On Some Phenomena of Untranslatability in English-Chinese Translation----From a Linguistic Point of View

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On Some Phenomena of Untranslatability in

English-Chinese Translation

----From a Linguistic Point of View

Thesis statement Apart from the cultural factors, some linguistic elements also account for many phenomena of untranstability in English-Chinese translation, because sometimes the linguistic form of the source language plays an essential role in conveying the original content. In some cases the form itself is the very content being conveyed; in others the form is closely related to what is conveyed in the original. Usually translators give up the pragmatic meaning or ignore the referential meaning of the original according to specific situations so that the problem can be partly solved.

Custom Essays on On Some Phenomena of Untranslatability in English-Chinese Translation----From a Linguistic Point of View

In English-Chinese translation, as in other kinds of translation, it is quite usual for translators to come across some tricky words or sentences which seem to be almost impossible to translate. Considering the distinct differences between the English language and the Chinese language, these kinds of ¡°untranslatable¡± phenomena are understandable. Apart from the cultural factors involved which serve as an essential part of the reason for untranslatability, some linguistic elements also account for these somewhat unsolvable difficulties in translation. Actually, if many untranslatable cases are carefully analyzed, it can be found that in these cases, the relationship between the form of the source language and the content contained by the original is often quite special. This kind of specialty can be classified into two types a) the form of the source language itself is just the content being conveyed; b) the form of the source language is closely related to what is expressed in the original.

a) The form itself is the content being conveyed.

Sometimes, some aspects of the form of the English language like the phonemic, lexical, grammatical or syntactic features present themselves as the content being expressed in a sentence or paragraph. In other words, what is conveyed in the original is a certain characteristic of the language itself rather than any object or idea. Without the form of the original language, this sort of content can not exist any more. Certainly it cannot be reproduced in the form of another language such as Chinese. See a couple of examples

Ex.1. A Why are you never hungry when you play on a beach?

B Because of the sand which is there.

In this example, the pronunciation of ¡°sand which is¡± in the original which is similar to that of ¡°sandwiches¡± can be identified only when it is put into actual utterance. Here the phonemic representation of the original sentence is the very thing that matters, yet it cannot be transformed into Chinese, thus the whole sentence becomes untranslatable.

Ex.. A What makes a road broad?

B The letter ¡°B¡±.

The above is a riddle. The author takes advantage of the characteristic of the combination of the letters in two words i.e., ¡°road¡± and ¡°broad¡±, and makes the dialogue a kind of humor. As not only are the meaning of the words involved here, but their form plays an essential role, it is hard to deal with this sort of phenomenon in translation, too.

Ex.. A What words may be pronounced quicker and shorter by adding syllables to them?

B Quick and short.

This example concerns a grammatical element in English, namely, the comparative form of adjectives. Since this kind of inflectional suffix which is a distinct feature of the English language is absent in Chinese, the humourous effect created in the original will inevitably be lost if the two sentences are literally translated.

Ex.4. Teacher A preposition is a bad word to end a sentence with.

Pupi Please, teacher, you've just ended a sentence with ¡°with¡±.

Teacher Ah, but what did I end the sentence with ¡°with¡± for? Do you know?

Pupi No teacher, and I don't know what you ended that one with ¡°with with for¡± for.

In the above short dialogue between a teacher and a student, the humor is achieved by the employment of the question about the place of prepositions in English. It satirizes the pedantry of the teacher and reflects the sharp wit and mischievousness of the student. It also indicates that to end a sentence with prepositions is inevitable and irreproachable. Yet because a unique syntactic feature of English serve as the most important part of content in this dialogue, the dialogue cannot be translated into Chinese.

b) The form of the English language is closely related to what is expressed.

This sort of phenomenon concerning untranslatability firstly refers to the case in which the form of the source language is used to attain certain rhetorical effects. Such being the case, if some ways of expression which have similar effects can be found in the Chinese language, the original is translatable, otherwise it can just be partly translated, which means that probably the original content can be kept, but the rhetorical effects will be lost.

The great difficulty in translating English poems into Chinese is primarily due to a special form of the source language, namely, the rhyming system which includes alliteration, end rhyme, internal rhyme, etc. The following is a typical example

Ex.5. Wake the vaulted shadow shatters,

Trampled to the floor it spanned,

And the tent of night in tatters

Straws the sky-pavilioned land.

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·ÏĹÉ϶ÆðË°ÖØÖØ£

¹ÌìµÄªÄÁ³ÉƬƬ£¬

µ¹ÚóµØÉÏÉ¢Â×ݺᡣ£¨ÖÜìãÁ¼£

In the except, the original poem not only has an end rhyme like abab, but also contains alliteration in each line (s, t) as well as assonance in the first two lines (shadow-shatters, trampled-spanned). Although the version which recreates a different kind of end rhyme sounds quite good, the alliteration and the assonance mentioned above are lost.

Besides rhyme, homophone is also very hard to deal with in translation, because two words with the same pronunciation yet different meanings are involved. This is itself a kind of coincidence in the source language, and it is almost impossible to find the same kind of corresponding coincidence in the target language. The example below is an excellent proof.

