Violence Against Women In Intimate Relationships Essay Example For Students

Violence Against Women In Intimate Relationships Essay Violence Against Women in Intimate RelationshipsDomestic violence is a conscious behavior in which acts of violence and aggression are carried out by one person in a relationship to dominate the other. This violence consists of deliberate verbal, sexual, emotional, psychological, and physical abuse, along with social and economic deprivation. Statistics and studies show victims of domestic violence are mostly women and their children, but men are victims as well. Friends, spouses, boyfriends, girlfriends, and even family members are capable of demonstrating domestic violence. This widespread practice negatively affects gay, lesbian, bisexual, and straight individuals of all ages, cultures, and social backgrounds. Violent and abusive relationships are often problematic for many women to escape, and it is sad to see that these women must undergo additional setbacks including race and class struggles. The specific issues that contribute to the difficulty of leaving an abusive partner in clude economic and financial instability, child custody issues, language barriers, and lack of ethnically sensitive services. Girlfriends and wives who are dependent upon their abusive partners income have a harder time escaping the abuse, because they do not have money to support themselves independently. If the woman has a child with her partner, this poses an even more difficult situation because she would have to consider the childs needs. In result, if the woman has no one else to turn to, she must stay and suffer the abusive environment. Wen Lin and Imm Tans essay Holding Up More Than Half the Heavens, addresses the lack of multicultural and multilingual services for battered Asian Pacific American women. In the entire United States, only two shelters exist for Asian Pacific American women (Wen Lin and Imm Tan, 464). Their essay brings to light the issue of who is taken into womens shelters and who is turned away. Women of different cultures who cannot speak English are the in dividuals being deprived of shelter services often because of language and cultural difficulties or sheer racism (Wen Lin and Imm Tan, 464). The language barrier, in effect, shuts out most refugee and immigrant women (Wen Lin and Imm Tan, 464). Shelters are these womens last hope, and once they are refused help, they must return to violence in their homes once again. As you can imagine, the men will most likely be furious upon their return, giving way to more beatings and emotional abuse. These women will remain silenced and unable to escape because of the domestic violence resources availablefew have staff who speak Asian Pacific languages (Wen Lin and Imm Tan, 464). The abuse and violence experienced in the homes of battered women and children produce many psychological effects. The environment in which they live is neither supportive nor consoling. Del Martins A Letter From A Battered Wife, reveals a battered mothers feeling of shame, hysteria, and helplessness. In her letter, sh e writes, No one wants to take in a woman with four childrenno one wants to become involved ina domestic situation (Martin, 454). This woman and thousands other battered women, feel that there is no one to turn to. The mentality of no one understands or cares drives battered women mad. Hysteria inevitably sets in after a beatingthe shaking and crying and mumbling is not accepted by anyone, so there has never been anyone to call (Martin, 454). Low self-esteem and loss of identity are also amongst psychological effects experienced by battered women. In Latina Anonimas La Princesa, she looks back at an abusive relationship in her early college years and states, I do not identify, much less connect, with the experiences Ive just recounted. Its as if they belong to someone else (464). Women in violent relationships are forced to become someone theyre not, and perform acts they do not identify with. This is what shocks them most when they look back at their experiences. Let us not forget another major group of individuals equally affected by domestic violence, children. At young ages, some children are exposed to domestic violence in their homes, in which potentially harmful psychological effects develop. Loss of identity, intense fear, need for approval, and blaming ones self are some effects that can develop in adolescence. Since they are of young age, these effects can be carried with them well into their