Discourse Analysis Mini Research - 4784 Words

CHAPTER 1 INTRODUCTION This chapter presents an introduction consisting of background of study, problems of study, objective of the study, and significance of the study. 1.1 Background of the Study Language has a social function as a tool to make connection between human beings. Without language, it seems impossible for people to interact with others in their daily life because language can express people’s feeling, willing, opinion, etc. In case of communication, some public figures might influence language use in socio culture. The figure public not only as the entertainer for society but also as a trendsetter of any aspects such as the fashion style, hobby, and the language style. The later aspect is the interesting one that we want to†¦show more content†¦2.2 Critical Discourse Analysis Critical Discourse Analysis is based heavily upon Halliday‟s systemic functional linguistics (Fairclough, 1992, Fairclough 1999), and the critical linguistics approach which stemmed from the work led by Roger Fowler at the University of East Anglia in the 1970s (Fairclough 1992, Coffin 2001). Fairclough supported the ideas of critical linguistics, but felt that in many respects, they did not go far enough. Fowler claims that the effectiveness of critical linguistics lies in â€Å"its capacity to equip readers for demystificatory readings of ideology-laden texts† (Fowler, 1996: 6). But Fairclough believed that this focuses excessively on the „text as product‟, to the detriment of examining how these texts are produced, and how they may be interpreted. For Fairclough, it is equally vital that we understand the process of production of the text, as well as the process of interpretation of the text. CDA aims at making the connections transparent among discourse practices, social practices and social structures, connections that might be opaque to the layperson (Sheyholislami 2001). Luke (as cited in Taiwo 2007)Show MoreRela tedThe Russian Ukrainian Conflict During Media Discourse1510 Words   |  7 Pagescreated and shaped by community. In war or conflict discourse the power of media is crucial because it affects the image of the country on the international stage as well as public mood and atmosphere in the country. The ongoing Russian-Ukrainian conflict has been a matter of debate between many countries including but not limited to Russia and Ukraine. The research area of the current study is the current Russian-Ukrainian conflict in media discourse. The present study seeks to determine whether thisRead MorePhilosophy of Science in Social Research1455 Words   |  6 Pagesstudy of social research is an important dimension of social science which has been placed to analyze the problems of social science description and its relationships. Philosophy of social science deals with the generalized meaning of the thing amp; centered on the sharing of experience about the social world in which peopleâ€⠄¢s perspective differs from one another. The various approaches analyze the social research on the basis of three grounds: Thematic analysis, meta-narratives and mini-narratives andRead MoreThe Studies Of Music And How It May Not Help The Alzheimer s Disease1675 Words   |  7 Pageswhich manifest in language deficits, among other cognitive difficulties. The main failures in speech include naming difficulties, verbal fluency deficit, comprehension problems, and deterioration of spontaneous speech. People with AD tend to have discourse deficits, which include empty phrases, indefinite words, and repetitions. The speech of a person with the deficits is difficult for an interlocutor to follow. Thus, theses progressive language failures can lead people with AD to isolation. DueRead MoreHow Fashion Can Represent The State Of Mind And Emotions Of New Zealanders Essay1778 Words   |  8 Pagesheld however, by those involved or interested in fashion tend to favour Benjamin’s viewpoint. This research’s intent is to provide evidence that fashion, with an emphasis on the work of New Zealand designers, can be a major commentator on social discourse. Placing emphasis on this potential is what could allow design to have an equal amount of possibilities and opportunities as any other form of fine arts. The question of how the world of fashion can be connected to social and political movementsRead MoreThe Curriculum At Wilson Elementary School1647 Words   |  7 Pages What is the curriculum at Wilson Elementary and how is it implemented? I chose to research the curriculum at Wilson Elementary School because it is the school I currently teach at. I was interested in the curriculum of Wilson because teachers are given the freedom and professional judgment to do what is best for students. This means we are all to use the district curriculums, but use data, strategies, best practices and supplemental material to do what is best and most effective for studentsRead MoreThe Evolution of Second- and Foreign- Language Teaching1662 Words   |  7 Pageswhich language pedagogy has aimed to renew and improve itself:1. Innovation through change in teaching methods; 2. Innovation through language-related sciences and research; 3. Technological innovation. During the nineteenth century, the Grammar-Translation Method with its emphasis on the transmission of structural rules and analysis of form served as the principal method of teaching modern and classical languages in schools. The goal of studying a foreign language was to learn the language soRead MoreRhetorical Analysis : Surprise ! It Is A Writing Class !1977 Words   |  8 Pagesuse handouts in order to support my discussion on a specific topic you gave us. In the journal, I incorporated ideas from your handouts and written articles you provided us in order to support my claims. By reading the assigned â€Å"Rhetorical Choice Analysis† handout I learned that there are several types of supporting evidence: examples, experts, explanations, and no-prose texts. For my own convenience of supporting one of my claims throughout the second journal I cited Carroll in the article as anRead MoreThe Concept Of Gender Identity2760 Words   |  12 Pagesconditioned and not as opposite as it seemed came with the research data from hormones study: it was revealed that both male and female contain hormones of both sexes Judith Butler, another imp ortant feminist writer, gave a new impact to feminism studies with her book â€Å"Gender Trouble: Feminism and the Subversion of Identity†. Butler linked identity formation to social discourses and claimed that as long as authorities and regimes influence discourses formation the categories of sex and gender cannot beRead MoreThe Relationship Between Knowledge-Telling and Knowledge-Transforming Strategies2957 Words   |  12 Pagesof writing process, they are the knowledge-telling model (simple narrative) and the knowledge-transforming model (expository writing). (http://www.rdg.ac.uk/AcaDepts/cl/slals/process.htm [26.11.01]) Bereiter and Scardamalia’s research findings reveal very different forms of composing behaviour between the skilled and less skilled writer (Grabe Kaplan, 1996, p.118). They have provided evidence showing that the less skilled writers start writing their work much Read MoreCooperative Learning Research Proposal4811 Words   |  20 PagesRunning Head: COOPERATIVE LEARNING AND STUDENT ACHIEVEMENT Abstract The researcher, School District. The purpose of this research is to determine whether an interdependence model of cooperative learning will improve student achievement, when compared to a cooperative learning model that uses student jobs. Cooperative learning processes are being used throughout the country on every level as a method of improving student learning as a medium to teach these desired characteristics. The goals of

Blood Imagery In Macbeth Essay - 590 Words

