Gender in Translation Essay Example for Free

Gender in Translation Essay Abstract Metaphors are taken to be the most fundamental form of figurative language, carrying the assumption that terms literally connected with one object can be transferred to another object. A writer/speaker uses metaphor more often than not with the intentions of introducing a new object/concept, offering a more precise meaning, or simply presenting a more poetic effect to his text/speech. The main focus of this study is image metaphors of color in the Shahnameh of Ferdowsi. The study set out to determine how this particular figure of speech is rendered by reviewing two English translations of the work. The framework of the study was Newmarks (1988a) seven suggested procedures for translating metaphors. In addition to determining which of these procedures have been applied in the two translations, the study also aimed at discovering whether any new procedures might have been applied. The study also attempted to find out whether any exclusive patterns were observed in each translators rendering of the discussed items. The study concluded that out of the seven procedures proposed by Newmark for translating metaphors, Warner Warner applied five procedures and Davis applied all seven of the procedures in the translation of image metaphors of color. No new procedure was observed in their translations. The translators choices of procedures for translating these specific items showed that Warner Warner had a tendency towards the first procedure which resulted in a literal translation of the particular metaphor, whereas Davis had a tendency towards the other six  procedures which all led to explicitation, simplification and the production of a reader-oriented text. Key terms: the Shahnameh, figurative language, metaphor, image metaphor of color, translation procedure 1. Introduction Translation, as Catford (1965) defines it, is an act of transference, in which a text from the source language is replaced by its equivalent in the target language (p. 20). Newmarks (1988b, p. 5) more modern version of the term is often, though not by any means always, rendering the meaning of a text into another language in the way that the author intended the text. Even the mere thought of inferring from these two definitions that the task of a translator and the whole translation process is a simple one seems a naivete on the part of the inexperienced. Any given source text intended for translation, regardless of its text-type, is required to undergo a close reading in order to understand what it is about, and then an analysis from the point of view of the translator. The analysis stage consists of determining the intention of the text which, according to Newmark (1988a), represents the SL writers attitude to the subject matter – and also the style in which it is written. Being attentive to the selected lexicon, the syntax, figures of speech, neologisms, punctuations, names, and many more is a vital role the translator plays in the process of translation. In the case of poetry, apart from all the above features there is a surplus of sound effects such as rhyme, meter, assonance, alliteration, stress, onomatopoeia. The most common goal among translators is, and always should be, to create the same effect on the target reader as the original writer had intended for his readers. In Nidas own words, the relationship between receptor and message should be substantially the same as that which existed between the original receptors and the message (Nida, 1964a, p. 159). Understanding and analyzing figurative language in a text, as mentioned above, is one of the difficult processes in translation. One of these figures of speech is metaphor which is considered by linguists as the most basic where one object is used to describe another object and both objects are essentially disparate entities, but common in one or more attributes. In the following section, the theoretical preliminaries of the study will be presented, which includes an overview of metaphor, concerning its definition, classifications, identification, and also translation procedures introduced by Newmark (1988a) on the translation of metaphors in general. The image metaphor of color in particular will also be discussed along with several exemplifications. Thereafter, a selection of the collected data will be presented, analyzed and discussed. The last section will include the conclusion of the study. 2. Theoretical Preliminaries 2. 1. Definition of Metaphor Metaphor, as stated in the Merriam Webster online dictionary, is etymologically from Greek, from metapherein, meaning to transfer and from meta- + pherein, meaning to bear. It is defined by the same source as a figure of speech, in which a word or phrase literally denoting one kind of object or idea is used in place of another to suggest a likeness or analogy between them. One of Shakespeares most famous and oft-quoted lines, All the worlds a stage, is an example of a metaphor, where he indicates that the world and stage are analogous. According to Richards (1936), a metaphor consists of two parts, tenor andvehicle, also introduced as object and image by Newmark (1988a), respectively. The tenor is the term to which attributes are ascribed and the vehicle is the term from which attributes are borrowed. The properties of the vehicle which apply to the tenor in a given metaphor are namedgrounds of a metaphor, also known as the sense of a metaphor. Therefore, in the example given above, world is the tenor or object, and stage is the vehicle or image. The ground of this metaphor is more apparent when the next two lines are added: All the worlds a stage And all the men and women are merely players, They have their exits and their entrances This metaphor is extended through adding another pair of tenor and vehicle, i. e. men and women is the second tenor and players is the second vehicle. Therefore, as the actors on stage have an entrance and also an exit, the inhabitants of the world do as well, their entrance to this world being birth and their exit being death. 2. 2. Classifications of Metaphors Metaphors have been categorized in different ways by different linguists. Black (1962a, p. 25) asserts that the only entrenched classification is grounded in the trite opposition between dead and live metaphors. He adds that this is no more helpful than, say, treating a corpse as a special case of a person: A so- called dead metaphor is not a metaphor at all, but merely an expression that no longer has a pregnant metaphorical use. However, he does present a classification for metaphors, but not before declaring that if the actuality of a metaphor †¦ is important enough to be marked, one might consider replacing the dead and alive contrast by a set of finer discriminations; hence, the following classification (ibid, p. 25): 1. extinct metaphors: expressions whose etymologies, genuine or fancied, suggest a metaphor beyond resuscitation (a muscle as a little mouse, musculus) 2. dormant metaphors: those expressions where the original, now usually unnoticed, metaphor can be usefully restored (obligation as involving some kind of bondage) 3.  