future and cause problems in adulthood. Countdown, written by Lanette Fisher-Hertz, is the story of a young girl named Cassie, whose mother is in a relationship with an abusive man. During the course of her mothers relationship, Cassie loses her sense of identity. As a child, it is natural to play with friends, have fun, and laugh. Cassie is not able to make friends and play because she is constantly stuck inside the apartment with her mother. Although Crew, her mothers boyfriend, was violent at times, he still had good days and Cassie loved him. Cassie did thin gs that she knew would not provoke him, and when she pleased him, she received recognition. She brought him ice-cold beers and felt special when shed seen Crew smile and relaxas she waved her arms up and down in front of him (Fisher-Hertz, 458). Cassie lived for Crews approval. One day, Cassies mother asks her to watch over dinner, but she decides to go outside and play. As Cassie yells in excitement to kids playing across the street, a car hits her. When the ambulance arrives, the first thing she says is Please dont tell, can someone check the dinner? Im supposed to be watching it (Fisher-Hertz, 458). Even after being hit by a car, this child is worried about her mother and her boyfriend. This is an example of a child being too consumed with failure and approval. At such a young age, they should not have to experience such a lifestyle. The child almost feels that their failure is responsible for the violence. Seeking approval can cause problems for children in adulthood because the y will grow up living for others and not themselves. .u1e1dbfce8fcc12025f13e332c8e44645 , .u1e1dbfce8fcc12025f13e332c8e44645 .postImageUrl , .u1e1dbfce8fcc12025f13e332c8e44645 .centered-text-area { min-height: 80px; position: relative; } .u1e1dbfce8fcc12025f13e332c8e44645 , .u1e1dbfce8fcc12025f13e332c8e44645:hover , .u1e1dbfce8fcc12025f13e332c8e44645:visited , .u1e1dbfce8fcc12025f13e332c8e44645:active { border:0!important; } .u1e1dbfce8fcc12025f13e332c8e44645 .clearfix:after { content: ""; display: table; clear: both; } .u1e1dbfce8fcc12025f13e332c8e44645 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u1e1dbfce8fcc12025f13e332c8e44645:active , .u1e1dbfce8fcc12025f13e332c8e44645:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u1e1dbfce8fcc12025f13e332c8e44645 .centered-text-area { width: 100%; position: relative ; } .u1e1dbfce8fcc12025f13e332c8e44645 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u1e1dbfce8fcc12025f13e332c8e44645 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u1e1dbfce8fcc12025f13e332c8e44645 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u1e1dbfce8fcc12025f13e332c8e44645:hover .ctaButton { background-color: #34495E!important; } .u1e1dbfce8fcc12025f13e332c8e44645 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u1e1dbfce8fcc12025f13e332c8e44645 .u1e1dbfce8fcc12025f13e332c8e44645-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u1e1dbfce8fcc12025f13e332c8e44645:after { content: ""; display: block; clear: both; } READ: Wuthering Heights By Emily Bronte Argumentative Essay We will write a custom essay on Violence Against Women In Intimate Relationships specifically for you for only $16.38 $13.9/page Order now Ann Jones essay titled Battering: Whos Going to Stop It? provides a series of answers as to how women can be freed from domestic violence, and in addition, what and who is responsible for this freeing. She first acknowledges the efforts of domestic violence survivors stating, Never before in history has there been such an organization of crime victims to rescue other victims and prevent further crimes (Jones, 452). Jones encourages victims to share their stories to continuously provide other battered women with strength to speak out as well. Jones also gives credit to shelters because they have provided safe havenfor millions of women and their childrenthey have saved thousands of lives (Jones, 452). She then calls upon the Violence Against Women Act of 1994 and The Battered Womens Movement, which has aided in freeing women from the violence by bringing battering out of the private household and into the spotlight of public debate (Jones, 452). Lastly, Jones expresses the necessity o f a national campaign to go after men at faultand send them to jail (Jones, 452). After reading the essays on Violence Against Women in Intimate Relationships, pp.447-467, I now know the ways in which I can take an active role in fighting to free women from domestic violence. Domestic Violence is not