In Shakespeares Macbeth a play, a man named Macbeth goes through a great transformation; Macbeth goes from being a heroic general in the kings army to an assassin and a tyrant. The theme of the play is never give into evil because it destroys no matter what the benefits are. Blood Imagery is very important in the play; it shows Macbeths evil ambition in the beginning, middle, and end of the play. In the beginning of the play, blood imagery is very important. quot;Till he unseamed him from the nave to the chaps, / and fixed his head upon our battlementsquot;(I.ii.22-23). Macbeth has just killed the enemy and become a hero; Macbeth killed the enemy not for fame or fortune but to defend his land and people. In this next quote Macbeths†¦show more content†¦quot;Oh, treachery! Fly, good Fleance, fly, fly, fly! / Thou mayest revengequot;(III.iii.18-19). quot;Avaunt! And quit my sight!Let the earth hide thee! / Thy bone are marrowless, thy blood is cold; / thou hass no speculation in those eyesquot;(III.iv.93-96). Banquos ghost haunts Macbeth, and Macbeth is unable to face it. Macbeths evil ambition usually leaves Macbeth feeling at peace or safe, but now his ambition has left him with a painful vision of his dead friend. quot;What, you egg! / Young fry of treachery! / He has killed mequot;(IV.ii.79-82). Macbeth has sent his men to catch and kill Macduff, and instead Macbet hs men kill Macduffs innocent son and later his wife. Macbeth is now giving orders to kill woman and children; he has become a complete tyrant. In addition to the middle, blood imagery is important to the end of the play. quot;Out, damned spot! outquot;(V.i.28). Lady Macbeths guilt has overcome her; every night she scrubs her hands to remove the blood, the guilt of killing. Lady Macbeth pays for her husbands crimes with her life. quot;Hes worth more sorrow, / And that Ill spend for him. / Hes worth no more. / they say he parted well, and paid his scorequot;(V.viii.51-53). The evil Macbeth killed the good young Siward. YOung Siwards blood was spilt for good; he did not die in shame; young Siward died with honor as a soldier should and for that his father was proud.Show MoreRelatedMacbeth Imagery Blood1442 Words   |  6 PagesBlood Imagery in Macbeth Shakespeare’s plays are well known for the richness of their imagery. This is particularly true in Macbeth and the many allusions to blood. The use of blood imagery gives the reader some foresight into what is going on in the play and how the characters are thinking and feeling. Blood is used to represent heroics on the battlefield, evil and murderous inclinations, and ultimately guilt and shame. Shakespeare uses the symbol of blood to give the readers insight intoRead MoreBlood Imagery in Macbeth857 Words   |  4 Pagesevident as the bloody hands of Macbeth and his obsession with them. Macbeth has killed King Duncan and doesn’t stop there, he kills the guards making Duncan’s sons flee. This gives Macbeth the throne. However he becomes overwhelmed with the guilt. Shakespeare uses blood to show how it reminds Macbeth of the violent acts he has committed and how he has become obsessed with the blood on his hands. Initially the blood represents courage and bravery. For brave Macbeth-well he deserves that name- â€Å"disdainingRead MoreMacbeth - Blood Imagery in Macbeth Essay990 Words   |  4 PagesWilliam Shakespeare wrote the Tragedy of Macbeth in approximately 1606 AD. He loosely based it on a historical event occurring around 1050 AD. Macbeth is the story of a nobleman, who, while trying to fulfill a prophecy told to him by three witches, murders his King to cause his ascension to the throne of Scotland. After the Kings murder, Macbeth reigns as a cruel and ruthless tyrant, who is forced to kill more people to keep control of the throne. Finally, Scottish rebels combined with English forcesRead MoreTheme Of Blood Imagery In Macbeth872 Words   |  4 Pages MACBETH’S FALL INTO EVIL Shakespeare uses imagery to show Macbeth’s fall into evil. Darkness is invariably associated with evil and to a certain extent deception. William Shakespeare employs the imagery of darkness throughout his play of Macbeth. He uses dark images often to describe instruments of disorder and the evils which characters portray. Macbeth is a tragedy that was written by Shakespeare in the Elizabethan Era. In Elizabethan England night air was said to be impure and rheumy and itRead More Blood Imagery in Macbeth Essay1916 Words   |  8 PagesShakespeare’s Macbeth is a story taken from Scottish history and presented to the Scottish king James I. Shakespeare took this gory tale of murderous ambition, however, and transformed it into an imaginative tale of good and evil. Shakespeare brought about this transformation by relying upon â€Å"imaginative verbal vigor† that imbeds itself in the brilliantly concentrated phrases of this literary work. Critics have dubbed it his dar kest work, along with King Lear. In his critique of Shakespeare’s worksRead MoreBlood Imagery in Macbeth Essay1451 Words   |  6 PagesMacbeth is the ultimate story of a fight between the forces of good and evil. It tells the tale of a tragic hero whose quest for power leads to his ultimate downfall. Macbeth starts out as an honorable warrior but changes when his ambition becomes uncontrollable. As he becomes increasingly paranoid, Macbeth uses violent means to eliminate threats to his Scottish throne. As the play progresses, blood continuously plays a part in the events as the murders become more frequent. William ShakespeareRead MoreMacbeth Blood Imagery Essay1924 Words   |  8 Pagesâ€Å"HUGH, YOU ARE GUSHING BLOOD!!!† Our heads spin around to see bright, red blood all over his shoes, feet, and the boat. The sight of blood immediately made my stomach drop and put everyone into an instant frenzy. Blood causes people to react because of the stir of emotion it causes, and the same can be said for imagery. Authors of all types of literature use imagery as a tool to engross their readers and make their senses come alive, specifically Shakespeare. In all of Shakespeare’s work a key instrumentRead MoreTheme Of Blood Imagery In Macbeth1001 Words   |  5 PagesShakespeare’s use of Blood to Represent Guilt â€Å"Guilt is cancer. Guilt will confine you, torture you, destroy you as an artist. Its a black wall. Its a thief† (Dave Grohl, BrainyQuote). In Shakespeares play Macbeth, Shakespeare uses Macbeth’s guilt as a recurring theme. Macbeth is about a man who receives a prophecy from three witches who tell him he will become soon become the king of Scotland. In his quest to become king, Macbeth will do anything, even kill one of his best friends, regardlessRead MoreImagery of Blood, Light and Clothing in Macbeth by William Shakespeare540 Words   |  3 PagesImagery of Blood, Light and Clothing in Macbeth by William Shakespeare Imagery, the art of making images, the product of imagination (Merriam- Webster). Shakespeare uses many forms of imagery in his writing of Macbeth. Three main forms of imagery in this play are blood, light and darkness, and clothing. Within each form of this imagery Shakespeare incorporates symbols that the reader must understand if they are to interpret either the passage or the play as a whole. In Macbeth blood symbolizesRead More bloodmac Shakespeares Macbeth - Images and Imagery of Blood and Sleep922 Words   |  4 PagesBlood and Sleep Imagery in Macbeth  Ã‚   Macbeth screams imagery!   Shakespeare uses imagery of blood and sleep   to create an atmosphere of horror, during the killing of Duncan, which contributes to our sense of Macbeths growing insanity.   Eventually Lady Macbeths final scene is enhanced with the use of blood imagery which reflects her guilt.   Shakespeares use of imagery connects the feeling of horror from audience to play.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Macbeth held such potential for himself. He was

Lexical Semantics Hyponyny Networks Free Essays