Ex.6. Seven days without water make one weak (week).

ÆßÈÕÎÞˮʹÈËÐÈõ¡£

What's more, people's playing with words, often taking advantage of homograph, is usually untranslatable, too. Here is a joke which can serve as an interesting example.

Ex.7. ¡°Call me a taxi,¡± said the fat man.

¡°Okay,¡± said the doorman. ¡°You're a taxi, but you look more like a truck to me.¡±

The fat man asks the doorman to call a taxi for him, but the sentence ¡°call me a taxi¡± also means to name the man ¡°a taxi¡±. The doorman uses this kind of homograph to make a joke at the fat man. If it is literally translated, the joke is no longer a joke.

The untranslatable cases in which there is close relationship between the form of the source language and the content of the original also include the condition under which the form of the language has a pragmatic meaning which is essential to the conveyance of the content of the original. Three examples respectively concerning the use of Old English, slang, and loan words in the original are listed below to shed a light on the readers.

Ex.8. ¡°Why bless thee, child?¡± said the old man, patting her on the head, ¡°how couldst thou miss thy way? What if I had lost thee, Nell!¡±

¡°ÇɼÁË£¬Éϵ۱£Ä㣬º¢×£¬¡°ÀÏÈË˵µÀ£¬ÃæÅÄ×ÅËýµÄÍ·£¬¡°õÃáÃÁË·µÄ£¿ÕæµÄª°Ä㶪ÁË£¬½ÐοÉõð콣¬ÄͶù£¿¡±£¨Ðí¾ý¶£

Here the old man is talking to his beloved granddaughter. His using of several words from Old English reflects his deep love for her and how he cherishes her. Yet such words as ¡°thee¡±, ¡°couldst¡±, ¡°thou¡± and ¡°thy¡± cannot be translated into corresponding Old Chinese, so the original effect is lost in the translation.

Ex.. And other times----well, I needed a fix¡­

ȶøÚŵÄʱºò£¬ÎÈÐèªòÕº£Âåò£¨³ÂÐÛÉУ

The word ¡°fix¡± is a slang word used exclusively by people who are on drugs. It is adopted by the writer to depict this specific character, indicating that ¡°I¡± am a dope. The translation cannot convey the function of this slang word at all.

Ex.10. Ogilvie Pretty neat set-up you folks got.¡±

The Dutchess's I imagine you did not come here to discuss decor.¡± (Arthur Hailey Hotel)

In this except, the Dutchess intentionally employs the word ¡°decor¡± which is borrowed from French to show up her high status as a noblewoman. This usage can be easily understood by readers in English-speaking countries, yet if it is translated into Chinese, its pragmatic function will be completely lost, and if its original form is kept in the translation, the Chinese readers will not be able to understand it. Of course translators can keep the form and add an explanation, but the effect will by no means be as good as that of the original, so this kind of loan words is untranslatable.

In conclusion, there are undeniably the phenomena of untranslatability in translation, and in many cases it has much to do with the linguistic form of the source language. That's why style is considered by many to be untranslatable in a strict sense, because among various kinds of elements which determine the style of a certain text, the linguistic form of a certain language is an essential one. However, untranslatability under certain circumstances cannot be an obstacle to the translators' conveying the main content of the original in their translations, and in fact, the untranslatability of style does not mean that translators cannot achieve a version with a style close to the original. When the pragmatic meaning of the original cannot be reproduced in the version together with the referential meaning, translators generally give up the former; and sometimes, for the sake of the aesthetic function of the version, they ignore the latter while keeping the pragmatic meaning.

Actually, all the cases involving untranslatability concerns a matter of ¡°losses¡± during the process of the transformation of one language into another. In translation, it is impossible for any translator to reproduce everything in the original into the target language, rather, there is always certain kind of ¡°giving up¡±. This kind of ¡°giving up¡± or ¡°losing¡± which is the specific manifestation of untranslatability is in fact inevitable. What translators ought to do is just to try their best to reduce their ¡°losses¡± in translation and to retain as much as possible the content of the original as well as the aesthetic devices adopted in the original. Anyway, there are no translations without ¡°losses¡±.

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Jin Di, Eugene A. Nida, 184. On Translation, with Special Reference to Chinese and English.

Liu Zhongde, 11. Ten Lectures on Literary Translation. Beijing China Translation & Publishing Corporation.

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Analysis of "Not Because"

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By Calypso Artist King Wadablee

The calypso "Not Because," sang by King Wadablee, comes from his latest CD, entitled "Keep On Trying." This calypso is solely directed to our governor, Charles Turnbull. In the song "Not Because," Wadablee speaks for all the people of the Virgin Islnads because he uses words such as "make us think," "we feel," and "we wonder," and uses constructive criticism to tell our governor that he needs to stop playing around with the power he has and instead do something for the community. Wadablee touched on some very important political issues in this song.

