What will be the effect on stakeholders of the proposed change in fees Dissertation

What will be the impact on partners of the proposed change in expenses and financing for UK college degrees - Dissertation Example Since the second 50% of 2010, emotional changes have happened in advanced education (HE) arrangements in the United Kingdom (UK). Albeit late strategy changes in advanced education have not been absolutely startling, their effect has broad results to different partners. With the development of HE occurring in most OECD nations, there has been expanding shift towards depending on expenses from understudies and the expansion in possibility understudy credits (Greenaway and Haynes, 2003). Government has understood the budgetary ramifications, and searched for arrangements in nations like the United States (US) where HE is viewed as an individual venture. Along these lines, when Lord Browne pushed forward his ‘recommendations for supportable subsidizing for higher education’, the alliance government acknowledged practically all proposition (Secured Loans, UK 2010). Key to these is that the administration must stop making HE part of the state’s government assistance (S ecured Loans UK, 2010). Worker's organizations mourn that subsidizing cuts in HE will have genuine effect on the training of the understudies (BBC, 2010). They anticipate that upwards of 200,000 understudies will pass up advanced education. Overseers likewise dread that nature of instruction will endure, particularly for showed courses in correlation with research-based colleges (BBC, 2011). Question one is in this way, with every one of these focuses featured, for what reason is government pushing for such arrangement changes?

Free Essays on Mexico As A Developing Nation

Mexico as a Developing Nation â€Å"The realignment of world governmental issues after the Second World War didn't happen solely along East-West lines†¦At a similar time, the liberation of the in the past colonized people groups of Africa, Asia, the Middle East, South and Central America, the Caribbean, and the South Pacific started to predict the subsequent significant clash of contemporary global relations: the North-South confrontation† (Jones, pp148). In spite of the fact that the binding together subject among the Developing Nations is the battle for improvement, there are wide contrasts among the in excess of 120 individuals. In this paper I might want to concentrate on Mexico. I will talk about three of the most noteworthy variables concerning Mexico, financial matters, political perspectives, and I will close with Mexico’s see on the War against Iraq, including the U.S. what's more, Britain. Financial aspects regarding Mexico can be clarified through two speculations, Conventional Theory, and Rational Theory. The Conventional Theory basically expresses that the reason for unindustrialized countries is inside wastefulness and the most ideal approach to address that issue is through outside assistance from created nations. A few causes that add to the monetary issue identifying with the ordinary hypothesis are populace and defilement. The Population of Mexico has a populace thickness of 50 individuals for each square mile with an absolute populace of 100,365,000 with about 45% of the populace considered incapable to deliver do to age, either excessively youthful or excessively old. This goes about as a channel on the Economic development, in that the more youthful populaces devour however don't contribute similarly as with the more seasoned populace. Of this populace 73% live in urban territories. This goes about as a channel on the economy also. Any financial development should now be spent on Public Assistance, for example, Housing, medicinal services; instruction, water, sanitation and waste evacuation, which all require modern arranging, capital gathering and lead time. Defilement ha... Free Essays on Mexico As A Developing Nation Free Essays on Mexico As A Developing Nation Mexico as a Developing Nation â€Å"The realignment of world governmental issues after the Second World War didn't happen only along East-West lines†¦At a similar time, the liberation of the some time ago colonized people groups of Africa, Asia, the Middle East, South and Central America, the Caribbean, and the South Pacific started to anticipate the subsequent significant clash of contemporary worldwide relations: the North-South confrontation† (Jones, pp148). In spite of the fact that the bringing together topic among the Developing Nations is the battle for advancement, there are expansive contrasts among the in excess of 120 individuals. In this exposition I might want to concentrate on Mexico. I will examine three of the most critical elements concerning Mexico, financial aspects, political perspectives, and I will close with Mexico’s see on the War against Iraq, including the U.S. furthermore, Britain. Financial matters as far as Mexico can be clarified through two speculations, Conventional Theory, and Rational Theory. The Conventional Theory basically expresses that the reason for unindustrialized countries is inner wastefulness and the most ideal approach to address that issue is through outside assistance from created nations. A few causes that add to the monetary issue identifying with the ordinary hypothesis are populace and defilement. The Population of Mexico has a populace thickness of 50 individuals for every square mile with an all out populace of 100,365,000 with about 45% of the populace considered incapable to deliver do to age, either excessively youthful or excessively old. This goes about as a channel on the Economic development, in that the more youthful populaces expend however don't contribute likewise with the more established populace. Of this populace 73% live in urban regions. This goes about as a channel on the economy too. Any monetary development should now be spent on Public Assistance, for example, Housing, social insurance; instruction, water, sanitation and waste expulsion, which all require refined arranging, capital collection and lead time. Debasement ha...

A Case for Lower Case L Literature

A Case for Lower Case L Literature This is a guest post from Rachel Wagner. Rachel writes fiction, poetry, and essays. She teaches at Seton Hall University and lives in Newark, NJ with her son. A friend of mine told me a while ago, while she was still in high school, that she doesn’t read. When I acted surprised about it, she told me that she does read, but it’s just hood books. I was like… so you read. That “just” phrasing revealed a lot to me about how readers of lower case L literature feel about their books and themselves. It’s implied that certain genres of writing are not worthy of critical inspection, and that hurts Literature too because when people reading hood books or romance don’t consider themselves readers, they won’t venture out to other genres. This barrier alienates readers. Lower case L literature obviously doesn’t get the same respect that capital L Literature does. But why? More people buy them. They’re faster to get through. They’re engaging. They’re accessible. Especially now, when people’s attention span for reading has been shortened by the internet, literature seems like it would be a great avenue to make literary conversations and academic writing more popular. Recently, it was taking me forever (in a good way) to get through Norman Ohler’s Blitzed: Drugs in the Third Reich. Day after day, I’d pick it up and read as much as I could, but sometimes the words just blurred and I would lose the narrative. I also have a two year old, so long stretches of reading are hard to come by. Then Danielle Santiago’s book Grindin’ showed up from an interlibrary loan. I packed my kid up right away to go pick it up. I put Blitzed on pause and read Grindin’ in a day and a half. And it felt great. I was so happy to be back in a story. It was especially nice to be immediately curious, interested, and eager to find time to read. That book made it easier to return to and finish Blitzed after a couple days. Usually the first thing I want to do when I finish a book is go to Google and see what other people have said about it. For Literary books  like Blitzed that’s easy. There are tons are articles and think pieces and Twitter threads. That’s true of some popular literature books too, like Sister Souljah’s Coldest Winter Ever, but more often, there’s close to nothing. Nothing pops up right away for Grindin’, even though the writer is fairly well known. Sites like Amazon and Goodreads  become the place to converse, which is great in some ways, but, again, is isolating because it’s practically the only place where those conversations are happening. Hood books have this special quality about them that allows you to just get through it. The pacing of the story moves quickly, and it’s easy to lose track of time. Zane books, all of Sister Souljah’s novels, the Cartel seriesâ€"these books seem to physically pull you in. Similarly, romance novels drag you in. Sophie Kinsella’s Shopaholic series, for example, are genuinely fun to read. The chapter in which the narrator, Rebecca, is helping her love interest shop for suitcases was the first time I’d laughed out loud at a book since Tina Fey’s memoir. The most recent romance novel I read was An Extraordinary Union by Alyssa Cole, and the writing itself felt like Literature. It crossed over to historical fiction, and used a complex situation to say something larger about American culture. These are not simple books. The repeated use of erotic triangles that run through these genres can’t be the problem, since that narrative runs through a lot of Literary books. The readership, which includes a lot of women and prisoners, could be part of the stigma. The writers, who are usually marginalized by race, gender, or both and usually not MFA graduates, may also have something to do with it. The treatment of those commonly associated with literature, though, shows exactly why these books are important right now. Limiting the conversation that surrounds these texts that are relevant, meaningful to people’s lives, has serious consequences. Megan Sweeney did work on the topic of what incarcerated women read and the popularity of hood books in prisons, and more and more with middle class white and black women as well. In Keepin It Real: Incarcerated Womens Readings of African American Urban Fiction, she explains that “the genre allows readers to consider their experiences and speech patterns as worthy of representation in a book” (139). Publishing them is one piece of legitimizing the stories, but talking about them would enhance that. These stories are important and deserve critical inspection, and the more writing that gets done on these books, the better they’ll become. There’s a certain kind of power in being able to pick up a book and dive right in. Lower case L literature has a magnetic quality about it. These books stand alone and are also great in between more complex books. Most importantly, they tell necessary stories.

How The Law Affects Peoples Everyday Life And A Business...