Question 2 Not all dictionary definitions contain classifiers, but many do, and in some cases when you look up the classifier itself, you find another even more general classifier within its definition. For example, you might like to think about the following definitions from the Collins English Dictionary. Colostrum is the thin milky secretion from the nipples that precedes and follows true lactation. We will write a custom essay sample on Lexical Semantics: Hyponyny Networks or any similar topic only for you Order Now It consists largely of serum and white blood cells. A secretion is a substance that is released from a cell, especially a glandular cell, and is synthesized in the cell from simple substances extracted from the blood or similar fluid. Substance is (1) the tangible basic matter of which a thing consists; or (2) a specific type of matter, especially a homogeneous material with definite or fairly definite chemical composition. Matter is (1) that which makes up something, especially a physical object; material. What are the classifiers in these definitions? (Why is this question hard to answer? Can you change the definition to make it easier? ) Draw a diagram to show the hyponymy chain you found in (a), with hyponyms shown below their classifiers. Can you think of any additional levels that you can put in the hyponymy chain above secretion? Add them. Sebum and saliva are co-hyponyms of colostrum. Add them to the diagram, along with two co-hyponyms for each level of the chain. Add distinguishers to your diagram, to differentiate each of the co-hyponyms you have added. On an intuitive level it would seem a simple task to select the different classifiers within each of the above definitions however, several problems arise which belie this. Colostrum is the easiest to deal with as it is the most specific of the four terms, although there is still potential for an error to be made. The only classifier in this description is ‘secretion’ as, according to Hudson (1995: 26) â€Å"the classifier †¦ is the first common noun that follows is†[1]. Although this syntactic relationship is useful as a method of identification, it is not the reason ‘secretion’ is a classifier of ‘colostrum’. Syntactic relationships exist between lexemes, not senses, and are governed by the relationships between senses, thus it is the latter that hyponymic networks represent. The classifier (C) is the concept that is superordinate to the ense in question (S1) in that S1 must possess enough characteristics of the classifier to make it a type of that concept, even if not a typical one, as well as distinguishers that serve to differentiate it from the classifier and any other co-hyponyms. More simply, S1 is a hyponym of C iff all S1 are a type of C, but not all C are S1 (op cit. 16). Furthermore, classifiers for common nouns will always capture what S1 is, not how or why it is. In the case of ‘colostrum’ only ‘secretion’ performs this function: we can say that colostrum is a type of secretion. It is important, however, to refine the concept of ‘what it is’: if this is taken to include a material concept as well as a typical one, i. e. , what it is made up of or consists of, there is more scope for what can be considered a classifier. Under this description both ‘serum’ and white blood cell’ can be considered as classifiers of ‘colostrum’. This does not seem to be correct though, as ‘colostrum’ is not a type of serum or white blood cell, nor does it possess enough of the characteristics of either to qualify as a hyponym. Therefore, in such cases we can eliminate concepts about the material of which a referent of the given sense consists as candidates for classifiers. Having established the criteria for identifying classifiers it should now be easier to identify those for the remaining senses however, there are further difficulties. It is safe to say that ‘substance’ is the classifier of ‘secretion’ according to the above rule but the use of ‘substance’ twice in the definition provides potential for confusion: according to the definition for ‘secretion’ above we can make the following statement: (A) a secretion is a substance1 made up of substances2. The difficulty seems to lie in SUBSTANCE being polysemic (Palmer 1981: 100), a fact apparently proven by its having two definitions. This implies that SUBSTANCE1 represents one of the given senses of ‘substance’ whilst SUBSTANCE2 represents the other, but neither fits with sense (1) as both are a specific type of matter. Therefore, both must be the concept in sense (2) but if SUBSTANCE1 and SUBSTANCE2 do have the same sense statement (A) has no useful meaning, for it to do so SUBSTANCE requires an additional sense. The solution is provided in the definition of ‘secretion’: SUBSTANCE1 is istinguished from SUBSTANCE2 by the addition of ‘simple’ to the latter. In this way it can be seen that SUBSTANCE1 refers to sense (2) whereas SUBSTANCE2 refers to a different sense that is related to, but more specific than (2). To avoid such confusion replacing SUBSTANCE2 with a different lexeme could prove useful, e. g. , COMPOUND, although this is not necessa ry so long as we understand that SUBSTANCE is polysemic and we know which sense each refers to. As ‘substance1’ has the sense (2) in the definition we shall refer to it as ‘substance (2)’ and it is this sense that is the classifier for ‘secretion’. The definition provided for ‘substance (2)’ makes identifying the classifier here straightforward as it begins by telling us that it is a â€Å"specific type of matter† (my emphasis), which is the central criteria for hyponymy. So given that ‘matter’ is the classifier for ‘substance (2)’ we can now find the next classifier in the chain. It could be assumed that the brevity of the definition makes this task even more simple however, the definition is a â€Å"consists of† statement which rules out any concepts it contains as a classifier. It is thus the case that not all concepts have a superordinate concept. As such we can say that ‘matter’ sits at the top of the hyponymy chain and is the broadest sense of ‘colostrum’. Given this information we can now represent all of the relationships above in the following diagram: Fig. 1) Initial hyponymy chain for colostrum. This chain is based solely on the definitions given above however, the claim can be made that this diagram does not contain a complete set of classifiers for ‘colostrum’. There are facts about ‘secretion’ that are not contained in ‘substance (2)’ but that cannot be considered as unique to it, in particular those about its relationship with organisms and organic matter. This claim is based on the fact, as given in the definition, that ‘secretion’ is a substance particular to cells, which are the constituent parts of an organism. All of this information is unrepresented within the chain as it is because the relationship ‘secretion’ has with ‘cell’ is not due to a shared nature or type. When the hyponymy test is applied the mismatch is more evident: ! a secretion is a type of cell. This does not deny that the two are related however, only that they are not the same kind of thing, so instead n alternative way must be found of including and representing this relationship. As ‘cell’ is the missing concept there must be some sense it shares with ‘secretion’. According to my definition of ‘cell’ many together make up an organism and because any substance that is a ‘secretion’ is the product of a cell, it can also be considered the product of an organism. We can go a step further and state that both are types of substance particular to organisms, which allows the statement a ‘secretion’ is a ‘substance particular to organisms’. This can be further refined when the concepts ‘glandular’ and ‘blood’ are considered as these relate specifically to ‘body’, not just to any organism in general. We can thus replace ‘organism’ and instead state that a ‘secretion’ is a ‘substance particular to a body’ or, more concisely, it is a ‘bodily substance’. A second gap exists between ‘bodily substance’ and ‘substance’ for the same reason as above: arguably, a ‘bodily substance’ has characteristics shared with other types of particular substance that together constitute a more general type of substance. As mentioned above ‘organism’ bears a relation to ‘organic material’ in that all of the substances of which an organism is composed are