In the first verse, Wadablee is saying that election is over, and now it is time to deal with the issues at hand. Daily, crime is getting worse, not better, and the time to deal with is long overdue. Every day we hear about another shooting, stabbing, or robbery, and it is time for your government to step up to the plate and do something about it. He is saying that if the governors and senators are election to manage our territory, then they should be handling this increasing crime rate in the Virgin Islands. His first chorus refers to his first verse. He points out to the governor that not because he is in such an elevated position, doesn't mean that he doesn't have to manage issues like crime. He mentions "Criminals must now take control of this country like the wild wild west." He says that it seems as though it is the criminals who runs things in the Virgin Islands, just like the Wild Wild West where the criminals run the town and there isn't much the government does about the matter. The crimes committed nowadays are so senseless. They are out of revenge, or just because someone doesn't like another person or some other personal feud that can be handled without the use of violence. Wadablee refers to is as a mess, that needs to be stopped.

In Wadablee's second verse of "Not Because," he talks about the situation that occurred after Governor Turnbull was sworn in. Protests were started against the governor, especially because of the high raise he wanted to implement. Wadablee says that he betrayed the people he was sworn in to serve. The money should be used to better the community, especially the education system, instead of giving officials an unnecessary raise. It makes the people of the Virgin Islands wonder if our standards for selecting officials are too low. The goes in his second verse which again relates to his second verse and says to Governor Turnbull that just because it is his last term, it doesn't mean that his job is over and he has nothing more to do. He was re-elected to do a job and is being paid a hefty salary for the position he has. Just because it is his last year, and he doesn't have to put his all into his job because can't run again, doesn't mean that he has to illustrate his least concern for the Virgin Islands. Wadablee urges The Governor Charles Turnbull, and Lieutenant Governor Vargarave Richards not to leave the office in shame, not to get conceited and arrogant, because they are in high places, to understand themselves and realize the responsibility the have to manage the Virgin Islands well, and not to destroy it.

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The third verse discusses a contract that the governor signed without first announcing the proposal and his decision to the people of the Virgin Islands. Wadadlee advises Governor Turnbull to see to it that the people who are placed in office to advice, and guide him, are credible, competent, and have the people's interest as top priority, or else the government would run down and it would destroy his reputation, dignity, and pride. In his third chorus, Wadablee again mentions that just because it is his last, it doesn't mean that he should sell the Virgin Islands or its resource to anyone that comes by. He advises the governor to think about the children's future with every decision they make, because the decisions that they make now affects the future of our children. He urges Turnbull not to ruin the economy, but to spend the little funds that we do have wisely and cautiously.

In Wadablee's final verse, he sets the record straight, and makes it plain that he supports Governor Turnbull, and has sage of him before in a very positive manner. However, he needs to speak on behalf of the people of the Virgin Islands and let Governor Turnbull know that what he is doing is wrong and he needs to step up to the plate, and not just be a spectator. Wadablee states that he doesn't want the Islands to suffer under this administration or any other. In his final chorus, he again urges the governor not to destroy the islands and leave it in an emergency. He tells Governor Turnbull that with this type of position, he has to learn how to put his personal feelings and desires aside and let his conscience guide him so that he can manage this territory the way he is supposed to as a good and honest governor.

Please note that this sample paper on Analysis of "Not Because" is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Analysis of "Not Because", we are here to assist you. Your cheap research paperson Analysis of "Not Because" will be written from scratch, so you do not have to worry about its originality.

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Mr Dolphus Raymond 2

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"As Mr Dolphus is an evil man I accepted his invitation reluctantly" (Scout, p0)

This quote demonstrates how little Scout knows about Mr Raymond and how she is relying on what others have said about him rather than judging him for herself.

"Somehow I didn't think Atticus would like it if we became friendly with Mr Raymond and I knew Aunt Alexandra wouldn't."(Scout, p0)

Values and beliefs

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Scout's father has taught her not to associate with people who live like Mr Raymond ie suspected alcoholic etc

"I liked his smell. It was of leather, horses, cottonseed. He wore the only English riding boots I had ever seen." (Scout, p1)

This physical description does not fit the perception by many of the townsfolk including Atticus and Scout initially of him as an alcoholic.

"Cry about the simple hell people give other people without even thinking. Cry about the hell white people give coloured folks, without even stopping to think that they are people, too.'

[Mr Raymond]

'Atticus says cheatin' a coloured man is ten times worse than cheating a white man," [Scout]

(p)

Mr Raymond's beliefs and attitudes about how we should treat other human beings (no matter what colour) are that he hates racism on the basis of skin colour. He hates the way other people treat African Americans. This is also evident by the fact that he had an African American partner and "mixed" children as a product of that relationship.

"But why had he entrusted us with his deepest secret? I asked him why. [Scout]

'Because you're children, and you can understand it,' he said, 'and because I heard that one-" [Mr Raymond, p]

Mr Raymond's values and beliefs are that "innocents" can be trusted with the most confidential matters because they have not been corrupted and do not judge others quickly. Therefore, he trusts them above anyone else with his secret he does not really drink alcohol from the paper bag. It is only Coca-Cola.

At the same time, Mr Raymond misleads the townsfolk including Atticus into believing that he is an alcoholic because he wants to live his own life and does not really care what they think of him. That is, he is his own man.

