The Impact of Technology Essay example -- Technology Technological Pap

The Impact of Technology With all of the new technology forcing itself into our lives, many of us can't help but get sucked into the excitement. So as we struggle to figure out where the future is heading, we ask ourselves is it good or bad? In my opinion, it's a little bit of both. Everything we do uses technology. The computer that I typed this on is one of them. On page 28 in the textbook, there is a short story on how much we use computers daily. Our watches, ATMs, cars, TV’s, and Radio's all use computers to work. Imagine our lives without it. It would be tough, right? People have grown so used to the advantages of technology, life without it would be difficult for most of us. Cell phones are a very popular technology. People can be seen every day talking or carrying around a cellular phone. In larger cities they're seen almost everywhere. They can be used for business and personal use, and they are a important thing to have when in an emergency. Technology changes every day making our society more and more advanced. A February 17, 2004 article from the Detroit Free Press talks about a new watch that does more than tell time. According to the article, you can customize the data your watch will receive and display. Plus you can set the watch to receive MSN instant messages, display your calendar appointments (if you have Outlook 2000 mail software), receive local, national and international weather data, and show news and custom stock information. The MSN Direct network uses FM radio band to transmit information to anywhere that can receive its radio reception. The watch receives its data from the FM signals and displays it on the watch. The watch is called the "Smart Watch" and is made by Fossil. The watch is r... ...be Delphi's XM Roady. Designed only for your vehicle it works through your tape player like the SKYFi model. The Raody costs about $119. I'm sure XM Satellite radio will become extremely popular. The idea of no commercials and more than 100 channels can suck just about anyone in. But how long will it be before commercials take over that too? Who knows, maybe commercials will have their own channel before too long. XM Satellite radios sound like a great idea and a great buy, but I think I'll be waiting until they get a little cheaper. For the most part I believe the future is heading in a good direction, with a lot more convenience for everyone. However, we need to be aware of the problems that can occur if we rely solely on technology. If there is a power outage, or you have an "opportunity," you won't be able to rely on computers or technology to help you.

Venuti’s Theory of Foregnisation Applied to the Phenomenon

Fan-Translation and heterogeneity: Venuti’s theory of foregnisation applied to the phenomenon of fan-translation In this essay I set out to explore the extent to which Lawrence Venuti’s theory of foreignising translation can be usefully applied to explain the practices of fan-translation communities. Fan-translation (hereafter, FT) is a relatively recent phenomenon. O’Hagan , following Flew’s definition of User Generated Content (Flew 2008 in O'Hagan 2009, p. 7) derives the term ‘User Generated Translation’ (hereafter, UGT) in order to describe a â€Å"wide range of translation, carried out based on free use participation in digital media spaces where translation is undertaken by unspecified self-selected individuals† (O'Hagan 2009, p. 97). The user in question is therefore somebody who â€Å"voluntarily act as a ‘remediator’ of linguistically inaccessible products and ‘direct producer’ of translation on the b asis of [his] knowledge of the given language as well as that of a particular media content or genre, spurred by [his] substantial interest in the topic (O'Hagan 2009, p. 7). UGT then could be applied to all those translations carried out by non-professional translators, often for non-financial motives. The term FT in this essay will be used more specifically to describe the practice of those users whose interest is directed towards a particular genre: that of Japanese cultural commodities or, more specifically, Japanese graphic novels (Manga), and animated movies (anime). The question that I would like to address in this essay is whether Lawrence Venuti’s influential theory of translation (Venuti 1995,1998)can help further understanding the phenomenon of FT.The intention of this essay is to claim that some aspects of Venuti’s ‘foregnisation’ theory do indeed serve to characterise fan-translators activities, despite the obvious contextual differences. Thes e differences are easily summarised: FT is not carried out by a single individual or even by a single group of individuals (unlike the cases cited by Venuti, where he either refers to a group of romantic intellectuals in 19th century Germany, or later isolated cases (Venuti 1995, pp. 9-147, 187-272), but a practice carried out on a wider scale, embraced by a greater number of individuals working together as a community of practice, mostly composed of non-professional translators, often very young, not always sharing the same national identity, and mostly lacking the clearly defined cultural agenda that Venuti exposed as a justification for advocating the adoption of foreignising translation practices (Venuti 1995, pp. 6-17). Fandom Fan activities have gathered scholarly attention in recent years due to the opportunities for community building and the ease of sharing content that the recent incarnation of the World Wide Web, or Web 2. 0, offers (see for example (Diaz Cintas and Munoz Sanchez 2006; Lee 2009; Sanchez 2009; Koulikov 2010; Watson 2010; Denison 2011; Lee 2011; Castells and Cardoso 2012).The reason for such scholarly attention is that fan activities, in the form of sharing digital content online, can be said to occupy a ‘liminal space’ (Denison 2011) that is dangerously close to what is often called (but not often clearly defined) ‘piracy’: fan texts that are at the â€Å"liminal edge between fan creativity and piracy. Essentially†¦text augmented by, rather than created by, fans† (Denison 2011, p. 450).For this reason, fan activities built on the relationship that is constituted in the reception of a particular form of literature have been the subject of academic interest: â€Å"Anime texts have become nexus points for discourse around ownership and rights†(Napier 2007 and Thornton 1995 in Denison 2011, p. 450). Within the wider spectrum of fan-related practices, some individuals play the role of ‘pr osumers’: producers and consumers of products, rather than passive spectators (Tapscott and Williams, 2006 in O'Hagan 2009, p. 9). Prosumers not only consume cultural products, but also manifest agency by responding creatively to their favourite text or medium. Some examples of fans creative response analysed by legal scholars could be the theatrical audience participation to showings of The Rocky Horror Show, Town bands performing free concerts, the American musical tradition â€Å"the blues† (Madison 2007, pp. 87-703), amateur fan actors producing new episodes of Star Trek, fan produced Harry Potter Lexicon, fan-made flash based animation derived from music, fan-created version of commercially created virtual mascot Miku Hatsune (Noda 2010, pp. 149-158), which are all forms of participation that sit uneasily with the notion of intellectual property rights. The practices of fans of Japanese comics and animation have been of particular interest to legal theorists (Mehr a 2002; Hatcher 2005; Lessig 2005; Muscar 2006; Noda 2008, 2010).Here it is useful to distinguish between the practices of the dojinshi (hereafter non italicised) community and the practices of the FT community or, to be more specific, communities, since fan translators operating on different media are described with different names: translation of Japanese graphic novels is carried out by a process of Scanlation; subtitling of Japanese animation is carried out by a process called Fansubbing; and