organic. Given that a body is a kind of organism any bodily substance must also be organic but not all organic material is of the body hence, ‘organic material’ is a classifier of ‘bodily substance’. These new facts can be added to Fig. 1) to provide a more complete sense network: Fig. 2) Full hyponymy chain for ‘colostrum’. When considering potential co-hyponyms there are two criteria that must be met: the co-hyponyms must share most if not all of the sense of the shared classifier but they must be differentiated by at least one distinguisher (Hudson 1995: 27). Each of the co-hyponyms in Fig. 3) meets these criteria but this does not mean to imply it is a simple task. Take ‘matter’ and ‘substance (1)’: the two could initially be considered to be co-hyponyms. This, however, is not the case. Essentially, the definitions for ‘substance1’ and ‘matter’ are the same: we could give a definition of matter s ‘that of which a thing consists’ because CONSISTS OF and MAKES UP have the same sense. Nor does there appear to be any fact about either concept that serves to differentiate them so we must accept that rather than ‘matter’ and ‘substance (1)’ bearing a hyponymic relationship they are actually synonyms. As such, SUBSTAN CE (1) is nothing more than an alternative lexeme that can be used to represent ‘matter’ and so can be omitted from the network. Fig. 3) shows that although many of the co-hyponyms do not bear a direct relation to ‘colostrum’ they are part of a conceptual network that illustrates how senses are related. It also displays the fact that the further up the chain a concept is the broader is the range of its hyponyms because the sense becomes more generalised at each level. Furthermore, it also shows how concepts can share multiple classifiers and hyponyms. Fig. 3) Hyponymy network for ‘colostrum’. Distinguishers can be concise or generalised providing they serve as differentiators between the senses. When selecting appropriate facts to include the notion of prototypes should be accounted for in that any potential distinguisher should ideally describe a prototypical referent of the given sense (op. it. 20). Take ‘glandular’ it appears in the definition of ‘secretion’ but it has been omitted from the network. This is because it is not a prototypical characteristic in that not even the majority of secretions are from glandular cells, it is only provided as an example of the kind of cell involved. A further difficulty in selecting distinguishers is deci ding what kind of information to include. Definitive information serve to provide the minimum data needed to clarify a concept whilst encyclopaedic information attempts to provide all of the facts about a concept. The danger with the latter is that information may be included that does not serve to differentiate that concept from another. I would argue that both kinds of information should be included provided that each fact is part of the sense it iff that fact is relevant to the function of differentiation. Fig. 4) includes information of both kinds and, although I have removed the referent and lexeme classifier for the sake of clarity, it can be considered as the most complete network of senses that relate to colostrum’. Fig. 4) Complete hyponymy network for ‘colostrum’. Bibliography Hudson, R. (1995). Word Meaning. Padstow: Routledge. Palmer, F. R. (1981). Semantics. Bath: Cambridge University Press. Stevenson, A. (ed. ) (2007). Shorter Oxford English Dictionary (6th edition). Italy: Oxford University Press. Word Count 1693 not including diagrams. 1799 with diagrams ———————– [1]I have used â€Å" â€Å" for quota tions rather than ‘ ‘ to prevent confusion between quotes and senses. How to cite Lexical Semantics: Hyponyny Networks, Papers

Diversion In Criminal Justice System - Courts And Police Department

Question: The halting or suspension before conviction of formal criminal proceedings against a person, conditioned on some form of counter performance by the defendant" (George, 1984). There are several reasons for the use of diversion: List 3 reasons with an explanation for the use of diversion, and discuss why it would be beneficial to the criminal justice system. Also explain how the use of diversion would have an effect on law enforcement. Is diversion cost-effective? Answer: Diversion in the criminal justice system: Diversion is a kind of program included in the criminal justice system, in which the criminals accept the responsibility for the commission of crime, try to amend the acts done by them and in which a healing process is initiated in which criminals commit to cooperate in exchange for the halt of the criminal proceedings against them ( Editorial: Justice system must correct itself after diversion debacle, 2011). The aim of diversion system is to make the criminal law abiding citizens and prevent them from re-offending. There are three major reasons for the introduction of this system. First, to divert the youth offenders from the criminal proceedings to some good activities of and under the community. In diversion, the offenders are engaged into some form of social service activities so that their mind can be changed from criminal intent to a noble intent (Jehle, J, 2008). Second, to relieve the courts and police department from the burden of cases for petty offenses and to preserve them for more serious crimes, where there are no other alternatives available. Third, to provide a source of restitution to the victims and the community and also to protect the youth from the stigma of criminal and to solve the petty cases outside the courts as far as possible. The main purpose of the diversion system is avoiding the formal time taking criminal proceedings and settlement by outside agencies so as to make the offenders get rid of criminal charges and criminal record. It is more beneficial to the criminal justice system as compared to the usual proceedings (Jehle, J., Wade, M., Elsner, B., 2008). The main reason behind it is that the stigma of the criminal record like arrest, trial and then conviction can actually lead to the encouragement of the criminal intent and behavior. Moreover, the expenses of diversion system are much lesser than that of the ordina ry regular criminal proceedings and are also less complex and with lesser formalities. It proves to be ultimately more effective for the society at large, because in certain successful cases the criminals get converted to good hum beings, which is rarely possible through punishment in regular criminal proceedings. Thirdly, the offender develops a habit of doing good while completing the condition of cooperating in the program ordered. Diversion helps in the law enforcement in an effective and useful way. The offenders are under the supervision of the probation officer, who monitors every activity of the offender and makes him abide by law at every step during the program (Landau, 2004). In case of failure of the program, heavy penalty is imposed and in case of serious failure of the program, where the offender does not cooperate as per the conditional order, regular criminal proceedings are initiated against the offender. In essence, it can be said that the diversion system is less complex, faster and more effective, as it attempts to eradicate the crime from the root, by changing the mind of the offender, which is the main cause of any crime and secures the future of the society. References: EDITORIAL: Justice system must correct itself after diversion debacle. (2011, Dec 18).McClatchy - Tribune Business News. Jehle, J., Lewis, C., Sobota, P. (2008). Dealing with juvenile offenders in the criminal justice system.European Journal on Criminal Policy and Research,14(2-3), 237-247. Jehle, J., Wade, M., Elsner, B. (2008). Prosecution and diversion within criminal justice systems in europe. aims and design of a comparative study.European Journal on Criminal Policy and Research,14(2-3), 93-99. Landau, T. (2004). How to put the community in community-based justice: Some views of participants in criminal court diversion.Howard Journal of Criminal Justice,43(2), 131-148.