an isolated issue. It is not a private family affair (Wan Lin and Imm Tan, 466). This is what battered women need to know. If they remain silenced, they will remain at the hands of their abuser and possibly risk their life along with their childrens lives. We can help women escape domestic violence in many ways, starting with encouraging them to speak out and report cases of abuse and assault. Indeed, it is challenging to help a battered woman who fears her partner will find out that she is getting help, but we can reassure her and safely provide counseling and shelter. However, in order for this to happen, more shelters and organizations must be established. More volunteers are needed which is where many of us can help. Multilingual centers, programs, and shelters ar e also a necessity because thousands of women who cannot speak English are without help. Domestic Violence does not affect one specific race; it affects individuals of all cultures and ethnicities. Therefore, the services provided for battered women must serve all cultures as well. In doing so, thousands of more lives can be saved. If we speak a different language, we can look into organizations that may be looking for volunteer translators to help speak to non-English speaking women. I also feel that teenage girls should be offered an awareness program to educate them on early signs of violent and unhealthy relationships. This may help them avoid a potentially abusive relationship. Programs can also provide battered women with tips on how to prosecute an abuser because if arrests are made, prosecutors commonly fail to prosecuteamong assaulted men arrestedless than 1 percent (0.9 percent) served any time in jail(Jones, 452). Any effort to speak out about domestic violence, pass out flyers, or broadcast commercials will help women get out of the darkness. We must all rise up and help domestic violence victims realize that they do have rights and there is a way out. Works CitedAnonima, Latina., La Princesa. Kesselman, McNair, and Nancy Schneidwind, eds. Women: Images and Realities, a Multicultural Anthology. 3rd ed. New York: McGraw-Hill, 2003. Fisher-Hertz, Lanette., Countdown. Kesselman, McNair, and Nancy Schneidwind, eds. Women: Images and Realities, a Multicultural Anthology. 3rd ed. New York: McGraw-Hill, 2003. Imm Tan, Cheng., and Margareta Wan Lin., Holding Up More Than Half the Heavens. Kesselman, McNair, and Nancy Schneidwind, eds. Women: Images and Realities, a Multicultural Anthology. 3rd ed. New York: McGraw-Hill, 2003. .ub084b12f37fd8e637a55090310fb213e , .ub084b12f37fd8e637a55090310fb213e .postImageUrl , .ub084b12f37fd8e637a55090310fb213e .centered-text-area { min-height: 80px; position: relative; } .ub084b12f37fd8e637a55090310fb213e , .ub084b12f37fd8e637a55090310fb213e:hover , .ub084b12f37fd8e637a55090310fb213e:visited , .ub084b12f37fd8e637a55090310fb213e:active { border:0!important; } .ub084b12f37fd8e637a55090310fb213e .clearfix:after { content: ""; display: table; clear: both; } .ub084b12f37fd8e637a55090310fb213e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ub084b12f37fd8e637a55090310fb213e:active , .ub084b12f37fd8e637a55090310fb213e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ub084b12f37fd8e637a55090310fb213e .centered-text-area { width: 100%; position: relative ; } .ub084b12f37fd8e637a55090310fb213e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ub084b12f37fd8e637a55090310fb213e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ub084b12f37fd8e637a55090310fb213e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ub084b12f37fd8e637a55090310fb213e:hover .ctaButton { background-color: #34495E!important; } .ub084b12f37fd8e637a55090310fb213e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ub084b12f37fd8e637a55090310fb213e .ub084b12f37fd8e637a55090310fb213e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ub084b12f37fd8e637a55090310fb213e:after { content: ""; display: block; clear: both; } READ: Does the possession of knowledge carry an ethical responsibility? EssayJones, Ann., Battering: Whos Going to Stop It? Kesselman, McNair, and Nancy Schneidwind eds. Women: Images and Realities, a Multicultural Anthology. 3rd ed. New York: McGraw-Hill, 2003. Kesselman, McNair, and Nancy Schneidwind, eds. Women: Images and Realities, a Multicultural Anthology. 3rd ed. New York: McGraw- Hill, 2003. Martin, Del., A Letter From a Battered Wife. Kesselman, McNair, and Nancy Schneidwind, eds. Women: Images and Realities, a Multicultural Anthology. 3rd ed. New York: McGraw-Hill, 2003.