finally, the process of modification and translation of video games is called RomHacking. DojinshiWhat are dojinshi, and why are they of interest to legal scholar? Lawrence Lessing, professor of law at Harvard Law School and founding board member of Creative Commons, in his 2004 work Free Culture: how big media uses technology and the law to lock down culture and control creativity, uses dojinshi as an example of derivative works that could not exist in America, since dojinshi are â€Å"A kind of copycat comic†¦ It is not dojinshi if it is just a copy; the artist must make a contribution to the art he copies, by transforming it either subtly or significantly.A dojinshi comic can thus take a mainstream comic and develop it differently—with a different story line. Or the comic can keep the character in character but change its look slightly. There is no formula for what makes the dojinshi sufficiently â€Å"different. † But they must be different if they are to be considered true dojinshi† (Lessig 2005, pp. 25-26) Dojinshi are the Japanese version of what is otherwise called fan-fiction; in other words, unauthorised fan-created version or original works.The term Dojinshi (. Literally ‘dojin’ stands for ‘same person’ and ‘shi’ stands for ‘periodical publication’, which in English could be rendered as Fanzine or Fan-magazine). Dojinshi denoted a type of fan works that are â€Å"self-published, small scale publications written by fans for fans of a particular work (be it a movie, a book, a television series, or a video game) or of a particular romantic pairing possible within that work†(Hemmann 2010).Dojinshi are an important side of the culture that surrounds Japanese graphic novels (manga: literally ‘man’ stands for ‘whimsical’ and ‘ga’ stands for ‘drawings’) in Japan. Manga represent both an industry and a form of expression, so much so that in recent years the Japanese Ministry of Economy, Trade and Industry (METI) began to see manga as the new source of Japan’s â€Å"Gross National Cool’ (McGray 2002 in Koulikov 2010, p. 18) and began promoting the country’s content industry abroad (Yoshimoto 2003 in Koulikov 2010, p. 10).The Japanese manga industry and the dojinshi fan-communities reinforce each other in a way that is perhaps surprising to western legal theorists because it raises import ant questions in regards to the efficacy and meaningfulness of copyright practices and of the ideas about originality and authorship that underpins copyright law and associated commercial practices in the west: â€Å"This market exists in parallel to the mainstream commercial manga market. In some ways, it obviously competes with that market, but there is no sustained effort by those who control the commercial manga market to shut the doujinshi market down.It flourishes, despite the competition and despite the law [†¦] in the view of many, it is precisely because it exists that Japanese manga flourish† Lessing 2004, p. 26 The practice of scanlation and fansubbing differ from those of dojinshi artists in some important ways. First of all, they are mostly carried out by fans outside of Japan, and more specifically, while they are carried out in a variety of languages, the majority of the work is carried out by English language fans (Denison 2011, p. 54). Additionally, I wo uld argue that scanlation and fansubbing do not inhabit the same conceptual space of fan-fiction and dojinshi, even if copyright law regards adaptation and translation equally as derivative works (WIPO article 2 (3)). Dojinshi artists working within the idea of ‘complementing the original work’, while unauthorised, are conceptually closer to the wider spectrum of fan activities that are often tolerated in the west (like audience participation to theatrical performances).FT seems to inhabit a narrower conceptual space, closer, and more readily compromised by proximity, to the practices of unauthorised copying that is denounced as piracy, despite the ambiguity of the term piracy itself: â€Å"piracy has never had a stable legal definition and is almost certainly better understood as a product of enforcement debates than as a description of a specific behaviour. The terms blurs, and is often used intentionally to blur, important distinction between types of uncompensated use† (Karaganis et al. 2011, p. ) In order to attempt a conceptualisation of the practices of fan translators, here I would like to adopt Venuti’s framework of domesticating and foreignising translation. My intention in the next part of the essay is to illustrate how FT of Japanese manga and anime could find precedents in the history of translation. In short, I draw from Venuti’s critical genealogy of fluent discourse in the English language translation in order to show that FT should not merely be thought of as free-riding, but that it contains elements of previous use of translation as tool for building a national culture (Venuti 1995, 100).Similarly, FT can be said to represent a vehicle for the construction of sub-cultural capital , the â€Å"knowledge about an area of fandom that allows one to feel comfortable with other like-minded fans, but also to gain status among fellow enthusiasts â€Å" (Napier 2007, p. 150 in Denison 2011, p. 450) Translation Trans lation studies as an academic discipline has a relatively short history, emerging about twenty years ago from the back of comparative literature departments. The independence of translation studies as an academic discipline revolves around its methodology and the questions it aims to answer.Hence, an important question faces every Translation Studies student: should one restrict his enquiry to the analysis of linguistic features of a text, or should attention be paid to the context where the practice of translation takes place: the figure of the translator; his/her motivation; what void in the receiving culture is the translator trying to fill; the interests played behind the importation and exportation of culture; how law, market, social norms and publishing practices all influence the creation of culture of which translation is part of; whether all these form a kind of censorship, and should the translator resist of conform to such censorship, even when is self-censorship? In this essay I would like to explore the possibilities offered by the latter approach, by comparing and contrasting two common elements of contemporary translation: on the one hand, the critical work of Venuti in regards to ‘domestication and foregnisation’ and on the other, the â€Å"phenomenon of user participation in otherwise highly specialised areas of professional translation practice† (O'Hagan 2009, p. 96). To begin with, I would like to introduce the work of Lawrence Venuti (1995, 1998).Venuti describes the state of contemporary translation around the world as characterised by imbalance: the imbalance between the large number of books that are translated from English and the small number of books that are translated into English. This trade imbalance is an effect of the global domination of English which, according to Venuti, leads to a â€Å"complacency in Anglo-American relations with cultural others† apparent in publishing practices in Britain and Ame rica that â€Å"decreases the cultural capital of foreign values in English by limiting the number of foreign text translated and submitting them to domesticating revision† (Venuti 1995, p. 7) According to Venuti, publishing practices in Britain and America reinforce the global domination of English by imposing â€Å"Anglo-American cultural values on a vast foreign readership†, while adopting practices of translation that produce domestic cultures that are â€Å"aggressively monolingual, unreceptive to the foreign, accustomed to fluent translations that†¦provide the readers with the narcissistic experience of recognising their own culture in a cultural other†(Venuti 1995, p. 15) Emphasis added). Venuti is critical of the canon of fluency that dominated the practice of translation into English. By fluency, Venuti wants to describe a particular way of