active metaphors: those expressions, that are, and are perceived to be, actively metaphoric He continues further to discriminate between two types of active metaphor: an emphatic metaphor whose producer will allow no variation upon or substitute for the words used, and a resonant metaphor, which supports a high degree of implicative elaboration (ibid, p. 26). On this account, he calls a metaphor of marked emphasis and resonance a strong metaphor, and in contrast, a metaphor of relatively low emphasis or resonance a weak metaphor. Lakoff (1977) made a revolutionary contribution to the study of metaphors when he suggested a new theory of metaphor which basically stated that metaphors are fundamentally conceptual, not linguistic, in nature (Lakoff, in Ortony, 1993, p. 244), which resulted in the advent of the conceptual or cognitive theory of metaphor. In his proposal of the theory, he does not provide us with any specific classification for metaphors, but rather, he only refers to them in his writings as he explains and elaborates on the theory. He states that conceptual metaphors map one conceptual domain onto another (ibid, p.  229). On the other hand, the novel metaphors of a language are, except for image metaphors, extensions of this large conventional system (ibid, p. 240). Therefore, it can be implied that he believes most metaphors to be conceptual metaphors and some others to be novel metaphors under which image metaphors are subcategorized. However, more than twenty years after Blacks declaration of his standpoint on the categorization of metaphors, Newmark (1988b) was still a faithful believer in the dead/live metaphor classification, as he distinguishes six types of metaphors, beginning with dead metaphors: 1.dead metaphor: this type of metaphor frequently relates to universal terms of space and time, the main part of the body, general ecological features and the main human activities (ibid, p. 106). Dead metaphors have lost their figurative value through overuse and their images are hardly evident. Some examples of a dead metaphor include at the bottom of the hill, face of the mountains, and crown of glory. 2. cliche metaphor: this type of metaphor is known to have outlived its usefulness, and is used as a substitute for clear thought, often emotively, but without corresponding to the facts of the matter (ibid, p.107). Some examples include a jewel in the crown, to make ones mark, and backwater. 3. stock or standard metaphor: this type of metaphor is defined by Newmark (1988b, p. 108) as an established metaphor, which in an informal context is an efficient and concise method of covering a physical and/or mental situation both referentially and pragmatically. He also states that stock metaphors, in contrast to dead metaphors, are not deadened by overuse (ibid). Examples of this type also mentioned by Newmark are: to oil the wheels, hes in a giving humour, and hes on the eve of getting married. 4. adapted metaphor: this type of metaphor is actually a stock metaphor that has been adapted into a new context by its speaker or writer, for example, the stock metaphor carrying coals to Newcastle can be turned into an adapted metaphor by saying almost carrying coals to Newcastle. 5. recent metaphor: this type of metaphor is produced through coining and is spread in the SL rapidly. Examples of this kind are spastic, meaning stupid, and skint, meaning without money. 6.original metaphor: this type of metaphor is created or quoted by the SL writer, and in the broadest sense, contains the core of an important writers message, his personality, his comment on life (ibid, p. 112). 2. 3. Identifying Metaphors The recognition of a metaphor in a certain text or speech may be rather easy for native speakers, but when it comes to a non-native, the challenge begins. The supposition that an expression is a metaphor when it yields a false or absurd meaning when interpreted literally is not reliable because not all metaphors have false literal interpretations (Way, 1991, p.14). This unreliability is proven by Way when she exemplifies through the following lyrics of a song: A rock feels no pain, and an island never cries. This statement is a metaphor, but it is also literally true; rocks do not feel pain, and islands are not the kind of things that can cry (ibid). But how do we identify it as a metaphor, even when the literal meaning seems true? Way (1991, p. 14) explains: Perhaps because, while not actually false, talking about rocks feeling pain and islands crying is certainly a peculiar combination; maybe we can identify metaphors by their odd juxtaposition of ideas. A more classical way of identifying metaphors, which again is not reliable, is the form x is a y. Although many metaphors do take this form, many more do not. As Way exemplifies through Shakespeares Let slip the dogs of war, she states that although this is clearly a metaphor, but it does not fit the form of x is a y, for we are not comparing dogs to war, but rather to armies, something which is never explicitly mentioned in the phrase (ibid, p. 15). She goes on to explain that even the syntactic structure of a metaphor can not be proof of its essence, as it has no consistent syntactic form. She provides an example by Saskice, where it is shown how one metaphor can be rephrased as a statement, a question or an exclamation (ibid): The moonlight sleeps sweetly upon the bank. Does the moonlight sleep sweetly upon the bank? How sweet the moonlight sleeps upon the bank! She also mentions that a metaphors focus can be of any part of speech. In the following examples by Saskice provided by Way (1991, p. 15), it is stated that the focus is first a verb, then a noun, and finally a participle: The smoke danced from the chimney. The trees bowed in the dance of the seasons. Dancing waters surrounded the canoe. According to all the above, there is no reliable method for identifying a metaphor. The more we strive to analyze a metaphor, the more we understand that its creation and comprehension are challenging tasks, specifically for the non-native speaker. 2. 4. Translating Metaphors Newmark (1988b) proposes the following seven strategies for translating metaphors; the examples included for each strategy are provided by Tajalli (2005, p. 107): 1. Reproducing the same image in the TL. Play with someones feelings 2. Replacing the image in the SL with a standard TL image which does not clash with the TL culture I got it off my chest 3. Translation of metaphor by simile, retaining the image The coast was only a long green line 4. Translation of metaphor (or simile) by simile plus sense, or occasionally metaphor plus sense He is an owl 5. Conversion of metaphor to sense To keep the pot boiling 6. Deletion. If the metaphor is redundant or serves no practical purpose, there is a case for its deletion, together with its sense component 7. Translation of metaphor by the same metaphor combined with sense. The addition of a gloss or an explanation by the translator is to ensure that the metaphor will be understood The tongue is fire . 