Free Essays on Illusion

Jules de Gautier stated, â€Å"Imagination is the only weapon in the war against reality.† I think the â€Å"war against reality† is the process of aging and imagination is the human process of being naive that shields us from the frightening world. By imagining that situations will never be uncomfortable; girls will never experience heartbreak; men will always have jobs to support their families; and people will never become sick, we are setting our selves up for a slap in the face when, inevitably, we are forced to notice how the real world works. The way in which we understand the world today is based on what we have been told by our predecessors and the predecessors before them. Facts that have been passed down from generation to generation. Today we have scientific facts that tell us the truth about things that we wouldn’t know without modern day science. What would happen if there wasn’t science. Disillusionment is the acceptance of truth and the understanding or reality. To be disillusioned, one becomes disappointed when his or her opinion or belief is found out to be false. Usually an act forces them to realize the truth when they probably would rather continue in their own beliefs. Santa Clause, for instance, is precisely an illusion. As great and magical it is for a child to believe in the jolly, fat man with a snow white beard sliding down their chimney on Christmas to leave the â€Å"good† kids presents, there comes a time when kids learn that Santa is only a spirit; a story told them by the same parents that actually provided the gifts. The naivetà © of a child who believes this myth is also accompanied by the delight that believing in the myth brings. At some time, each child comes to the reality that there is no Santa Clause; there is only the love of the parents who were perpetuating the myth in order to increase the quality of their child’s young life. To find the myth shattered is like bursting the bubble, yet,... Free Essays on Illusion Free Essays on Illusion Jules de Gautier stated, â€Å"Imagination is the only weapon in the war against reality.† I think the â€Å"war against reality† is the process of aging and imagination is the human process of being naive that shields us from the frightening world. By imagining that situations will never be uncomfortable; girls will never experience heartbreak; men will always have jobs to support their families; and people will never become sick, we are setting our selves up for a slap in the face when, inevitably, we are forced to notice how the real world works. The way in which we understand the world today is based on what we have been told by our predecessors and the predecessors before them. Facts that have been passed down from generation to generation. Today we have scientific facts that tell us the truth about things that we wouldn’t know without modern day science. What would happen if there wasn’t science. Disillusionment is the acceptance of truth and the understanding or reality. To be disillusioned, one becomes disappointed when his or her opinion or belief is found out to be false. Usually an act forces them to realize the truth when they probably would rather continue in their own beliefs. Santa Clause, for instance, is precisely an illusion. As great and magical it is for a child to believe in the jolly, fat man with a snow white beard sliding down their chimney on Christmas to leave the â€Å"good† kids presents, there comes a time when kids learn that Santa is only a spirit; a story told them by the same parents that actually provided the gifts. The naivetà © of a child who believes this myth is also accompanied by the delight that believing in the myth brings. At some time, each child comes to the reality that there is no Santa Clause; there is only the love of the parents who were perpetuating the myth in order to increase the quality of their child’s young life. To find the myth shattered is like bursting the bubble, yet,...

Characteristics of Left Brain Dominant Students

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Area of family gerontology Research Paper Example | Topics and Well Written Essays - 2750 words

Area of family gerontology - Research Paper Example They are also not in a position to communicate the abuse and thus suffer in silence (IQ Nursing Homes.com, 2008). According to the reports from the U.S. General Accounting Office, 43% of elderly population will live in a nursing home during a lifetime and of these atleast 3 million will be subjected to abuse and atleast 300,000 will die following abuse and neglect at nursing homes (cited in Roberts, 2004). Abuse and negligence leads to violation of human rights of the elderly people who deserve to be respected and have the right to live with dignity and comfort. Infact, the very purpose of admitting then to nursing homes is to make them feel comfortable and get assistance round the clock. Exploitation of their physical and mental vulnerability by means of abuse and neglect needs to be condemned and prevented. Many organizations, groups, laws and reports have devised methods of prevention of abuse and neglect in nursing homes. This article explores some of the measures which help prev ent abuse and neglect. Focus and research statement Is abuse and neglect of elderly common in the nursing homes of United States? Background information Types of abuse in nursing homes Abuse in the elderly can be physical, sexual, emotional or even wrongful death. Financial exploitation and abuse can also occur. Most of the times, abuse occurs by the staff of the nursing home. However, abuse can occur from other residents of the nursing home too. This article mainly concentrates on abuse from the staff. Abuse of the residents can lead to many consequences which vary in intensity ranging from mild discomfort to serious consequences like dehydration, starvation, serious injuries, bedsores and even death. The most common forms of abuse are neglect and caretaking mistreatment (Griffore et al, 2009). Indicators of abuse and negligence in nursing homes In majority of cases, abuse is not obvious and may be missed easily if a family member or a loved person is not watching intentionally. Si nce most of the times, the elderly person