translating which emphasise the production of texts that conceal their foreignness and instead makes them app ear as the original expression of the foreign author, essentially unmediated by the process of translation. Venuti defines such process of assimilation, in a manner that conceals the text foreign origin, as ‘domestication’.While admittedly all translation is appropriation and assimilation, domestication has the troubling effect, according to Venuti, of reinforcing an ethnocentric attitude towards foreign cultures: the belief that other cultures are in fact no different from one’s own and therefore, that one’s own culture is universal: â€Å"the prevalence of fluent domestication has supported these developments [the monolingual, unreceptive and narcissistic culture above] because of its economic value: enforced by editors, publishers, and reviewers, fluency results in translation that are eminently readable and therefore consumable in the book market, assisting in their commoditisation and insuring the neglect of foreign texts and English-language transla tions discourses that are more resistant to easy readability (Venuti 1995, pp. 15-16).In order to â€Å"resist and change the conditions under which translation is theorised and practiced today, especially in the English-speaking countries† Venuti wants to put forward a â€Å"strategic cultural intervention in the current state of world affairs, pitched against the hegemonic English language nations and their unequal cultural exchanges in which they engage theory global others† (Venuti 1995, p. 20). Venuti’s argument then is that literary translators, in an effort to challenge current translation practices, should attempt a ‘foreignising’ approach to translation. What this mean in practice is the production of texts that read as translations and the suggested method to achieve this effect is a theory of translation that emphasise heterogeneity of language.Languages are never monolithically homogeneous entities: different agents will employ language in a different way, according to whom, and in what manner, is an utterance is addressed. Standard literary English is language that exists only in translated foreign literature. Foreignising translation then should attempt to disrupt the homogeneity imposed by textual ‘transparency’ and ‘fluidity’ of the reading experience by inserting traces of heterogeneous language (slang, dialect, archaism, cliques, etc†¦ ) into an otherwise canonical translation. Foregnisation, according to Venuti, â€Å"can alter the way translations are read as well as produced† (Venuti 1995, p. 24).Whether foregnisation can achieve the results that Venuti’s cultural political agenda aim towards is still unclear; Venuti himself reports that critical reviews of his translated works did indeed cause some reactions; some reviewers found this choice of words unconvincing, suspecting that Italian romantics would not have expressed themselves with the obvious colloquiali sm that Venuti strategically employed (Venuti 1998, 19). Such criticism only goes to confirm Venuti’s belief: â€Å"the fact is that Italian romantics would not have used most of the words in my translation because they wrote in Italian, not English† (Venuti 1998, 19-20). The reader had to suspend her cultural and linguistic expectations towards to the foreign text and was forced to take notice of the mediated nature of the translated text, exposing in the criticism the â€Å"dominant narrative form† and â€Å"a prevalent ethnic stereotype† (Venuti 1998, 20). Pym (Venuti’s Visibility Anthony Pym Target 8/2 (1996), pp. 65-177) is unconvinced about the passage from foregnisation to the professed democratic agenda: â€Å"if translators refuse to produce fluent texts, if they make themselves visible through the use of â€Å"resistant† strategies†¦all the rest will surely change too. Such would appear to be the gung-ho reasoning that makes Venuti so visible (Pym 2010, p. 2). The passage from a disrupted reading experience to the wider democratic agenda that Venuti takes for granted is rather unclear. Supposing a reader ‘gets’ what Venuti is trying to do and is taken out of the illusion of being actually reading the words of the original author: the reader becomes aware of the translation being a translation. How can this, beyond achieving a degree of visibility for the translators, achieve further goals?Venuti himself is aware of these difficulties and asks â€Å"what would happen if a translator tried to redirect the process of domestication by choosing foreign texts that deviated from transparent discourse and by translating hem so as to signal their linguistic and cultural differences? Would this effort establish more democratic cultural exchanges? Would it change domestic values? Or would it mean banishment to the fringes of Anglo-American culture? † (Venuti 1995, pp. 40-41). Central to Venutià ¢â‚¬â„¢s concerns, however, there is an aspect of translation that Pym recognizes as key to contemporary translation practices: the question of copyrights. Copyrights Venuti dedicated a chapter of his 1995’s work to the Italian writer Iginio Ugo Tarchetti (1839-1869) (Venuti 1995, 148-186). In 1865, Tarchetti plagiarised Shelley’s tale â€Å"the mortal immortal† by translating it into Italian without acknowledging the English author.While Venuti recognises that â€Å"the shrewdness and sheer audacity of Tarchetti’s plagiarism may make it attractive to dissidents in Anglo-American literary culture†, he also recognises the practical limits of such practice: â€Å"Tarchetti’s translation practices cannot be imitated today without significant revision. Plagiarism, for example, is largely excluded by copyright laws that bind translators as well as authors†¦ to publish an unauthorized translation of a copyrighted foreign text is to invite le gal proceedings whose cost will far exceed the translator’s income from even a bestselling translation† (Venuti 1995, 185). Venuti advice to contemporary English-language translator is not break the law, but rather, to choose carefully what to translate: The choice of a foreign text for translation can be just as foreignising in its impact on the target-language culture as the invention of a discursive strategy.At a time when deviations from fluency may limit the circulation of a translation or even prevent it from getting published in the first place, Tarchetti points to the strategic value of discriminating carefully among foreign texts and literatures when a translation project is developed† (Venuti 1995, 185-186). Venuti calls attention to the manner in which contracts and copyright laws regulate the production of translated literature. Translation, according to the Berne international copyright convention is defined as ‘derivative’ work (WIPO art icle 2 (3)). Therefore, translation is morally and legally bound to the will of the original author (WIPO article 8).Copyright law varies according to nations, the US and UK lacking the concept of ‘Author’s rights’ that is present in most continental Europe’s laws, while the US and UK have clearly defined ‘fair use’ clause that are not present in continental Europe. Pym agrees that copyright law on translation need revision: â€Å"The idea of limiting the author’s translation rights to a short period of perhaps five years sounds like an excellent practical way of stimulating translationsâ€Å" but at the same time, he is sceptical of drastic measures: â€Å"But is our complaint really that â€Å"the translator’s authorship is never given full legal recognition†? (Venuti 1995, p. 9) Do we have to do away with the distinction between author and translator, or even with copyright altogether? † (Pym 2010, p. 4).Intern ational Copyright law reinforces the idea that translation is not ‘transformative’ work, which is defined more narrowly in terms of criticism or parody. Translation as derivative work falls within the category of ‘copy’ that is regulated by ‘copy-rights’. While much translation theory in the past 20 years since the emergence of translation