So, values and beliefs about him not being racist , treating everyone as an equal including African Americans (ie he had an African American partner), not caring about what others think of him, living his own life is supported by a construction of this character as a person.

Please note that this sample paper on Mr Dolphus Raymond 2 is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Mr Dolphus Raymond 2, we are here to assist you. Your cheap college paperson Mr Dolphus Raymond 2 will be written from scratch, so you do not have to worry about its originality.

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Review on Akira Kurosawa's "Ran"

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Akira Kurosawa's Ran

Akira Kurosawa used the different elements of film, mostly the image/camera or the visual elements, in order to convey an intensely felt humanist message, the tragedy of the destruction of a family. It is very obvious that Kurosawa must have used Shakespeare's King Lear as a source for this film but it must be noted how creative he was in combining Shakespearean tragedy with the Japanese style of drama and the artistic condition of modern man (during that time, which was probably before the Tokugawa period (personal research)). The plausible difference between the two could be that in Shakespeare's King Lear, Kurosawa's three brothers were really three sisters. In addition to that, it is most obvious that it is not Shakespeare's style to be gory, grotesque, bloody or detailed in battle scenes but with Kurosawa, he expounded on the battle scenes (blood and all…) probably to emphasize more the whole preoccupation of the film.

The word Ran in Japanese means "chaos", "fury", "revolt". Ichimon in Japanese means "family" or "clan", Ichi meaning "one" (taken from a Japanese dictionary). This may advocate a sense of unity particularly in the family. The "chaos" part may intend to show what happens when the unity of a family is destroyed or in this film, how the family was destroyed. What happens in the film is that the heritage of past sins of the father, Hidetora Ichimonji, corrupts the relationships between family members leading the sons to be against each other and their father. Other themes that may follow the main one may be loyalty and betrayal, appearance and reality (deceit), vengeance and forgiveness, and man's nature itself.

It seems that the artistic medium Kurosawa mostly used is the camera and image. It is the metaphorical quality of the image, scene, and the visual choreography of the entire work that the artistic achievement and meaning emerge (much like the movie In the Mood for Love, which has much symbolical scenes… also considering that it has less dialogue). An Example is when Hidetora illustrates the strength of solidarity by handing each son an arrow, which individually, can easily broken in two. However, when banded together, the arrows will not bend so easily. The images are of life; the characters, their emotions, their blood, all vivid, all real. At least that's how it seems to me because the Japanese way of acting is so much different from that of the Hollywood or American style. Since Kurosawa based this on a pre-Tokugawa period (which denotes time of chaos---research), it may seem that for him, history works as a metaphor and symbol, with images and scenes reflecting the social and moral condition of man which may still be applicable at present.

It is very apparent that Kurosawa spared no expense in producing the full emotional and dramatic effect of the film (although it was said that at first he couldn't find any sponsor for funds in producing it). The colors of the army standards, the mob of the running troops, the advance of the rushing cavalry, the luster of the armor, the bright red color of the blood, and the architectural beauty of the castle or the setting itself all combined to produce an all-encompassing hallucinatory effect. Kurosawa "decentered" the characters in favor of the lavishly picturesque landscape. Though the dramatic, character-centered scenes had an ample number of close ups and medium shots, much of the rest of the film consisted of long or extreme long shots. The obscuring of characters into the landscape added the effect of rendering the scope of their lives insignificant in the face of time and place. Kurosawa was amazing in being as creative and resourceful with the setting. It was a masterly way that he combined historical settings, spectacular battle sequences in color, humor, a deep exploration into the nature of human folly and madness (not in the satirical way Shakespeare sometimes does) and how he tainted the serene landscape with human hues of tragedy and destruction.

I once asked Akira Kurosawa why he had chosen to frame a shot in Ran in a particular way. His answer was that if he hed panned the camera one inch to the left, the Sony factory would be sitting there exposed, and if he hed panned an inch to the right, we would see the airport - neither of which belonged in a period movie. Only the person whos made the movie knows what goes into the decisions that result in any piece of work. (Sidney Lumet in Making Movies, 15)