1. INTRODUCTION The law affects people’s everyday life and a business is not an exception. The law can be simply described as the principles, rules and regulations, created by the state and established within a community. Therefore, this report will focus on the research of three types of law: Contract law, Tort law and Employment law in the business context to give a legal advice to the Wicked Theatre Group in regards to follow the right procedures. 2. CONTRACT LAW RESEARCH 2.1 Carlill v Carbolic Smoke Ball Company (1893) EWCA Civ 1 is one of the most discussed case in the contract law because of its extraordinary subject and due to the provision of the basic rules of the contract low, i.e. an offer and an invitation to treat. Advertisement: The medical firm Carbolic Smoke Ball Company advertised a ‘smoke ball’ as a drug which can prevent from getting a flu, with the instructions of using the ball three times a day for the period of two weeks. The advert also stated, that if it did not help as a preventive against the illness, the buyers will receive a  £100 reward. Plaintiff: Louisa Carlill believed that the smoke ball will prevent her from the influenza and purchased one packet and used it as instructed, however she had an attack of the flu anyway. Thereupon, her husband wrote a letter on her behalf to the company, explained what had happened and asked for a  £100 reward as promised. However, theShow MoreRelatedEssay On Tattoos And Tattoos1746 Words   |  7 Pagesused to see people with tattoos as lacking in character and work ethic. In light of the growing popularity of tattoos in the modern age, people’s opinions have stayed away from that. While the United Kingdom may not be as well known for heavily tattooed people as other countries in the world, the popularity in the United Kingdom is growing. 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WhetherRead MoreGlobal Business Cultural Analysis Essay4618 Words   |  19 PagesGlobal Business Cultural Analysis: France BUSI 604: International Business Liberty University March 5, 2012 â€Æ' Abstract This paper will focus on the many elements and dimensions of France and the affect it has on the business that takes place locally and internationally. There will be constant comparisons and contrasts between France and the United States of America taking place throughout this entire research article. I will focus on how the elements and dimensions of the culture separatelyRead More Ethics of the USA PATRIOT Act Essay example2844 Words   |  12 Pagessiege from one virus or another. The complexity in the billions of lines of code embedded in its products make it impossible to be error-free. 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Death of a Salesman Quotes

These quotes, selected from Arthur Millers Death of a Salesman, highlight what pleases Willy as a worker and as a man—tales of wondrous riches, his sense of humor being recognized—and how he is perceived by the characters who feel affection towards him despite his shortcomings. Bens Story WILLY: No! Boys! Boys! [young Biff and Happy appear.] Listen to this. This is your Uncle Ben, a great man! Tell my boys, Ben!BEN: Why boys, when I was seventeen I walked into the jungle, and when I was twenty-one I walked out. [He laughs.] And by God I was rich.WILLY [to the boys]: You see what I been talking about? The greatest things can happen! (Act I) The story of how Willy’s brother Ben became rich with his travels to Alaska and the jungle almost became a legend to Willy. Variations of the line â€Å"When I was seventeen, I walked into the jungle, and when I was twenty-one† recur throughout the play. The jungle appears as a place that is â€Å"dark but full of diamonds,† which requires a â€Å"great kind of a man to crack [it].† Willy is enamored with the ideal his brother embodies, and tries to instill his interpretation of the â€Å"jungle† parable into his sons, which, together with his obsession with being â€Å"well liked,† places unrealistic expectations in terms of success on Happy and Biff. â€Å"It’s not what you do,† he told Ben once. â€Å"It’s who you know and the smile on your face! It’s contacts.† And while Ben can find diamonds in a dark jungle, Willy claims that â€Å"a man can end with diamonds  here on the basis of being liked.† The character of Ben is interesting also because he sheds light on his and Willy’s father. He made flutes and was a â€Å"great and very wild-hearted man,† who would move his family all over the country, from Boston all the way to the westernmost towns. â€Å"And we’d stop in the towns and sell the flutes that he’d made on the way,† Ben said. â€Å"Great inventor, Father. With one gadget he made more in a week than a man like you could make in a lifetime.†Ã‚   As we see in the events that unfold, the two brothers developed differently. Ben inherited the adventurous and entrepreneurial spirit of his father, while Willy is a failed salesman. Willys Affair With The Woman THE WOMAN: Me? You didn’t make me, Willy. I picked you.WILLY [pleased]: You picked me?THE WOMAN [who is quite proper-looking, Willy’s age]: I did. I’ve been sitting at that desk watching all the salesmen go by, day in, day out. But you’ve got such a sense of humor, and we do have such a good time together, don’t we?  (Act I) Here, we learn what about Willy’s affair with The Woman stokes his ego. She and Willy share a lewd sense of humor, and she clearly states that she â€Å"picked† him because of it. To William, sense of humor is one of his core values as a salesman and part of a trait—likability—that he tries to teach his sons as being more important than sheer hard work when it comes to success. Yet, in their affair, she is able to tease William with unpleasant truths about himself. Gee, you are self-centred! Why so sad? You are the saddest, self-centredest soul I ever did see-saw. Miller does not make any effort to flesh out any depth about her character—he doesn’t even give her a name—because that’s not necessary for the sake of the play’s dynamics. While her presence precipitated the rift in Willy’s and Biff’s relationship, as it exposed him as a phony, she is no rival to Linda. The Woman is closely associated with her laughter, which can be interpreted as the laughter of the Fates in a tragedy.   Lindas Devotion to Willy BIFF: Those ungrateful bastards!LINDA: Are they any worse than his sons? When he brought them business, when he was young, they were glad to see him. But now his old friends, the old buyers that loved him so and always found some order to hand him in a pinch—they’re all dead, retired. He used to be able to make six, seven calls a day in Boston. Now he takes his valises out of the car and puts them back and takes them out again and he’s exhausted. Instead of walking he talks now. He drives seven hundred miles, and when he gets there no one knows him any more, no one welcomes him. And what goes through a man’s mind, driving seven hundred miles home without having earned a cent? Why shouldn’t he talk to himself? Why? When he has to go to Charley and borrow fifty dollars a week and pretend to me that it’s his pay? How long can that go on? How long? You see what I’m sitting here and waiting for? And you tell me he has no character? The man who never worked a day but for your benefit? When does he get the medal for that? (Act I) This monologue showcases Linda’s strength and devotion to Willy and her family, while summarizing the downward trajectory in his career. Linda might appear as a meek character at first. She doesnt nag her husband for not being a better provider and, at first glance, she lacks assertiveness. Yet, throughout the play, she delivers speeches that define Willy beyond his shortcomings as a salesman and give him stature. She defends him as a worker, as a father, and, during Willy’s funeral service, she expresses disbelief at her husband’s suicide.   Even though she acknowledges that Willy makes â€Å"mountains out of molehills,† she is always prone to lifting him up, saying things like â€Å"you don’t talk too much, you’re just lively.† â€Å"You’re the handsomest man in the world [†¦] few men are idolized by their children the way you are.† To the children, she says â€Å"He’s the dearest man in the world to me, and I won’t have anyone making him feel unwanted and low and blue.† Despite the bleakness of his life, Willy Loman himself recognizes the devotion of Linda. â€Å"You’re my foundation and my support, Linda,† he tells her in the play. Ben vs. Linda WILLY: No, wait! Linda, he’s got a proposition for me in  Alaska.LINDA: But you’ve got—[To Ben] He’s got a beautiful  job here.WILLY: But in Alaska, kid, I could—LINDA: You’re doing well enough, Willy!BEN [to linda]: Enough for what, my dear?LINDA [ frightened of Ben and angry at him]: Don’t say those things to him! Enough to be happy right here, right now. [To Willy, while Ben laughs] Why must everybody conquer the world?  (Act II) A conflict between Linda and Ben is apparent in these lines, as he is trying to convince Willy to go into business with him (he bought timberland in Alaska and he needs someone to look after things for him). Linda emphasizes that what Willy has—he is still doing relatively fine at his job—is just enough for him. The conflict between the city and the wilderness is also latent in this exchange. The former is full of â€Å"talk and time payments and courts of law,† while the latter just requires you to â€Å"screw on your fists and you can fight for a fortune.† Ben looks down on his brother, whose career as a salesman resulted in him building nothing tangible. â€Å"What are you building? Lay your hand on it. Where is it?,† he says. In general, Linda disapproves of Ben and his ways. In another timeswitch, he challenges Biff to a fight and uses unfair methods to defeat him—he laughs it off, claiming to be teaching Biff never to fight fair with a stranger. The reasoning behind his lesson? â€Å"You’ll never get out of the jungle that way.† Charleys Appreciation of Willy Lindas and Charley’s monologues on Willy fully and sympathetically show how tragic the character is:   CHARLEY: Nobody dast blame this man. You don’t understand: Willy was a salesman. And for a salesman, there is no rock bottom to the life. He don’t put a bolt to a nut, he don’t tell you the law or give you medicine. He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. And then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory.  (Requiem) Charley utters this monologue during Willy’s funeral, where nobody but Willy’s family, himself, and his son Bernard show up. Charley had been lending Willy money for some time before the events of the play, and even though Willy always had quite a disparaging attitude towards him and his son (who was considered a nerd compared to Biff, the football star), Charley maintained an attitude of kindness. In particular, he defends Willy from Biff’s remarks, namely that he â€Å"had the wrong dreams† and â€Å"never knew who he was.† He goes on to define the attitude of salesmen, category of people whose livelihoods depend on successful interactions with customers. When their success rate wanes, so does their career and, according to the American values of the time, their life’s worth.