is not in a position to address and communicate abuse and neglect which he or she is subjected to, the family member or the loved person must make effort to identify abuse and neglect through various signs and symptoms of abuse (IQ Nursing Homes.com, 2008). When the elderly person becomes withdrawn or non-communicative, emotional abuse must be suspected. Other signs and symptoms of emotional abuse are anxiety, agitation, involuntary seclusion, mood swings, feeling of low self esteem, depression and strange behaviour like sucking, rocking and biting. Since many elderly people develop these features as part of their disease and old age, presence of symptoms and signs of emotional abuse can be attributed to old age mental conditions (IQ Nursing Homes.com, 2008). One clue to the fact that these symptoms actually are due to abuse and neglect is the fact that the onset of symptoms has occurred after admission to the nursing home. Signs and symptom s of physical abuse are unexplained injuries or accidents leading to bruises, abrasions, cuts, damage to the skin, fractures, welts, burns, broken eye glasses, lacerations and

Network Security setup Research Paper Example | Topics and Well Written Essays - 2000 words

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Generic Concept Of Authenticity In Pop Music Music Essay

Generic Concept Of Authenticity In Pop Music Music Essay This thesis and its associated research had its origins in my own fascination with the generic concept of authenticity, as it exists within life generally, and specifically within popular music. The dualities of good/bad, genuine/false, honest/fraudulent, and creative/derivative have always been present within the ranks of musicians and their performances. This thesis is intended to reconcile and explain the distinctions within these dualities, and to develop a model for evaluating authenticity within popular music. An Hypothesis on Authenticity in Popular Music As a foundation for the research and development in this thesis, I will explain my own stance on the key issue of authenticity. There are six key tenets within this proposition: Authenticity functions as a marker of quality Authenticity can be evaluated. Authenticity is not a finite concept. An Hermeneutic approach is essential in measuring authenticity Authenticity judgement requires a prior-researched description of genre Authenticity may only be assigned to a single piece of musicking. Here are some details of each one: 1.1.1. Authenticity functions as marker for Quality Whilst there are some ingredients of Authenticity that are more easily measurable, there are other criteria which are more subjective, and where evaluation of them is an activity more determined by expert consensus, or personal taste and background. Judgements made using these criteria are largely unquantifiable, and often in the form of personal assessments. Some of these judgements may be socially and culturally constructed, and are shared between groups of people, notably in the case of fans, critics, or enthusiasts of a specific type of music, or a particular performer. Students and researchers of popular music would normally adopt a more balanced and catholic judgement, so that an equally fair evaluation would be made on a piece of country-rock music, as would be made on a piece of punk music. Authenticity is a description of the provenance and integrity of a recorded, or live performance, as well as a definition of musical skill, tunefulness, and of a listeners personal gratifi cation. The judgement, or evaluation, of some aspects of authenticity of a piece of musicking may use less scientific criteria than others, wherein the measurement is inevitably affected by the tastes of the judge or evaluator. I have drawn extensively on Christopher Small (1998:2-3) and his eleven activities within musicking, in developing my own nineteen criteria for evaluating Authenticity, which operate as a hermeneutic circle, and of which the first fourteen relate to recorded songs, with an additional five criteria for evaluating live performances of songs. Here is a brief description of my nineteen criteria: The Notation This element is less important in popular music than in classical music, since the main method of transmission has not been through stave notation, but through recording, and performance. (Moore, A.F 2001:34) However, where it originally exists, or where subsequent notation has taken place on existing works, there is still value in its inclusion as a criterion, particularly where patterns of notation may be compared within several songs, or where consistent notational motifs may be identified Lyrics Whilst I contend that it is Performance and Reception that are central to the true meaning of a song, the lyrics have a strong bearing on this. It is also possible to identify common patterns in lyrics (Wall, T 2003:129) as well as everyday language in the context of performance, and collective responses and aspirations (Frith, S 1988:121) The words of the song should usually be grammatically correct and recognisable, and the overall content should be rational. Biography This element should also be twinned with autobiography as it refers to the use and influence of personal history, upbringing, nurture and culture on singer/songwriters and their eventual compositions and performances. It is an essential element to consider as far as authenticity is concerned, and in my view has been vastly under-analysed, and has been allocated insufficient importance. Recognised Influences There are undoubted connections here with my Biography element (No. 3), in that childhood and developmental influences are nearly always lasting, especially where they have been received in an emotional context (e.g. happy, sad, or painful). But in addition consideration is needed on more contemporary influences, both of musical, and of other types. Song Structure An important element in the primary text is the actual shape of the song, in terms of its musical texture, its use of instruments and voices, its rhythmic organisation and its relationship to lyrics. This is often a key factor in the determination of a genre. It is important that there is a pleasing shape to the song, with sufficient changes (verses