studies as an academic discipline has struggled to establish translation as a serious intellectual endeavour worthy of scholarly attention, the commercial reality that regulates the production of translation tells a strikingly different tale: literary translation, as a form of cultural production, is regulated by the practices of the publishing industry.The translation of foreign literature is subject to norms, laws and market restrictions, as well as architectural conditions. Lessing model of restriction that applies to all cultural commodities (i. e. : culture that is bought and sold, of which translated li terature is part of (Lessing 2005, 133). Lessing sees cultural commodities as subjected to restrictions that until the 20th century were fairly balanced: publishers’ rights were regulated by copyrights law, so as to limit their monopoly over the production and distribution of culture. This guaranteed the exclusive ability to reproduce and translate literary works on behalf of the author for a limited time.The concept of a ‘limited monopoly’ was balanced by the fact that once such monopoly expired, artistic works would fall into the public domain and so become available for the general public to read, print, distribute and translate without the need to acquire the copyright holder permission. Unlike the law in continental Europe, according to common law practices in the US and UK, the copyright holder could control the distribution and translation of a work regardless of the author’s wishes. In continental Europe, by contrast, the concept of ‘authorâ €™s rights’ recognise the moral right to claim authorship of a work and to retain the ability of stop distribution of his work.One might wonder if, before the introduction of copyright laws, translators indulged indiscriminately in the plagiarism of foreign works as in the example of Tarchetti. The truth is that until 1790, in the United States the right granted by a copyright only gave the author the exclusive right to ‘publish’ a particular book and did not extend to derivative works: â€Å"it would not interfere with the right of someone other than the author to translate a copyrighted book, or to adapt the story to a different form (such as a drama based on a published book)† (Lessing 2005, 136) It seems almost impossible in the contemporary world to imagine a time where the right of translators matched those of the foreign author.It seems natural to imagine the chaos that lack of copyrights would cause: an infinite number of translators plagiarisi ng the work of foreign authors and passing them as their own creations. It is this anxiety in regards to plagiarism, of a lack of clearly established standards of authorship that drives suspicion about translation. Authorship as creative genius is a value that is attached to a person or a work of art. This value can be seen reflected in the idea of ‘intellectual property’ which depicts copyrights rights as a natural state of affairs, that is, a natural property right. However, according to William Patry, copyrights are created solely the government and therefore should not be understood as an end in itself, but instead an end to a social objective: furthering learning (Patry moral panic, 103).Patry argues that the essence of property is not absolute dominion over things, but rather, it is determined by a system of social relationships: â€Å"property is quintessentially and absolutely a social institution. Every concept of property reflects†¦those choices that we – as a society- have made† LAURA UNDERKUFFERLER, 203, 54 IN PATRY 103 (Patry 103). That means that copyrights, and the idea of authorship that underpins copyrights, are determined by social practices and therefore reflected in social norms, and finally and more concretely, in the legislation that regulate copyrights. Before copyright renewal in the United States became automatic in 1992, only a small percentage of authors claimed them, and even smaller percentage applied for renewal (Patry, 67-68).Paradoxically, copyright became valuable to corporations only when they were given automatically without authors having to do anything to claim it: â€Å"Survey of renewal rates in the United Stes from 1910 to 2001 found a range between 3 percent in 1910 to 22 percent in 1991†¦of all the books published the united states in 1930, and therefore under copyright until 2025, only 174, or 1. 7 percent, are still in print† (Patry 68). The boundary that separates a legiti mate creative response to a work of art and an illegitimate one is made tangible in law by the prohibition to copy, adapt or translate without the consent of the foreign author. Such law, which seems almost common sense in contemporary society, has a relatively short history. Changing attitudes towards intellectual property rights reflect contemporary anxiety in regards to originality and authorship, which contributes to the marginality of translation.According to Venuti â€Å"whereas authorship is generally defined as originality, self-expression in a unique text, translation is derivative, neither self-expression nor unique: it imitates another text given the reigning concept of authorship, translation provokes the fear of inauthenticity, distortion, contamination† (Venuti 1998, 31). This anxiety affects the most those concerned about plagiarism, especially academic institutions and academic publishing: â€Å"translation is rarely considered a form of literary scholarship, it does not currently constitute a qualification for an academic appointment in a particular field or area of literary study, and, compared to original compositions translated texts are infrequently made the object of literary research† (Venuti 1998, 32). Here Venuti is critical of the academic deference towards the ‘original’ at the expenses of translation.The concept of authorship here joins that of fluent translation in an attempt to present the foreign author as the one who is ‘speaking’ through the medium of the text, in order to â€Å"ascertain the authorial intention that constitutes originality† (Venuti 1998, 31). The Translator hence become an uncomfortable middle man that must hide, as much as possible, both the facts that the text in question is a not the original, and that the foreign author did not employ the language of the translation. The middle man goes unnoticed, not by mere oversight, but quite deliberately. Copyright law, a lso reflected in translation contracts, perpetuate this neglect. Copyright, as we have seen, by defining translation as derivative work, justify contracts that employ translators as work-for-hire, so that the product of their work belongs to the publishing company who do not have to acknowledge the translator.Practical example of this is the lack of the translator’s name on the cover of a volume or in library catalogue indexes, or the disparity between the royalties that the translator receives in comparison to those of the foreign author. The disparity between authorship and translation affects the whole production of commercially translated literature. What i would like to explore next is the side of contemporary translation that is not affected by commercial consideration or in need of academic recognition. Here the terminology varies from non-commercial translation to amateur translation or fan-translation, but from the point of view of copyright holders it represents a m ore straightforward phenomenon: theft of intellectual property, or in other words, piracy. PiracyAs Castells and Cardoso points out, we usually look at media consumption, of which translated literature is an example of, starting from a media industry definition (Castells and Cardoso 2012). In other words, the content that is normally available to us to read, watch or listen to is usually made available through the payment of a fee or because it is supported by advertising. The commercial relationship that binds together media companies and individual is regulated by a set of rules that are legally formalised into rights and obligations (Castells and Cardoso 2012). Piracy, by infringing these rights and obligations, can be a usefully employed to illustrate some of the issues that characterise the status of translation in the current world, how translation is produced and distributed.In short, the argument I would like to put forward is such: piracy is used to describe everything that is not in the public domain but that can be obtained from non-authorised sources, shared with others, whether for free or not. This means that piracy could be whatever is made available to share that contain even parts, or traces, or adaptations, of existing copyrighted works. A pirate here is defined as anybody who makes use of existing copyrighted material in order to express something of his own (with the exception of criticism or parody, which are allowed by law) (WIPO? ). On one side of the debate there are internet users and in particular peer-to-peer (P2P) networks function as efficient tools of distribution of digital content. On the other, litigious media corporations fighting a moral crusade against intellectual theft.The sides of this war, however, assume different connotations depending on who is doing the description: for the copyright holding corporations, authors are being robbed of the fruits of their work; here the fight is described as one between intellectual cop yright owners and thieves. On the other side, is it estimated that more than 40 million American citizens have used the internet to download content; hence a substantial part of US citizens is being criminalised. Lessing asks: â€Å"Is there another way to assure that artists get paid without transforming forty-three million Americans into felons? Does it make sense if there are other ways to assure that artists get paid without transforming America into a nation of felons? † (Lessing 2005, 202).The model of distribution of culture that once revolved around a few selected corporations is now being challenged by technological innovations that were unimaginable a generation ago. Digital content can be shared across the world free of physical constrains (such as books, shops, printing press, etc. ) but also free from the editors, publishers, and reviewers which Venuti sees as the source of neglect of foreign texts and translation practices that emphasise heterogeneity of discour se. The sharing possibilities offered by the net act as a source of heterogeneity: they provide easily accessible, free to share, translated foreign literature that constitutes an alternative to what is available commercially.Venuti limited his theory of translation within the boundaries of commercial translation, albeit as a form of dissidence in respect to the practices enforced by institutional channels. What is of interested here from the point of view of translation are the possibilities offered by working outside the commercial paradigm, the translation practices of those communities that focus on literature, like dojinshi, that are not accessible to the translators working within the legitimate sphere, whether due to social norms, ideology, poetics, of purely economic reasons. The net provides a venue (cultural space? Deleuze and Guattari) for that sub-cultures that are neglected by commercial organizations (and that could not be catered for legally by other institutions). Re ferencesCastells, M. and Cardoso, G. 2012. Piracy Cultures Editorial Introduction. International Journal of Communication [Online] 6. Available at: http://ijoc. org/ojs/index. php/ijoc/article/view/1610/732 [Accessed: 13 June 2012]. Denison, R. 2011. Anime fandom and the liminal spaces between fan creativity and piracy. International Journal of Cultural Studies [Online] 14(5). Available at: http://ics. sagepub. com/content/14/5/449. full. pdf+html [Accessed: 13 June 2012]. Diaz Cintas, J. and Munoz Sanchez, P. 2006. Fansubs: audiovisual translation in an amateur environment. The Journal of Specialised Translation [Online] 6. Available at: http://www. jostrans. rg/issue06/art_diaz_munoz. pdf [Accessed: 13 June 2012]. Hatcher, J. 2005. Of otaku and fansubs: a critical look at anime online in light of current issues in copyright law. [Online]. Available at: http://www. law. ed. ac. uk/ahrc/SCRIPT-ed/vol2-4/hatcher. pdf [Accessed: 13 June 2012]. Hemmann, K. 2010. Dojinshi [Online]. Avai lable at: http://japaneseliterature. wordpress. com/2010/02/20/dojinshi-part-one/ [Accessed: 13 June 2012]. Karaganis, J. et al. 2011. Media piracy in emerging economies. [Online]. Available at: http://bibliotecadigital. fgv. br/dspace/bitstream/handle/10438/8526/MPEE-PDF-Full%20Book. pdf. txt? sequ.. [Accessed: 13 June 2012]. Koulikov, M. 2010.Fighting the fan sub war: Conflicts between media rights holders and unauthorized creator/distributor networks. Transformative Works and Cultures [Online] 5(0). Available at: http://journal. transformativeworks. org/index. php/twc/article/view/115/171. Lee, H. K. 2009. Between fan culture and copyright infringement: manga scanlation. Media, culture, and society [Online] 31(6). Available at: http://www. yorku. ca/rcoombe/courses/Owning%20Culture/class03_Lee. pdf [Accessed: 13 June 2012]. Lee, H. K. 2011. Participatory media fandom: A case study of anime fansubbing. Media, Culture ; Society [Online] 33(8). Available at: http://www. kcl. ac. uk/ artshums/depts/cmci/people/papers/lee/participatory. df [Accessed: 13 June 2013]. Lessig, L. 2005. Free culture: The nature and future of creativity. Penguin Group USA. Madison, M. J. 2007. Intellectual property and Americana, or why IP gets the blues. Fordham Intell. Prop. Media ; Ent. LJ [Online] 18. Available at: http://ir. lawnet. fordham. edu/cgi/viewcontent. cgi? article=1407;context=iplj [Accessed: 13 June 2012]. Mehra, S. 2002. Copyright and comics in Japan: Does law explain why all the cartoons my kid watches are Japanese imports. Rutgers L. Rev. [Online] 55. Available at: http://corneredangel. com/amwess/papers/copyright_comics_japan. pdf [Accessed: 13 June 2012]. Muscar, J. E. 2006.Winner Is Who-Fair Use and the Online Distribution of Manga and Video Game Fan Translations. Vand. J. Ent. ; Tech. L. [Online] 9. Available at: http://www-prod. law. vanderbilt. edu/publications/journal-entertainment-technology-law/archive/download. aspx? id=1694 [Accessed: 13 June 2012]. Noda, N. T. 2008. When Holding On Means Letting Go: Why Fair Use Should Extend to Fan-Based Activities. University of Denver Sports and Entertainment Law Journal [Online] 5. Available at: http://law. du. edu/documents/sports-and-entertainment-law-journal/issues/05/05-noda. pdf [Accessed: 13 June 2012]. Noda, N. T. 2010. Copyrights retold: How interpretive rights foster creativity and justify fan-based activities.Seton Hall Journal of Sports and Entertainment Law [Online] 20(1). Available at: http://law. shu. edu/Students/academics/journals/sports-entertainment/Issues/upload/Vol20_Noda_Formatted. pdf [Accessed: 13 June 2012]. O'Hagan, M. 2009. Evolution of user-generated translation: fansubs, translation hacking and crowdsourcing. Journal of Internationalisation and Localisation [Online] 1(1). Available at: http://pablomunoz. com/wp-content/JIAL_2009_1_2009_APA. pdf#page=102 [Accessed: 13 June 2012]. Sanchez, P. M. 2009. Video Game Localisation for Fans by Fans: The Case of Romhacking. Th e Journal of Internationalisation and Localisation Volume I [Online].Available at: http://pablomunoz. com/wp-content/JIAL_2009_1_2009_APA. pdf#page=176 [Accessed: 13 June 2012]. Venuti, L. 1995. The translator's invisibility: A history of translation. London ; New York: Routledge. Watson, J. 2010. Fandom squared: Web 2. 0 and fannish production. Transformative Works and Cultures [Online] 5. Available at: http://journal. transformativeworks. org/index. php/twc/article/viewArticle/218/183 [Accessed: 13 June 2012]. WIPO. Berne Convention for the Protection of Literary and Artistic Works [Online]. World Intellectual Property Organisation. Available at: http://www. wipo. int/treaties/en/ip/berne/trtdocs_wo001. html [Accessed: 13 June 2012].