Translation in Movies Names Free Essays

string(62) " leading character Rain is having some emotional frustration\." Introduction As we all known, film is an audio-visual art. This glamorous act is a magnificent gem in human history, which creates romantic stories and leads human into a marvelous land we have never come before. Looking back to the development history of film, we cannot deny that film reflects the society reality and the time spirit. We will write a custom essay sample on Translation in Movies Names or any similar topic only for you Order Now As the cultural exchange between China and overseas become booming, film plays an important role as culture envoy. Film was entrusted with the mission to let more people from different cultural backgrounds to enjoy the entertainment and share advanced technology together. This is an unavoidable trend in the world now. The film is an art, unlike other type of work, producing an effect on the human senses through a variety of information media. So the translation of film titles is also different from other kinds of translation. From its type, title translation belongs to special translation studies. English Translation of Movie Titles, Even though only a small number of domestic scholars did this research, title translation is beginning to attract people’s attention. As we know, China has been more open for its movie market and its domestic movie industry is booming, an increasing number of overseas films come into Chinese big screens. Meanwhile, a great number of local movies have found their way to the international market. Films are not only a way of spreading exotic culture to the local audience, but also a significant approach to disseminate national culture for overseas people. Thus, translation in movies names is of great importance when both introducing foreign movies and selling domestic ones. Suitable translation can attract the public to enter into cinemas. Local films can also benefit a lot from good translation as well when being publicized overseas. In recent years, it is indeed an amazing feat to study translation by analyzing the structure of communication, especially suitable for the translation of movie titles because the film itself is a mass media. Communication is the activity of conveying information. In the process of title translation, information conveying is more complicated as translation is a cross-cultural information dissemination. As a necessary part of culture, the movie name is inevitably reflected the characteristics of their respective cultures. Although Chinese and Western cultures are different, we can still find many similarities between the two. Undoubtedly, movie title translation contributes a lot to cultural exchanges. If the title translation concern more about film name itself and cultural implication, it will receive an unexpected effect. II. The Importance of Movies Names Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. It is a process of creation which is based on certain culture implication and scientific knowledge. Therefore, the translation is re-creation. Most movie titles have only a few words, however, it is the crowning touch to the film. This important role put forward higher requirements for the translation of film titles. Film is an audio-visual art. Instead of being displayed in the shelves as books and newspapers, it firstly appeals to the audience by its name. Thus, movies names are the key to affect the box-office receipts. In another words, to a movie, its name is being its slogan and advertisement. Therefore, each word and phrase in the movies names should be carefully weighed against the original language to ensure the fullest accuracy and clarity. According to some reports, some producers in developed countries spare no effort to give perfect names to their movies. A movie may have several provisional names which could be revised more than once before it comes out in theaters. What is more, a movie may get no certain name even its whole photography process has been finished. For some Chinese well-known movie companies, they have established panels which are composed of many professional translators to make their movies’ names sound more international and let the foreign people know better about the movie before entering into the cinema. III. Methods of Translation As title translation is of great significance, translators should try their best to make the movie names sound more popular and colloquial to increase persuasion and appeal. To deal with the cultural differences in intercultural translation, various skills can be adopted, including literal translation, free translation, adding translation, and explanation translation. The movie title is the unity of language and national culture, so the title translation should adopt a flexible method, and strive to impress the audience to achieve the same function with the original title. 1. Literal Translation 1. 1. Characteristics Literal translation, or directed translation, is the rendering of text from one language to another â€Å"word-for-word† rather than conveying the sense of the original. Literal translation seeks to carry over every possible nuance of meaning in the original words of movies’ names into our own language and as far as possible to capture the precise wording of the original text and style. As such, its emphasis is on â€Å"word-for-word† correspondence, at the same time taking into account differences of grammar, syntax, and idiom between current literary English and Chinese. Thus it seeks to be transparent to the original text, letting the public see as directly as possible the structure and meaning of the original. Based on the language universals, literal translation can convey the origin content using the similar forms. 1. 2. Examples Some movies named by leading characters can employ literal translation to retain the intention and context. Britain film Jane Eype ( ), American film Spartacus ( ), Sister Carrie ( ) and Dr. Edward ( ) are good examples of using this method. These names sound natural and are easy to remember. There are also some films named by the nickname of the characters adopting literal translation. Taking the Rain Man( ) as an example, rain man is another saying of people with autism. Its Chinese name, an essentially literal translation, illustrated the subject of the film that the leading character Rain is having some emotional frustration. You read "Translation in Movies Names" in category "Papers" What is more, the Miner †s Daughter, biographical film based on the life story of the famous American country music singer, Houluolita Lynn , was literally translated as ; An American in. of Paris, the 24th Academy Awards Good movie, was translated as The Godfather, 45th Oscar Best Picture, was also translated as. These good translation versions are consistent with the appearance, while maintaining the essence of the original name both in the form and in the meaning. 2. Paraphrase 2. 1. Characteristics The word â€Å"paraphrase† is defined as: under the limitations of the s ocial and cultural differences in the target language, the translator had to abandon the literal meaning of the original form to match and the main language features. A paraphrase or free translation is a restatement of the meaning of a text or passage using other words. In contrast to the â€Å"essentially literal† translation, paraphrase have followed a â€Å"thought-for-thought† rather than â€Å"word-for-word† translation philosophy, emphasizing â€Å"dynamic equivalence† rather than the â€Å"essentially literal† meaning of the original. A â€Å"thought-for-thought† translation is of necessity more inclined to reflect the interpretive opinions of the translator and the influences of contemporary culture. Paraphrase is another way that often used when translating because there is linguistic disparity between different countries. When the ideological content of the original forms and expression of the translation are contradictory, translators would paraphrase them instead of using literal translation in order to maintain the names’ same meaning and linguistic function. The way to decide which content suits direct translation, or which content is suitable for free translation, depends on the comparative study of culture and linguistics between ancient and today. 2. 2. Examples The film adaptation of Robert James Waller novel, The Bridges of Madison County, was literally translated as. This translation is unable to arouse the audience’s imagination, but the effect of another version as will be not the same. It not only strengthens the theme, but also appeals to the imagination of the audience, thus creating an artistic realm for them. In various types of construction, the bridge seems to be the best to lead to a romantic association, since ancient times, there have been a lot of touching love stories occurred at the bridge. â€Å" † symbolizes the lingering thoughts from year to year; â€Å"? † represents the pity and regret; â€Å"? tells us the love of the hero and heroine can only be a dream. Every word in the title can lead to endless thinking and a great deal of imagination. Whatever, paraphrasing should base on the content of the movie. Expressive form is the main difference between free translation and literal translation. The former needs to explain the meaning, on the other hand, the later translate the names directly. For instance, the move Gone with the Wind which is adapted from a well-known novel of the same title is translated as when it was released in China. This vision is not only pleasing to the eye but also accord with the content of the movie. But if it is named as , though having no language mistakes, is inferior. Another examples using this method are shown, such as Ghost ( ), The Wizard of OZ , Top Gun( ). Apart from the movies mentioned above, there are also similar examples which should translate according to their accent but employ paraphrase such as Rebecca( )and Cleopatra( ). 3. Transliteration 3. 1. Characteristics Transliteration is translating the title into another language based on pronunciation. English movies, which are named after movie film hero’s name or place name, are commonly used transliteration without causing a distortion of the target language culture. The hit movie Harry Potter used the transliteration because people are already familiar with the hero Harry as the great scale to the original best-selling and movie pre-publicity. But many examples show that there are very few examples of pure transliteration since the title of the person’s name or place names are mostly familiar to the domestic audience, even incomprehensible. In the translation of Chinese names, and other proper nouns, many contradictions of transliteration will arise due to the difference between native language and foreign language phonetic systems. Using transliteration is bound to affect the attendance of the film. At this time, the transliteration adding to paraphrase should be given to consideration in order to obtain satisfactory results. Such as Patton( );Forrest, Gump( );King Kong( )and so on. 3. 2. Examples Movie Ben-Hur which is based on the biblical story was translated as . Ben-Hu is a film hero’s name; Hollywood actor Sylvester Stallone wrote and performed the film Rocky won the 1976 annual Oscar Award for Best Picture. Rocky is name of the hero , transliterated as ; taken in 1973, the American film Papillon translated as is a classic escape theme movie. The Papillon is French, meaning â€Å"butterfly† . In the film it refers to the actor because he has a chest stab butterfly tattoo; 16th Oscar best Picture Award, known as the â€Å"the greatest love the movie of shadow history † Casablanca, translated as ,also uses the transliteration. It is well known that Casablanca is Morocco’s largest city. Title using the example of the transliteration is simple and retains some â€Å"foreign flavor†. However, it should be noticed that some movie titles of the person’s name or place names are mostly familiar to the domestic audience such as Thelma and Louise. Thelma and Louise are the two heroines of the film. They encountered a series of sexual violence and sexual harassment during a simple trip. After the murder, they escaped. The film intends to convey a strong desire of the women to be the master of fate. And women’s equality and security of personal social are the movie’s themes. The film has been paraphrased as . This translation is very consistent with the film’s theme and content. And its Chinese title is neither subject to the restrictions of English language. 4. Adding Transliteration 4. 1. Characteristics Some English words do not have their Chinese counterparts because of differences between two languages. In this case, translators often add some words to make the movie title sound comprehensive among the domestic audience. Adding translation is a case of adding some words based on the content of the movie in order to meet the mental acceptance and cultural expectance of the audience. . 2. Examples For example, American movie Patton was translated as . It is a story telling about things happened during the World War?. People who are interested in the history of war or military stories would be attracted by its Chinese name before they entering into the cinema. But if the name was translated without any alteration, Chinese people would never guess the content and some groups of au dience may be lost. Another example is The Piano which was translated as , if it was translated directly as , most people would think it was just an educational movie. However, translators added the word â€Å"? † to its original name to let the viewers get a brief idea of the movie that it is a story about things happened in a piano lesson. There are another cases also used this method such as Seven( ), Deep Impact( ), Sister Act( )and so on. IV. Principles of Translation Although the translation of film titles has its own specialty, it has something in common with other genres of translation. The translation process should reflect the following four principles: 1. Informative value principle Title translation should convey the information related to the contents of the original film, achieving the unity of title form and film content, which is also called the equivalent of the value of information. The emphasis of translation of is equilibrium. The process of English movie title translation should firstly be faithful to the movie information. That means the translation of film titles should convey the information in line with the original information of the movie to achieve the unity of the translation of the title and original movie content. The word â€Å"faithful† refers to the translation must be accurate and truthful and the meaning can neither be free to distort, nor any increase or decrease. 