in the draught, now those surviving animals would not be able to be traded. Josh mentioned how most farmers only managed to keep going because they would be able to create income by exporting their livestock overseas. Another point that our team has been certain of is that there is no miss treat ment of animals on board ships. Our first speaker Renee discussed procedure and actions taken if animals fall ill. Renee stated I quote If the death rate on board a transit vessel carrying sheep is above 2% a formal investigation is automatically conducted. She also mentioned that each ship transporting live animals is required to have a vet on board. Their roles are to; check the animals health daily, draft the animals into pens, put down animals that arent coping, conduct post- mortems and ensure crew are tending to animals. As you can see every possible situation has been considered! It should be noted that our team respects the rights and beliefs of Muslim countries to process sheep in the way they believe is right. Our team also has reminded the opposition that what happens to the sheep once they are delivered does not fall under our jurisdiction, although if there were fears that there was some such wrong doing, a formal inquiry would be launched. Since there is no precedentia l investigation we can assume that animals exported to the Middle East have been shown no cruelty. In conclusion to our argument, I must say that we rely on this industry greatly in Australia and would we be able to accept the backlash, loss of jobs and income if Live animal exports were band.

Ideal Victim free essay sample

An ‘ideal victim’ is someone who has played no part in their victimisation by an offender who was wholly responsible for the incident. The public can relate to the ‘ideal victims’ ordeal and although they have been through an awful sometimes incomprehensible experience society views the ‘ideal victim’ â€Å"as pure, blameless (hence passive) people against whom an evil act was omitted by a depraved individual† (Spalek, B. 2006 p25). Although most people can relate to an ‘ideal victim’ there is a ‘positivist perspective’ in victimology that defines the behaviour and circumstances of people can have a direct contribution to their victimisation. However, the ‘feminist perspective’ would argue that by suggesting a victim had aided in their victimisation would require the victim to accept some form of accountability for their victimisation. A ‘radical perspective’ broadens our understanding of victimhood. It requires us to acknowledge imbalances of power within society and how it increases the likely hood of victimisation. We will write a custom essay sample on Ideal Victim or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page â€Å"Power relations are fundamental to the way society is structured; that those power relations are unjust; and that those unjust power relations are the context within which we should think about crime and victimisation† (Edwards, P. 012). National crime surveys assist governments in gathering information about a wide range of crime-related issues (Spalek, B. 2006 p47). My discussion will encompass the important functions of national crime surveys and how local surveys can provide â€Å"precise local knowledge† (Spalek, B. 2006 p56) in respect to victimisation. An ‘ideal victim’ attracts society’s attention and sympathy. They are viewed as having played no part in their victimisation. The more susceptible and innocent the victim the more the public can see them as a victim. Race, class and gender† influence how an ‘ideal victim’ is perceived and describes how â€Å"elderly people, children and women often receive more sympath etic response to their victimization than working class men† (Spalek, B. 2006 p22). Governments utilise ‘ideal victim’ circumstances to pave way for new laws and policies, gaining support from public opinion of the ‘ideal victim’. Currently, in South Australia, Senator Nick Xenophon is aiming to introduce laws to stop online predators. This legislation, known as Carly’s Law, was formed after 15 year old Carly Ryan was groomed online by 47 year old, Gary Francis Newman. She ultimately agreed to meet the 47 year old who posed as 20 year old musician. Newman lured Carly to a beach in South Australia where she was murdered. Newman is currently serving a custodial sentence of 29 years non-parole. (Source: News. com) Carly Ryan is an ‘ideal victim’, a juvenile female who was victimised by an â€Å"’ideal offender’, who is ‘evil’â€Å"(Spalek, B. 2006 p23). Many victims refuse to be termed ‘victim’ instead prefer to promote the term ‘survivor’. They prefer to be identified â€Å"as an agent who has resisted their abuse to become emotionally and psychologically stronger’ (Spalek, B. 2006 p26). The ‘survivor’ shows great determination to overcome difficulties and from their victimisation they are