Living as non

Introduction Living as a non- English speaking artist in an English speaking country is a fascinating challenge and an advantage to a nation since aliens in a country are play pivotal role in promoting cultural activities as well as innovation. Empirical and past comparative studies indicate that in the history of civilization and human culture, aliens in any given country have always been known as one major source of social vibrancy since they share local traditions with the local people alongside passing their own cultural values to the local population.Advertising We will write a custom research paper sample on Living as non-speaking English artist in English speaking country specifically for you for only $16.05 $11/page Learn More In cases such aliens are quite intimate with the local population. Then it is indefinite that a lot of unprecedented cultural exchange will indeed take place leading to a positive outcome. Brandellero indicates that due to the uniqueness of strangers or immigrants, local milieus dealing with production have developed keen interest of attracting and retaining them for purposes of enhancing growth and sustaining their economies (10). As this paper analyses, artists are important personalities in any cultural economy bearing in mind that they act as forerunners in harnessing and generating capabilities through their own artistic works. By so doing, they directly contribute towards economic growth of the respective countries they are living in. It is also against this scope that this paper explores non-English speaking artists living in English speaking countries, their impact on the economy and some of the challenges facing them. Understanding cultural and ethnic diversity In her publication, Brandellero argues that cultural diversity and its link to the status of an outsider is a factor that creates tension, but has a positive effect towards innovative potential (11). While cultural diversity has myriad of similarities to ethnic diversity, it is prudent to mention that the former is a key driver and a potential source of innovation, creativity and building positive relationships. The latter are essential in enhancing mutual competitiveness. In their cultural theory, Schwartz and Thompson elaborate that a new entrant into a foreign country may act as an intersection between the local community and outside world largely due to multiple ethnic and spatial ties. To emphasize on this, it is worth noting that contemporary immigrants, English or non-English speakers, are contributing immensely in strengthening of advanced urban economies by enhancing competitive advantages. Effective understanding of cultural and ethnic differences have become some of the most fundamental requirements which businesses and immigrant artists need today since it assists them in building relationships by fostering understanding of the cultural values of members of different cultures alongside interpreting of their behaviors and actions. The efficient performance of a non-English speaking artist as well as his or her participation in the growth of the economy of a host English speaking nation is to a larger extent, influenced by cultural differences experienced through complex interaction between the environment and individuals. Brandellero makes a significant contribution related to this argument by pointing out that an understanding of cultural diversity and ethnicity easily affect the degree of satisfaction, motivation results and behavior of individuals (35).Advertising Looking for research paper on social sciences? Let's see if we can help you! Get your first paper with 15% OFF Learn More His argument concurs with Hofstede’s model and networking theory that demonstrate how cultural differences impact on the dimensions of an organization in terms of networking, gaining social capital, relationship marketing and development of human resource (Brandellero 54). Add itionally, the differences also directly impact on intra organizational communication, problem solving capabilities and creativity levels. An artist who is living in the contemporary cultural economy has a greater advantage since the modern global economy has emerged as a thriving market offering colossal employment opportunities in many cities and countries globally. Brandellero posits that the cultural economy offer potential support for artists of all nation whether English speaking or non- English speaking, and massive opportunities to generate artistic capabilities for productive purposes (20). This is made possible by the spatial manifestations created by the cultural economy which play a pivotal role of attracting substantial and significant attention which is an important playing field in the revolution of culture in a new economy. Living as a non-English speaking artist Living as a non-English artist in another country as opposed to one’s own native land is a major c hallenge brought about by the diverse changes that are mainly structural, of global proportion and that continuously alter and impact on experiences. Research studies clearly indicate that living and working in a foreign country may affect a worker’s private realms and social life due to issues such as industrial capitalism and rational forms. Scholars on modern sociology point out that a lot of transformations involving cultural, political, economic and social processes happen differently in diverse nations and result in the emergence, development and flourishing of new structures of social life that may affect an immigrant worker. Brandellero argues that non-English speakers migrating to other English speaking nations in order to work ought to understand the culture of the country they are going to live in bearing in mind that this will shape how they relate with the locals and enhance their business performance (14). Needless to say, cultural understanding in a foreign lan d is of great essence if an artist is to reap the optimum benefits out of his or he artistic work. It is also prudent to underscore the fact that should cultural differences between artists and locals clash at any given point, then the expected benefits either to the artist or host country will be null and void.Advertising We will write a custom research paper sample on Living as non-speaking English artist in English speaking country specifically for you for only $16.05 $11/page Learn More Importance of effective understanding of cultural differences by non-English speaking artists National culture is a phenomenon that distinguishes one group from another. Therefore, different nations have unique cultures that affect or largely determine how they run their affairs. A country may express its culture through conceptual elements such as arts, rituals or beliefs. For non-English speaking artists living in English speaking countries, it is definite that the y indeed encounter myriad of challenges brought about by national culture. Besides, when employed, they serve, co-work and interact with workers and customers from different cultural backgrounds who manifest various gender, ethnic, regional and national beliefs. This calls for an effective understanding of the local or national culture of a host nation and development of coping strategies in order to be productive. Most importantly, the barrier posed by language differences may not be eluded in most cases since an artist may not be a multilingual speaker. According to Brandellero, for individuals or companies to perform successful business ventures in countries different from their own, they must have an effective understanding of different cultures (12). Besides, they must apply knowledge in management as tactics which are important for success. It is imperative to mention that non-English speaking artists have to be flexible and keep changing their strategies to meet the needs and challenges a new cultural environment presents. Those intending to innovate or invest in the cultural economy must incorporate knowledge in management with the strategies they have devised. With globalization taking rapidly taking effect, these artists must come up with ways to overcome organizational and national cultures and the diverse challenges posed by the same. Using Hofstede’s model, it is important to note that special cultures of diverse nations are based on different independent dimensions that include short term or long term orientation, uncertainty avoidance, masculinity or femininity, individualism or collectivism and power distance (Brandellero 62). Understanding of the different independent dimensions will greatly assist a non-English speaking artist to predict how societies or nations that host them culturally operate. It is imperative to note that the culture of a given society is the sum of its assumptions, beliefs and values. The man-made part of the cult ure of a society is influenced by the perceptions individuals have of their social environment. As such, a prescribed behavior of a particular society is shaped by those shared perceptions (Brandellero 43). An artist may not be able to directly observe culture, but can easily infer it from verbal exchanges and daily societal activities.Advertising Looking for research paper on social sciences? Let's see if we can help you! Get your first paper with 15% OFF Learn More Knowledge of different cultures enhances networking According to Pettigrew Whipp’s model of dimensions of change, effective understanding of different cultures assists business owner to develop their social networking behaviors (Brandellero 18). This argument clearly indicates that a non-English speaking artist who intends to succeed in his or her operations in an English speaking host country must possess or develop positive patterns of behavior necessary for social networking. Indeed, many businesses today are operated with an intention of growth and maximization of profits. Positive networking behaviors should be enhanced by the non-English speaking artists as will not only aid them to effectively understand the cultures of the environment they are situated and build good relationship, but will also assist them to acquire scarce resources for business growth. The effective understanding of factors such as masculinity and femininity cultures in a host country will enhance a positive networking behavior that will improve an artist’s relationship with the different cultures and aid it in obtaining external resources necessary to drive up arts business (Brandellero 19). Brandellero supports the above notion and points out that effective understanding of different ethnic cultures of a host nation is a means of success for business owners who have developed networking skills (35). In fact, it is a common denominator underlying a business agenda and is suitable for establishing a higher networking behavior. Mourkogiannis contributes to Brandellero’s argument by indicating in his moral purpose model that entrepreneurs, and in this case non-English speaking artists, should effectively and efficiently include social spheres in expanding their networks with a bid to develop a competitive advantage in a host nation (Brandellero 20). An artist can achieve this by raising his or her social status via vertical social mobility and learning the local la nguage. Additionally, studies have indicated that effective understanding of different cultures by a business creates for it a dyadic and interconnected relationship that has diverse ties such as influence, exchange and information. It is imperative to note that the aforementioned ties are part of a business’ assets that legitimizes the business, enables it to access resources and provides it with information. In agreement, different scholars have used interactive perspective to link cultural and economic resources to economic opportunity structure in analyzing the effectiveness of businesses understanding diverse cultures. According to them different ethnic groups, depending on the structure of economic opportunities, brings income to a business. From an interactive perspective, Brandellero points out that effective understanding of cultures helps in distribution of resources through built relationships (42). Different societies vary in terms of status, power and class. As s uch a non-English speaking artist in an English speaking host country will be supplied with capital from ethnic networks depending on social relationships and ties built on social obligation and trust. It is imperative to note that customer relationship and ties with a business depend on a cultural enclave the business is in. Knowledge of culture and relationship marketing According to neoclassical microeconomic theory, relationship marketing is an important marketing activity that businesses having their operations in different countries carry out for successful establishment and sustenance of relational exchanges (Brandellero 32). An artist in a foreign nation can create a long-term relationship between his business and individuals or groups within a particular host culture in a relational market. Neoclassical microeconomic theory presents a transactional school of thought that indicates that effective understanding of different cultures by a business will assists it in developing relational exchanges with the locals. Consequently, this will aid it in the maximization of profits if it is found in a competitive market. Additionally, an artist living in an English speaking host country can develop exchanges with the locals and demonstrate rational behavior that shows a deep understanding of diverse cultures. Consequently, this will cause an artist to fashion his or her products to meet the cultural demands of the host country thereby making the artist to become a utility maximizer and a price taker. Statistical literature revealing imbalance in art and theater Past statistical research evidences have indicated that receive neglect in some countries. For instance, a report carried out in the nineties indicated that the Australian media failed to show a reflection of the diversity of the Australian people. Advertisement pictures and other programs conspicuously made exclusions to cultures that are not English speaking while portrayals in comedy only showed stere otypical images of the non-English speaking people. Current statistics on non-English speaking representation in the media have shown estimations that slightly less than two percent of roles in the acting industry, especially in regards to mainstream drama in television, were directly played by other ethnic communities of Australia and the aboriginals (Bertone, Keating Mullaly 30), an indication that the level of participation of first generation Australians of the non-English speaking cultures is extremely low. This indicates that there is only a small amount of cultural recognition of the non-English speaking Australians in the acting industry. Such low levels of recognition show that either the acting industry is ignorant of the non-English speaking Australians or simply their willingness in participation is relatively low. Further reports indicated that in any given drama shown on the mainstream Australian televisions, out of the two percent non-English speaking actors, thirty five percent were Australians while the rest were a collection of all other cultures that are not English speaking. Such figures have been continually used in debates regarding the participation of such low numbers. Authors have argued that such figures represent a â€Å"pitifully† low when put into comparison with the more than one third of the Australian origin. More arguments have indicated that portrayal of numbers in the media industry is a very vital indicator of commitment and participation in arts. In cultural societies with many cultures, it is obvious that there are also talented individuals in all cultures. They are thus expected to perform specific duties as their talents dictate. In examination of the Australian culture, such low numbers of representation of other cultures in the theatre industry raise serious concerns about consideration of other cultures in Australian theatre. Being a non-English speaking artist in such a country stands a limited chance of pene tration in the theatre industry given the low figures shown in previous reports. Other measuring dimensions Bertone, Keating Mullaly (30) argue that it is not impossible to take measurements in regards to non-English speaking cultures, especially the first and the second generations, participation in the arts industry. They posit that ABS conducts census with details of birth place, employment and occupation. But there is omission of such cultures such as the Aborigines. With this consideration, they continue to argue that a report published in the mid nineties, indicated that there were only ninety five actors of the first generation out of the total 1506. This represented a mere six percent of the total actors in the acting industry, indicating a slight percentage of first generation participation of non-English speakers. These figures, they argue, represent only small fraction of numbers of what would be expected in the theatre industry. The second generation, with one Australia n parent composed of eleven percent. The English speaking of Australian origin comprised of more than sixty four percent of the total actors in theatre while those from English speaking countries comprised of the remaining eight percent. This still shows that consideration of non-English speaking people in Australian theatre industry was still low as reflected in numbers. The use of numbers has been greatly disputed as a general concept of determination of participation of non-English speaking people in the Australian theatre and thus new modes have been developed. Consideration of demographics and economic realities of those involved in the theatre industry has been adopted as a new approach to determination of participation. By consideration of demographics, another report published showed great diversities in regional representations. The report published by ASB showed that participation of people from outside Australia comprised of only thirteen percent of the total workforce. O ut of these, approximately six percent are from Europe and the USSR. Approximately five percent are from South East, North East and Southern Asia regions. The Oceania region is represented by only a fraction slightly less than one percent. Africa closes as the last in representation with only zero point five percent in the theatre industry. This is a clear indication that regions of origin play a role in determination of participation in the theatre industry (Bertone, Keating Mullaly 38). Implications Such statistical evidences provided above have not been directly explained. The cause of the presence of such statistical evidence is yet to be determined. But with surety, there seemed no suggestion or presence of literature that lack of interest in the non-English speaking population was the major cause of such low numbers in theatre participation. There is an attributed presence of attitudes and barriers resulting from the involved institutes. According to new evidences acquired by the ESB, there is a strong consideration of the view that opportunities available for non-English speaking Australians of the first generation were relative few compared to English speaking ones. This view, coupled with the previous fact of causal indicates that the non-English speaking people are marginalized in the Australian theatre. Given that they have not failed to show interest in theatre and acting, explanation of such numbers raise serious concerns. Determination of real cause of presence in theatre industry is yet to be achieved. Such under-representations may be considered invisible within public domain. Since research has revealed that there is a problem with cultural representations, alternation of the situation has failed to commence. Consequently, there has been automatic misrepresentation as multicultural societies are concerned. This misrepresentation is sending a wrong signal of exclusion to the world with an indication of non-belongingness in the mainstream theat re industry. This thus implies that non- English speaking people are considered stereotypes and thus considered suitable for low and more casual positions such as â€Å"Taxi driver, cook and Greengrocer† (Bertone, Keating Mullaly 76). Problem of funding It has also been noted that non-English speaking people undergo problems of funding in areas they participate, especially in regards to art. Bertone, Keating and Mullaly (78) continue to posit that the Non-English speaking in Australia especially the first generation seem to dominate in areas which are less funded in theatre than areas with well funded programs. These areas include youth theatre groups, ethno-specific companies and theatres that are considered to be communal (Bertone, Keating Mullaly 76). As a matter of fact, funding would be much appreciated especially in line with acquiring necessary knowledge needed either to fund their investments or acquire higher levels of education to support their works of art. These areas are not fully commercial and their contents are not of great influence in the media as mainstream contents are. As a result, they do not receive much attention from across English speaking Australians and are thus considered less competitive; hence the presence of a majority of non-English speaking groups. Due to this kind of attraction, there seems to be shunning from mainstream in regard to ethno-specific groups in Australia. As such, no commercial attachment is given. On the proportionality of funding, there seems to be a disproportional approach to the situation. As revealed from interviews, literature and available evidence from statistics, there is great bias in theatre and art funding from sponsoring bodies. Although there are steps that have been taken to contain the situation, the disparities have not been eliminated. With the creation of funding workshops and organization of church bodies to sponsor art in Australia, equal funding has not yet been achieved. The nati onal State government has also shown concern to lack of funding in multicultural art. As a result, it has shown great devotion by commitment through a creation of a funding program aimed at funding multicultural art in Australia (Bertone, Keating Mullaly 58). Despite these efforts, mainstream related theatrical organizations continue to dominate attraction of funding from willing bodies (Bertone, Keating Mullaly 62). This has been associated with related profits and achieved from productions related to mainstream. Sponsors have thus put more in mainstream with a view to regain or sell their image to the public. Project related events have increasingly dominated the mainstream art industry due to organizational perspective. Barriers to multicultural art In most countries with multicultural practices, there is always the problem of balance. In Australia, there seems to be a problem as regards this balance of English speaking and non-English speaking due to several barriers. To begin with, the domination of English cultures and traditions continue to alienate content related to non-English speaking cultures. Secondly, there is an observed lack of willingness as far as theatrical art is concerned. Attribution of class boundaries have locked out interest of multicultural participation in art. For instance, non-English speaking people are considered working class and thus thought as unsuitable for creation of artistic content suitable for mainstream art industry in Australia (Bertone, Keating Mullaly 35). Thirdly, there are discrimination related implications in auditioning processes whereby individuals are given content in a complex language. During funding applications, there is a problem with the application process whereby there is need for clarification of nationality and whether one is English speaking or not. These are aimed at eliminating non-English speakers from English speakers as theatre and art are concerned. Other problems such as market size and un observable risk taking in the industry for non-English speaking additionally added to the problem of limited numbers of non-English speakers in art and theatre. Conservatism has also been identified as one of the leading problems due to the fact that theatre audiences have been thought to be conservative and thus unlikely to accept new content, different from original English. Philosophical perspectives There have been diverse views in regards to the multicultural imbalance in art as depicted in Australia. Many philosophers have argued under the perspectives of social just, indicating humanistic approach to the situation. They claim that recognition of different cultures is imperative in a multicultural society. This creates a society that embraces diversity and respect for all human beings. They have however noted that, success in this regard needs careful planning and production of competent content (Bertone, Keating Mullaly 50). From the dimension of laizze fair, arguments such as industrial self-regulation of art and theatre industry should prevail without integration or intervention of external bodies. In either case, there has been proposition of recognition of multicultural practices in a society that has minority cultures that accept majority culture content. Conclusion It is evident from the discussion that there is marginalization of non-English speakers as artists in English speaking nations, for example, as apparent in Australia. Of great concern are those who do not understand English language for purposes of understanding the local culture. Although the claims have been arrived at from statistical approach, demographical and economic approaches have also shown correlation to supportive evidences. The obvious disparities have been attributed to several problems faced in art and theatre industry such as problems of funding, lack of will, discrimination and conservatism. Light from philosophical perspectives have raised attention to the situation. As argued from a social justice dimension, recognition of multicultural environment is important in fostering national unity and achievement of human respect. In most cases, the challenge posed by traditional and cultural balance has been noted as a growing challenge that needs t o be addressed for the sake of assisting artists who may be disadvantage by language barrier. As already mentioned, artists who are non-English speakers may be alienated by the dominant English cultures and works of art that may be dominant compare to those of non-English speakers. Although both art contents may be relatively similar, it is definite that non-English speakers who practice various works of art may be largely disadvantaged in one way or another. In terms of theatrical art, there seems to be lack of cultural willingness seems to be dominant in most English speaking nations bearing in mind that cultural differences may pose real challenge to non-English speakers. On a final note, it is prudent t o mention that societies differ a lot in terms of class, power and class. While these variations may be welcome in terms of diversity in generating resources both for native and non-English speakers, it is prudent to mention that ethnic differences may adversely play a negative role in alienating non-English speakers. Various factors play unique roles but of great importance are the role played by language in promoting cultural harmony. From the philosophical point of view, industrial self regulation of both art and theatre industry ought to take place with proper regulation of the industry by relevant bodies. There are doubts that regulation of artistic works may no be balanced or uniform across the board. As a matter of fact, those who may suffer in this situation are the aliens who are non-English speakers. It is indeed necessary to recognize multicultural practices among different artists from various backgrounds. Works Cited Bertone, Santina, Keating, Clare Mullaly, Jenny. The Taxi driver, the Cook and the Greengrocer: The representation of non-English speaking background people in theatre, film and television. Melbourne: The Australia Council, 2006. Print. Brandellero, Amanda. Crossing cultural borders? Migrants and ethnic diversity in the cultural industries. London: European Cultural Foundations, 2007. Print. This research paper on Living as non-speaking English artist in English speaking country was written and submitted by user Vivid H0rse to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

French Expressions Using the Word Quelque

French Expressions Using the Word Quelque The French word quelque literally means some and is also used in many idiomatic expressions. Learn how to say in a little while, somewhat, in a word, and more with this list of expressions with quelque. Some Jai quelques idà ©esI have some ideas.Jai quelque envie...I have some desire, I kind of want... About il y a quelque 10 ansabout 10 years agoquelque 5 000 voituresabout 5,000 cars Other Expressions quelque chose (pronoun)somethingquelquefois (adverb)sometimesquelque part (adverb)somewherequelquun (pronoun)someonequelques-uns, quelques-unes (pronoun)some, a few quelque distancesome distance fromen quelque sorteas it were, so to speak, in a word, in a wayet quelquesand change, a little more thanCà ©tait 5 euros et quelquesIt was 5 euros and change.quelque autre noun, quelques autres plural nounsome otherY a-t-il quelque autre restaurant  ?Is there some other restaurant?Jai quelques autres idà ©esI have some other ideasquelque chose de adjsomethingquelque chose dintà ©ressantsomething interestingquelque peusomewhat, rather, a bitquelque... quewhatever, whichever quelque prix que...At whatever price that...quelque tempssome timeattendre quelque tempsto wait a little whiledans quelque tempsbefore longdepuis quelque tempsfor a while

Is commercial surveilliance in the UK effectively monitored and Essay

Is commercial surveilliance in the UK effectively monitored and regulated by the Security Industry Authority - Essay Example he local private security industry including a long list of approving licences to companies such as security guards, vehicle immobilisers, the key holders, private investigators and the security consultants including the licensing of manned guarding which includes cash and valuables in transit, close protection, door supervision, public space Close Circuit Television (CCTV) systems, and security guard. (Security Industry Authority, 2007) According to Sir Digby Jones, the Director-General of the CBI, the â€Å"Security Industry Authority will bring us a better regulated and professional private security services throughout the country as it welcomes the introduction of a new standards in the security industry†. (SIA and CBI, 2005: 2) Based on a recent survey on 500 British companies in 2005, almost 25% never spend money on security devices and 49% did not bother to come up with a contingency plan in case of serious crimes or other related activities that may harm the normal functioning of the business. (Culver, 2005) CCTV Operators came into effect all over England and Wales. (SIA, 2007b) With the new Security Industry Authority vision1, it is possible to reduce the incidence of crime, promote peace and disorder, as well as eliminate the fear caused by criminal acts throughout the United Kingdom. For the purpose of the study, the researcher has stated the research proposal as â€Å"to determine whether the commercial surveillance in UK, particularly the licensing of the heavily promoted of CCTV installations, is really effectively being monitored and strictly regulated by the Security Industry Authority or not† by conducting an intensive up-to-date literature review. Based on the research proposal, the researcher will define a list of specific research questions that are directly or indirectly related to the research proposal. Aside from the literature review, the researcher aims to conduct a separate research proposal by using related survey questionnaires. These