2. Cultural value principle Translation is not simply the language conversion process, but also the social phenomena of cultural exchanges. Cultural values, reflected in the title translation to promote cultural exchange and understanding, is the important task of the translation of film titles. The movie title reflects the cultural value of film, which requires the translator to be not only a mere translator but also a cultural carrier. So translators should have a deeper study of two kinds of language and culture. In the process of title translation, different languages have different conventions and codes. Then the translator is bound to follow certain cultural adaptation and take full account of cultural implication in order to better communicate cultural information through language. In the West, the social development history, geography and climate, history, political and economic values, customs, ethics are very different from Chinese. Cultural values firstly reflected in fully understanding cultural information and accurately transmitting the original title culture. Let’s take a look at a famous 1995 psychological thriller â€Å"seven†. The film a strong visual impact and the dark background described a highly philosophical meaning of the crime story: a crazy murderer to consider themselves to God, around the Catholic seven capital offenses disciplinary one by one kill. Seven capital offense refers to the seven men often commit the fault, namely: the gluttonous greed, , ,sloth , lust , pride , envy and rage wrath. Seven, this mysterious figure in the religious (which is in the old â€Å"fullest: God created Adam using seven days, remove the Adam’s seventh ribs made the original body of Eve, Satan is the dragon of seven heads) in the film can be described as ubiquitous, seven crime seven penalty seven rain, the story takes place in seven days, or even ending by the offender set at 7 pm on th e seventh day of the ubiquitous â€Å"7† imply that the fate of the Crime and Punishment. However, it is conceivable that if the Chinese translation for a â€Å"simple, Chinese audiences will not produce the same cultural association and identity, so the movie screened, translated as† Seven â€Å", pointing to the story line and the seven most major and religious meaning. It can be described as cultural values embodied in the classic example. Chinese translation of the film American Beauty, trouble is also the root cause of this. Popular translation – â€Å"American Beauty†, and earlier tacky little â€Å"American Beauty† is not accurate, it can be said too literally. American beauty is the red rose of the U. S. production of flowering seasons. The roses are beautiful, holy, said the noble and sacred love, especially red roses, but also love gift to share. According to the myths and legends, a god of love to personally pick Rose took to give his lover, too eager mood, the action is some confusion, accidentally finger was punctured by the squid, the blood sprinkled on the petals of roses, originally The white petals dyed red. Cupid holding a rose-red with their blood spent to give lovers and lovers to see, very excited, gratitude for a hundredfold return Cupid’s loyalty. After the red roses of pure love and firm, especially lovers favorite. Movie to spend Yu flower expressions, flowers and beauty, closer together. Taiwan’s well-known herein florid translation of the change translated as â€Å"heart? Rose Love† to China rose instead of the United States rose to reveal the spiritual connotation of the film, it touches do not have mood. But the film also has a more direct and accurate cultural translation â€Å"American Beauty†. There is also a translation is called â€Å"Beautiful guilty† may be issued by the translator according to the story of lament! In addition, due to language and cultural differences, a form similar to the Chinese and British vocabulary, may refer to completely different content, such dubious often leads to disastrous mistranslation. For example: First Wives Club, has been translated as â€Å"The First Wives Club†, not knowing the first wives in English refers to the first wife of the men, and the Chinese culture, the size of the wife and concubines concubine Yigai irrelevant. This fun-filled comedy, in fact, about a group of Zaokangzhiqi how to revenge yourself Xiatang Chen Shimei her husband and marries another new love. Now translated as â€Å"the first wife club,† the first wife club â€Å"is more accurate. Another example: one hundred one of the classics of â€Å"the Third Man† is initially translated as â€Å"third party†, the Chinese audience mistakenly thought it was a marriage ethics film. In fact, â€Å"the Third Man,† referring to the film, the third car accident witnesses, the film changed translated as â€Å"personal† story translates as â€Å"living hell for the spirits of, I had stumbled on a DVD Title will be translated as the â€Å"third man†! Stick up down. Similarly, due to differences in cultural identity, vocabulary attached to the associative meaning it will miss is as good, Miao away. Animal words, for example, most of the symbol, meaning one after another. To Yibi vivid necessary to correctly understand their meaning. This is not difficult to understand why the movie Dragon Heart, no, literally translated as â€Å"Dragon Heart†. Taking into account the â€Å"dragon† negative associative meaning in English (reminiscent of the cruel, devil), as well as Chinese culture the dragon respected (the Chinese nation, the emperor, a symbol of success), the film, plus a â€Å"magic word translation The Tarrasque legendary. In addition, the title in the idioms, allusions to load a lot of cultural information, often not from the literal meaning of understanding, engaged in sloppy, Shuaier surgeon is bound to be mistakes, a laughing stock. For example, â€Å"Rambo: First Blood† has been translated as â€Å"First Blood†. Little do they know â€Å"the first the blood† is the English idiom, meaning â€Å"first battle†. Taiwan will be â€Å"One Flew, over the the Cuckoo’s Nest,† translated as â€Å"the cuckoo’s nest†, in fact, â€Å"the Cuckoo’s Nest† in English is a â€Å"mental hospital† means! The film was adapted from Ken? Alexis (Ken Kesey, 1935-2001) according to himself experienced in the novel of the same name published in 1962, describes the brutal destruction of a mental hospital patient’s humanity and basic human rights, strongly criticized the yoke of the social system, video the last Indians to shake and lift extremely heavy stone and splashing the lens, as well as his brave out of the guard of the prison behind bars, it is film body Now the true meaning: seemingly can not shake the cornerstone of the system, as long as the consciousness of resistance cohesion to a certain moment and broke out the exciting force, will eventually break all fetters, to achieve the newborn. Mainland translation Flew Over the Cuckoo â€Å"and therefore more accurate vividly embodies the true meaning of the original title and the film itself. Film interpretation of the cultural values, we should have the following consensus. On the one hand, you should see the title translation is subject to the target lang uage culture. The target culture is bound to select the source culture, norms, and strengthen, exclusion and belittling, and attach their own cultural color. Chinese translation of the English movie â€Å"Love with My Father,† â€Å"Wedding Night† for the â€Å"Family Fun† â€Å"wedding night†, obviously mixed up with the Chinese cultural flavor. On the other hand, should recognize that translation is a dynamic process of cultural exchange, and therefore asked to judge the historical perspective to measure. In one region or one times fluent and readable translations in some areas, the era is not necessarily a good translated. Such as space bottling (Space Jim) â€Å"disappeared Pretty Woman (the Runaway Bride) in Hong Kong popular translation in Hong Kong, but inland the audience is very difficult to understand. The meaning of â€Å"bottling† in Cantonese is â€Å"playing basketball†, â€Å"runaway† means â€Å"escape†. Speaking from a diachronic point of view, China’s current loose, cheerful social environment, the cultural mentality of the two-way communication, with the further attention of the people to the outside world and social and cultural conditions of the mature, but also will undoubtedly promote the excellent translations of more closer to the style of the original film presented in front of an audience. Such as â€Å"Casablanca† (the Casablanca) has long been replaced by â€Å"Casablanca,† a domestic popular translation. â€Å"The Truman Show† (Trueman the Show translation: the drama of life, Trudeau door programs, etc. ) for a class in Britain a mixture of the title also has been increasingly accepted as part of the Chinese audience. 3. Aesthetic Value Principle The title of the translation of stress to get rid of the original word bound, depth grasp of the ideological and aesthetic content of the work and the ingenuity of the artist’s treatment of the original film, the new artistic creation. The native language of the art form to convey the image of the original, emotional, and language arts, the aesthetic experience of conduction in the audience. First of all we must be the exact words and the aesthetic value. The choice of words should strive to sound both the United States, Italy, expressive and vivid. As Somerset Maugham said, â€Å"the word of its power, its sound, and its shape; only consider the sentence, in order to write eye-catching ear†. The exact words and emphasis on vivid. Language used to create a mood, atmosphere, concentrated source language audience’s feelings and conduction in the target language audience. Compare the following three groups of titles in English translation, is not difficult to find the second translation can give full play to the Chinese advantage and choice of words precise and appropriate artistic conception, cutting theme of the Central Plains piece, and thus even better: Ex1: You Can not Take It With You â€Å"translated a† you can not take away; â€Å"translated† Take It Ex2 has been engineered: A, Man, from the Snowy River â€Å"translation† from the Snowy River; â€Å"translation† Snowy River man As ex3: Ordinary People â€Å"translation† of ordinary people; â€Å"translation† mortal The exact words and emphasis on sound America. Translator through rhythm, pitch, rhythm, so that the title to read catchy, beautiful sounds, only to convey the emotional meaning, but also enhance the aesthetic effect. Chinese is a tone language, pitch the level of severity, length, speed, and constitute a self-assured, high and loud music, a ccurately express the rich and delicate feelings. Such as the Outland translated as â€Å"outer space† (cadence, rhyme), Courage, translated as â€Å"Under Fire, Life and Death of pride† (circumflex), translated as â€Å"Singing in the Rain† (rhyme) Singing in the Rain ‘, fully embodies the Chinese phonological . English as a tone language, its different tone, stress, light tone, accented arrangement constitute continuous fill the gap, the melody. Such as the â€Å"green lawn (1987), translated as the Green Green the Grass of Home,† great cycle â€Å"translated as the Wheel of Life, successfully embodies the beauty of the melody of English. Alliteration and rhyming English title in order to achieve the sound of America’s method. Not uncommon in the title creation and translation. English Title: Picture Perfect (now translated: purely fictitious) Rock and the Rule (now translated: Jesus Christ, Magic Star), Limelight (now Translation: career on the stage); English Translation Title: City Under Siege (formerly known as Chinese: siege ) Fight in South and North (Chinese original name: Civil war) and so on. The exact words and emphasis on precise and appropriate and concise. Only a clear and concise title in order to attract viewers. Can be described as the culmination of many of our translators translated in this regard. Such as A Puzzlement of Love translated as â€Å"love confusion† and the Strange Tale translated as â€Å"strange tale† Intolerance translated as â€Å"partisan†, is lovely. The four-character phrase is often concise, sonorous sounds, expressive, heavily used in Title Translation, accounting for the Translation of title more than 60 percent. Such as: â€Å"Dances with Wolves (Dances with Wolves),† Home Alone â€Å"(Home Alone),† Forrest Gump â€Å"(Forest, Gump,)† Entrapment â€Å"(Entrapment), The Fugitive (the Fugitive), retaining flower portrait (the Bodyguard), The Interpreter (The Interpreter). Another aspect of the aesthetic value is the use of rhetorical devices. Translator copy or a creative way to use rhetoric to cause aesthetic pleasure to the audience. Such as simile Gaslight translated as â€Å"Lang heart, such as iron, repeated France A Few Good Man, translated as† good people only a handful of â€Å"antisense method True Lies translated as† True Lies â€Å", the control of the Great The Great Gatsby, Old wives for New, Love Me Tenderly translated as â€Å"Great Gatsby† old pet new love, â€Å"† Hud Rouchang â€Å"are worthy of our study. 