Mostly, the color-coded battle sequences fix Ran in the mind. Yellow for Taro, the eldest son. Red for Jiro, the second son, and finally, blue for Saburo, the youngest son. Flagmen on horses charge through a forest, picked off by volleys from concealed riflemen; a sideways charge of the Light Brigade. The first great battle, the storming of a castle, is in all probability Kurosawas inimitable representation of chaos. A slaughtered bowman drips blood like a waterfall, from the rampart where he lays, shot full of arrows. A foot soldier is glimpsed, gone nuts, sitting and weeping and playing with a severed human arm. The last scene--a shot of a blind man about to walk off a precipice--sums up how Kurosawa could have seen the past, and perhaps the future. During the storming of third castle, the combined armies of Hidetoras two eldest sons marched, ran, and galloped in formation, reminiscent of the the tumult of battle noise, the battle scenes unfolded and flashed by with all the intensity of the passage of historical time and the eternal suffering of humanity. Perhaps this was a reflection of man and his nature (with regards to the present war with Iraq…). Color brought life and added a new dimension to the whole film. The colorful and beautiful kimonos or costumes were surreal and true to (the traditional/old Japanese) life and so was the use contrasting colors in conveying madness and power and the like. Even the make-up seemed peculiar but not exaggerated and was also symbolical much like Lady Kaede, the wife of the oldest son. Her eyebrows were painted perched high on her forehead in perpetual disapproval, (and could herself be inspired by Lady Macbeth) but this was actually a product of Japan's "Noh" theater her make-up represents the face of remorseless Vengeance (while mourning the death of her husband later in the movie, she impassively crushes a butterfly between her fingers…she also hates Hidetora for killing her family and stealing their castle). Her very exact opposite would be Lady Sue, Jiro's wife. Lady Sue who functioned as the "Buddhist conscience" of the film almost certainly baffled old King Hidetora as she demonstrated no ill-will or hatred towards him, even though he had killed her family, destroyed her castle, and gouged out the eyes of her brother Tsurumaru. Her compassion and active atonement for the sins of the world contrasted sharply with any other character and offered a solution for breaking the cycle of not forgiving that ensnared all the other characters including her own brother. Interestingly, her face is never shown, nor that of her brother's. They are spirit-like, floating somewhere above the political maneuverings (much like that of the spouses of the main characters in In the Mood for Love)….. [vengeance versus forgiveness].

Kurosawa probably used what he could have learned about battle scenes in earlier samurai epics (most especially since Ran was almost near to his last film). He uses several static cameras to film the action, cutting between them. Because his cameras dont dart and whirl, we may not be encouraged to think of ourselves as participants but as gods, observing, taking the long view here, and then a close-up look. He doesn't use panning or swish pan, nor wipes or fades but just simple montage cuts. Individual frames of the montage offer one stunning depiction of violence after another a multitude of arrows protrudes from a fallen Samurai; two of Hidetoras concubines perform "seppuku" upon each others outstretched blade; bloody bodies piled in deaths repose; a quintet of Hidetoras battle weary Samurai stand upon the castle steps in hopeless defense of their Lord; a wounded Samurai sits motionless on the ground holding his recently severed arm; riders and foot soldiers, shrouded in dust created by their massive movements charge laterally across the screen. These images of unbelievable power run uninterrupted for almost six minutes until broken by the sound of a single shot unseating Hidetoras son, Taro, from his horse. The battle frenzy is sustained for a full fifteen minutes in a total assault on the senses. The impact of the assassins bullet on Taros back symbolically and abruptly restored the noise of battle and the viewer to real time, ending a brief, contemplative, and moving interlude in the films plot development. This is all amazing for me but may be gruesome, useless, or a waste of time for other critics. Then he also manipulates the weather. Gentle at first, then increasingly stormy as brother fights brother, and ultimately hurricane force as Hidetora goes insane and wanders the wilderness with his fool. This is all punctuated by large, billowing clouds that was frequently cut as if to emphasize the immateriality of it all. Clouds finally give way to a red sunset as the death toll mounts and we are left with complete destruction in the movie's final scenes.

According to Roger Egbert of Chicago Sun-Times Inc. biweekly reviews of classic movies, perhaps the most important of the films elements was Akira Kurosawas personal philosophy and how he worked it into the entire film. By choosing to focus on the key "Buddhist principles" of redemption, forgiveness, and lack of hatred, Kurosawa transformed Shakespeares tragedy into a profound statement of the human condition. Moreover, the entire film is tinged by the reality of impermanence how Hidetora lost within months what he had gained and struggled for over a lifetime, his descent from ultimate power to utter wretchedness over the course of the film (which demonstrates the futility of life!!), the greed and bloodlust of his sons who betrayed him likewise resulted in ultimate ruin for his clan of Ichimonji, a concept once unfathomable in his younger, more virile days, and many more including Lady Kaede's manipulation.

Then, in the end, we are left with a blind man alone at the edge of a precipice, apparently at sunset. Subsequently, one must ask, where are the redemptive human or moral forces of Shakespearean tragedy, or is this Kurosawa's final image or perception of man, in which there is no redemption?

In a movie review by David Ng, he noted that in Kurosawa's Rashomon, he wrote in his autobiography, "human beings are unable to be honest with themselves, about themselves… even the character who dies cannot give up his lies. This cynicism informs Ran's ideology who can endure a world where God is present but powerless, where family members betray each other, where insanity is the only means of survival? Niccolo Machiavelli of the Renaissance era, famous for "the end justifies the means", believed that humans by nature were bad, evil. They were thankless, fickle, false, studious to avoid danger, greedy of gain, devoted to you while you are able to confer benefits upon them, and ready, while danger is distant, to shed their blood and sacrifice their properties, their lives, their children for you. But, in the hour of need, they turn against you (taken from a reading in my Renaissance Literature class). Shakespeare, with his novels and plays didn't concretely state these things but implied them through the personalities of his characters. We have fickle and deceit with the brothers and even the king himself. Impulsiveness, greed and being pragmatic (in a bad way) are also impersonated by his characters (including Othello, Merchant of Venice, and even King Lear). It is a great probability that Akira Kurosawa believes these same principles or concepts about man and affirms or illustrates them through his films, most clearly in this film. He may believe the same thing, that men are fickle and deceitful, greedy and thankless. But there are holes in the box such as the situation of Lady Sue, who was probably the only forgiving character in the whole movie! This may still show hope amidst a chaotic environment. And this most especially shows man's power, man's capability to generate change and to forgive.