able to help others. This, however, â€Å"can be unhelpful, since individuals can be put under pressure to be a certain type of victim, an idealised hero † when they themselves are yet to fully understand and triumph over their victimisation (Spalek, B. 2006 p11). A ‘victim’, as defined in The South Australian Victims of Crime Act, 2001; â€Å"in relation to an offence, means a person who suffers harm as a result of the commission of the offence (but does not include a person who was a party to the commission of the offence)†. This definition supports the ideals of the ‘ideal victim’, as an ‘ideal victim’ â€Å"must be innocent; they must not be guilty of having contributed to their loss† (Bayley, J. 1991 p54). A ‘positivist perspective’ proposes victims have placed themselves in a position where they are contributing to their victimisation. This clearly differs from an ‘ideal victim’, and the ‘feminist perspective’ would argue that by suggesting a victim had aided in their victimisation would require the victim to accept some form of accountability for their victimisation. When examining the victim’s actions, the differences between a ‘positivist perspective’ and ‘feminist perspective’ become evident. A ‘positivist perspective’ implies identifying the factors that contribute to the non-random victimization pattern, focusing on the interpersonal violent crimes, and endeavouring to identify the victims who are prone to contribute to their own victimization (Kostic, M. 2010 p69). This shows the victim as being the kind of person that they are; this can also include lifestyle factors such as victims who brazenly display their wealth. Positivist Perspective’ examines which social and psychological characteristics of victims make them different from and more vulnerable than, non-victims. An example of positivist victimology is Marvin Wolfgangs (1958) study of 588 homicides in Philadelphia. Wolfgang found that 26% involved victim precipitation – the victim triggered the events leading to the murder ( Spalek, B. 2006 p34). A ‘feminist perspective’ has â€Å"highlighted forms of abuse experienced by women that have largely been hidden† (Spalek, B. 2006 p42). The defining difference between the ‘feminist perspective’ and positivist are clear. Both ‘feminist’ and ‘positivist’ perspectives acknowledge the victimisation occurs as a result of characteristics of the victim, but the ‘feminist perspective’ places the all aspects of guilt upon the perpetrator. The ‘feminist perspective’ â€Å"belief that the crimes committed against women and children can only be understood, and reduced, if the broader context of patriarchy is acknowledged, this being male economic, political and legal power, underpinned by male violence† (Spalek, B. 006 p30). ‘Radical perspective’ of victimology â€Å"has been criticised for adopting an overly simplistic view of structure and its impact on individuals† (Spalek, B. 2006 p40). However, a ‘radical perspective’ broadens our understanding of victimhood as it requires us to acknowledge within the general society â €Å"power relations are fundamental to the way society is structured; that those power relations are unjust; and that those unjust power relations are the context within which we should think about crime and victimisation† (Edwards, P. 2012). It encompasses â€Å"broad social problems like poverty, injustice and state abuses† (Spalek, B. 2006 p40). Home invasion, environment pollution and domestic violence are all offences where a victim can be identified. To understand each victim we must understand which victimisation perspective corresponds. A ‘positivist perspective’ encompasses a home invasion. An unknown offender/s entered the home of an unknown person for the purpose of committing an offence. Why the offender/s chose this house? The victim may have left the front door open or left valuables in plain sight of the front yard. They are still a victim but the victim may have played a part in their victimisation. A ‘radical perspective’ encompasses environmental pollution. Victims of environmental pollution play no part in their victimisation but due to their circumstances have been affected. If a well known industrial company pollutes the ground water in a local area, the local residents become unwilling victims to the pollution. The company which has greater socio-economic status and power have victimised the local residents. A ‘feminist perspective’ encompasses domestic violence. The victim, a woman, enters into a relationship with a ale. The offender uses his patriarchy to underpin the violence against the victim. National Crime Survey’s aid governments in calculating â€Å"perceptions and experiences of crime† (Spalek, B. 2006 p47). They appear to gather greater defining crime statistics than those produced by local law enforcement. This is due, in part, on victims not reporting crimes to police or the