4. Commercial Value Principle The film is both a cultural and commercial art, in the title translation, of course, need to take into account commercial considerations. This requires the translator to take full advantage of the cultural characteristics of the target language and aesthetic interests, to create out of the language the audience loved the movie title, causing psychological identity, stimulate aesthetic pleasure and viewing desires. For example, according to Canadian writer Michael? Weng Dajie (Michael Ondaatje) best-selling novel of the same name adapted from the English the Patient, is the Second World War for the background of male and female for a period beyond the moral boundaries, romantic and poignant love story about. The novel won the British Booker Prize for Literature, an international reputation, to retain the original novel title attractive to Europe and the United States audience. Hong Kong local audience know very little about the novel, if literally translated as â€Å"The English Patient†, but uninteresting, translator therefore another translated as â€Å"Do not ask who I am†, lyrical strong and fastened the entire film pursuing the life experience of the plot of The English Patient, by the local audience favorite. Taiwan translation of â€Å"The English Patient, VCD, translated† troubled love days â€Å"are fastened film Sad love theme, a strong poetic, after masterpiece. Another embodiment of the commercial value is the title emphasize novel and eye-catching, good at creating suspense, rendering the atmosphere. For example, It Happens One Night Translated as â€Å"It Happened One Night†, translated as â€Å"Sister Act, Sister Act† the Net â€Å"network Cry†, it is very novel and fascinating. Mainland translation of the thriller The Rock â€Å"The Rock†, Hong Kong translation of â€Å"The Rock, Taiwan translated as† Jedi task all tastes, and naturally apt, full of suspense, reflects the combination of artistic and commercial. To achieve the above two purposes, the commercial value reflected in the translation process requires bold and innovative, â€Å"carried away†, or even to change the title in the form to save the contents of the original title. In specific operations, the translator often use to increase the word, minus the word, changing classes, and expansion to be translated, and thus play depth to convey the contents of the original film, and enhance the title role of infectious. Please observe the following translation of the cases: Blood and Sand, translated as â€Å"Treasure of the Sierra sand, plus lexical Piano plus the word translated as â€Å"The Piano† the Independence Day by the word translated as â€Å"Independence Day flames, the the Three Musketeers to increase word translated as â€Å"the pride of The Three Musketeers† She is So Lovely reduction translated as â€Å"pleasant child. In the heat of the Night less inflammation Night â€Å". The paraphrase After Vivid, natural and appropriate. Sometimes the literal translation, free translation is difficult to appropriately reflect the contents of the original film, to inspire the audience aesthetic pleasure: some post-translational obscure, nondescript; others are bland, no charm. Required to set aside the original title of the form and content, based on the original film content, reinvent the wheel, the source language of the eyes of the target language audience bland title, vividly reproduce the form of language that people loved. Title translator in China in this regard there are many superior for beautiful choice of words, right, and vividly depicts the original film content. Such as Of Mice and Men the movie, adapted from the realist writer John? Steinbeck (John Steinbeck had 1902-2002) of the same name novel â€Å"Of Mice and Men† all resistance analogy farmers efforts are in vain, are able to escape to John? The fate of the mole to describe the poetry of Donne ((John Donne) — hard making good house final inevitably destroyed by the rake of film titles did not copy the title literally translated, but the change to be translated as â€Å"living things† implicit in â€Å"Of Mice and Men† moral of the story to inspire the rich Chinese cultural associations (such as Buddhism in the face in the crowd the pain), but also reflects the commercial value, can be described as a rare good translation. In addition, the Volcano is translated as â€Å"to fire Siege, Ghost translated as† Ghost â€Å"Patch Adams, translated as† Cherish the truth â€Å"; If Looks Could Kill translated as† Rear Window shade; the Shark Tale Shark Tale † â€Å"Once Upon a Time† translated as Once Upon a Time in China, Guangdong and Hong Kong criminals â€Å"is translated as Long, the Arm of the Law,† Once a Thief â€Å"translated Once a in Thief are on the product. The above example, you can see, the title translation is not a simple machine to copy the content and form of the original title, but should retain the original value of information, cultural values, aesthetic values, and appropriate emphasis on its commercial value, to achieve functional peer. Specifically, that the movie title should not only be faithful to the original film, but also conforms to the language and cultural characteristics, aesthetic taste; achieve beautifully written, concise and full of strong attraction and appeal; attractive, increase ticket sales. With the increasingly active in international cultural exchange activities, more and more English movies into the Chinese market. Prerequisite to a wonderful apt title of the Chinese to English movies dubbed, became attractive vision of the audience, made box office profits. This article discusses the in-depth analysis of a large number of translated cases on the basis of English movie title translation strategies used five methods, namely, transliteration, translation, free translation, compilation and expansion of translation. ?. Characteristics of Translation In fact, many translation of English Movie Titles reflect the Chinese cultural meaning. Bear the brunt under Waterloo Bridge. â€Å"Waterloo Bridge† in English formerly known as the â€Å"Bridge, Waterloo † Literal translation â€Å" â€Å". Translated as â€Å" † intended to take the traditional Chinese Huangmei Opera Excerpts â€Å" â€Å". â€Å" † is about a poignant love story, coincides with the misfortune of the hero and heroine of Waterloo Bridge. Therefore, videos translated as â€Å"Waterloo Bridge† is not only reflected the main content of the film, but contains the Chinese culture. Another talent of Translation was undoubtedly a Pear Tree pressure Begonia. The film in English formerly known as â€Å"Lolita† is adapted from the famous Russian-born American writer Vladimir Nabokov’s novel Lolita. Lolita is the name of heroine, the novel name is translated as â€Å"Lolita†. About a middle-aged man by the love and possession of the only 12-year-old following the woman story, is a May-September marriages, the translator will take Su poem of a movie name. â€Å"A pear tree pressure Begonia† in allusion to the Song Dynasty Su ridicule friend poet Zhang Xian ridicule. Zhang is said that in the age of 80 married a 18-year-old concubine, Su then quipped: â€Å"Lang, 18 bride eighty. Gray white hair red makeup. Yuanyang where dual night. Pressure Begonia a Pear Tree. † â€Å"Pear â€Å"means the white hair of the old lady,† Begonia â€Å"is as bright dripping Shaoqi. After â€Å"pressure Begonia a Pear Tree† has become a May-September marriages, that is â€Å"old robber euphemism. Although this translation inevitably brings to mind the ridicule of thousands of years ago who gifted poet, a little bad heart and come up with the Chinese translation of the sort of genius in poor taste, but we have to admire the talent of the translator. The same time, the number of Chinese translation so with Chinese characteristics and story apt. â€Å"Honey trap† is another full Chinese translation of the Chinese culture. â€Å"Honey trap† is well known as one of the â€Å"Thirty-Six. The film â€Å"Notorious,† translated from the movie â€Å"Notorious†. Notorious is a very common English word, meaning â€Å"the infamous, notorious†. The film is about the daughter of the former German spy John, warm, charming Leah father’s relationship into the Nazi internal use of the marital relationship successfully steal the enemy intelligence to the story of the effectiveness of the motherland. This is a suspense, there is beauty, spy love, love film, translated as â€Å"honey trap†, and its cultural connotations self-evident. â€Å"My Fair Lady† story based on the works of the famous British playwright George Bernard Shaw’s â€Å"Pygmalion†, a transliteration of â€Å"Pygmalion. † Pygmalion Code since ancient times, Cyprus. Prince Pygmalion very fond of the sculpture, the day he succeeded in shaping the image of a beauty. Put it down, soulful eyes every day to watch more than. As I watched, the beauty competition live. George Bernard Shaw in the play in shaping another â€Å"Pygmalion† – Higgins, a professor of linguistics. Higgins will be a full country accent flower girl Yi Lisha in the short term training to become a speaking aristocratic accent come and go in the high society of the rich princess, and then fell in love with her unable to extricate themselves. The movie translated as â€Å"My Fair Lady† positive and â€Å"My Fair Lady, Marty† This is eternal good training. However, because the English movie name names or place names, and like the exhaustion of few words, in the process of translation is often a literal translation or transliteration of a simple literal translation or transliteration. Sometimes the lack of beauty. Some even lied. There may even be some joke. Such as movies Lawrence, of Aribia. Chinese translated as â€Å"Lawrence of Arabia† unsatisfactory translated as â€Å"Lawrence of Arabia†. Because for the Chinese audience. They think may be more British novelist Lawrence and Lawrence’s erotic novel, coupled with the Arab country’s unique religious beliefs, the Chinese audience may think of other content deviates from the movie intended. Who would have thought the Lawrence ofAribia is during World War II. Time fighting in the African desert, a German air raid team in hot water, led by General, in the face of the enemy besieged by the enemy in fierce fighting and escape in a hail of bullets, expand the scenes of thrilling war stories ? so â€Å"Lawrence of Arabia† is a very exact description of the audience will soon associate the film’s war theme. In another example, the Waterloo Bridge mentioned earlier, such as a simple literal translation processing, it becomes a â€Å"Waterloo Bridge†, the audience will soon think of Napoleon. How will not and love together. Previous years, large tracts of Titanic tone into the â€Å"Titanic†, the Hong Kong into the â€Å"Titanic†. Young people, nothing. Can two elderly people wonder how so strange: the movie name, called â€Å"Madam you these days? Another corrected him and said:† kick him you jump â€Å". This joke first, and regardless of the true and false. Take the first translated version of â€Å"Ice Wreck† will not appear so misunderstood. There is an English name The ShawshankRedemption. This is an all fans are blown away by the absolute masterpiece, but unfortunately the translation confusion. Mainland genuine call it â€Å"on the black fly, Hong Kong translation is† to stimulate 1995. â€Å"Moon black fly† while listening to like martial arts films. But the meaning can also be understood: can stimulate the 1995 because it was staged in Hong Kong in 1995, and no reason to become such a translation, simply make people feel uncomfortable from the heart. If you watched the movie, you will think this is blasphemy of the great works. Prefer the translation is â€Å"The Shawshank Redemption†. First, it take into account the shark Fort English pronunciation and meaning, seem cold and mysterious, followed faithfully repaid to save this layer of meaning are, we can say quite a place. Chinese story â€Å"The Butterfly Lovers† translated into English Romeo and Juliet of China, the Westerners’ll be able to understand its content is profound and enormous influence. Translated into The utterfly Lovers, or the pinyin transliteration, but make them puzzled. Full of Chinese cultural meaning of â€Å"Farewell My Concubine† translated Farewell My Concubine ridiculous. â€Å"Flirting Scholar† that translated into o f The Flirting Scholar, but even the most nonsensical of Stephen Chow would think ridiculous. No wonder people translation compared to marriage, the natural letters, up to a pair of elegant, there are strong twisted sweet, stumbling through life. With the social and technological developments. Good movie more and more, and here to cite only a few examples to illustrate the problems related to cultural factors in the translation. Interdependence between the translator and film each other constraints, the name and content of each film is certain, regardless of the method of literal translation. Or paraphrase of the method taking into account the differences between Chinese and British culture, can make the translation of both faithful to the original film but also pleasant to the eyes and ears, it would be a successful translation. The successful translation can play a role in promoting the popularity of the film. Inappropriate translation in a loss to some extent a good movie. So we are looking forward to the translators can focus more on the translation of film titles from the cultural and aesthetic point of view, rather than the pursuit of economic efficiency or for pursuit of strange maverick. ?. Conclusion Language is the carrier of thinking, the movie name is a reflection of the linguistic form, and thinking in the name of the English film translation of differences in the impact, so closely related to the three. In this paper, the translation of the name of the Sino-British film, by comparing the differences of both English and Chinese translation of the film name of the forms of expression and word selection, trying to integrated thinking and decentralized thinking, the dominant thinking and recessive thinking, abstract thinking and thinking in images of the three angles a reasonable explanation of the differences in national mode of thinking in English. How to cite Translation in Movies Names, Papers