2. 5. Image Metaphors of Color As mentioned earlier, image metaphor is a subcategory of Lakoffs novel metaphor. He distinguishes between conceptual metaphor and image metaphor due to their distinct mapping processes. The conceptual metaphor maps one conceptual domain onto another, often with many concepts in the source domain mapped onto many corresponding concepts in the target domain, whereas the image metaphor maps only one image onto one other image; thus, Lakoff (1977) calls them one-shot metaphors. The following poem, interpreted by Louis Watchman (as cited in Ortony, 1993, p. 231), contains several image mappings: My horse with a hoof like a striped agate, with his fetlock like a fine eagle plume: my horse whose legs are like quick lightning whose body is an eagle-plumed arrow: my horse whose tail is like a trailing black cloud. He continues by explaining that Metaphoric image mappings work in the same way as all other metaphoric mappings: by mapping the structure of one domain onto the structure of another. But here, the domains are conventional mental images (ibid, p. 229). Therefore, image metaphors map one attribute of the source domain onto the target domain. Image mapping may involve physical part-whole relationships, as in the following example extracted from The Descriptions of King Lent, translated by J.M. Cohen (ibid, p. 230): His toes were like the keyboard of a spinet. Lakoff explains that The words do not tell us that an individual toe corresponds to an individual key on the keyboard. The words are prompts for us to perform a conceptual mapping between conventional mental images (ibid). Image mapping may also involve a dynamic image, as in the following lines by Shakespeare (as cited in Hawkes, 1972, p. 46), where the movement of the curtains is mapped onto the movement of the eye: The fringed curtains of thine eye advance,  And say what thou sees yond. Other attributes, such as colors, may also be mapped, which are the main focus of the present study. The following lines by Shakespeare (ibid, p. 47) map the whiteness of the lily and also ivory onto the girl: Full gently now she takes him by the hand, A lily prisond in a gaol of snow, Or ivory in an alabaster band: So white a friend engirts so white a foe. There are many examples of image metaphors of color in the Shahnameh, where the attribute of color has been mapped onto the target domain. The following translation of a couplet in the Shahnameh, produced by Warner Warner, contains four image metaphors (of which two are similes), but only in two of them is the attribute of color intended to be mapped; the whiteness of camphor is mapped onto the characters hair, and the redness of a rose onto his cheeks: His stature cypress-like, his face a sun, His hair like camphor and his rose-red cheeks (Warner and Warner, 1925, vol. 1, p. 191) Also in the following example from the Shahnameh, Davis has compared blood to the redness of wine in this metaphor, even including the sense. But here, the metaphor has been applied simply as a device for making the text more poetic, as Way (1991, p. 33) discussed about the substitution theory of metaphor. He saw Sohrab in the midst of the Persian ranks, the ground beneath his feet awash with wine-red blood. (Davis, p. 205) 2. 6. Formal and Dynamic Equivalence Nida (1964) divides equivalence in two different types in his article entitled Principles of Correspondence, i. e. formal and dynamic equivalence. He depicts formal equivalence as a focus on the message, in both its formal aspects and its content. Thus, in a translation from poetry to poetry, sentence to sentence, and concept to concept (Nida, in Venuti 2000, p. 129), the concern is formal equivalence. In this type of equivalence, the message produced in the TT should match the different elements of the ST as closely as possible. Nida further explains that a gloss translationtypifies formal equivalence. In this type of translation, he states, the translator attempts to reproduce as literally and meaningfully as possible the form and content of the original (ibid). In order to be comprehensible, such a translation would require numerous footnotes (ibid). This structural equivalence seems to be rather identical to Larsonsmodified literal translation, where the translation is basically literal, but with modifications to the order and grammar of the ST, so as to produce acceptable sentence structure in the receptor language (Larson, 1984, p. 16). To a great extent, it also resembles Newmarks semantic translation, which he states, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original (Newmark, 1988a, p.39). Dynamic equivalence, on the other hand, maintains that the relationship between receptor and message should be substantially the same as that which existed between the original receptors and the message (Nida, in Venuti 2000, p. 129). In a translation of dynamic equivalence, the target readership is not necessarily required to understand the SL culture in order to understand the message. Most importantly, this type of equivalence aims at complete naturalness of expression (ibid) , and is also based on the principle of equivalent effect, which maintains that the translator should produce the same effect on his own readers as the SL author produced on the original readers. Similar to Nidas dynamic equivalence is the traditional idiomatic translationdiscussed in Larson (1984). The translators goal should be to reproduce in the receptor language a text which communicates the same message as the SL, but using the natural grammatical and lexical choices of the receptor language (ibid, p. 17). Also rather similar to this type of equivalence is Newmarks communicative translation, which he claims, attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original (Newmark, 1988a, p. 39). According to the above-mentioned, after comparing Warner Warners (1925) and Davis (2007) English translations of the Shahnameh with the original, it was concluded that the first translation is a semantic translation, while the second one is a communicative translation. Warner Warner have translated poetry into poetry and also strived at preserving the archaic tone of the original. Furthermore, they have indicated in their Introduction to the translation that many explanatory notes have been added; hence leading to a semantic translation. Davis, on the other hand, has converted poetry into prose, with occasional lines of verse in some episodes. He also explains in his Introduction to the translation that he has intended this translation for the general reader and not for scholars; thus his version is a communicative translation. 3. Empirical Data 3. 