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The strength of a country

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he true strength of a country is best demonstrated by the willingness of its government to tolerate challenges from its own people

With the rapid development of the technology ,economy and the democratization , the inherent strength of a country is more reflected by its willingness and the capability of receiving and dealing with the challenges from its own people , for the relative security across the globe . therefore ,the threat from outside is undermined but has been considerably enhanced by the wish to enjoy a modern life inside.

Nowadays , we are proud of the democracy that have been taken the world over .we are enjoying the benefits and happiness derived from it.In a democratic country , the government based on the constitution and the right of people is more likely and willing to tolerate the challenges and desires from the people .because the power that has been supervised and restrained by the right bestowed by the constitution will be properly used and performed at its most efficiency Therefore ,it has brought a great masses of opportunities and choices to the people to equip and prepare themselves for the life .

However some of us in this earth is still deficient of this kind of government which is restricted by the constitution , and they still live in a state of poverty both physically and mentally ,and are eager to enjoy the same kind of wealth we all share . we should ask ourselves that where we have made mistakes and what have led to tragedy in our advanced modern world which the idea of social progress and civilization are easily disseminated and accessible . We need a mechanism that is fit for the local conventions and conducive to the social progress which enables all the people to acquire t and enjoy , the mechanism should be ensured by the constitution and supervised by the people ,and certainly and accepted by the government with no doubt .There is no unique kind of democracy but it is certain that the interests of people is not easily allowed to be damaged or dispossessed without permission .

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All in all , we should establish a good kind of mechanism ,only in this way does the government have the vitality to perform its duty and render more services to its people and in return ,the people will support the government and believe what the government does is benefit to them , obviously the society will greatly benefit from this dynamic relationship and develop resonantly and stably and have more competence and power to defend itself.

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E.S.P.

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E.S.P.

(Extrasensory Perception)

What is?

ESP is most commonly called the "sixth sense." It is sensory information that an individual receives which comes beyond the ordinary five senses sight, hearing, smell, taste, and touch. It can provide the individual with information of the present, past, and future; as it seems to originate in a second, or alternate reality.

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The term ESP has been indicated that it was in activity during Biblical times. Although there is no clear evidence as to the certainty of the phenomena it has attracted the attention and enthusiasm of many throughout the centuries. It was 1870 when a French researcher, Sir Richard Burton, who started to describe the ability of a person who had been hypnotized or were in a trance state to externally sense things without using their ordinary senses. Another researcher, several decades later, Dr. Rudolph Tischner, used ESP in describing the "externalization of sensibility." But not until an American Parapsychologist in 10 popularized the term to include psychic phenomena similar to sensory functions. His name is Joseph Banks Rhine, a pioneer in the science of parapsychology revolutionized the research into the subject. The first-card guessing ESP experiments were conducted by Rhine at Duke University in 10. The cards consisted of five designs, now called ESP symbols, a square, a circle, a plus sign, a five pointed star, and a set of three wavy lines. In the classic Rhine experiments on ESP, the subject basically tries to guess or call the order of the five symbols when they are randomly arranged in a deck of 5 ESP cards. Basically, the chances of the subject are one out of five or zero out of five.

Another factor that researchers and experimenters must watch for in ESP and all psychical experiments is preconceived or previously learned knowledge. This concerns any knowledge which might influence the subjects activity. For instance, a person might say she sensed her son would call her on the phone on a certain day at that specific time. If the son had previously called her in such a fashion, then her sensation must be suspect for it might have been based upon knowledge of her son's previous performance. A person might strongly feel that he would receive an email message from a friend on a certain day, and he does; but, can this be considered a ESP phenomenon considering that this person had not head from the other person for sometime and was expecting the message. The point being made is that when dealing with psychic phenomena all factors must be considered when examining the performance.

What causes disorder?

The claims for ESP fall down into four general categories

- Telepathy - a person's awareness of another's thoughts, without any communication through normal sensory channels.

- Clairvoyance - knowledge acquired of an object or event without the use of the senses.

- Precognition - knowledge a person may have of another person's future thoughts, or of future events.

- Psycho-kinesis - a person's ability to influence a physical object or an event, by merely thinking about it.

The evidence cited for ESP is usually anecdotal. Sometimes it is claimed, however, that scientific tests at respected research institutions have conclusively demonstrated that ESP exists; or government tests have proved it. Sometimes proponents cite specific experiments as having confirmed the existence of ESP. In fact, it is the essentially unanimous opinion of psychologists that the existence of ESP has not been shown. All procedurally valid and reproducible experiments have failed to demonstrate the existence of ESP.