Obamacare Or Affordable Care Act - 893 Words

Obamacare or Affordable care act (ACA) refers to the healthcare act introduced by President Obama in 2010 and represents one of the significant healthcare reforms since the passage of Medicare and Medicaid in 1965. The primary purpose of the reform was to increase the quality and affordability of health insurance, expand the reach of insurance, and reduce the costs of healthcare for both individuals and government. First, we will analyze the merits and disadvantages of Obamacare – PROS 1. Currently, 44 M people are uninsured and the reform will help provide affordable and quality healthcare to these people 2. ACA ensures that people with pre-existing health problems such as cancer, can no longer be denied coverage 3. As per ACA,†¦show more content†¦ACA hasn’t made it easy for consumers and with so many moving parts and options, insurance shopping is very complicated and consumers risk over-buying or under-buying 6. There will be an increase in budget deficit in the short-term due and due to the increased demand for primary care visits, we might experience a shortage 12,500-31,000 physicians by 2025 From the analysis, it is evident that Healthcare reform is a complicated issue and I believe ACA is a right step in transforming the industry. Before, we decide on what’s the best course for Obamacare going forward, we need to understand the alternatives presented by the two main presidential candidates – Trump and Hillary – and analyze the possible alternatives. TRUMP – Two of the important components of Trump healthcare reform plan are 1. Repeal the ACA and introduce several new policies – According to the Congressional budget office (CBO), Trump’s plan will increase the number of net uninsured individuals by 21 million. One of the merits of the plan is it will allow insurance firms to sell across states. Though the plan might reduce costs but it would double the number of people without insurance 2. Turn Medicaid into a â€Å"block grant† program – Under t his plan, the federal government will pay each state a fixed allotment of dollars each year instead of paying a portion of state medicare costs (based on a matching rate). This has theShow MoreRelatedObamacare And Affordable Care Act930 Words   |  4 Pagesfunctions. Obama’s Health Care Reform, better known as ObamaCare was signed into law on March 23, 2010. It is officially called the Patient Protection and Affordable Care Act (PPACA) or Affordable Care Act (ACA). This act is meant to provide affordable, good quality health care to all Americans and to cut health care spending. The ACA has been on ongoing struggle to reform the health care system. Almost 50 million Americans still lack health coverage despite the fact that ObamaCare continues to help provideRead MoreObamacare : The Affordable Care Act1317 Words   |  6 PagesThe Affordable Care Act, otherwise known as Obamacare, was passed in March 2010. This over-1000-page Act implements a number of reforms designed to increase the availability of health care for individuals. The Act created a Health Insurance Marketplace, a universal way to sign up for subsidized health care plans (which are cheaper), though you can only get certain plans from certain places, including an expanded Med icaid. 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Ready or notRead MoreObamacare And Affordable Care Act997 Words   |  4 PagesWhite Professor Eastman English 1020 29 January 2015 Obamacare’s Healthier America Health care has been a controversial topic of discussion for all Americans since it was put in effect many years ago. Currently the biggest debate of Healthcare up to date is Obama’s Patient Protection and Affordable Care Act, also known as Obamacare, is a Health care Reform that is a governmental attempt to make basic health care easily obtainable. However, there are no benefits without cost in situations like this,Read MoreObamacare And Affordable Care Act928 Words   |  4 PagesUnited States, Barack Obama, signed into law the Patient Protection and Affordable Care Act (PPACA), which is commonly called the Affordable Care Act (ACA) or familiarly the Obamacare (What is ObamaCare). President Obama created ACA to make health care more affordable and accessible for people in the United States. The Affordable Care Act guarantees most people will have health insurances as well as reduces the high cost of health care of individual and government. These are also two points that th e ACARead MoreObamacare : The Affordable Care Act1507 Words   |  7 Pageshealth care coverage for all; and that is called The Affordable Care Act ( ACA)1 or also known as Obamacare. This program provides standardized medical expenses/procedures to be made and allows everyone -- who is eligible -- to have coverage. However, I think that we need to take in account how Obamacare is negatively impacting the lower class, middle class, and upper class; therefore, we should remove it. This law became effective on March 23, 2010 (Key Features of The Affordable Care Act). ObamacareRead MoreObamacare And The Affordable Care Act1061 Words   |  5 Pages The Affordable Care Act, also known as Obamacare or ACA, is the health reform law enacted in 2010 by Congress. The official name of this reform is the Patient Protection and Affordable Care Act. Many provisions of the law are already in effect and the rest are going to continue to develop until 2022. After a year of intense political wrangling, the health reform initiative was passed by Congress. Even though it falls short of providing universal coverage, it is unlike the Clinton proposal. TheRead MoreThe Affordable Care Act ( Obamacare )1604 Words   |  7 Pages Ever since Barack Obama signed the Affordable Care Act (Obamacare) into law in 2010, it has been met by criticism from many people from many different ideologies. Although the law held promise for allowing all individuals to afford healthcare and all of its benefits, that is not to say it does not have its downsides. Since passing, both the conservative and democratic parties have found reasons to dislike the law. This es say will include a description of the law itself, criticisms from the two parties

Comparing The Italian And Italian Renaissance - 1748 Words

Carlos Andrade October 26, 2015 Art 111 Northern Renaissance and Italian Renaissance Differences between the Italian and Northern Renaissance The Renaissance was a period of great cultural and technological changes which swept Europe from the end of the 13 century. It was integral in developing Europe into a powerhouse. Although, each part of Europe was subjected to different changes, there were two primary renaissances which were most notable. They were the Italian and the Northern renaissance. Both of these renaissances had a profound impact on Europe. But they also had some typical differences among them and each was unique in its own way. Italian Renaissance The opening phase of renaissance was started by the Italian renaissance. It was a period of great Cultural changes and achievement throughout Europe. It spanned from the end of the 13 century up to about the 1600’s. It marked the transition of Europe from the medieval period to the Early Modern Europe. The term renaissance is in essence a modern one that came into currency in the nineteenth century, in the work of historians such as Jacob Burckhardt. Although the origins of a movement that was confined largely to the literate culture of intellectual endeavor and patronage can be traced to the earlier part of the 14th century, many aspects of Italian culture and society remained largely medieval; the Renaissance did not come into full swing until the end of the century. The word renaissance (Rinascimento inShow MoreRelatedEssay about Italian and Northern European Renaissance758 Words   |  4 PagesItalian and Northern European Renaissance The Italian and Northern Europe Renaissances were both an important mark in history by changing the ideals of life, thought, culture, and art of the people’s of this time. In this paper I will explain the motive for change in these cultures, including the similarities and differences of the two cultures. 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Religious Allusion - Job And Pi - 1602 Words