1. Data Collection and Analysis Thirty-three examples of image metaphors of color identified in theShahnameh were located in two English translations, i. e. Warner Warner (1925) and Davis (2007). It is worth noting that over forty-five metaphorical expressions of color were identified in the entire Shahnameh, but as Davis translation is not a complete translation, rather an abridged version, only thirty-three were applicable to this study. The first step in this procedure was to identify all terms/objects in theShahnameh that presented color imagery. This information was found in a list provided by Rastegar Fasaei (1990). Seventy-nine items were listed, but only thirty-three were applicable in this study, because the list was obviously not intended for metaphors of color, but rather a list indicatingterms that denote a color. Many of these terms were basic color terms, e. g. , which could not produce any potential metaphorical expression implying a color. They were mostly used in adjectival phrases describing a particular object or event. Therefore, all color terms were ruled out, as well as other terms which indicated some kind of brightness or shiny effect, e. g. the expression , in which the metaphor implies that the sword is very shiny. Unfortunately, approximately eighteen of the items in this list were of this kind, representing brightness of an object, colors of the air, and colors of the earth, of which the latter two seemed ambiguous and impracticable for this study. As mentioned earlier, the translation by Davis is not a complete translation of the wholeShahnameh, as many episodes have been omitted. Therefore, several of the items in the list have occurred only in the sections not translated by Davis; hence, deleting them from the list was inevitable. Many of the terms in the list, unfortunately again, were observed only in the form of similes, and not metaphors; therefore, they could not be applied either. After settling on these thirty-three items, they were sought in aShahnameh software, in order to locate the couplets which contained these terms. The next step was to review each couplet to see which one had an image metaphor of color created with that specific term. For some terms, the frequency of occurrence was very high, e. g. approximately 400 couplets, which caused some difficulties in terms of being highly time-consuming. A minimum of one couplet carrying an image metaphor of color was chosen for each of the thirty-three instances via the Shahnamehsoftware. These examples were then initially located in the translation by Davis, as his is an abridged translation. Regarding this, he states in the Introduction to his book: Given the poems immense length, some passages have inevitably been omitted, and others are presented in summary form (Davis, 2007, xxxiv). After determining which of the examples were included in Davis translation, one couplet was eventually chosen for each instance, and then the corresponding expression was located in Warner Warners translation. So far, there were thirty-three Persian examples of image metaphors of color, along with their corresponding expressions in the two English translations. These were the steps taken in the data collection stage. The next step was to analyze the collected data, which included determining the translation procedures involved in each of the two translations. The framework applied was Newmarks (1988b) seven procedures introduced for translating metaphors. The goal here was not just determining which translator applied which procedure(s) and the frequency of each procedure, but also finding out whether any new procedures were applied other than Newmarks. The study also aimed atdiscovering any possible translation patterns exclusive to each translator. The following three examples were selected as representatives of the collected data in this study. (?. – ?) The night was like jet dipped in pitch, there lent No planet luster to the firmament (Warner Warner, vol. 3, p. 287) A night as black as coal bedaubed with pitch, A night of ebony, a night on which Mars, Mercury, and Saturn would not rise. (Davis, p. 306) In this ST context, the poet has depicted the scene as though the night has actually covered its face with pitch. Both translators have reproduced the same image in their TTs, thus likening the night to a black stone ( ) that has washed its exterior with pitch. (?. – ) Raised such a dust! But swift as dust they sped Till days cheeks turned to lapis-lazuli. (Warner Warner, vol. 7, p. 67) They rode quickly until the day turned purple with dusk. (Davis, p. 642) The definition provided for is a dark blue stone; its translation by Emami is lapis-lazuli, azure. Britannicas online dictionary definition forlapis-lazuli is a semiprecious stone valued for its deep blue color. Therefore, the first translator has again reproduced the same image through the same metaphor. The second translator, however, has converted the metaphor to its sense, i. e. the color it represents. ? ? (?. – ) This he said, And heaved a sigh. The colour of his cheek Turned from pomegranate-bloom to fenugreek (Warner Warner, vol. 6, p. 25) Having said this he heaved a sigh from the depths of his being, and the rosy pomegranate petal turned as pale as fenugreek. (Davis, p. 455) The mental image of this ST metaphor is mapped onto the kings face, describing the change of color in his complexion. The first translator has interestingly enough converted the metaphor to its sense, which seems rather a rare procedure for a semantic translation. The second translator, however, has reproduced the same image in TT2. 3. 2. Discussion Thirty-three cases of image metaphors of color were identified in theShahnameh and then located in two English translations, i. e. Warner Warner (1925) and Davis (2007). Afterwards, the procedures applied by each translator in rendering these thirty-three items were identified. The framework chosen was that of Newmarks (1988a). The analysis of the data showed that Warner and Warner applied five of Newmarks suggested procedures in translating the specified image metaphors of color. They also presented two cases of wrong translation. In the following table, the procedures applied by Warner Warner in translating the thirty-three image metaphors of color identified in this study and their frequency of occurrence, along with the corresponding percentages are shown. Table 4. 1. Frequency and percentage of procedures applied by Warner Warner Procedure| Frequency| Percentage| Reproducing the same image in the TL| 23| 69. 69| Replacing the image in the SL with a standard TL image| 3| 9. 09| Translation of metaphor by simile, retaining the image| 1| 3. 03| Translation of metaphor by simile plus sense| 0| 0|. Conversion of metaphor to sense| 3| 9. 09| Deletion| 0| 0| Translation of metaphor by the same metaphor plus sense| 1| 3. 03| Wrong translation| 2| 6. 06| Total| 33| 100| As evident in this table, Warner Warner have neither translated any metaphors by simile plus sense, nor deleted any metaphor. The most frequently applied procedure in their translations was the reproduction of the same image in the TL. The translation of the Shahnameh produced by Warner Warner is a semantic translation, which clearly proves the reason as to why their most frequently applied procedure is the one mentioned above. A semantic translation attempts to recreate the precise flavor and tone of the original: the words are sacred, not because they are more important than the content, but because form and content are one (Newmark, 1988a, p. 47). The analysis of the data also shows that Davis has applied all seven procedures introduced by Newmark in translating these items. There was no evidence of any wrong translation. The following table presents the frequency of each procedure which was applied and also their percentages. Table 4. 2. Frequency and percentage of procedures applied by Davis Procedure| Frequency| Percentage|. Reproducing the same image in the TL| 12| 36. 36| Replacing the image in the SL with a standard TL image| 3| 9. 09| Translation of metaphor by simile, retaining the image| 3| 9. 09| Translation of metaphor by simile plus sense| 2| 6. 06| Conversion of metaphor to sense| 6| 18. 18| Deletion| 2| 6. 06| Translation of metaphor by the same metaphor plus sense| 5| 15. 15| Total| 33| 100| As indicated in the table, the most frequently used procedure by Davis is also the reproduction of the same image in the TL. He has opted for deletion of the image metaphor of color in two cases. In one of the two cases, his deletion seems to serve the purpose of a more easy-going, reader-friendly text (where the metaphoric elements seem complex or far-fetched to the target audience), whereas in the other case, his deletion seems somehow arbitrary or unjustifiable. The following table compares the two translations in terms of the percentage of procedures applied. P1 through P7 are the seven translation procedures involved in this study, also indicated in the previous table, and WT stands for wrong translation. Table 4. 3. Percentage of the procedures applied by both translators | P1| P2| P3| P4| P5| P6| P7| WT| Total %| W. W. | 69. 69| 9. 09| 3. 03| 0| 9. 09| 0| 3. 03| 6. 06| 100| Davis| 36. 36| 9. 09| 9. 09| 6. 06| 18. 18| 6. 06| 15. 15| 0| 100| 4. Conclusion Thirty-three cases of image metaphors of color were extracted from theShahnameh and relocated in two English translations, i. e. Warner Warner (1925) and Davis (2007). The main objective of the study was to determine which translation procedures introduced by Newmark (1988a) for translating metaphors in general were applied by the two above mentioned translators. According to the collected and analyzed data, Warner Warner applied five of Newmarks suggested procedures. The two procedures they did not apply at all were deletion and translation of metaphor by simile plus sense. The figures indicated that approximately 70% of the thirty-three cases had undergone Newmarks first procedure, i. e. reproducing the same image in the TL, which was also considered the most frequently used procedure by Warner Warner. This is a verification that their translation is indeed a semantic translation, as the objective in this type of translation is to recreate the ST, both its form and its content. This occurs to a great extent through literal/word-for-word translation, which is rather similar to the above- mentioned procedure. Davis, on the other hand, applied all seven of Newmarks procedures in his translation of image metaphors of color. The most frequently used procedure was again, a reproduction of the same image in the TL (36%). The second aim was to determine whether any new procedures for translating image metaphors of color other than those proposed by Newmark for translating metaphors resulted from this study.

Fitzgeralds Great Gatsby and the 20s Essay -- Fitzgerald Great Gatsby

Fitzgerald's Great Gatsby and the 20s After a time of prosperity, the roaring 1920’s became a decade of social decay and declining moral values. The forces this erosion of ethics can be explained by a variety of theories. However, F. Scott Fitzgerald paints a convincing portrait of waning social virtue in his novel, The Great Gatsby. Fitzgerald portrays the nefarious effects of materialism created by the wealth-driven culture of the time. This was an era where societal values made wealth and material possessions a defining element of one’s character. The implications of the wealthy mindset and its effects on humanity are at the source of the conflict in The Great Gatsby, offering a glimpse into the despair of the 20’s. During a time of â€Å"postwar American society, its restless alienation, and its consequent reliance on money as a code for expressing emotions and identity† (Lewis, 46), Fitzgerald focuses his pen on the inevitable emptiness created by the illusions of wealth and its anomalous connection with love during the 20’s. In order to convey his theory, Fitzgerald builds a repertory of superficial characters whose existence revolves around material value rather than tangible human qualities. For example, Tom Buchanan, the husband of Daisy, is introduced as having an appealing and rich life. â€Å"He’d brought down a string of polo ponies from Lake Forest,† Nick comments about Tom. â€Å"It was hard to realize that a man in my own generation was wealthy enough to do that,† (p. 10). Tom is depicted as an enormously wealthy â€Å"national figure,† one with handsome and powerful â€Å"physical accomplishments† (10). But Fitzgerald’s description does not go much further than that. Tom’s persona is limited to a list of superficial accomplishments none of which resemble any spiritually fulfilling traits. Tom thus represents the end result of a person consumed by wealth, because that is his only defining characteristic. Although we could pity such a character, Fitzgerald makes sure that we don’t feel much of anything towards Tom because he was born into wealth and never had to pursue it. â€Å"His money was divested of dreams before he was even born† (Lewis, 51). Since Tom’s lifestyle links intrinsically to his character, nothing he does resembles the passions and desires of a natural human being, rather he is portrayed as a machine or byproduct of his family fortune. Tom la... ... to love, the most powerful of all human feeling. â€Å"The culture of wealth,† writes Marius Bewley, â€Å"represents the romantic enlargement of the possibilities of life on a level at which the material and the spiritual have become inextricably confused,† (Bewley, 37). Gatsby learned this lesson the hard way, giving up his spiritual vision of love and losing it to the emptiness associated with wealth. Fitzgerald realized the confusion in the 1920’s of a culture based around wealth and used his novel to expose the blandness of wealthy lifestyles in contrast with the human feeling of love. If love were a color it would be red, and if it had a mind of it’s own it would remain far from the gray â€Å"Valley of ashes† (27) of New York in the 20’s. Gatsby unfortunately combined those two worlds together and the gray dusted over the red. In the end, Gatsby is murdered, Tom and Daisy continue like zombies, and Nick, disenfranchised, decides to leave altogether. Fitzgerald portrays the essence of emptiness in all the characters touched or consumed by wealth and leaves the reader with a clear message: No sense of fulfillment, specifically regarding love, will result in a life consumed by wealth.

Prostitution Essay

Analyse How Prostitution Is Represented In British Television from 2000 Onwards. In Britain paying for sex is not illegal. But there are many laws criminalising the activities of prostitution. For years people have been arguing over what to do with the laws on prostitution. Recently, there have been many debates over the legality of it, and eventually stricter laws have been put in place to try and stop the act of prostitution. Under the 2003 Sexual Offences Act, it is illegal to incite prostitution or control it for your personal gain, banning the running of a brothel, making it illegal to loiter or solicit sex on the streets and the act of kerb crawling. Trafficking is also illegal. Other laws such as public nuisance are used to target the sex trade. Stricter laws are looking are being put in place that will give police the ability to close down more brothels, and licensing rules will change in regards to lap dancing and strip clubs to try and halt their expansion. Despite the many thousands of women involved in the sale of sexual services, and even greater numbers of men who purchase these services, research and publications on prostitution for much of the post-war period has been relatively limited. For most of this period the street trade has been largely confined to certain red light districts and therefore out of sight to the general public† (Matthews, 2008, page 1). Prostitution has always bee n an issue, but as Matthews states, out of sight is out of mind. Prostitution was bought to the public’s attention in the late 1980s when growing concerns were acknowledged including; â€Å"The spread of HIV and AIDS, the growth of prostitute support, increased public demands to control street prostitution, the growing preoccupation with trafficking and the visible increase in the number of foreign women involved in prostitution†, (Matthews, 2008, page 1). As well as people worrying about the growth of prostitution and trying to enforce stricter laws to stop it, there were people campaigning to decriminalise the act. During the 1980s a number of groups emerged that were trying to promote the rights of prostitutes. The ECP (English Collective of Prostitutes) in the UK, set out to legalise prostitution and normalise the issue. Prostitution is becoming a fast growing phenomenon; â€Å"In London, where prostitutes mainly operate behind closed doors, the number of street customers is estimated at 7,620 a week (Home Office 2004)†, (Monzini, 2005, page 9). Prostitution seems to be about the problems of relations between men and women, as well as to satisfy male urges. In Britain the typical male client is a man aged about 30, married and quite well off. If the clients are usually married then why are they seeking prostitutes? ; â€Å"It has been argued that men who are unsure of their capacity for relations with the opposite sex can escape what they feel as a burden of responsibility†¦ recourse to commercial sex often can be seen as a kind of revenge of reaffirmation, however temporary, of men over women†, (Monzini, 2005, page 10). Monzini is stating that men go with prostitutes to regain power that they have lost elsewhere. A lot of the time being lost in their own relationship. The customer wants to have complete control over the prostitute to make themselves feel stronger and more powerful, this can sometimes lead to violence against the prostitute when they do not comply to the customers needs, mostly being their insistence that the customer wears a condom. It’s been argued that people use prostitutes to act out sexual fantasies that will ‘undo’ the traumas of childhood; â€Å"Sexual fantasies perform a similar function in adulthood to that performed by daydreams in childhood. This time the fantasist is in control, and can direct the scenario towards and ultimately satisfying outcome- orgasm† (O’Connell Davidson, 1998, Page 138). Prostitution is often seen as an escape from over complicated relations. When customers go with prostitutes they are trying to kid themselves that the connection is real; â€Å"Customers pick up street girls in their car, or go to places where they are given only a few minutes to do their business; there are even small hotels that rent rooms out not for an hour but for 5 minutes,† (Monzini, 2005, page 12). The sexual encounter is very short and suggests that in reality there is no connection between customer and prostitute. This can be seen in the television programme Secret Diary of a Call Girl, where Belle (Billie Piper) says; â€Å"Work out what the client wants as fast as you can and give it to him†, (Secret Diary of a Call Girl, 2008). Prostitutes are merely used for sex. There is no real connection or bond between them and the client. The client wants to have sex and feel wanted, while the prostitute just wants the money, so they try not to get involved. Trafficking has increased hugely in the recent years. Mainly women from across Europe are taken from their families and sent to other countries to work as various things, including sex workers. Data taken from the IOM (Anti-Trafficking Unit of the International Organisation for Migration) gave questionnaires to people that had been reported to the IOM to find out about their recruitment. 103 people trafficked themselves because of several reasons including, having been kidnapped, 5. 4%, through the use of the internet, television and newspapers, 7. 4%, sold by their family, 0. 5%, or personal reasons, 84. 1%. This data shows that most people began trafficking for their own reasons, but also shows that a huge number of them were forced into it one way or another. The Home Office estimates that there are between 6,000 and 18,000 trafficked women and girls being forc ed to work as prostitutes in the UK. An article found in the Telegraph newspaper tells of how young schoolgirls are being forced into prostitution; â€Å"The MP said he knew of cases in his Huddersfield constituency where girls first met young men, perhaps driving â€Å"flash cars† outside school who made the initial contact. They then took them out and introduced them to drink and drugs before embarking on a sexual relationship. The girl would believe they were with their first boyfriend but before long, older men would then take over, forcing them to have sex and selling them to others† (The Telegraph, 21st January 2009). Julia O’Connell Davidson suggests that people become prostitutes due to extreme, poor living conditions, and a bad way of life; â€Å"People will generally surrender such powers over their person to others only under very particular social, political and economic conditions- conditions which effectively limit their ‘choices’ to a set of alternatives which are not of their choosing. In some cases these relations present people with a stark ‘choice’ between abject poverty or prostitution, or between violence, even death, or prostitution†, (O’Connell Davidson, 1998, Page 3). O’Connell Davidson is saying that people are using prostitution as an escape. It is very much a last resort for many people, who turn to the business for help and for money so that they can survive. For a lot of