What I've learned about this topic

Existence of ESP hasn't been demonstrated in either everyday life or the laboratory. Further, the claims for ESP run counter to well-established, well-tested laws of nature. To be consistent with the rules by which reality is regulated, ESP would require elaborate, highly specialized organs for sending and receiving ESP radiation - organs that are not evident. The ESP radiation should be detectable directly and capable of study by sensitive instruments. Such instruments do not exist because such radiation doesn't exist in any recognizable form. The more closely ESP has been studied in the laboratory, the smaller the effects become. ESP, if it does exist, is plainly very weak. It is becoming more difficult for its proponents to distinguish between non-existence and an effect that is so vanishingly small that it could have no practical consequences.

Why I picked this topic?

For some reason I really enjoy weird things. I love the movie "Sixth Sense" or "The Ring." They were both related to this topic so I basically just decided to do what interest me the most. This whole Essay doesn't necessarily explain what ESP does actually stand for but it tells more about what it really is.

Bibliography

www.about.com

http//www.reall.org/newsletter/v05/n0/esp-fact-sheet.html

http//www.themystica.com/mystica/articles/e/esp_extrasensory_perception.html

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Indefinite Cultural Possibilities

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When a young man wearing a University of Washington T-shirt and shorts comes up alongside of you and runs past you very quickly on campus, you will most likely automatically assume that he is exercising. To you as an observer and a member of the campus community, it is obvious as to what he is doing, even though there could be many possible reasons for his running across campus. Whatever the events that take place in our lives may be, we can almost always make meanings out of them through some interpretive or cultural background that we have come to belong to. In his essay How To Recognize a Poem When You See One Stanley Fish explains that the different ways we create meaning about events comes directly from the interpretive communities of which we are a part. The critic E.D. Hirsch, arguing about what perspective one must take in order to interpret a text in his essay ¡°Faulty Perspectives,¡± claims that a ¡°text cannot be interpreted from a perspective different from the original author's¡± (Hirsch 4). Although these two authors disagree on how a text should be interpreted, what they are stating leads me to believe that it is in every human being's capabilities to acquire multiple, ever-expanding interpretive communities or in a greater sense, cultural perspectives. Someone might argue that irresolvable conflicts among unique sets of values from the different perspectives we assimilate will arise and cause confusion to our understanding of the world, therefore human beings are not able to acquire multiple cultural perspectives indefinitely. However, from what the two authors write in such adamant belief and from my real life experiences, the ability in humans to indefinitely assimilate various cultural perspectives and resolve any conflicts that arise is undeniable.

The experience I had in my life, of going to a completely different country to live, as well as the same experience millions of others had, proves the existence of the universal capacity of humans to assimilate multiple cultural perspectives. Approximately three years ago, I went on a plane with my family and ventured all the way from China to this new world, America, for reasons complicated and irrelevant to our discussion. As I got off the plane, all I could see was people with different hair colors, eye colors, and countenances from mine, and all I could hear was people who were speaking in a language with most of the words that I could not make the meaning out of. I still remembered that bewildering moment when I was standing petrified among people of such a different culture and wondering what happened to the place I belonged. Yet somehow I had the feeling that everything would be just fine. Three years later now, I am writing this paper, thinking in the same general context of American literature as my classmates, and applying the great amount of knowledge about writing in English that I have acquired to articulate the belief that I come to believe in. I am able to engage in conversations freely with classmates about what's on TV, movies, and class schedules in the same perspective as theirs. It is obvious that I have assimilated this completely different cultural perspective into my own system of cognition and knowledge.

Likewise, through out the course of one's life, one can easily find oneself in many different interpretive communities acquired through experience. As a student of a university, or a student of a particular class, or even a member of a student organization, we interpret events differently. We adjust so naturally from one role to another and from one interpretive community to the next that we don't realize it is us who, through the natural process of adaptation, learn the particular set of concepts for each community in order to perform the normal tasks as defined in that group. Introducing the experiment of turning an assignment into a poem, Stanley Fish argues that ¡°the assignment we all see is no less the product of interpretation than the poem into which it was turned,¡± and that ¡°it requires just as much work, and work of the same kind, to see this as an assignment as it does to see it as a poem¡± (Fish 0). The work required to see the list as an assignment is done ¡°in the course of acquiring the huge amount of background knowledge that enables you and me to function in the academic world¡± (Fish 0). Therefore, the logic follows that in our lives we do not innately possess these different ways of interpretation, but through the process of assimilation, we incorporate them into our systems of cognition and choose from them one primary interpretive community to apply at any given moment.

Through our own thoughts, our instructors, and our interactions with others, many common perspectives and much common knowledge are formed without the members of the community even realizing what is going on. This is best demonstrated by the fact that when I first came to this country, although I did not deliberately strive to assimilate the new culture, through interactions with everyone around me, I gradually became more and more furnished with the common perspectives. Similarly, the students mentioned in Fish's essay interpreted the list of names as a poem because they were consistently educated to think poetry and explicitly informed that the list was a poem. They could have just as easily perceived the list as an assignment if they were advised to, since they acquired both the perspectives in the general academic interpretive community and in the specific poetry class. This ease in switching between acquired interpretive communities undoubtedly proves that multiple interpretive perspectives can be acquired by us with ease.