Religious Allusion – Job Salt-water boils – red, angry, disfiguring – were a leprosy of the high seas, transmitted by the water that soaked me. Where they burst, my skin was especially sensitive; accidentally rubbing an open sore was so painful I would gasp and cry out. Naturally, these boils developed on the parts of my body that got the most wet and the most wear on the raft; that is, my backside. There were days when I could hardly find a position in which I could rest. Time and sunshine healed a sore, but the process was slow, and new boils appeared if I didn t stay dry. (192) The boils allude to the story of Job in the Bible. Both Pi and Job developed boils, but that was not their only similarity. Job’s story and Pi’s story draw†¦show more content†¦But it was to Father the crowning touch in Mrs. Gandhi’s dictatorial takeover of the nation. The camel at the zoo was unfazed, but that straw broke Father’s back. He shouted, ‘Soon she’ll come d own to our zoo and tell us that her jails are full, she needs more space. Could we put Desai with the lions?’†(78) This passage describes Mrs. Gandhi’s unconstitutional acts and their effects on Pi’s family. The story’s setting in India during this time period is crucial to providing the primary factor leading to the initiating event (Pi’s family’s decision to move to Canada). At that time, the Indian government used imprisonment and censorship to combat opposing voices, tactics that relied on fear and abusing power. As a family reliant on a small business, living in governmental instability was so stressful that it drove Pi’s father to seek the last resort of leaving their home and immigrating to Canada, a completely foreign land. This event not only causes readers to sympathize for Pi, but also causes them to realize the real life consequences of governmental corruption. Taking the tragic consequence of Pi’s move to Can ada in mind, the reader can realize that if the government was stable and functional, there would be no reason for Pi’s family to move; thus, none of Pi’s family members would have died in the sinking of the Tsimstum. They would haveShow MoreRelatedLife Of Pi Questions6295 Words   |  26 PagesLife of PiContent QuestionsPart 1: Toronto Pondicherry - Chapters 1-361). Pondicherry was the birth place of Pi the protagonist of the story. It was during Pis time in Pondicherry that he has suffered intensely and found comfort in religion and zoology; which proves to be the basis of the stories plot. With this in mind, he was raised in a time where there were many political problems arising which leads to Pis family leaving the country to Canada. This town is an appropriate choice for PisRead MoreEssay about Summary of History of Graphic Design by Meggs14945 Words   |  60 Pagespaper much like a modern book. - Graphic symbols became a representation of religious belief during the Roman Empire. - Rome’s legacy includes architecture, engineering, language, law and literature. - Just as the invention of printing launched a quiet revolution in Chinese culture, alphabetic writing on papyrus slowly transformed Western society. - Alphabetic writing was spread by armies, traders and especially religious missionaries. Chapter 3: The Asian Contribution - Chinese calligraphyRead MoreExploring Corporate Strategy - Case164366 Words   |  658 Pagesdeals spiralled upwards, outright acquisition of biotechs became a feasible alternative for cash-rich pharmas, driving further industry consolidation. failure of a crucial product, Pï ¬ zer was undergoing a strategic overhaul with the loss of 10,000 jobs. An intriguing response to environmental change was adopted by Roche, which positioned itself as operating an ‘integrated health care’ business model. Roche was the global leader in diagnostics and the strategic vision was to move from seller of instruments

Social Entrepreneurship Business Research †Free Samples to Students

Question: Discuss about the Social Entrepreneurship Business Research. Answer: Introduction: Currently, I am doing my Masters program in strategic entrepreneurship (2 year program) from Jonkoping University, Sweden. In future, I want to grow up my family business and will try to create new ventures in the existing business. I had personal interest to study entrepreneurship master than any other course as my motto was to look after the family business in future. In order to do so, I should have proper understanding of this subject theoretically so that I can apply my learning in future practically. I do not have any prior experience in entrepreneurship till now. I personally believe that entrepreneurship is an activity where individual desire to set up a business by taking on financial risks and hoping that they will be able to generate profits in the near future. The definitions of entrepreneurship that had been taught in class are all theoretical and relate properly with the definition that I believe in. only knowing the definition and its advantages cannot help any individ ual to become an entrepreneur. Being an entrepreneur needs lot of patience and ability to make decisions wisely (Baron, 2006). I have lot of expectation from this Master program on entrepreneurship where I would gain knowledge on the subject entrepreneurship people and process. I want to be an entrepreneur and for starting I would like to join my family business and help my parents with the knowledge I gained from this course. By seeing my parents, I felt that I could also go for entrepreneurship in future. But, that cannot be sole reason to become successful entrepreneur. I always wanted to do something by my own where I can generate own ideas and start working for it from scratch. I am a risk taker and that is the most important traits needed to start a business in the most appropriate way. Our lecturer are so interesting where they teach us every aspect in detail and with providing real-life instances that helped each of us as a student to gain and relate those examples to our da ily lives. We are always guided by our lecturer constantly where we can ask any questions at any point of time to resolve query that we get in the subjects. What characterizes a value-creating venture idea and what does it take to communicate it? Where do opportunities come from and what characterizes the entrepreneurial process? We were taught in class that entrepreneurial process starts with first generation of idea, then the feasibility study and lastly the business plan. Idea generation of value-creating venture is the most vital part that needs to be decided by the entrepreneur at initial stages or phases (Barton Cunningham Lischeron, 1991). Characteristics of good value-creating venture ideas should be market-driven that can solve a problem, find a market need as well as is customer-focused and not product driven. The idea should effectively target an identified sizeable market segment (Davidsson, 2004). The value-creating idea should be feasible by nature. The idea should be attractive by understanding whether there is demand for that product or services. The idea should be achievable and durable. The idea should be safe as well as affordable. The idea should be unique and this means faster, better and cheaper. Sources of getting good entrepreneurial ideas will be talking to friends, family as well as other important contacts. Networking is important to get proper idea for business. I would suggest individual to consider their hobbies and interest that they can generate it as an idea. We were even taught in class that some of the business-venture ideas should be avoided such as unfavorable industries, crusades, unsafe or illegal products or services as well as unfavorable markets. According to me, business venture idea should be addressed to an investor as well as must be formulated from the perspective of investors. The business idea should be innovative and benefits the customers at first place (Slotte-Kock Coviello, 2010). It is always needed to start with a compelling business venture idea as it is considered as first milestone in the process of founding a company. There are few important features of promising business and these are innovative, uniqueness as well as fulfilling need of customers and profitable in long run. Constant check or evaluation of business idea is needed as plausibility check help in getting access to information about feasibility as well as innovative content (Johannisson, 2011). What characterizes entrepreneurial context and why is it relevant for entrepreneurial process? Which aspects of context do you find most interesting or important? I find each aspect of entrepreneurship process interesting starting from the initial phase of business-venture idea generation. By becoming entrepreneur, one can easily work on their own idea (Kim Mauborgne, 2000). Though becoming an entrepreneur is difficult in real life but still it is interesting to work for own dream and start from the scratch. All big known companies started out small where may be one man or women had come out with good idea and willingness to risk everything. There are so many instances where we can see that new business fail but the business that succeed actually contribute a great deal to the creation of new ventures as it leads to whole dynamic national economy. Currently, it is noted that the economists as well as business researchers are of the opinion about entrepreneurship that it is a main key component of future economic growth in and across the world. Entrepreneurship had looked as the catalyst that transfers a segment of new generation people into s elf-employed business owners who can provide jobs to others. Entrepreneurship is a necessary component that leads to wealth creation as well as represents the individuals who uses innovative management techniques for the design, manufacture as well as marketing of products that has the ability to compete in and across the world. It is believed by many people that entrepreneurs are different as compared to normal people. A successful entrepreneur has proper knowledge about business planning as well as marketing strategies and asset management. There is different process or context of entrepreneurship where each step is different and unique to each other. The first step in entrepreneurship context is concept formation where the entrepreneurs will be determining the potential market existence for the business as well as forming a rough idea on how to penetrate the existing market. The next entrepreneurship context is resource gathering (Rindova, Barrey Ketchen, 2009). Then, the entrep reneurship context or process of organization creation as well as development Drawing on a guest lecture on your interview with an entrepreneur and reflect as how this persons entrepreneurial approach can be related to Sarasvathys theoretical perspective of effectuation and causation Moritz Witter visited our campus and came to our class as guest lecture where we had an opportunity to meet such a successful Founder and CEO who is currently working at Nordic Adventurous. His class was so interesting where he was citing real-life instances on how difficult it is to become an entrepreneur and sharing some important mantras that need to be taken into consideration. His entrepreneurial approach is directly related to that of Sarasvathys theoretical perspective of effectuation and causation (Sarasvathy, 2001). This relation helped me to understand and link various aspects of similarity and I was quite confident on what to do and what to avoid while starting any business in the near future. The theoretical perspective of Sarasvathys defines an approach of making decisions as well as performing actions in the entrepreneurial process where individual can identify next and decide the best step after assessing the available resources for achieving goals while constantly bal ancing these goals with the resources and actions. This particular approach was explained by our guest lecture by citing examples from his experience. Effectuation in actually differs hugely from causal logic where there is predetermined goals set as well as process defined for achieving the future plan based on set of resources. Sarasvathy is of the opinion that causal logic is not properly suited for entrepreneurship process as it is inherently featured by uncertainties as well as risk. however, the fundamental world view for effectuation actually means Pilot in the Plane that explain future as something where individual can get influenced by the actions at the time of creating own opportunities. The lecture was quite interesting and we learned a lot from that. We asked so many questions from the guest lecture. To that, the answers were given to each question asked in a positive way (Mair Mart, 2006). This lecture session was the best part and I would desire or dream to become a successful entrepreneur like him in the near future. After looking at the entrepreneurial process, how do you characterize your entrepreneurial decision-making style? Yes, there is lot of changes in me and that can be easily felt as initially my thinking process was different but now I think more practically. In the first entry, I mentioned that I am a risk taker and that makes me confident that I will be able to take up my family business and expand in the near future. Looking back, now I feel that the process of entrepreneurship was quite a difficult task and I now understand the theoretical as well as practical aspect that made me more focused and determined. The entrepreneurship decision-making style that characterizes me is data driven approach. I would like to base my individual decisions in terms of data collection, information gathered, facts and statistics. This process is time-taking but I would like to have my facts clear and then take decision based on that. I feel so confident in this phase that was fully missing during the starting course or program. I am now feeling relaxed that it was my wise decision that I took up this program on entrepreneurship where I developed sense of understanding about entrepreneurship people and process. The most interesting part was the guest lecture where we could get to hear real-life instances and start linking it with our personal lives. It is very important for an entrepreneur to remain focused in life. Lack of focus can harm an entrepreneur to a large extent. I am now ready to fulfill my dream of continuing with my family business and expand it globally. I would like to take help from friends, family and known contacts before taking any decisions for my own business. Each suggestion counts and I will take into account their viewpoint as customers. Market research will help me in getting to know whether there is demand for that products or services. References and Bibliography Baron, R.A. (2006): Opportunity recognition as pattern recognition: How entrepreneurs connect the dots to identify new business opportunities, Academy of Management Perspectives, February, 104-119. Barton Cunningham, J. Lischeron, J. (1991): Defining entrepreneurship, Journal of Small Business Management, 29, 1, 45-61. Davidsson, P. (2004): Researching Entrepreneurship, Chapter 1: What is entrepreneurship, Springer (on Pingpong) Johannisson, B (2011) Towards a practice theory of entrepreneuring. Small Business Economics, 36(2): 135-150. Kim, W.C. Mauborgne, R. (2000): Knowing a winning business idea when you see one, Harvard Business Review, Sept.-Oct., 129-138. Mair, J. Mart, J. (2006): Social entrepreneurship research: A source of explanation, prediction, and delight, Journal of World Business, 41, 36-44. Rindova, V.,Barrey, D., Ketchen, D.J. jr. (2009). Entrepreneuring as emancipation, Academy of Management Review, 34(3), 477-491. Sarasvathy, S. (2001): Causation and Effectuation: Toward a Theoretical Shift from Economic Inevitability to Entrepreneurial Contingency, Academy of Management Review, 26, 2, 243-263. Slotte-Kock, S. Coviello, N. (2010). Entrepreneurship research on network processes: A review and ways forward, Entrepreneurship Theory Practice, January, 31-57.

Wuthering Heights Essays (384 words) - British Films,

Wuthering Heights Wuthering Heights is a novel of revenge and romantic love. It tells the stories of two families: the Earnshaws who live at the Heights, at the edge of the moors, and the genteel and refined Lintons who live at Thrushcross Grange. When Mr. Earnshaw brings home a foundling to live in the family, complex feelings of jealousy and rivalry as well as a soulful alliance between Heathcliff and Catherine develop. Believing that he has been rejected by Catherine, Heathcliff leaves to make his fortune. When he returns, Catherine is married to Edgar Linton, but she still feels deeply attached to Heathcliff. Disaster follows for the two families as Heathcliff takes revenge on them all. Only the second generation, young Cathy and Hareton Earnshaw, survive to go beyond this destructive passion in their mutual love. Structurally the novel is rich and complex. There are two generations of characters, and the themes and relationships of the first generation are reflected in the second but with differences that increase our understanding. Bront?s use of point of view leads to many questions about the narrators who control the unraveling of events. It is as if the main characters are seen through a series of mirrors, each causing a certain amount of distortion. Without an omniscient voice controlling sympathies, the reader must get inside the characters minds, the one telling the story as well as the one about whom the story is being told. Probing this complex web of relationships and motives leads to intense psychological analysis, and in this way the novel mirrors life itself. Learning occurs in pieces and is always subject to revision. The themes of Wuthering Heights should appeal to the teenage student. The various power relationships involved with romantic love and vengeance depicted in the novel are also a part of the high school students social milieu. Teachers who make relevant connections between the themes and characters of the novel and the students own preoccupations will find this novel opens up discussion of many of the students concerns. The exercises suggested in this guide are designed to promote such connections. More activities and questions are offered than can be used so that teachers can choose those that help make reading and discussing the novel a meaningful experience for students. English Essays