and choruses), a comprehensible story line, and an appropriate length. There should also be a balance between familiarity and variety, and the song must have sufficient familiarity to provide comfortable reception, whilst, on the other hand, offering something new and challenging. Melody This is a pattern of pitches and rhythm that creates a tune or song, and as such, underpins the whole content of a song. It is the melody that, to a large extent, is the basis for the Emotion (No.13) element of the song. In popular music, the melody usually comprises verses and chorus, but with variety in the phrasing and lyrics. Meaning and Intellectuality The meaning of a musical piece may be interpreted in an abstract or a universal manner, and Composition may be viewed as having a subtle difference in meaning from some Performances. Such differences may also affect the meaning from the position of Reception, but it is easier to see musical works anchored to specific time, place, and cultural situations. This aspect is probably the most difficult to analyse scientifically, since the central question is whether the lyrics and/or the music stimulate some intellectual curiosity, with ultimate satisfaction. Context This broad topic is important not just for the more obvious analysis of Performance, and Reception, but also for the historical and biographical context in which a song was composed. Again there will be some interconnection with aspects of Biography and especially factors such as class, culture, gender, and politics. Instrumental The traditional rock line-up of a band is two or three guitars and drums, but in the case of country-rock and its convoluted development phase, many other instruments were involved. The exploration of the use of these instruments, and the ways in which they have contributed to the Performance and Reception of music is essential. Much has been written on the appropriate use of specific instruments and their relationship to the true membership of a genre, as well as whether there are acceptable levels of musical proficiency demonstrated in the execution of the song by the instrumentalists. Vocal Most popular music involves one or more voices, and this element is concerned with how these voices are used, singly or harmoniously, and the ways in which communication is established between singer and listener (Moore, A.F 2001: 44/5) It is arguable that, in many cases, it is the voice that is the final arbiter in establishing whether a piece of music is authentic or not. It is important that acceptable levels of musical proficiency are demonstrated in the execution of the song by the vocalist/s. Production This mainly Performance related element deals with the technical, and technological systems used to aid and enhance performance, as well as the choices made about instrumentation, vocals and, in some cases, stagecraft. There is a natural interlinking with other hermeneutical elements. The technical production of the recording should meet standard conventions of the genre, in regard to the mixing, the balance, and the volume as well as any additional enhancements. Cohesion and Balance (including Sonic Balance) This element is concerned with the extent to which the band is playing as a team with appropriate use of instruments and vocals, and to which the various instrumental and vocal elements within the performance/recording are balanced, so that a smooth and cohesive overall sound is achieved. Connectivity and Emotivity It is important that the listener/receiver, acknowledges a personal relationship with the song, lyrically and/or musically with the song exciting some form of emotion upon reception, and in which the listener/receiver is sufficiently stimulated and curious to have a desire to hear the song again. The Leader Within a band, the style of performance may be dictated or at least highly influenced by the leader who is often, although not always the singer. This inevitably affects the Reception of the music. However, the Composition of the music also needs to be considered in the light of the leader, for even if it is not he/she that is the main author, the style of the piece could be shaped by his/her approach. Repertoire This is what Christopher Small terms The Drama of Relationships (Small, C 1998:158) Each musical performance has, or should have, a recognisable narrative, or a set-list and this is most significant in the analysis of Reception. The psychology inherent within constructing a performance including many songs is important in the development of Audience Rapport, or even individual fan admiration. Stagecraft Middleton (1990:168) recognises false music and true music, where false means corrupt, manipulated, over-complex, and mechanical, and true means natural, spontaneous, and traditional. In these senses, the interpretation of drama, and a sense of theatre in the performance and reception of popular music are always important. It is inevitably connected to Repertoire, but is far more than this single item. Again, only in a live performance, the image presented by the performers through body movement, gestures, stance, and cohesion should augment the reception of the song. Planning and Organisation This thoroughly contemporary affair as Christopher Small puts it (Small, C 1998:30) includes the organisation of performances, the role of publicity and advertising, and the ways in which the audience is prepared for the Reception. Whilst they are not directly a composite part of a piece of music or its actual performance, the intricacies of the arrangements undoubtedly sway perceptions of a musical show or concert. Venue This, of course is solely a Performance/Reception element but, like Planning and Organisation, is extremely powerful, since the size, shape, location, construction, lighting and acoustics will exert major pressures on the ultimate performance. Audience Rapport This element is concerned with the intimacy, community, bonding and sharing of an audience and the ways in which they are able to persuade each other. It is also concerned with individual and group participation in the Performance and its effect on the perceptions of authenticity. In a live performance, there must be a general and universal approval demonstrated towards the song as demonstrated through facial and bodily expression during the performance and applause at the end. Having described all nineteen elements used in the assessment of Authenticity, it should be stressed that whilst Authenticity is a term that provides for a description of the integrity of a piece of musicking, this integrity is not always synonymous with attractiveness, as recognised by huge swathes of the worlds population. As I show in this dissertation there are plenty of examples of music that are authentic, according to measurement of many of the criteria, but which are not necessarily well received. Conversely there are many instances of well-received musicking that are not of a high level of authenticity as related to the other criteria. In other words, Authenticity is not finite. 