Gender Discrimination in American Schools free essay sample

An exploration of gender inequality in American schools. This paper investigates the claim that girls are discriminated against within the American education system. The paper begins with a definition of key terms and a review of the research on gender inequality in schools. The differing viewpoints on the topic are considered and the causes and influences of gender bias are looked at. Discrimination amongst staff is also touched on. The paper concludes with recommendations for improving the situation. Gender equity, in education, is defined as, the provision of equality of opportunity and the realization of equality of results for all students based on individual aptitudes, abilities and interests, regardless of gender (AAUW, 1999). The failure to ensure this equity is known as gender discrimination, or gender bias. Within education, the existence of gender discrimination can be determined by a wide range of factors, such as; enrollment levels; exam results; the manner in which teachers respond to, and interact with, students; the topics and materials used within the teaching process; and the manner in which the school environment and social conditions influence the students. We will write a custom essay sample on Gender Discrimination in American Schools or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In 1972 the US Department of Education passed Title IX, a set of amendments aimed at reforming gender inequity in schools.

Political Equality Essays - Egalitarianism, Social Inequality

Political Equality The beginnings of political equality were dim. America was just beginning to set up a political system when ideas of equality began to arise. Questions concerning citizenship, rights, and civil liberties made plans for the American political system seem overwhelmingly complicated. The idea of political equality itself was a theory of very limited scope -- a foundation rather than a structure. Different convictions as to the obligations of government were buried in it from the beginning, and no clear original intent could be extracted. (Pole 45) But the founders of this country were sure that America would be a nation composed of values and equal rights. There was some debate over the idea of how the states were to be represented. Interestingly enough, the idea of equality, on a political scale, was only implied by the Constitution, rather than outwardly stated. The principle of equality of political individuals, which translates into that of one man, one vote -- and ultimately into one person, one vote -- in approximately equal electoral divisions, was implicit in the Constitution of the United States, rather than being expressly declared by it. (Pole 47) One vote per person: this created some controversy, but was later accepted as the most equal method of voting. During the creation of the Constitution, there were many disputes and disagreements regarding various methods for creating equality among American citizens, but overall, the Federal Constitution did more than any other instrument to define political equality as a fundamental principle of American government. (Pole 50) The structure of the Constitution was perhaps as meaningful to the ideal of equality than the words themselves. The political thought surrounding the Constitution converged on this principle; nothing in the text led in any other direction. In this sense the Constitution may be said to have contained provisions pertained more explicitly to the expression of these implicit values. (Pole 63) The use of language, clauses, and any other implications the document might entail, make the Constitution itself a symbol of equality. The words decree it, but the document stands for it. The question about different types of equality came about in South Carolina when a committee joined to discuss this matter. They thought that equal rights would rightly produce unequal results, which could be represented by a comparison of the lower and upper classes. Equality, its members declared, was the natural condition of man, the basis of his moral excellence and political happiness, not the amount of money one had. (Pole 154) This group reasoned that the upper-class would be given more rights and advantages because of their social status... that political equality did not coincide with equality of opportunity. They thought that because the upper-class had more money, therefore they had more political weight. And, likewise, the lower-class would not have as much pull on the American political system. It was an argument that would have profound resonance in the very different context of American Reconstruction, when equality of political rights for the freedmen (together with e quality before the law) became, for a time, the key to all others. (Pole 155) Another event that helped shape equality in America's political system began with a land crash in 1819. This event devastated many people's hopes for ever owning any significant amount of property in life. American economics were in an uproar, yet people did not question the foundations of the country... on which they could very well have blamed the entire incident. Americans just hoped for the best as the economy gradually recovered. The effects of this event were outstanding. Workers organized into political sects and rallied not to let this unfortunate occurrence happen in the future. They made laws protecting themselves and their families and used the American political system to maintain what little they had left in the aftermath of this disaster. Political equality has been part of America ever since the founders of this country created the Constitution. It has come a long way since the 18th century, and probably still has a long way to go. America has achieved political equality, however, there are some aspects of that idea that can be improved upon, and yet others that will remain a constant reminder of

Regional Trade and Trading Block Agreements essays

Regional Trade and Trading Block Agreements essays The North American Free Trade Agreement: The North American Free Trade Agreement (NAFTA) was signed into law in October of 1992, and went into effect on January 1st, 1994. This tripartite trading bloc of North American countries established tariff-free trade, while removing many of the barriers to cross-border investment, expanding the earlier Canada- US Free Trade Agreement, created in 1989.. With tariff eliminations and duty-free status of a variety of products from favored nation suppliers, NAFTA has created the worlds largest free trade areas (Fugate). Several benefits have been noted, especially for member nation, Mexico. The benefits accruing to Mexico from the agreement include growth in national output, falling unemployment rates, and increasing trade with the U.S. The benefits of the agreement to Mexico are also reflected in the rapid growth of the Mexican maquiladora industry (Fugate). However, it is not all positive news. As real wage increases take hold in Mexico, some maquiladoras are no longer able to operate cost effectively. As such, there has been a disturbing trend of moving low-wage jobs out of the country and to China. In addition, it is feared that NAFTA has increased trade between the member countries at the expense of other nations, concentrating wealth in both Mexico and the United States (North American). As such, other trading bloc agreements have become to form, to counter this economic loss. The European Union was created in 1992, by the Treaty on European Union, otherwise known as the Maastricht Treaty. The finalized treaty had slowly evolved, since 1951, and many relationships that had developed during that forty-year period, beginning with the European Coal and Steel Community, formed by Belgium, West Germany, Luxembourg, France, Italy, and the Netherlands. Unlike NAFTA, the EU not only removes trade barriers, but also involves a single ...

Current Events and the U.S Diplomacy Assignment - 3

Current Events and the U.S Diplomacy - Assignment Example An emphasis on United States foreign policy after it discovered that there was Oil in the Persian Gulf, but other threats such as the Soviet Union using their troops were attempting to secure the region. As such, the doctrine stipulates that the United States had already declared its interest in the region (Carlsnaes, Risse-Kappen & Simmons 2013). According to Barfield (2010), the relationship between the United States and Afghanistan dates back to the 18th century although it was officially sealed in 1921 when a treaty was signed to confirm the diplomatic relations that had begun gaining ground. However, the relations between these two countries became much stronger during the Cold War, after the then President Turman declared that the diplomatic relations that had already started growing were going to be strengthened by the fact that senior diplomats from Afghanistan would be placed in each capital in the United States. Between 1948 and 1953, the two countries exchanged numerous diplomatic visits which greatly improved their relations. As a result, the United States began giving Afghanistan economic support in order to build infrastructure especially in major cities since the country had been rated as one of the poorest among the third world countries. Once the economic aspect had begun improving, the United States gave further support on the technical aspect, which was meant to develop skills that would later lead to a modern economy. Nevertheless, the United States declined to give Afghanistan any defense cooperation at the time. In a general sense, the end of the cold war relation between the two countries was characterized by the invasion of educated people from the United States who took over the hospitals, schools and other economic related aspects (Bacevich, 2002). Interestingly, the current relationship between the U.S and Afghanistan is quite complicated especially after the United States was boomed in 2001 by Osama Bin Laden.