police officer it has been reported to have not recorded the event. National crime surveys include a wide range of â€Å"crime-related issues† and â€Å"allow policy makers to examine a broad range of issues† (Spalek, B. 006 p47). National crime surveys are used to create crime reduction strategies as it is used to identify â€Å"groups of people most at risk from crime† (Spalek, B. 2006 p52). The National crime survey has its limitations as it does not provide for accurate local data analysis. Local surveys can be specific in their direction and be used to â€Å"uncover differential crime risk, particularly the high risks that women, minority ethnic groups and socially disadvantaged people faced† (Spalek, B 2006 p56). In conclusion, the ‘ideal victim’ plays no part in thei r victimisation. The public can relate to the ‘ideal victims’ ordeal and although they have been through an awful sometimes incomprehensible experience society views the ‘ideal victim’ â€Å"as pure, blameless (hence passive) people against whom an evil act was omitted by a depraved individual† (Spalek, B. 2006 p25). A ‘positivist perspective’ in victimology that defines the behaviour and circumstances of people can have a direct contribution to their victimisation. However, the ‘feminist perspective’ would argue that by suggesting a victim had aided in their victimisation would require the victim to accept some form of accountability for their victimisation. A ‘radical perspective’ broadens our understanding of victimhood. It requires us to acknowledge imbalances of power within society and how it increases the likely hood of victimisation. National crime survey’s aid governments in calculating â€Å"perceptions and experiences of crime† (Spalek, B. 2006 p47). National crime surveys are used to create crime reduction strategies as it is used to identify â€Å"groups of people most at risk from crime† (Spalek, B. 2006 p52). Local surveys assist in are more specific and can be focused on local issues representing that area. BIBLIOGRAPHY Bayley, J. Edited by Sank, D. , Caplan, D. I. (1991). To be a victim: encounters with crime and injustice. New York, Plenum Press. Edwards, P. (2012) Radical Vicitimology. Victims and Victimology, 2012/13, [blog] Wednesday, 7th November, Available at: http://victims2012. blogspot. com. au/2012/11/week-7-radical-victimology. html [Accessed: 2 April 2013]. Garkawe, S. (2000) THE THREE MAJOR VICTIMOLOGICAL PARADIGMS A THEORETICAL ROAD MAP FOR VICTIMOLOGY. Journal of the Australasian Society of Victimology, (2), p. 8 58. Kostic, M. (2010) VICTIMOLOGY: A Contemporary Theoretical Approach to Crime and its Victim ?. Faculty of Law, University of Nis, Serbia , 8 (1), p. 65-78. Available at: http://facta. junis. ni. ac. rs/lap/lap2010/lap2010-04. pdf Rock, P (2007) edited by Walklate, S. (2007). Handbook of victims and victimology. Cullompton, Willan. Spalek, B, 2006. Crime Victims Theory, Policy and Practice. 1st ed. United Kingdom: Palgrave Macmillan. Victims of Crime Act, 2001 http://www. austlii. edu. au/au/legis/sa/consol_act/voca2001171/

Definition and Examples of Colonial Lag in Language

Definition and Examples of Colonial Lag in Language In linguistics, colonial lag is the hypothesis that colonial varieties of a language  (such as American English) change less than the variety spoken in the mother country (British English). This hypothesis has been vigorously challenged ever since the term  colonial lag  was coined by  linguist Albert Marckwardt in his book  American English  (1958). For example, in an article in  The Cambridge History of the English Language,  Volume 6  (2001), Michael Montgomery concludes that in regard to American English, [t]he evidence cited for colonial lag is selective, often ambiguous or tendentious, and far from indicating that American English in any of its varieties is more archaic than innovative. Examples and Observations These post-colonial survivors of  earlier phases of mother-country culture, taken in conjunction with the retention of earlier linguistic features, have made what I should like to call a colonial lag. I mean to suggest by this term nothing more than that in a transplanted civilization, such as ours undeniably is, certain features which it possesses remain static over a period of time. Transplanting usually results in a time lag before the organism, be it a geranium or a brook trout, becomes adapted to its new environment. There is no reason why the same principle should not apply to a people, their language, and their culture. (Albert H. Marckwardt, American English. Oxford University Press,  1958) Colonial Lag in American English There was for a long time a popular belief that languages separated from their home countries, like a bud nipped from its stem, ceased to develop. This phenomenon was called colonial lag, and there were manyincluding, notably, Noah Websterwho argued in