1.1.2. Authenticity is not a finite concept. Authenticity has so many different components (I have identified at least nineteen) as well as many mediators, so that relative judgements on each of the items would almost certainly mean that a final decision as to whether the song was authentic, could never result in a simple yes or no, but would be a relative assessment. The more appropriate question that should be posed by the judge, or evaluator, would be: to what extent has this song/performance been deemed to be authentic? A piece of musicking may, for example, have some authentic attributes, such as a truly original instrumental performance, and the vocal qualities may be genuine, whereas its lyrical content may be mundane, and derivative, thus rendering the song only partially authentic. This particular principle relegates the rockism argument, described in other parts of this thesis, to a peripheral position, since it accommodates varying degrees of authenticity, rather than insisting on one broad form of music being superior to another, simply based on its provenance. Rockists are people who consider that there were, and occasionally still are, golden periods of Rock, illuminated by artists and performances which contain an honesty, authenticity, and value of which the mainstream of performers in pop music are both incapable and unconcerned. The differences that show themselves when evaluating Authenticity, particularly in the contrasts between the more objective criteria and those that embody the expression of values generated and constructed by the critical and fan community, mean that an evaluation of authenticity cannot remain in perpetuity, and that it has a clear temporal characteristic, wherein evaluation may change over time. Therefore, despite the fact that judgements on the Authenticity of pieces of musicking may be made, they are essentially of a relative nature. 1.1.3. Authenticity can be evaluated There are many different hypotheses on the topic of musical authenticity, many of which have been reviewed and assessed within this thesis, all of which, without exception, explain the concept in notional terms, whilst avoiding any attempt to develop, or impose, a quantitative measurement of judgement. The decision on the authenticity of a piece of musicking, has been derived from a qualitative evaluation, left to the complex devices supposedly inherent within the intellectual abilities of a few senior musicologists and experts, or socially and culturally constructed values. I propose that, with the application of a list of authenticity criteria, built into a hermeneutic framework, there are a number of activities that can move the efficacy of the judgement towards a more accurate qualitative assessment, albeit still with strong elements of discrimination within it. 1.1.4. A hermeneutic approach is essential in evaluating authenticity Since each evaluation criterion has influences upon, and from, each of the other criterion, the idea of a circle is used so that ones understanding of a piece of musicking, as a whole, is established by reference to the individual criteria and ones understanding of each individual criterion by reference to the whole. Neither the whole piece nor any individual criterion can be understood without reference to one another, and hence, it is a circular process. Strictly speaking, hermeneutics was originally conceived as means of cultivating the ability to understand things from someone elses point of view, and to set aside ones own predelictions and tastes. So the whole evaluation exercise must be considered in full awareness of the evaluation conclusions which may have been reached by the relevant community practice, before and during the judgement process. Using the tools and procedures that I have developed to make an ultimate judgement on both authenticity, ensures that the decision will be as informed, researched, and analytical as is possible. 1.1.5. Authenticity judgement requires a researched description of genre Whilst I have described in some detail the general nature of a range of criteria that I have allocated to Authenticity [including Quality], it is important that the Authenticity criteria are enhanced and made more explicit. This should be done through a close examination, and subsequent description, of the genre that one is analysing (in this thesis, my exemplar is country-rock music). There have been major academic debates on the nature of genre, and in particular whether genre is a stable item rather than a temporal one. My position is based on the assumption that genre may be fixed and stationary, if one is, firstly, prepared to accept the existence of a continuum of a multitude of popular music styles, within which many different genres and sub-genres reside. Secondly, and perhaps paradoxically, it is important to acknowledge that the detailed description of any single genre, or sub-genre, is not universally acknowledged and is, therefore never canonically explicit. The nature of both of these conditions will be influenced by the beliefs and convictions of individual researchers. This means that genre definitions will inevitably vary, albeit within boundaries. Nevertheless, it is essential to generate a broad genre template through which authenticity may be evaluated. It is important to note that authenticity may be a validity descriptor of a piece of musicking, both in general terms, in the sense that the song has been composed, performed, and received in an authentic manner, but also in genre specific terms; so that a song may be classed as being authentic blues or authentic country-rock. The significance of this lies in the need to define genre-parameters when attempting to evaluate authenticity within a genre; hence the statement: Authenticity Judgement Requires A Researched Description Of Genre. 