On the other hand, some might say that different interpretive communities would cause confusion in the process of creating meanings, since particular concepts of some communities are very different from the others. For example, the assimilation process I experienced has certainly caused conflicts between the old set of cultural values and the new definitions. Understanding the respected virtues of a culture is essential to our everyday living. One of the highest valued virtues in a person of the Chinese culture is modesty, which is to not be too competitive and to always consider ¡°saving face¡± for the other person. On the contrary, American culture tends to value the competitiveness of a person more. I had the most difficult time trying to resolve this conflict between the fundamental values of the two cultures. Someone might argue that because in general these inflicted conflicts are irresolvable, humans can never assimilate multiple cultural perspectives indefinitely. I would respond to the argument with the fact that although conflicts were indeed inflicted by cultural differences, I overcame them and turned out to acquire the essence of both cultures. As time passed and I had more experience in dealing with the difference between the concepts of modesty and competitiveness, I gradually learned to cope with it and found my unique way of balancing the modesty and competitiveness in me. This experience made me realize that no irresolvable conflict could ever hinder our acquiring of various cultural perspectives because of the unlimited capacity of human's mind to expand and accumulate cultural possibilities.

The interesting question here is, how do we keep expanding our cultural perspectives; is it an innate, natural process, or a forced, obligatory one? I believe that it is an intrinsic ability in humans to adapt to different cultural perspectives. In the following quote Hirsch claims that

Cultural subjectivity is not innate, but acquired; it derives from a potential, present in every man, that is capable of sponsoring an indefinite number of culturally conditioned categorical systems. It is within the capacity of every individual to imagine himself other than he is, to realize in himself another human or cultural possibility (Hirsch 47).

Apparently he believes in the capacity of every living human to learn and adapt to a new cultural perspective. He explains that ¡°we can understand culturally alien meanings because we are able to adopt culturally alien categories¡± (Hirsch 46). I strongly agree with him because after going through the experience of living in a different country with culturally alien categories, I realized in myself another cultural possibility that I had never imagined of, a cultural possibility that not only expanded my perspective in observing the world but also made me discover the potential capacity in me to expand. Therefore, I believe the ability to adapt to different cultural perspectives is innate in all human beings.

Just like I have the capacity to assimilate both cultures I lived in, Hirsch and Fish would be able to acquire each other's opposing interpretive communities if they experienced differently, all because of the ability in humans to assimilate multiple interpretive communities. Hirsch's major argument in his essay is that a valid interpretation of a text can only be from the original author's perspective, while Fish disagrees and believes that the perspective people take when they interpret a text can vary depending on what interpretive community they are involved in. This divergence on the issue of the perspective one takes when interpreting a text is itself an illustration of the capacity of humans to acquire and accommodate different perspectives. Hirsch believes in his major argument because he is in an interpretive community that fights for the authenticity of a text and the authorship of the author. It is a perspective in an interpretive community he acquired and belonged to. On the other hand, through experience Stanley Fish belongs to an interpretive community which believes that it is trivial for authors like Hirsch and Barthes to fight over texts and authors because interpretation of a text and the text are related through social organizations. He argues that ¡°there can be no adversary relationship between text and self because they are the necessarily related products of the same cognitive possibilities¡± (Fish 15). Consequently, the diverging arguments made by Hirsch and Fish all originate from the innate ability of humans to acquire different perspectives through experience. Some people might say that the disagreement in arguments they have is generated from the fact that the two different interpretive communities they are in are exclusive to each other, that when they are in one of them they can not acquire the other, and that the capacity of humans here is limited. However, it is also valid to point out that it might have simply been the experience they had in their lives that lead them to choose to be in their respective communities, and if hypothetically the two men's lives are exchanged completely, then they probably would be taking the other's stance ¨C their roles switched. And that shows the capacity in humans to adapt to multiple, different interpretive communities.

After analyzing what Stanley Fish and E.D. Hirsch write about interpretive perspectives and my life experience as a foreigner, it is clear that human beings do possess the great gift of being able to assimilate different cultural perspectives indefinitely. Even though at the beginning of every act of adding a new perspective, there might be conflicts caused by the contradictory sets of principles, in the end the conflicts will be resolved by the process of learning. These different interpretive communities, or in a greater scale, cultural perspectives that we acquire throughout our lives define what we think, how we interpret events, and who we are. The existence of the unlimited capacity in humans to expand our minds indicates that given a certain amount of freedom to choose, we are not, in any way, constrained to a certain possibility of life. Ultimately, the capacity to adapt is what makes human beings different from any other species on this planet, a species that can evolve not only genetically, but also culturally. Works Cited

Fish, Stanley. ¡°How To Recognize a Poem When You See One.¡± Academic Discourse Readings for Argument and Analysis. Ed. Gail Stygall. rd ed. Mason Thomson Learning Custom Publishing, 00. 0-15.

Hirsch, E.D. ¡°Faulty Perspectives.¡± The Aims of Interpretation. Phoenix ed. Chicago University of Chicago Press, 178. 45-4.

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