White-collar crime and criminal theories Essay Example | Topics and Well Written Essays - 500 words

White-collar crime and criminal theories - Essay Example Based on the rational choice theory, individuals engage in crime deliberately, and they have the conscious that the act they engage in is criminal. The theory also holds that people engage in white-collar crime on their own and as a result of their own free will (Shover & Hochstetler 2). The rational choice theory states that individuals willing to engage in white-collar crime first evaluate their actions. Based on their evaluation of the situation, the individual then makes an assessment on whether there is a possibility that they will complete the action without any sanctions. The rational choice theory is also states that people who carry out white-collar crime tend to be motivated to do so because of the desire to make illegal gains (Shover & Hochstetler 4). The theory further argues that the entities and individuals engaging in white-collar crime know the consequences of such a crime, but they choose to ignore these consequences and engage in crime regardless of the consequences. For example, a white-collar crime like fraud is carried out intentionally with the aim of getting unscrupulous gains. Corporate entities also engage in white-collar crime intentionally since they know the consequences of such crime (Vito and Jeffrey 63). The other theory, which explains white-collar crime, is the social disorganization theory. According to this theory, the factors around a person have a profound impact on the possibility to commit a crime. The conflicts and inconsistency of institutions play a key role in determining whether the white-collar crime will be committed (Payne 224). The key theorist who advanced the social disorganization theory was Edwin Sutherland. According to him, the social disintegration of society can be regarded as the basis upon which white-collar crime takes place. The disorganization of institutions contributes to white-collar crime since it enables criminals to have an easy way.