particular for its applicability to American English. But though the colonial languages in the New World might have been isolated from their homelands, these languages were not unaffected by their trip to the New World. Colonial lag is, as linguist David Crystal says, a considerable oversimplification. Language, even in isolation, continues to change. (Elizabeth Little,  Trip of the Tongue: Cross-Country Travels in Search of Americas Languages. Bloomsbury, 2012)With ongoing language changes, it is often argued that colonies follow the linguistic developments of the mother country with some delay because of the geographical distance. This conservatism is called colonial lag. In the case of American English it is witnessed, for instanc e, in changes that took place in the modal auxiliaries can and may. Can gained ground in uses previously associated with may earlier and more rapidly in England than in the American colonies (Kytà ¶ 1991).Colonial lag is not, however, in evidence with all linguistic changes. In the case of third-person singular present-tense suffixes, for instance, no such tendency can be observed. (Terttu Nevalainen, An Introduction to Early Modern English. Oxford University Press, 2006) Colonial Lag in New Zealand English Because of the fragmentation of transplanted speech communities, the children of colonial founding populations may lack well-defined peer groups and the models they provide; in such an event, the influence of the dialects of the parents generation would be stronger than in more typical linguistic situations. This is especially true of more isolated settlers children. As a result, the dialect that develops in such situations largely reflects the speech of the previous generation, thus lagging behind.[P]arental origin is often an important predictor of aspects of individuals speech. This provides some support for the notion of colonial lag. (Elizabeth Gordon, New Zealand English: Its Origins and Evolution. Cambridge University Press, 2004)[T]here are a number of grammatical features in the New Zealand archive which can be described as archaic in that we assume that they were more typical of mid-nineteenth-century English than of later periods. One reservation, however, is that a number of grammatical changes which have affected English in the British Isles in the last 200 years have started in the south of England and spread out from there, arriving later in the English north and southwestand then in Scotland and Ireland, if at allwith some considerable time lag. There are a number of conservative features on the ONZE tapes [Origins of  New Zealand  English project] which may therefore be either archaic, or English regional, or Scottish, or Irish, or all four. One such is the use of for-to infinitives, as in They had for to gather the crops. (Peter Trudgill,  New-Dialect Formation: The Inevitability of Colonial Englishes. Oxford University Press, 2004)

The Historical and Socio-political Context on the Poor Essay

The Historical and Socio-political Context on the Poor - Essay Example It is within this wider perspective that this essay analyses child welfare services in the UK, particularly in Wales. The essay begins by providing a brief overview of the historical influences, ideological framework, and organisation and delivery of child welfare services in the UK. It afterwards presents an overview of the nature and level of child poverty in the region and a comprehensive analysis of the efforts of the UK government and the Welsh Assembly Government to address the problem. Since the beginning of the welfare state, concern for child poverty by consecutive UK administrations has varied. Even though rates of child poverty in the earlier period were comparatively low in comparison to the current period, issues were raised with regard to whether the Beveridge approach—health care services are provided and funded through taxes, also called ‘socialised medicine model’—was sufficient to safeguard children from economic instability (Walker, 1999, p. 155). In the 1980s and 1990s, the rates of child poverty increased dramatically, manifesting high rates of unemployment and instability in international economy. Much expectation and optimism arose during the introduction of the UK Labour Government in 1997. Former Prime Minister Tony Blair backed up this expectation in 1999 in his speech (Waldfogel, 2010, p. 34): â€Å"Our historic aim will be for ours to be the first generation to end child poverty†. National objectives were eventually formulated. There was a programme to cut down the rate of poverty by 2005 and to eliminate child poverty completely by 2020 (Bevan Foundation, 2010, p. 30). In the meantime, in Wales, there was general advocacy or this motivation and determination to address child poverty. The former Minister for Children reconfirmed the stance of the Welsh Assembly Government in 2004: