Types of Budgets and Budgeting Techniques Research Paper

Types of Budgets and Budgeting Techniques - Research Paper Example Depending on the worth and value of a business, an organization creates a budget that well suits the resources and funds a business is exposed to. Additionally, different organizations have implemented different forms of budgeting. The different types of budgeting greatly depend on the time period and the monetary requirement by an organization. Some budgets are created only to cater to short time needs while others may be created to meet long time expectations of an organization (Cliche, 2012). The author further argues that some budgets are based on the expected income in a specific period of time while otherd are based on the cash in hand at the time of the creation of the budget. Kinds of Budget i. Operating Budgets This kind of budget is a financial statement that presents the financial plan for every expense and revenue (O’Sullivan & Sheffrin, 2003). The plan dictates the funds allocated to each responsibility around expenditure and revenues over the budget period. Opera ting budgets include the profit budget and revenue budget. The expense budget is a budget documentation that highlights the expected expenses over the budget period (Cliche, 2012). Forms of expenses include the variable discretionary and fixed expenses. Discretionary expenses are those that are created by the management decisions and cannot be based on certainty, for instance the accounting fees. Revenue budgets project the future sales of an organization based on the requirements of the organization. Profit budgets combine the results from the expense and revenue budget to create a final resource allocation system in the organization. ii. Financial Budgets Financial budgeting revolves around how an organization plans to get money and how it plans to use the funds. They include the cash budget, balance sheet budget and the capital expenditure budget (O’Sullivan & Sheffrin, 2003). The cash budget is based on the amount of funds an organization has on hand, and the expenses the organization has to cover over the budget period. It helps organizations evaluate the expense clearance capabilities. Capital expenditure budget helps an organization know whether they have enough funds to cover capital investment over the budget period. Capital investments include investment in heavy machinery or in buildings and property (Cliche, 2012). Balance sheet budget calculates the quantity of assets and liabilities over the budget period to be considered. iii. Variable Budgets Variable budgets are budgets created to offer more than the provisions of the fixed budget. They are flexible enough to cover the variations that may occur over the budget time (O’Sullivan & Sheffrin, 2003). However, variable budgets are difficult to prepare since the cost variables are difficult to predict and determine. iv. Zero Base Budgets In other budgeting creations, managers carry forward the results obtained from the previous calendar recordings. This is a shortcoming that makes an or ganization not evaluate their progress from a fresh start. In ZBB (zero-base budget) the results from the previous calendar are disregarded and a fresh financial plan is created (Cliche, 2012). In my organization, the most appropriate budget to use is the operational budget. The technique in this type of budgeting is based on the ability to record and allocate funds to each responsibility in the organization over the budget p

Dance Moms Essay Example for Free

Dance Moms Essay Before deciding to do this assignment, other than the clips we watched in class I had never seen the show before. The episode of Dance Moms I watched was actually very entertaining. The episode I watched was in Season 3. In the episode there was a new girl who joined the competition dance team her name was Nicaya. Of course, she came along with her mom whose name was Caya. Caya wasn’t at all like the rest of the moms. She didn’t dress anywhere near as proper as the rest of the moms. Shockingly, she was also a lesbian, which really surprised the rest of the moms. Caya felt like her daughter brought â€Å"Divatude† to the dance team, but I doubt the other parents felt the need for anything close to that. In the beginning, Nicaya didn’t know any dance terminology, well at least how to spell them. Abby Miller, the owner of the studio, challenged Nicaya to learn them in the beginning of the episode, because she was impressed with her dancing ability she still wanted her to stick around. The main drama in the episode was whether Nicaya would take Paige’s spot in the group performance. Paige had been in a boot for her foot for 4 weeks and had just got cleared by her doctor to compete again. The hard decision between the two girls created conflict between their moms. Kelly, Paige’s mom, seemed to overreact when Abby decided to practice them both interchanging them in the routine to see who performed the best. Kelly stormed out of the studio and had several outburst of anger throughout the show. Caya didn’t handle herself any better she constantly used foul language directed at the other moms. In the end, Abby decided to let all of them perform which lead to a first place performance. My impression of the moms was that they had to all been crazy. The fact that most of them quit their jobs to have their kids dance is ridiculous. I’m pretty sure they don’t have to go to every practice and sit in the upstairs of the studio. I thought that was very weird and obsessive. Individually, I think Holly, Nia’s mom, has her head on the straightest of all the moms. She didn’t really speak too much, but she wasn’t too quiet. Kelly was definitely the most immature of all the moms with the way she couldn’t control her anger. The rest of the moms were just equally as crazy as the rest of the cast. Those I mentioned just stuck out the most. I was probably the most impressed with Abby Miller, because she tries her best to get the most she can from her dancers. I like how she made sure to tell each dancer how important it was that they got the job done. She reminded of a really tough football coach and in my opinion those are the best coaches, because they motivate you to perform at your highest level. If I had a daughter who had dreams of being a dancer, I would love for Abby Miller to be her coach. I know she would turn my daughter into a great dancer. She teaches discipline and skill. It would also keep my daughter active which would lead to a healthier life.

Europe In 2010 :: essays research papers

Economic and Monetary Union (EMU) is a single currency area within the European Union single market in which people, goods, services and capital move without restrictions. It creates the framework for economic growth and stability and is underpinned by an independent central bank and legal obligations on the participating Member States to pursue sound economic policies and to coordinate these policies very closely. As trade between the EU Member States reaches 60% of their total trade, EMU is the natural complement of the single market. This market will work more efficiently and deliver its benefits more fully with the removal of high transaction costs brought about by currency conversions and the uncertainties linked to exchange rate instability. EMU and the economic performance of the Euro area will have their largest external effects on neighboring economies in western Europe and on developing and transition countries with important trade and financial links to Europe, including countries that link their currencies to the Euro. Among emerging market economies, those likely to be most affected are the transition countries of the central and Eastern Europe and the Baltics. The global environment has been favorable in a number of respects for the transition to EMU and the achievements of its objectives. The strong demand for euro-area exports from industrial countries at more advanced stages of the business cycle and the depreciation of the currencies of euro area countries over the past four years fostered a strengthening of growth in the euro area and helped to offset the effects of the Asian crisis. There are also challenges for EMU in the global economic environment: The crisis in Asia and other emerging market economies could produce adverse spillover effects and make the monetary policy more difficult to carry out. The continuation of the crisis could result in weakening of the external demand, which, in turn, could dampen confidence and domestic demand. The financial market volatility could increase the uncertainty in assessing the economic indicators. The economic crisis in emerging markets could influence the commercial banks in the euro- area to make substantial provisions for non-performing loans. THE FUTURE OF EURO It is, of course, impossible to predict the properties of the behavior of the exchange value of the Euro. With regard to broad trend, it seems likely that the Euro will tend to appreciate against the U.S. dollar and pound sterling over the next few years, but depreciate against the Japanese yen when Japan’s economic recovery begins. The United Kingdom and the United States have

Perception of the African American Males Essay

African Americans males are considered dangerous based on a false identity, misconceptions, and misinformation that are available in the media; this includes but is not limited to rap music, news, and TV shows. This misconception can be traced as far back as slavery. The perception of blacks’ males as being dangerous began when the slave came to America on 1619. Due to the situation of being treated as property, to be freely bought and sold, and that the owner was free to split up a couple or family at any time simply by selling some of his/her slaves. African slaves started to behave in a hostile manner. Because of their behavior the Caucasians immediately started to classify the slaves as being dangerous, and they need to be tame as if they were wild animals. This lead the slave masters to start putting chain and walking around with their rifles when they would be in the fields with them. As it was stated in ‘The Brut Caricature†, it portrays black men as innately savage, animalistic, destructive, and criminal; deserving punishment, and maybe death. Due to the negative influence and portrayals of African Americans males, these individuals are often misguided. The nature vs. nurture theory comes into play. I. e. Low income black males are predisposed to innate qualities, while behavioral traits are learned i. e. through the media. â€Å"Get Rich or Die Trying† is the mentality of most African American males with the help of the media. Most males see themselves as rap stars, sports stars, and or comedians. There is limited exposure of African American as doctors or lawyers at an early age its learned that their chance of success in life is limited. The men in the low income communities have the tendencies of wanting to become like the â€Å"white man†. The main problem is that they portray the idea of â€Å"get rich quick†. These perceptions cause them to turn into drugs, and from there into violence and crimes. According to a 2006 National Urban League report a third of black males will spend time in prison before their 35th birthday. This fact could be because of the high school dropouts and the poor understanding they get from society. Yes, I said the poor understanding from society, because black men are one of the least understood groups in our country. People don’t look at the conditions that cause a lot of black men to be in the situations they’re in today, they just look at the results. † According to my findings, among men, blacks (28. 5%) are about six times more likely than whites (4. 4%) to be admitted to prison during their life. I also noted that there are more black males in prison in America than are in college. (The Black and White of Justice, Freedom Magazine). Volume 28. Another consequence for African Americans it’s that the â€Å"monster† image given by the Caucasian people are carry by the poor African American people. According to Stallworth (early 1990’s) young black males continue to follow patterns of slavery times. Many fulfill white America’s image of them legitimately by becoming successful gangster rappers, others fulfill these image illegitimately by becoming â€Å"bad niggers† Rappers, therefore reinforce the popular belief that as â€Å"bad ass niggers† young black can achieve fame, recognition, and sense of being (somebody). If they lose, however, they can face a long stay in our jails and prisons or even bodily injury and death. Which it’s happening now days. Media and the African American Males. According to the book ‘Black Demons’ there is a â€Å"black pathology† a fundamental weakness in African American families that can be traced to their experiences as slaves. The news media, for example, have taken the lead in equating young African American males with aggressiveness, lawlessness, and violence. Likewise, the entertainment media have eagerly taken their cue from the journalists, and these false images not only affect race relationship but also create a self felling prophecy for African American youngsters, whose limits of achievement can be determined for them by suggestions in the media. A common stereotype about African American men is that they are engage in drug abuse a disproportionate way which it’s not true because according to statistics from the US department of Health and Human services that although eight percent of African American males cocaine, eleven percent of whites have use the same drug. This is, however, not the impression that we get from watching the evening local news or even an episode of television program COPS. Blacks Stereotyped of Being Intellectually Inferior and Criminals. Another common negative stereotype, establishes the African American male as intellectually inferior. Studies directed by psychologist Claude Stale, indicate that African American teenagers are aware that they are stigmatized as being intellectually inferior and the go to school bearing what psychologist Claude has called a â€Å"burden of suspicion† Such burden can affect their attitudes and achievements. These shadows hang over stigmatized people no matter their status or accomplishments. These stigmas have the potential to roll them of their individually and debilitate their attempts to break out of the stereotypical roles. Blacks are the repository for the American fear of crime. Ask anyone, of any race, to picture a criminal and the image will have a black face. The linked between blackness and criminality it’s routinized by terms such a â€Å"black-on-black crimes† or â€Å"black crimes†. I also have to mention the ‘black brute stereotype arise in the early 1870’s. Such stereotype is one of the pictures white Americans have in their heads about black men: as savage, violent amazingly strong and not caring about right and wrong. Even today according to my findings , blacks are three times more likely to be physically threatened, harmed or killed because if their race than whites. So this idea of whites as peaceful and blacks ad threatening to white is not rooted in fact. It is rooted in something else. Yes, there are black men who are violent and savage, who do unspeakable things. But there are white men like that too. In either case they are hardly common enough to reasonably determine one’s ideas about the ordinary people of their race. Rap Music and its influence in African American males Rap music celebrates vulgarity. Indeed, it markets vulgarity; that is its product. It is the vulgar excesses of rap-the profanity, the over-sized jewelry, the naked acquisitiveness, the sexual aggressiveness-that are its hallmarks. New media attention on rap music seems obsessed on instances of violence at rap concerts, rap producers’ illegal use of musical samples, gangster raps’ lurid fanatics of cop killing, and female dismemberment, and Black Nationalist rappers suggestions that white peoples are devils disciples. It seems that rappers to notice the influence they have in people mostly African American people, and by say this type of things they send an incorrect message to their fanatics and other people in general. In most of the songs you can find a high level of aggravated language, images, and high crimes scenarios. . According to the authors of these songs, they just make it for the entertainment of their fans without thinking of the image they are given of their people and themselves. One question and many answers from our society I took the duty to find out the perception that common US citizens have towards African American males, by submitting a question on (answersyahoo. com) people from all around our country answered to my question. The following are the answers to my survey. †¢ People poisonous stereotypes the black males with the â€Å"5 Ds†Ã¢â‚¬â€Ã¢â‚¬Å"Dumb, deprived, dangerous, deviant, and disturbed†. †¢ Lazy & uneducated †¢ Drug dealers †¢ Poor †¢ Hate other races †¢ They are dirty †¢ Loud, obnoxious, rude My Opinion. For these reasons and many other African American males are consider dangerous for our society. But stop and think for a minute, are they all really dangerous or this is only a big misunderstanding? Can we judge them all as a whole, or there are some of them that can be excluded of being stereotyped as â€Å"dangerous†, â€Å"criminal†, etc? In my opinion we cannot judged them all as a whole and we should also try to understand the reasons behind their actions. We have to learn how to be open minded and see things from different perspectives. We also have to realize that not everything that we see and listen in the media is always the truth, there is always a second part of a story and most of the time we fail to look for that second part. African American behavior has been shaped by us (society) because of our mistreatment towards them and our racism†¦ I believe if we change the way we look at them and express about them, they will change their behavior and we no longer will have to use the statement of â€Å"dangerous† when referring to a African American male. Conclusion. To conclude to this issue in question I just have to say ‘Black or white, God gave us the opportunity to succeed, and regardless of the situation we are dealt, we can all live the life we imagined. After s days of research I can’t say there is a wrong or right theory about African American males because everyone has their own way of thinking and their own opinion. But just to add ‘the world would be shocked to know that the majority of black men make the right choices and build successful families and careers every day in America, yet are rarely discussed in the headlines’. Bibliogaphy.

Comparative Literature Translation St Essay

452? F 132 Abstract || The link between Comparative Literature and translation creates a new reading framework that challenges the classic approach to translation, and allows the widening of the scope of the translated text. This paper explores this relationship through the analysis of two versions of Charles Baudelaire’s Les ? eurs du mal published in Argentina during the 20th century, stressing the nature of translation as an act of rewriting. Keywords || Comparative literature | Translation | Rewriting | Charles Baudelaire 133 Comparative literature and translation: two Argentinean versions of the Baudelairean spleen – Santiago Venturini  452? F. #04 (2011). 131-141. 0. Comparative literature and translation: a reading framework There are at least two ways to conceive the link between comparative literature and translation studies. Exchanging the terms in the framework of an inclusion relationship, it is possible to consider two differentiated series of questions and to assign different scopes to the link. This exchange appears basically related to the two possible answers to the question about the limits of these disciplines, that are traditionally linked: so, it is possible to consider translation studies asâ€Å"one of the traditional areas of comparatism† (Gramuglio,   2006) or to support, as Susan Bassnett did more than a decade ago (1993), the need for a reversal to happen –similar to the one Roland Barthes established between semiology and linguistics–, to make translation studies stop constituting a minor ? eld of comparative literature in order to be the major discipline that shelters it (solution through which Bassnett tried to put an end to what he de? ned as the â€Å"un? nished long debate† on the status of the discipline of comparative literature, empowered by the criticism blow that Rene Wellek gave to the discipline in 1958)1. Beyond this ambiguity, what is important to underline is the existence of this consolidated link between two disciplines, or I should rather say, between the discipline of comparative literature(s) and the phenomenon of translation –which, on the other hand, de? ned itself as the object of a speci? c discipline barely some decades ago–. In this sense, there is a spontaneous way of thinking about the link between comparative literature and translation: the one that de? nes translation as an event and a central practice for comparatism, since it locates itself at the meeting point of different languages, literatures  and cultures. From this point of view, translation is the activity which is â€Å"synthetic† par excellence, the one that operates at the very intersection of languages and poetics, and the one that makes possible, because of its ful? lment, the ful? lment of other analytic approaches to the texts relating to each other. Nevertheless, this has not always been this way. In an article devoted to the vicissitudes of this link, Andre Lefevere pointed out that, in the beginning, comparative literature had to face a double competence: the study of classical literatures and the study of national literatures,  and that it chose to sacri? ce ranslation â€Å"on the altar of academic respectability, as it was de? ned at the moment of its origin†2. And, although translation became necessary for the discipline, it hardly tried to move beyond the comparison between European literatures, all the translations were made, criticized and judged, adopting the inde? nable parameter of â€Å"accuracy†, that â€Å"corresponds to the use made of translation in education, of classical literatures as well as of NOTES 1 | Bassnett asserts that: â€Å"The ? eld of comparative literature has always claimed the studies on translation as a sub? eld, but now, when the  last ones are establishing themselves, for their part, ?rmly as a discipline based on the intercultural study, offering as well a methodology of a certain rigor, both in connection with the theoretical work and with the descriptive one, the moment has come in which comparative literature has not such an appearance to be a discipline on its own, but rather to constitute a branch of something else† (Bassnett, 1998: 101). 2 | â€Å"In order to establish the right to its own academic territory, comparative literature abdicated the study of what it should have been, precisely, an important part of its effort†Ã‚  (Lefevere, 1995: 3). 134 Comparative literature and translation: two Argentinean versions of the Baudelairean spleen – Santiago Venturini 452? F. #04 (2011) 131-141. national literatures† (Lefevere, 1995: 4). The critical thinking of the XXth century conferred translation the transcendence it had not had historically and postulated it as a clearly- de? ned object of study. Although this emancipation was achieved already in the second half of the century, it is clear that there are crucial contemporary texts about practices previous to this period. In this sense, the preface by Walter Benjamin to his German translation  of the Tableaux Parisiens by Charles Baudelaire, entitled â€Å"The Task of the Translator† (1923), constitutes an unavoidable contribution that, nevertheless, has not always been appraised. A lot has been said on this text –let’s remind the readings, canonical, by Paul De Man (1983) and by Jacques Derrida (1985)–, whose formulations were decisive for a conceptualization of translation the way it was presented some decades later by post-structuralism. Let’s recover, at least, one of the ideas that organize this document: â€Å"No translation would be possible if its supreme aspiration would be similarity with the original. Because in its survival –that should not be called this way unless it means the evolution and the renovation all living things have to go through– the original is modi? ed† (Benjamin, 2007: 81). Through this proposition, that can seem obvious to the contemporary reader, Benjamin emphasizes, in the twenties, the inevitable inventive nature of any translation and destroys the conception of the translated text as a copy or a reproduction of the original, although without attacking the dichotomical pair original/translation, â€Å"distinction that Benjamin will never renounce nor devote some questions to† (Derrida, 1985). A renunciation that will be carried out, as Lawrence Venuti points out, by the poststructuralist thought –especially deconstruction–,that again raised the question in a radical way of the traditional topics of the theory of translation through the dismantling of the hierarchical relationship between the â€Å"original† and the â€Å"translation† through notions such as â€Å"text†. In the poststructuralist thought â€Å"original† and â€Å"translation† become equals, they hold the same heterogeneous and unstable nature of any text, and they organize themselves from several linguistic and cultural materials that destabilize the work of signi?  cation (Venuti, 1992: 7). From this acknowledgment, we recover a synthetic Derridean formula: â€Å"There is nothing else but original text† (1997: 533). Thus, translation stopped being an operation of transcription in order to be an operation of productive writing, of re-writing in which what is written is not anymore the weight of the foreign text as a monumental structure, but a representation of this text: that is, an invention. It is not anymore a question of transferring a linguistic and cultural con? guration to another one a stable meaning –as happens with the platonic and positivist conceptions of the meaning that,  according to Maria Tymoczko, are still operating in the education and 135 Comparative literature and translation: two Argentinean versions of the Baudelairean spleen – Santiago Venturini 452? F. #04 (2011) 131-141. training of translators in the West (Tymoczko, 2008: 287-288)–, but a practice of creation that writes a reading, an ideological practice accomplished not only by the translator –that becomes now an active agent and not a mere â€Å"passer of sense† (Meschonnic, 2007)–, but by a whole machinery of importation that covers outlines, comments, preliminary studies, criticism, etc.  , and in which a variety of ? gures are involved. In these new coordinates, translation can be de? ned as a practice that is â€Å"manipulative†, if it models an image of the authors and of the foreign texts from patterns of their own: â€Å"Translation is, of course, a rewriting of an original text. Any rewriting, whatever its intention, re? ects a particular ideology and particular poetics, and as such, they manipulate literature in order to make it work in a particular society, in a particular way† (Lefevere and Bassnett in Gentlzer, 1993: IX). This quote reproduces the already famous assertion by Theo Hermans: â€Å"From the point of view of the target literature, any translation implies a degree of manipulation of the source text with a particular purpose. Besides, translation represents a crucial example of what happens in the relationship between different linguistic, literary and cultural codes† (1985: 11-12). To assume the status that we have just conferred to translation implies to re-shape the link between this later and comparative literature. Because when it stops being de? ned in the restrictive terms of mediation or transfer of the stable meaning of an â€Å"original† text, and when it attains the autonomy of an act of rewriting of another  text according to an ideology, a series of aesthetic guidelines and of representations on otherness, translation gives up its role of instrumental practice and appears as the privileged practice that condenses a rank of questions and problematic issues related to the articulations greater than what is national and transnational, vernacular and foreign. Translation becomes the event related to contrastive linguistics par excellence; the key practice of what Nicolas Rosa calls the â€Å"comparative semiosis†: La relacion entre lo nacional y lo transnacional, y la implicacion subversiva  entre lo local y lo global pasa por un contacto de lenguas, y por ende, por el fenomeno de la traduccion en sus formas de transliteracion, transcripcion y reformulacion de  «lenguas » y  «estilos ». La traduccion, en todas sus formas, de signo a signo, de las relaciones inter-signos, o de universo de discurso a universo de discurso es el fenomeno mas relevante de lo que podriamos llamar una  «semiosis comparativa » (Rosa, 2006: 60-61). 1. Two Argentinean versions of the spleen by Baudelaire Once the approach to translation that we favour in this work is speci? ed, what we intend now is to re? ect on the particular case of  136 Comparative literature and translation: two Argentinean versions of the Baudelairean spleen – Santiago Venturini 452? F. #04 (2011) 131-141. the Argentinean translations of Les ? eurs du mal (1857) by Charles Baudelaire. We will focus on two comprehensive translations of Les ?eurs du mal, and two very different publications: the one that can be de? ned as the inaugural translation of Baudelaire in Argentina, carried out by the female poet Nydia Lamarque –published by the publishing house Losada in 1948 and reprinted numerous times to date–, and the one signed by Americo Cristofalo for the Colihue  Clasica collection from the publishing house Colihue, published originally in 2006, and that appears as the last link of the chain of Argentinean translations. The difference between the date of publication of the translation by Nydia Lamarque –belated, if we take into account that a ? rst translation to Spanish, incomplete, came out in 19053– and the one by Americo Cristofalo, reports the currency of the name of Charles Baudelaire along the lines of translations of French poetry in Argentina; name that, next to the names of Stephane Mallarme and Arthur Rimbaud – the founder triad of modern French poetry– survives through different  decades4. What interests us now is to try out a cross-reading of the poems by Baudelaire and the rewritings by Nydia Lamarque and Americo Cristofalo. We will not use the comparison according to the frequent use that has been given to it in the study of translations, that is, as a method to reveal a collection of translation strategies implemented in each case with the purpose of identifying â€Å"diversions† with regard to the original. As Andre Lefevere has pointed out, to think about a new relationship between comparative literature and translation implies to set aside the approach with regulations, the one that pretends to  differentiate between â€Å"good† translations and â€Å"bad† translations, to concentrate on other questions, such as the search of the reasons that make some translations having been or being very in? uential in the development of certain cultures and literatures (Lefevere, 1995: 9). In this sense, what we intend is to read the sequence of these texts, with the purpose of demonstrating dissimilar ways of articulation with the Baudelairean poetics, two rewritings that take shape as different forms of literary writing in which the vernacular and the foreign are linked, and that are backed up by an ideology. In order to do this, we are going to con? ne our analysis to one of the poems entitled â€Å"Spleen† that is included in one of the ? ve sections that structure Les ? eurs du mal: â€Å"Spleen and Ideal†. Walter Benjamin pointed out that the Baudelairean spleen â€Å"shows life experience in its nakedness. The melancholic sees with terror that the earth relapses into a merely natural state. It does not exhale any halo of prehistory. Nor any aura† (1999: 160). In this sense, the spleen marks the death of the character of idealism â€Å"either of enlightened or NOTES 3 | We are talking about the translation by the Spaniard. Eduardo Marquina, a version marked by modernist aesthetic conventions. As Antonio Bueno Garcia has pointed out, the translation of the works by Charles Baudelaire in Spain is a fact that takes place belatedly, not due to ignorance of the writers of that period –for whom Baudelaire was a recognized in? uence– but for â€Å"the censorship problems of the second half of the XIXth century†. Garcia gets even to declare that, over and above the translation by Marquina at the beginning of the XXth century and two more versions published in the forties, â€Å"the restoration of Baudelaire’s spirit and therefore of his works  does not take place until after the Second World War, and in Spain until well into the seventies† (Bueno Garcia, 1995). 4 | Besides the two translations that we tackle in this work, we can take again the prose translation of Las ? ores del mal signed by Ulises Petit de Murat (1961) and the presence of Baudelaire in anthologies like Poetas franceses contemporaneos (Ediciones Buenos Aires: Librerias Fausto, 1974) or Poesia francesa del siglo XIX: Baudelaire, Mallarme, Rimbaud (Buenos Aires: Centro Editor de America Latina, 1978), both of them prepared by the poet Raul Gustavo Aguirre. 137 Comparative literature and translation: two Argentinean versions of the Baudelairean spleen – Santiago Venturini 452? F. #04 (2011) 131-141. lyrical and romantic education† (Cristofalo in Baudelaire, 2005: 15), and exposes him to emptiness. In the framework of Baudelairean poetics, ideal and spleen appear as two values which ubiquity has a profound impact both on the sphere of an ideology of poetry, and on the verbalization and the textual organization –as long as both have a clear linguistic scope–: â€Å"Sometimes he believes, and sometimes he does not; sometimes he rises with the ideal, and sometimes hefalls to piec es into the spleen [†¦] It is easy to observe the poems that come from these two opposite perspectives† (Balakian, 1967: 50). In the chain of the poem, ideal and spleen mark, respectively, the victory of what Bonnefoy calls â€Å"poetic alchemy†, of its dynamics, of its operation, but also the movement of its withdrawal or its retreat, the contradiction of the poetic rhetoric with what is perceived further away: it is the meeting of poetry with nothingness, that happens, nevertheless, inside the corroborated possibility of the poem –there is no material failure of poetry in Baudelaire–. De Campos points  out that: el rasgo estilisticamente revolucionario de esos poemas estaria en el dispositivo de choque engendrado por el uso de la palabra prosaica y urbana [†¦] en ? n, por el desenmascaramiento critico que senala la  «sensacion de modernidad » como perdida de la  «aureola » del poeta,  «disolucion del aura en la vivencia del choque » (De Campos, 2000: 36). So, the usual lyrical vocabulary faces up to unusual â€Å"allegorical† quotes, which burst in the text in the style of an â€Å"act of violence† (2000: 36). Ideal and spleen mark the comparison of the consonant and the dissonance, of the romantic poetical rhetoric, of its power of evocation and transcendence, with a more austere rhetoric, of prosaic nature, that undermines the poetization through the imposition in the text of another movement, negative (the negative is read in terms of the contesting of a consolidated representation of the poetic). A ? rst reading of the translations by Nydia Lamarque and Americo Cristofalo makes it possible to observe that we are talking about writings ruled by two completely different â€Å"poetic rhetorics†5, which in the translation framework are based on a combination of decisions that determine the rewriting of the source-language text. These  rhetorics are assumed and stated explicitly by each of the translators in this paratextual mechanism that is relevant to any translation, set up in order to justify what has been carried out, to try and specify its exact sense, to protect it: the introduction. So, in her introduction, Nydia Lamarque, in order to explain her actions, turns to two masters: Holderlin and Chateaubriand. From the second one –translator of Paradise Lost by Milton into French–, the female translator extracts her translation methodology, that she summarizes in one precise formula: â€Å"To trace Baudelaire’s poems NOTES 5 | As Noe Jitrik points out, the  poem is a place, a material support on which certain operations are carried out that are â€Å"governed by rhetoric, in both a limited sense of rhetoric –strict rules and conventions– as in a wide sense –the obedience to or the subversion to the rules– and even pretentions or attempts of â€Å"non-rhetoric†, which effect, operatively speaking, is, nevertheless, the identi? cation of a text as a poem† (Jitrik, 2008: 63). 138 Comparative literature and translation: two Argentinean versions of the Baudelairean spleen – Santiago Venturini 452? F. #04 (2011) 131-141. on a glass† (in Baudelaire, 1947: 39), which implies the search for  an isomorphism between the original and the translation, the lexical, syntactic, metrical isomorphism. More than a half century later, after the pioneering translation by Lamarque, Americo Cristofalo builds an academic reading and develops more complex hypotheses. He maintains that his translation is built up on the basis of two conjectures: the ? rst one, that metrics and rhyme â€Å"are not strictly bearers of sense† (Cristofalo in Baudelaire, 2006: XXVI) and the second one, the exposition of the double con? ict about the Baudelairean rhythms: Del lado del Ideal: la retorica poetizante, los mecanismos prosodicos, la  desustanciacion adjetiva, los hechizos de la lirica. Del lado del Spleen: tension hacia la prosa, aliento sustantivo, una corriente baja, material, de choque critico (2006: XXVII). Taking into account these positions, we can get back the ? rst verses of one of the poems of â€Å"Spleen† to know what we are talking about: 1. J’ai plus de souvenirs que si j’avais mille ans. 2. Un gros meuble a tiroirs encombre de bilans, 3. De vers, de billets doux, de proces, de romances, 4. Avec de lourds cheveux roules dans des quittances, 5. Cache moins de secrets que mon triste cerveau. 6. C’est un pyramide, un immense caveau, 7.  qui contient plus de morts que la fosse commune. (Charles Baudelaire) 1. Yo tengo mas recuerdos que si tuviera mil anos. 2. Un arcon atestado de papeles extranos, 3. de cartas de amor, versos, procesos y romances, 4. con pesados cabellos envueltos en balances, 5. menos secretos guarda que mi triste cabeza. 6. Es como una piramide, como una enorme huesa, 7. con mas muertos que la comun fosa apetece. (Nydia Lamarque) 139 Comparative literature and translation: two Argentinean versions of the Baudelairean spleen – Santiago Venturini 452? F. #04 (2011) 131-141. 1. Tengo mas recuerdos que si hubiera vivido mil anos. 2. Un gran mueble con cajones llenos de cuentas, 3. versos, cartitas de amor, procesos, romances, 4. sucios pelos enredados en recibos, 5. guarda menos secretos que mi triste cabeza. 6. Es una piramide, una sepultura inmensa 7. que contiene mas muertos que una fosa comun. (Americo Cristofalo) The comparison allows us to notice the distinctive characteristics of each translation. In the case of Lamarque, the metrical imperative is conditional on all the other choices and has a direct impact on the intelligibility of the verses. The syntax gets more complicated – hyperbatons predominate–, the organization of the sense of the verse is compromised, new lexemes are added and some are suppressed in order to hold the rhyme patterns. We are not trying to cast a shadow on this translation –to which we have to admit its statute of inaugural work–, but we are interested in showing its contradiction, since the translation by Lamarque ends up obtaining quite the opposite of what he enunciated as his mandate: â€Å"Each word has to be respected and reproduced as things that do not belong to us† (Lamarque in Baudelaire, 1947: 39). As far as he is concerned, Americo Cristofalo, who in the introduction to his translation goes through the previous versions –among them is  the translation by Lamarque6–, gives up the rhyme, which allows him to carry out a work of rewriting closer to the French text: the verses are, syntactically, less complex than those in Lamarque version, clearer. Cristofalo builds a poem governed by another rhetoric, stripped of all those â€Å"processes of poetization† that appear in the translation by Lamarque, although someone could wonder if the elimination of rhyme in his translation does not imply, partly, the loss of this tension between ideal and spleen that characterizes Baudelairean poetics. But in order to appreciate what Lamarque and Cristofalo do with the  Baudelairean spleen (tedium, for Cristofalo; weariness, for Lamarque), it is enough to concentrate on only one of the aforementioned verses, the fourth one, which we mention now isolated: †¦Avec de lourds cheveux roules dans des quittances (Baudelaire) †¦con pesados cabellos envueltos en balances (Lamarque) †¦sucios pelos enredados en recibos (Cristofalo) A metonymic verse that with its minimum length shows the best of each translation. The lexical selection displays two completely different records: Lamarque produces a more solemn verse, leant NOTES 6 | Cristofalo maintains that the translation by Nydia Lamarque resembles the one  by Eduardo Marquina, whom she condemns: â€Å"Lamarque [†¦] bitterly complains about the unfaithfulness of Marquina, who chooses symmetrical poetic measures –otherwise he thinks he would not respect the original–, she says she maintains the prosody, the rhyme, she says she is scrupulous about the adjectivation. However, the effect of pomp, of conceit and affectation in the tone is the same, the same dominion of procedures of poetization, and of confused articulation of a meaning† (Cristofalo in Baudelaire, 2006: XXV). 140 Comparative literature and translation: two Argentinean versions of the Baudelairean spleen – Santiago Venturini  452? F. #04 (2011) 131-141. on a delicate, subtle image, a verse with a modernist ? avour (â€Å"heavy hair wrapped in accounts†); whereas Cristofalo destroys any effect of poeticity in this direction. He simpli? es the lexical selection (â€Å"dirty hairs† instead of â€Å"heavy hair†) and he builds a harsher image, in a realist style. Both translations strengthen the Baudelairean image, but in opposite directions: Lamarque leads it towards a lyrical intensity, Cristofalo makes it more prosaic. There are other questions that can be appreciated in the cross-reading of these poems, for example the presence of a repeated pattern in the  version by Lamarque, boudoir, (that Cristofalo translates as tocador or dressing table), which expresses a whole attitude towards the foreign language; we see the same contrast in the lexical choices, that apart from being bound to the aesthetic reconstruction of the poem, marks re-elaborations that are different from the Baudelairean images, as in the case of this verse: †¦un granit entoure d’une vague epouvante (Baudelaire) †¦una granito rodeado de un espanto inconsciente (Lamarque) †¦una piedra rodeada por una ola de espanto (Cristofalo) Here, Nydia Lamarque and Americo Cristofalo carry out a grammatical  reading that is different from the alliance â€Å"vague epouvante†: Lamarque inclines herself towards an abstract image (she interprets vague as an adjective of epouvante), whereas the image on which Cristofalo bases himself has something of a maritime snapshot (he interprets vague as a noun: wave), it is more referential. Both these works of rewriting grant to the Baudelairean text a different scope; they assemble two images by Baudelaire that respond to conventions and aesthetic values that are also differentiated. In this way, they do nothing but demonstrating the true nature of the translative act. Even if it is true and undeniable that we are talking, all the time, about the translation of a previous text, pre-existing –of an â€Å"original†Ã¢â‚¬â€œ, it is also true and undeniable that translation is a deeply critical and creative practice, that exceeds the borders of the reproduction of a text –its forms move from appropriation to subversion–, a practice that in the passage of a text to another shows all the thickness of its power. . 141 Comparative literature and translation: two Argentinean versions of the Baudelairean spleen – Santiago Venturini 452? F. #04 (2011) 131-141. Works cited BALAKIAN, A.  (1969): El movimiento simbolista. Juicio critico. Trad. de Jose Miguel Velloso, Madrid: Guardarrama. BASSNETT, S. (1998):  «? Que signi? ca Literatura Comparada hoy?  » en Romero Lopez, D. (comp. ), Orientaciones en Literatura Comparada. Trad. de Cistina Naupert, Madrid: Arco, 87- 101. BAUDELAIRE, Ch. (1999): Las ? ores del mal. Trad. de Eduardo Marquina, Madrid: JM ediciones. BAUDELAIRE, Ch. (2006): Las ? ores del mal. Trad. y prologo de Nydia Lamarque, Buenos Aires: Losada. BAUDELAIRE, Ch. (1980): Les ? eurs du mal. Ed. de Vincenette Pichois, Paris: Union Generale d’Editions. BAUDELAIRE, Ch. (2006): Las ?  ores del mal. Trad. , prologo y notas de Americo Cristofalo, Buenos Aires: Colihue. BAUDELAIRE, Ch. (2005): Correspondencia General. Traduccion y notas de Americo Cristofalo y Hugo Savino, Buenos Aires: Paradiso. BENJAMIN, W. (1999): Iluminaciones II. Poesia y capitalismo. Traduccion y prologo de Jesus Aguirre, Madrid: Taurus. BENJAMIN, W. (2007): Conceptos de ? losofia de la historia. Trad. de Hector Murena, La Plata: Terramar. BONNEFOY, Y. (2007): Lugares y destinos de la imagen. Un curso de poetica en el College de France (1981-1993). Trad. de Silvio Mattoni, Buenos Aires: El cuenco de Plata. BUENO GARCIA, A. (1995):  «Les ? eurs du mal de Baudelaire: historia de su traduccion, historia de la estetica », en Lafarga et. al. (coords. ), Actas del III Coloquio de la Asociacion de Profesores de Filologia Francesa de la Universidad Espanola (APFFUE), Barcelona: Promociones y Publicaciones Universitarias: 263-272 DE CAMPOS, H. (2000): De la razon antropofagica (y otros ensayos). Trad. y prologo de Rodolfo Mata, Mexico: Siglo XXI. DERRIDA, J. (1997): La diseminacion. Trad. de Jose Martin Arancibia), Madrid: Espiral. DERRIDA, J. (1985):  «Des tours de Babel », Derrida en castellano, [13/08/2010], GENTZLER, E. (1993): Contemporary Translation Theories, New York: Routledge. GRAMUGLIO, M. T. (2006):  «Tres problemas para el comparatismo », Orbis Tertius, [04/08/2010], HERMANS, T. (1985): The Manipulation of Literature, London & Sidney: Croom Helm. JITRIK, N. (2008): Conocimiento, retorica, procesos. Campos discursivos, Buenos Aires: Eudeba. LEFEVERE, A. (1995):  «Com parative Literature and Translation », Comparative Literature, 1, vol. XLVII, 1-10 MESCHONNIC, H.(2007): La poetica como critica del sentido. Trad. de Hugo Savino, Buenos Aires: Marmol/Izquierdo. ROSA, N. (2006): Relatos Criticos. Cosas animales discursos, Buenos Aires: Santiago Arcos. TYMOCZKO, M. (2008):  «Translation, ethics and ideology in the age of globalization » en Camps, A. y Zybatow, L. (eds. ), Traduccion e interculturalidad, Bruselas: Peter Lang, 285-302. VENUTI, L. (1992): Rethinking Translation, USA y Canada: Routledge. WILFERT, B.  «Cosmopolis et l’homme invisible. Les importateurs de literature etrangere en France, 1885-1914 », Actes de la Recherche Sociale, 144, 33-46.

Nazis, Cucks ContraPoints Professor Ramos Blog

Nazis, Cucks ContraPoints â€Å"So, I used to be, little bit of a Man. I’m not proud of it.. We all make mistakes!†Says Natalie Wynn in her 2018 XOXO festival presentation. Natalie Wynn is a transsexual YouTuber known for her B-listing Youtube channel Contrapoints. Flashing a style of her own, she is instantly recognizable for her soft lit videos, colorful characters abundant in a flair of bourgeois and sometimes cringe worthy sex appeal. She discusses controversial subjects like Marxism, gender dysphoria, politics, Cucks and much more from a leftist angle. I came across Contrapoints through my best friend Monique Johnson, a feminist, college art teacher who loves debate. Granted my BFF has always had strange tastes, but she really one-upped herself with this one. She sent me a video of Natalie Wynn and I didn’t really know how to process the creature I was watching. At first it was a bit hard for me to sit through the whole video, but I did anyway. Partially because of my upbringing and of family influences distilling a kind of internalized homophobia about my own sexuality, Making me cringe the second I see someone else talk about their own sexuality publicly and comfortably. But then seeing this provocative trans woman talking about the taboos many are too afraid to discuss or even mention, was actually very refreshing. After really sitting down and watching the full length of one of her many 20 minute  videos, I saw that this Frank-N-Furter, transsexual, costumer was actually making  great points about hot-button iissues. This video left me curious and wanting more, I started digging around and exploring her channel to see what other kinds of material and content she covers. I came across an XOXO Festival video; A kind of public speaking program/festival based in Portland Oregon, similar to TedTalks. In this video, (Natalie Wynn, ContraPoints XOXO Festival (2018))  it shows Natalie standing on stage in front of a fairly large crowd of seated patrons, and she discusses her struggles with transitioning, her channel and what it stands for. Natalie, in her earlier career, pursued a Phd in philosophy but she turned away from this pursuit. In her words, â€Å"The examined life is actually not worth living†. Prior to her channel, she worked as a Uber driver, piano teacher, paralegal and what ever other job she could manage in the many chapters of her life. At this point, she was in an awkward stage of transition. Not quite a women, in the eyes of society, but also not quite a man, in the eyes of her own psyche. (Natalie Wynn at her home in Baltimore.) During this time she had made her channel, Contrapoints, she decided to put to use her education and experience. The channels main purpose was to counter and debate the points made by other videos on the web. Hence the name, Contrapoints. But with the internet being the internet, she dealt with the backlash that comes with going through â€Å"second puberty† for the whole online world to see and criticize. Leftist Twitter took to her as a representative for the entire trans community and this was simply unfair. She decided to collaborate with a few different Youtube channels and debaters on their programs discussing trans issues, unknowing of the consequences. While she made excellent points and countered arguments with obvious research and wit, she failed those debates in the eyes of her viewers because she was deemed unlikable due to her appearance. This damaged her reputation for a while and the leftist side of the internet turned against her. That is, until she took a slight change in direction with her channel by costuming into different personas to discuss the topics she was tackling in a back and forth style of banter. By slipping into a fictional setting of debate, she found a way of putting controversial topics on the forefront for open discussion while dampening the impact of negative criticism on her personal life. Her videos are a boiling pot of heated discussion on what needs to be addressed, asking questions that no one knew needed to be asked. â€Å"If you want an honest conversation about race on the internet, here’s what you do. You set your computer on fire, you flee to the forest, you drink a mimosa laced with toad venom and you simply wait for the wolverines to eat your legs.†Says Natalie Wynn in her Youtube video, America: Still Racist. She talks about racial demographics in large cities like Bal timore, where previous practices of racism have in a sense trapped families and future generations of African-Americans. Creating ghettos and making racial demographics in urban areas almost impossible to financially escape, through a process of Restrictive Covenants, Redlining, and Predatory Landing when Jim Crow laws were still in act. This kind of grouping creates hot spots of racial conflict by a means of separating, and this separatism continues to stay prevalent in the U.S. because of past racism. Natalie takes topics like these, that are heavy in Political jargon, bulky with information that are near impossible to find in the convoluted garbage bins of the internet and breaks them down in a way that makes all of her videos extremely informational and easy to digest. â€Å"Contrapoints offers us a sense of what it looks like to combat the emotional appeal of neo-fascists with something similar† (Cross), a critic taken from the website TheVerge.com, reviewing how Natalie Wynn has quickly become the new Oscar Wilde of Youtube by taking on the Alt-Right head on with research, facts and seduction. I’m extremely happy my best friend brought me to this channel and to Natalie Wynn’s content. Her discourse on the material she covers is unique, extremely brainy and funny. Even her earlier content brings up issues that are still relevant to todays issues that other debate channels try, but fail to hit the mark. She always finds a way to resolve and properly untangle the inner workings and complexities of the human condition. In my own opinion, I’d have to say, â€Å"Contrapoints is hands down the leading channel in terms of quality content, discourse, and diverse topic discussion on the internet to dateâ€Å". Work Cited         Barbara Brotman. â€Å"Decades Later, Black Home Buyers’ Battle for justice back in spotlight†. Chicagotribune.com. https://www.chicagotribune.com/news/ct-contract- buyers-league-20150724-story.html. July 25, 2015 Katherine Cross. â€Å"The Oscar Wilde of Youtube fights and the alt-right with decadence and seduction†. August 24, 2018. The Verge. Leslie Vincent Tischauser. â€Å"Jim Crow Laws† Land marks of the American Mosaic. 2012. ABC-CLIO. https://www.abc-clio.com/ PP.8-9. Natalie Wynn. â€Å"Natalie Wynn, ContraPoints XOXO Festival (2018)†. Youtube.com. https://youtu.be/0Ix9jxid2YU. Nov 9, 2018. Natalie Wynn. â€Å"America: Still Racist | ContraPoints†. Youtube.com. https://youtu.be/GWwiUIVpmNY. Feb 28, 2018. Photo Credit Amelia Holowaty Krales  

Free Essays on Congress Of Vienna

The Congress of Vienna in 1815 divided into many small states. Italian nationalism became a strong force in the early 1800s, when many people tried to revive Italy’s traditions. Until Count Camillo Benso di Cavour, most of the nationalists formed secret societies. Cavour reorganized the Sardinian army, and established banks. Cavour tried to reduce the political influence of the church. Giuseppe Garibaldi organized an army to liberate the King of the Two Sicilies from the harsh Bourbon king. Cavour and Garibaldi united, and Garibaldi was given financial help to liberate the Kingdom of the Two Sicilies. During this process, Sardinia annexed most of the territory of the Papal States. Victor Emmanuel II was declared king of Italy. Unification was not completed until Italy gained Venetia in the Seven Weeks’ War of 1866 and when French troops were recalled from Rome. The Congress of Vienna gave Prussia much important territory. Germany’s first major step toward unity concerned the economy. Tariffs increased the price of the goods while reducing the amount sold. Prussia and many German states made up a number of treaties called the Zollverein. The Zollverein led to the spread of industrialism. Germany’s economy became dependent on The Zollverein. Otto Von Bismarck ruled Prussia over William I. He reorganized the Prussian army, and increased taxes. If Prussian parliament disagreed with Bismarck, he would simply dismiss it. Bismarck united Prussia and drove out Austria’s influence over Prussia. He did this by going to war. During a small period of time, Prussia participated in many wars where it united itself and gained land. Bismarck tricked Napoleon into declaring war on Prussia. Bismarck then used this as an excuse and converted rival German states into allies against the French. German states proclaimed a Kais er, William I. Bismarck became the chancellor of Germany. Each German state had its own ruler as... Free Essays on Congress Of Vienna Free Essays on Congress Of Vienna Essay Question: What were the goals of the Congress of Vienna? How did they approach those goals? Give good examples to get a better grade. What were the goals of the major powers at the congress of Vienna? How realistic were these goals? How will did they achieve to meet them? These question and many more was what came to my mind when the term â€Å"Congress of Vienna,† had aroused. There were four main goals for the congress to achieve. The four goals were the balance of power, the status quo, the dual revolutions, and the revolution of 1830. These four goals were excessively diverse in many ways. The first goal was to establish a new balance of power in Europe which would prevent imperialism within Europe, such as the Napoleon empire, and maintain the peace between the great powers. This was one of the realistic goals that were listed by the congress. I believe that this goals was met to be achieved and could be achievable. The congress of Vienna were thinking about the reputation of the country as well for it’s protection. The second goal was to prevent political revolutions, such as the French Revolution, and maintain the status quo. This goal may go either way. Its realistic because nobody wants to see another French Revolution ever take place again. On the other hand the congress may be doing this in order to bend the rules and regulations they want it to be. They took advantage of the information that was received in the French Revolution, in order to prevent from anything like that to happen to them. The third goal was to restore "legitimate," or traditional governments to power 2 and to prevent political revolutions. They also wanted to maintain the status quo met with partial success in the short term, but was bound to fail in the long term because it opposed the irresistible forces of historical change resulting from modernization. Those irresistible force... Free Essays on Congress Of Vienna The Congress of Vienna in 1815 divided into many small states. Italian nationalism became a strong force in the early 1800s, when many people tried to revive Italy’s traditions. Until Count Camillo Benso di Cavour, most of the nationalists formed secret societies. Cavour reorganized the Sardinian army, and established banks. Cavour tried to reduce the political influence of the church. Giuseppe Garibaldi organized an army to liberate the King of the Two Sicilies from the harsh Bourbon king. Cavour and Garibaldi united, and Garibaldi was given financial help to liberate the Kingdom of the Two Sicilies. During this process, Sardinia annexed most of the territory of the Papal States. Victor Emmanuel II was declared king of Italy. Unification was not completed until Italy gained Venetia in the Seven Weeks’ War of 1866 and when French troops were recalled from Rome. The Congress of Vienna gave Prussia much important territory. Germany’s first major step toward unity concerned the economy. Tariffs increased the price of the goods while reducing the amount sold. Prussia and many German states made up a number of treaties called the Zollverein. The Zollverein led to the spread of industrialism. Germany’s economy became dependent on The Zollverein. Otto Von Bismarck ruled Prussia over William I. He reorganized the Prussian army, and increased taxes. If Prussian parliament disagreed with Bismarck, he would simply dismiss it. Bismarck united Prussia and drove out Austria’s influence over Prussia. He did this by going to war. During a small period of time, Prussia participated in many wars where it united itself and gained land. Bismarck tricked Napoleon into declaring war on Prussia. Bismarck then used this as an excuse and converted rival German states into allies against the French. German states proclaimed a Kais er, William I. Bismarck became the chancellor of Germany. Each German state had its own ruler as...