Television Drama And Its Narrative Complexities Media Essay

Television Drama And Its Narrative Complexities Media Essay This assignment will examine the extent to which quality television drama is conceptually adventurous and narratively complex. By doing this, I shall use the television series, 24 as a case study. It will also demonstrate the relationship audience has with quality television and its complexities in its narratives. This assignment will endeavour to support all points and observations by appropriate scholarly research including work by John Peacocks Reading 24: TV against the clock and other various authors from the bibliography. The term quality television is very critical if it is used in an important perspective or within theoretical matters of television categories. It took on an added detailed implication when it was raised by television academics in the institute when they tried to clarify the defining features of broadcasts that gain quality characteristics. There is the theory that quality television is public television which is television broadcasts where the country is completely uncomfortable while it articulates itself, its past and unclear prospect (Bronk, Simons and Elsaesser, 1994: p.66). There is also the theory that a genre in drama is the quality television standard. Quality television has production expenditures, entertainment significances, performance and scripting which appeals mass audiences (Bronk, Simons and Elsaesser, 1994: p.66). The broadcast resilience is a subsequent importance of stylishness which presents and signifies the quality classification that frequently characterizes t he self-confident ability of those who produces certain broadcasts. Therefore, quality enhances a procedural requirement but furthermore establishes an institutional and independent requirement. If quality television can be defined by an educated medium, then television producers can comprehend what a good broadcast should be (Bronk, Simons and Elsaesser, 1994: p.66). Quality television materializes as a way of producing television programs. It originates from a reproduction on what has succeeded suitably from history and how it could be developed. Certain definition has suggestions and one of them is that quality television is pricey. Suitable money provision obtains modern equipment and pays for good performers, directors, writers and producers. It confirms high-quality production costs. This definition is institutional but it insinuates that quality television cannot be defined by a particular broadcast whether it is reliable by a specific genre. The broadcaster asserts that qual ity should have a general broadcasting procedure like an intense timetable (Bronk, Simons and Elsaesser, 1994: p.67). Quality television is created in a variety of various genres broadcasts which appeals to different kinds and sizes of audiences at different times of the day. Quality television is furthermore a television signal to high-tech advancement which allows an expensive artistic representation and improved sound model. The importance on high-tech advancements may highlight the quality television explanation by a specific broadcast production constitution and its delivery across reputable institutions that obtains both stability and creativity of producing television programmes but certain creativity may theoretically be attained through liberalization and a circumstance because a mass of channels is provided by a variety of independent producers to confirm a range of broadcasts while they focused themselves onto a mixture of audiences (Bronk, Simons and Elsaesser, 1994: p.6 7-p.68). By arguing and explaining peoples view of quality, it requires the exploration and argument of certain broadcasts or its tactics. If this is to be succeeded, involvement from television producers, audiences and reviewers would be essential. People will understand quality television needs an ongoing social discourse regarding the medium. Examples of Quality Television are series such as Seinfeld, Law and Order, The Sopranos, Ally McBeal, The X-Files, NYPD Blue and ER. These series are popular American Quality Television among other series that comes into view of audiences. In order for these series to come into the audiences view, exhilarating and pristine creation will be essential to appeal the audience and market publicity if there are cable stations and networks (Akass and McCabe, 2007: p.117). Local production will maintain to produce the predominant audiences globally. Nevertheless, the digital channels creation indicates that there will always be high-quality global broadcasting. Operating commercial channels finances confirms that broadcasting which appeals to high-class audience with sufficient expenditure influence will continuingly be the highly appealing choice for a consumer. That is why creative television series from the United States are developed. There are variations in program releases, new product ion approaches, financial redistribution centred around product impartiality and promotion diversity and the development to the fame of Home Box Office (HBO) which was centred around a totally distinct commercial representative than main broadcast networks such as ABC, NBC and CBS along with their associations and the nations respective stations which all marketed specific audiences to promoters (Akass and McCabe, 2007: p.3), (Lavery, Howard and Levinson, 2011: p.8). The broadcasting on HBO is not only restricted to high-end cable consumers but it also influences non-cable audiences. In the modern period, targeting specific niche audiences expendably and differently from creating a mass audience, HBO wanted elevated production benefits with excessive funds to endure costly shooting techniques and post-production editing but it associates itself with the modernist instead of popular, cinematic custom, classifying itself as an artistic style because it is at the high-end of parent com pany, Time-Warners range but its slogan is Its Not TV. Its HBO describes its quality sign and it defines the network period after 1996 (Nelson, 2007: p.180), (Akass and McCabe, 2007: p.3). This statement has included an analysis of the whole American commercial television structure. It has gained disparagements as it opposes the disrespectful movement of daily television. HBO was securely isolated from commercial television disruptions but nevertheless, HBO drama audiences are allowed to separate themselves from the television programming characteristic styles (Edgerton and Jones, 2008: p.25). All program networks are obliged by government ruling and associated agreements with partner stations and promoters to present a wide program facility that amasses the audience through a public and demographic variety classification (Edgerton and Jones, 2008: p.31). While HBO never used this model, other broadcasters have defended their company model that employs broadcasting to produce numero us customers to promoters as they see variations in media skills and culture. There are principles for quality television which alternates the stylistic self-reflexivity and liberal humanism to the ensemble cast, series fusion, complex character-based narratives and serialized construction (Peacock, 2007: p.15). It also involves debatable themes and is clear that quality television targets an organization with cinema as a better art quality characteristic to television as the quality genre developed. By the 1990s, quality television developed an important term settling with finances and aesthetics to become a genre within itself (Peacock, 2007: p.15). The cinematic filmic style may be the most important clear quality television feature. It has succeeded narrative complexity as the popular American television main characteristic by the late 1980s and early 1990s. Established quality television genre models have broadcasted their feature with evident recognizable cinematic filmic styl e which can be understood as a deliberate difference to the regular television broadcasting impassive style (Peacock, 2007: p.16). What quality television might be meant by conceptually adventurous is that television broadcasting is generally intense with adventure representations and the themes where people can relate to adventure. Television is always regarded as a writers medium and it establishes antagonism between an aesthetically traditional television principle as determined by dialogue and character as well as a more adventurous significance in style and narrative mode in cinema. Adventurous cable broadcasting and new markets have stimulated progression (Douglas, 2005: p.26). It has furthermore revolutionized television programming and presented new openings for writers. There are also rising audience division on specific cable networks which allowed niche broadcasting that would never be part of the three networks which limited casting is making adventurous and high quality shows such as Battlestar Galactica on the Sci-Fi channel, The Shield on FX and Dexter on Showtime. They generally run for an hour e ach week and keep the audience in suspense and guessing as to what would happen on the next episode. This strong timing, real-time importance and ticking clock all aided to tie the week-long inequality between episode programming and conceal the narrative combined in a series way (Peacock, 2007: p.20). Modern broadcasts targets audiences interests outside the limited timing television hour structure. They aim to appeal audiences that give themselves completely on their preference viewing. Quality television drama series are presented once a creative idea infiltrates the thoughtful industry activity. It is believed that drama has to be conceptually adventurous because without it, itll lack the quality expectations audience will be hoping for. There are other quality television characteristics which help the audience appreciation and action such as its scholarly consumption, fluent, specialized and perceptive speech, complex narrative construction and its rapid style (Akass and McCabe, 2007: p.26), (Richardson, 2010: p.22). People are carried between scenes and instances. This means more innovative concept and industrial talent are advanced. It also confirms the requirement the audience focuses (Akass and McCabe, 2007: p.27). This action complexity is regarded as another high quality television characteristic. It also puts the audience in the situation where they elevate when making a decisive conclusion. Every broadcast helps people explain and value it. Television series became more complex as it engages more actors and narratives which uses from one episode to few years to finish. From the year 2000 and onwards, American television drama has been creative and it has also been highly remarkable at the high-end of the series and its topic which lasts one hour long. This is assisted by the evident achievement of suggestive authorized cable models. American television drama episodes can cost over US$3 million respectively while these drama that lasts one hour long includes a variety of broadcasting styles and costs (Bonner, 2011: p.3), (Grant and Wood, 2004: p.127). American television drama is one example as to why it is conceptually adventurous and narratively complex because it is frequently invented by producers that has auteur recommendations who also employs 35mm film or its digital equivalent to attain a cinematic quality (Akass and McCabe, 2007: p.43). But before the year 2000, high-end American drama series costs was normally exploited by broadcast networks as the vital market share and profits diminished this drama genres excessive expenditure suggestion s. This broadcast drama was innovatively controlled by the safety first traditional content that institutions are afraid to acknowledge the marketable possibility of actual innovative investigation (Hoffmann-Riem, 1996: p.103). Broadcast drama was additionally restricted by overwhelming instant achievement anticipations. One purpose is to accumulate sufficient episodes to increase association and new back-end incomes if it produces the vital ratings by occasionally exaggerating efforts to extend its life and success. Network hesitancy remains putting many innovative restrictions on television drama production with certain reflections approaching deeply on program fees. For the last fifteen years, American prime-time dramas have deeply trusted complex tactics of episodic fiction to confirm the audiences constant venture in their narratives (Akass and McCabe, 2007: p.133). This is because it functions in a television view that is distinguished by the rising struggle between various me dia structures. For the last two decades, American television drama has been narratively complex which exploits the structured series probabilities. It highlights constant descriptive series upon limited episodic  plots (Akass and McCabe, 2007: p.26). Consequently, these series incline to accumulate complex narrative of background contexts and character relationships which is why they ask their audiences to participate. One genre which is crucially narratively complex is conspiracy dramas. American television drama narrative tactics are more understandable if people theorize them as conspiracy narratives because serials that features narratives of protagonists trying to reveal and end the evil operations of antagonists. These series intend on producing a  specific manner of television viewing where a functioned and alerted audience actions requires an inclination to involve the descriptive narrative theory and carefully listen to the elements by observing the conspiracy narrative rationalities. American television drama can be understood as a distribution to certain narrational mode and be reflected as a clear subdivision of  narratively complex programming (Vest, 2011: p.209). However, the narratively complex television series structure lets the narrative rationality of conspiracy to release its possible serial as it benefits flexible narrative paths basically because television series become lucrative the longer they stay on air. Series that utilizes certain  conspiratorial narrative structure also get additional complex characteristic of  conspiracy fictions. This presents a  significant difficulty which may justify the diverse audience responses to the conspiratorial series concluding episodes particularly for lengthy series. It directs people to the fundamental theories of series narration as an industrial structure which was always acquiring durable profit issues than in classical stylistic, credibility and consistency models. Conspiratorial television series help certain actions and user activity in online forums that is devoted to specific series debate in the modern era confirms this assertions rationality by welcoming their audiences to investigate their narrative complexities. It is clear that not every serial that endorses the conspiracy narrative rationalities trust the comparable elaborate tactics to help the audiences theory. Nevertheless, these series reveal the understanding that the narrative complexity suggestion is a main feature in the endeavour to initiate the audiences and cultivate their devotion to the series. The television programme, 24 is one example of quality television and conspiracy narrative program. It is one of the infrequent series to experience vital and commercial achievement from its launch as it is fascinating, sophisticated, creative and appealing (Peacock, 2007: p.13). However, the series argues the current quality television classifications through its persistent and creative aesthetics utilization and basic skills. 24 has successfully qualified as quality television by merging these recognized conspiracies with modern conceptual involvements. The series also uses and underlines both cinematic and videographic methods in its quality. 24s interest to cinematic quality is directly evident in all practical scenes. The show is shot on 35mm film and framed for 16:9 widescreen productions, media and structure which is nevertheless more generally linked with cinema than with the 4:3 quality part of American television (Peacock, 2007: p.16). 24 has showed cinematic filmic charact eristics which was frequently admired in long-established quality television. The series is also exclusive because the producers like the videographic quality. It has influenced audiences and critics with the video effect focus like digital clocks, on-screen text and the internet at the beginning. 24 may be the most videographic modern dramatic television broadcast because it not only uses videographic features as its mark quality and it still progresses to this point to contain its cinematic movements in a videographic context (Peacock, 2007: p.18). The series cinematic sequences are frequently dealt videographically whether it is split on screen or connected in real-time used filmic. The split-screens and ticking clocks on the series mainly understand the basic real-time vanity. The formulated numerous phone rings also appear to be more exciting. These are the main quality features that use videographic features as a characteristic show aesthetic in the clear narrative mass consti tution. The extremely strategized and clear cinematic shooting quality is important to 24s filmic influence but it is the videographic aesthetic indications that underline the broadcasts objectives. 24 actively markets videographic as a sign of its personal quality and complexities that benefits the cinematic. The serial videographic improvement transcends new quality television indications as these aesthetic metaphors can be understood more as an instinctive televised aesthetic style (Peacock, 2007: p.18). 24s narrative hour concurrence and televised broadcasting hour trusts an accurate series production as every final moments in an episode is understood to produce clearly to the starting moments of the next (Peacock, 2007: p.19). 24s high-quality stylistic construction clearly argues that the quality broadcast practicality highlights the seriality over the episodic. 24 also underlines this basic superiority constantly because the conflicted series narrative is widely motivated by its construction than within the complexity of its characters and story. The series title benefits the dramatic narrative construction which highlights the title (Peacock, 2007: p.19). The one day incidents are also told one hour at a time. This importance on time achieved mainly through aesthetic filmic and aural tactics as it is made to attain an enhanced concern and action-packed meaning. All narrative features of 24s individual seasons are always functioning with this ending comparing to the limited accessible diegetic offered to more quality dramas. For each season, 24 is always added by the friction between the sincere two or three influential storylines for the whole season that get settled and traded in each of several episodes. The hour-by-hour mysteries were also clocked so that many experiences concur and the seasons conclusion assured the ending (Peacock, 2007: p.20). This causes friction through the construction and the narrative also caused a friction through the consp iracy story. These are the conflicts that are operated and highlighted by the broadcasts aesthetics where the split-screens suggest numerous storylines, narrative gaps and ticking clocks. The shows frequent real-time evident assertions need an insistent meaning and an approaching ending. 24s basic quality innovations insisted the current quality characterizations and can be understood as an impulsive utilization and clearer analysis of twenty-first centurys television constructions (Peacock, 2007: p.21). The series appeals interest to the fanatical televised time limits and the obsession with these limits which are frequently focused. 24 can be categorized as conceptually adventurous because it uses the main action-adventure series quality features which combines common characteristics such as series consisting genres of action-adventure, spy, crime, detective and thriller (Peacock, 2007: p.164). All these genres identify an array of qualities which contain an inclination for substantial dramatic action and a narrative construction including eruption, pursuing and conflicts. Numerous joint storylines of 24 evidently explain that modern television drama narratives trust complexities which includes some plots and characters to keep their audiences appealing. The highly important series characteristic merges a clear construction with the real-time structure utilization (Evans, 2011: p.117). Program series operates in 24 as far as specific episodes distorting simultaneously. The narrative operates throughout a series of episodes until the season finale. This is linked with a complex narrative which can be discovered in the quality television discussion. 24s fourth season has convincing associations to complex narrative (Evans, 2011: p.119). Many narrative features linked in every episode is not determined. The primary Danger narrative is highly outstanding. It centred on the seasons antagonist, Habib Marwan and featured the defence secretary, James Heller being abducted, the atomic power plants destruction, the Air Force One terrorism and the Chinese mission assault which initiates its government to pursue vengeance on Jack Bauer (Evans, 2011: p.119). Furthermore, it featured Jacks relationship with Jamess daughter, Audrey, Erin Driscolls daughters suicide and the alienated romantic relationship between Michelle Dessler and Tony Almeida in Season 2. 24s audience also enjoyed obtaining the advantage to participate with specific complex and frequent stimulating narratives (Evans, 2011: p.119). The series is characterized by audiences from insignificant television broadcasts by its complex narrative construction especially with the way the narrative alters melodramatically. 24s skill to modify emphasis and introduce new narrative storylines is important to the audiences interest. By now I believe I have examined the extent to which quality television drama is conceptually adventurous and narratively complex by using the television series, 24 as an example. 24 have demonstrated the quality that fascinates the audience. It is clear that a lot of money was invested into the program to provide the best service to the audience. The adventurous style and complexities have certainly helped the weekly ratings because the innovation that was produced in the series has brought the audience into excitement which clearly defines what quality television is. I believe the term quality television is what the audience make of it as it is determined by what they think of a specific program. To achieve the audiences expectations, it is important to provide the best facilities such as cinematic technologies and networks that can help promote the program. Bonner, Frances. Personality Presenters: Televisions Intermediaries with Viewers. Farnham, Surrey: Ashgate, 2011. Print. 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Quality TV: Contemporary American Television and beyond. London: I.B. Tauris, 2007. Print. Nelson, Robin. State of Play: Contemporary High-End TV Drama. Manchester: Manchester UP, 2007. Print. Nelson, Robin. TV Drama in Transition: Forms, Values, and Cultural Change. New York, NY: St. Martins, 1997. Print. Peacock, Steven. Reading 24: TV against the Clock. London: I. B. Tauris, 2007. Print. Richardson, Kay. Television Dramatic Dialogue: A Sociolinguistic Study. New York: Oxford UP, 2010. Print. Swanson, Dorothy Collins. The Story of Viewers for Quality Television: From Grassroots to Prime Time. Syracuse: Syracuse UP, 2000. Print. Taylor, T. Allan., and James Robert. Parish. Career Opportunities in Television and Cable. New York: Ferguson, 2007. Print. Vest, Jason P. The Wire, Deadwood, Homicide, and NYPD Blue: Violence Is Power. Santa Barbara: Praeger, 2011. Print.