1.1.6. Authenticity may only be assigned to a single piece of musicking Within Popular Music, I propose that the evaluation of authenticity may only be made as far as a recorded or performed song is concerned. Authenticity comprises a number of attributes of composition, performance and reception, but is largely concerned with sound, rather than the characteristics of a human being. Therefore, authenticity cannot be assigned to an artist, other than in a general sense, through a judgement of his/her individual performance of a song. It may be seductive to contemplate the authenticity of an artist, as has been done frequently over the history of popular music, and as argued forcibly by the Rockists. Indeed, many rock artists have been accorded that epithet, including Bob Dylan, Bruce Springsteen, Bono, Leonard Cohen, and Lou Reed. However, human authenticity is a complex and hugely debatable concept. For example, it is arguable that even these notable performers could only be described as authentic, if they were to have totally eschewed commercial gain, desire for glory, or other forms of psychological reward during their long and successful lives. This has patently not been the case. Of course, it is arguable that human authenticity could be assessed on the basis that it is not a finite concept (as I have professed is the case for musicking). However, the study of authenticity of individual human beings, would be a multi-faceted, and almost impossible task, since there are so many variables and criteria, which would need to be taken into account, such that even a relative evaluation would involve an extremely complex decision-making process. It is most certainly not within the remits of my research within this thesis. It is also important to stress that the epithet of authenticity cannot be assigned to a body of work, rather than a single song or piece of music, but is only related to individual performances/recordings of songs. It would be possible, however, to make assessments of a number of individual songs performed by one artist or even an assembled group of artists, wherein it might then be possible to offer an overall measurement of the degree of authenticity of that particular set of songs but it would be an average, or mean, of the total assessment. On the same basis, it would be technically possible, albeit extremely arduous and time-consuming, to carry out such an exercise on the entire output of a particular artist. It should be stressed that even so, the eventual conclusion would still be an evaluation of the performance of the music, rather than the person. At this point I should also restate that my position holds that the evaluation of Authenticity of a live performance of a song may be made, even though this will inevitably differ from the recorded version of the same song. All of the criteria used in the evaluation of a recorded song will apply to a live performance of a song, but there will also be a few additional elements that should be applied. These are listed under an earlier principle (Authenticity functions as a marker for Quality)

The Peculiarities of Translation of the Advertising Text

Introduction The main task of the translator – to use all knowledge of theoretical bases of translation for transfer the communicative function of the original, as knowledge of theoretical bases of translation and extralinguistic realities are necessary conditions of translation. Suppliers and producers of production do everything possible to attract as much as possible consumers. For this purpose advertizing appears on screens of our television, by radio, also it appears in the form of advertizing brochures, texts and slogans.Quite often advertizing brochures of this or that production or service go in original language, and proceeding from it it is possible to speak about relevance of creation of more or less uniform strategy and the concept of translation of the such text. When translating advertizing brochures on other languages it is necessary to consider ethical, psychological and personal characteristics of audience and the consumer, specifics and culture of the country for which this brochure is intended.For many practicians of advertizing activity the text of a foreign language serves only as means for understanding of idea of an advertized product, the text of the brochure is often written anew in language of the country of the consumer taking into account its national specifics. When exact transfer is represented for some reason or other undesirable, the translator uses approximate phrases on sense which surely have to consider traditional ethnic, national and social features, stereotypes of behavior of concrete audience on which production designated in the advertizing brochure is directed.The purpose of the real work – to designate the main strategy and receptions of translation of English-language advertizing texts into Russian. According to a research objective performance of the following tasks is supposed: 1) To give definitions to concepts the text and a discourse 2) To give definitions to concept the advertizing text 3) To consi der classification of the advertizing text 4) To define features of translation of advertizing texts 5) To carry out the comparative comparative analysis of advertizing texts in English and Russian languages As object of research texts of English-speaking advertizing served.The choice as a material of texts of English advertizing is caused by that huge role which English-speaking media play texts in world information space. Research method – comparative, that is English and Russian advertizing texts are compared, compared. On the structure work consists of the introduction, two theoretical heads and one research, and also the conclusions, the list of sources and the appendix with characteristic examples of advertizing texts.