girls prostitution is a better way of living then their normal lives, where some may get beaten by family members or other such things. Research by Karen Sharpe shows other reasons as to why girls begin prostituting themselves; â€Å"Women were introduced to the profession, or at the very least were directly influenced or encouraged to turn to prostitution, by friends or other members of the family who were either currently involved, or who had previously been involved in, the prostitution business,† (Sharpe, 1998, Page 41). This is a whole separate issue. It shows that many girls are not choosing the life of prostitution as an escape but because they are forced into it. Another reason for turning to prostitution is about money. Many young girls are getting into the sex industry to pay their way through university or college. An article in the TimesOnline shows a study undertaken by Kingston University, which shows a 50% rise in the number of students resorting to prostitution or other jobs in the sex industry over the past six years. â€Å"In a survey that asked 130 students whether they knew any friends involved in the sex industry, one in 10 said they knew of students who had stripped, lapdanced or worked at massage parlours and escort agencies to support themselves. Just over 6% said they knew students who worked as prostitutes,† (Times Online, October 2006). This is a frightening amount of young people getting into the industry to get themselves out of trouble. Prostitution is not really a choice for most people anymore, it’s a way to survive. Finally the problems surrounding prostitution are being taken seriously, with plans being made to put in more laws to try and stop prostitution. With all this being put into motion comes the release of Secret Diary of a Call Girl, glamorising sex work and giving the impression that being a prostitute can be a good career choice for young women. September 2008 saw this programme aired on our televisions. It is based on a book called Belle De Jour: The Intimate Adventures of a London Call Girl. The television show stars Billie Piper as Belle De Jour, the high class prostitute. The show bought in nearly two million viewers when the first episode was aired. Throughout the first series ratings fluctuated, ending the series with just under one million viewers. The second series never reached one million. So why the sudden drop in ratings? Only 8 complaints were filed after the show was first aired. Having watched the show it is clear to see that there is no real story line to it. Secret Diary only gives an insight into sex work through an agent; there is no realism to the show. Belle seems to live a very glamorous life. She was not forced into prostitution because she was homeless or poor like so many others are, but instead she chose the career path for herself; â€Å"So why do I do it? Well, because I love sex and I love money† (Secret Diary of a Call Girl, 2008). In a year Belle earnt over ? 100,000. Young girls watching the show with money problems or children to support could easily get the idea that being a prostitute is not such a bad thing. The show offers no realistic view of street prostitution and the dangers of it. While Belle has an agent who she checks in with after meeting every client it does not assure her safety. In episode 6 of series 1, she encounters a slight problem with a client. When she goes to call her agent he turns nasty; â€Å"I don’t want you to call anyone. I’ve paid for you. Please take your clothes off,† (Secret Diary of a Call Girl, 2008). Many researchers on the subject of prostitution suggest that one of the reasons men buy sex is to do with power; â€Å"Buying sex as an exercise of power for disempowered men,† (Sanders, 2008, Page 40). Sanders is suggesting that men are purchasing sex because they have lost power elsewhere in their lives and paying someone to do what you tell them to is a way for men to regain the power. This is a possible explanation for why the man in Secret Diary got angry because Belle was not doing as she was told, making the client feel belittled, as he no longer has the power. Secret Diary of a Call Girl is not a very good representative of the industry of sex work. It only gives an insight into the work of escorts and is based on the stories of one girl. Crimefighters- The Vice, was aired on television in 2008. It is a series following a vice squad around Nottingham who are tackling the problem of street prostitution. In one particular episode (23rd October) a man is caught with a prostitute in a park late at night. In another episode (27th September) a man is caught in an alleyway with a prostitute. The programme offers a realistic insight into the work of street prostitution and how bad it really is. Men are paying ? 10-? 20 to have sex with these women in dark, dingy parks, down grotty alleyways and even in front of people’s houses. One episode shows the vice squad interviewing everal prostitutes from around the area and finding out how they really feel about it. The general consensus from them is that they are ashamed of themselves and would rather be doing anything else but prostituting themselves. One prostitute has been in the industry for 15 years and has averaged 10-15 men a day. This being true she would have slept with over 75,000 men in her time as a prostitute. In respon se to this she says; â€Å"It is just a job,† (Crimefighters, 2008). She has been prostituting herself for so long now that she does not seem to have any real feelings towards the job in hand. After watching this episode it is clear to see that most of the women in the area began prostituting themselves because they are homeless and addicted to drugs or have children to support. But the money they do make goes straight on more drugs. These prostitutes are spending up to ? 200 a day on drugs and the money they are making is going straight on more drugs. It is a vicious circle that they will not get out of without help. Unlike Belle, these women hate their jobs; â€Å"They make my skin crawl. I’m not out here for fun. I can’t stand them touching me,† (Crimefighters, 2008). This shows that these prostitutes are selling themselves because they have no other choice. They become reliant upon the money they are making that they cannot get themselves out of it. Street prostitution is dangerous. Crimefighters helps to show that there are dangers to being a prostitute and that people can turn nasty. ; â€Å"I could get picked up one day and chucked out in a ditch†, (Crimefighters, 2008). One prostitute said this on the programme. Clearly there is a danger to selling your body on the streets, as there is no one looking after your well being. Research has shown that women get pushed into prostitution for one reason or another and are then too afraid to stop selling themselves because they are scared of being killed by whoever is controlling them; â€Å"[JP: Why didn’t you just stop giving him the money and stop seeing him? ] Coz he’d kill me. He’d beat the hell out of me. I know that. You just know it at the back of your mind. It’s easier to just do what he wants† (Margie, aged 32). [â€Å"JP: Why didn’t you go to the police about him? ] Coz I’ve felt his punches. Anyway, it doesn’t matter if I did, coz wherever I go he’d hunt me down† (Sammy, aged 18). If you haven’t got their money- the money they want- you’ve had it. You could end up dead† (Patsy, aged 42) (Phoenix, 1999, Page 162). These comments from former prostitutes in Phoenix’s book show just how dangerous prostitution can be. Secret Diary of a Call Girl does not show the dangers of prostitution and is a poor portrayal of what it is like to sell yourself. Research says that men have discovered that they can use their genitalia as a weapon of force. â€Å"Men discovered that they could rape and women discovered that they ‘could not retaliate in kind’,†(O’Connell Davidson, 1998, Page 119). Over 300,000 women are raped a year. Prostitutes are raped on average 8-10 times a year and are constantly at risk of violence. Men can get very nasty if they are not given what they want, which is the main danger for prostitutes. O’Connell Davidson goes on to argue that; â€Å"Rape became not only a male prerogative, but man’s basic weapon of force against women, the principal agent of his will and fear,† (O’Connell Davidson, 1998, Page 119. ) In conclusion, Secret Diary of a Call Girl is not a fair representation of prostitution. In a world where more laws are being put into place to stop the legality of paying for sex, there really is no room for television shows glamorising the work of the sex industry. Although the portrayal of working in the escort business is reasonably accurate, it does not account for street prostitution, an act of the sex industry that is growing bigger and increasingly more dangerous; â€Å"The client will participate in the sex market if his willingness to pay for the first unit of prostitution exceeds the price of prostitution,† (Giusta, 2008, Page 20). This shows that men are only willing to pay as much as is parallel to their want of sex. In countries with an uneven income distribution and discrimination in the labour market, where the clients are typically rich and the possible sex workers are poor, we should expect more sex sold at lower prices†, (Giusta, 2008, Page 32). Giusta is telling us that more men are likely to pay less for sex. Meaning that the number of c lients using street prostitutes is likely to incline, causing a massive problem for our society. In London alone there are 7,620 street clients a week. Unless it is made illegal to pay for sex, this problem is only going to get worse. Prostitution Essay Analyse How Prostitution Is Represented In British Television from 2000 Onwards. In Britain paying for sex is not illegal. But there are many laws criminalising the activities of prostitution. For years people have been arguing over what to do with the laws on prostitution. Recently, there have been many debates over the legality of it, and eventually stricter laws have been put in place to try and stop the act of prostitution. Under the 2003 Sexual Offences Act, it is illegal to incite prostitution or control it for your personal gain, banning the running of a brothel, making it illegal to loiter or solicit sex on the streets and the act of kerb crawling. Trafficking is also illegal. Other laws such as public nuisance are used to target the sex trade. Stricter laws are looking are being put in place that will give police the ability to close down more brothels, and licensing rules will change in regards to lap dancing and strip clubs to try and halt their expansion. Despite the many thousands of women involved in the sale of sexual services, and even greater numbers of men who purchase these services, research and publications on prostitution for much of the post-war period has been relatively limited. For most of this period the street trade has been largely confined to certain red light districts and therefore out of sight to the general public† (Matthews, 2008, page 1). Prostitution has always bee n an issue, but as Matthews states, out of sight is out of mind. Prostitution was bought to the public’s attention in the late 1980s when growing concerns were acknowledged including; â€Å"The spread of HIV and AIDS, the growth of prostitute support, increased public demands to control street prostitution, the growing preoccupation with trafficking and the visible increase in the number of foreign women involved in prostitution†, (Matthews, 2008, page 1). As well as people worrying about the growth of prostitution and trying to enforce stricter laws to stop it, there were people campaigning to decriminalise the act. During the 1980s a number of groups emerged that were trying to promote the rights of prostitutes. The ECP (English Collective of Prostitutes) in the UK, set out to legalise prostitution and normalise the issue. Prostitution is becoming a fast growing phenomenon; â€Å"In London, where prostitutes mainly operate behind closed doors, the number of street customers is estimated at 7,620 a week (Home Office 2004)†, (Monzini, 2005, page 9). Prostitution seems to be about the problems of relations between men and women, as well as to satisfy male urges. In Britain the typical male client is a man aged about 30, married and quite well off. If the clients are usually married then why are they seeking prostitutes? ; â€Å"It has been argued that men who are unsure of their capacity for relations with the opposite sex can escape what they feel as a burden of responsibility†¦ recourse to commercial sex often can be seen as a kind of revenge of reaffirmation, however temporary, of men over women†, (Monzini, 2005, page 10). Monzini is stating that men go with prostitutes to regain power that they have lost elsewhere. A lot of the time being lost in their own relationship. The customer wants to have complete control over the prostitute to make themselves feel stronger and more powerful, this can sometimes lead to violence against the prostitute when they do not comply to the customers needs, mostly being their insistence that the customer wears a condom. It’s been argued that people use prostitutes to act out sexual fantasies that will ‘undo’ the traumas of childhood; â€Å"Sexual fantasies perform a similar function in adulthood to that performed by daydreams in childhood. This time the fantasist is in control, and can direct the scenario towards and ultimately satisfying outcome- orgasm† (O’Connell Davidson, 1998, Page 138). Prostitution is often seen as an escape from over complicated relations. When customers go with prostitutes they are trying to kid themselves that the connection is real; â€Å"Customers pick up street girls in their car, or go to places where they are given only a few minutes to do their business; there are even small hotels that rent rooms out not for an hour but for 5 minutes,† (Monzini, 2005, page 12). The sexual encounter is very short and suggests that in reality there is no connection between customer and prostitute. This can be seen in the television programme Secret Diary of a Call Girl, where Belle (Billie Piper) says; â€Å"Work out what the client wants as fast as you can and give it to him†, (Secret Diary of a Call Girl, 2008). Prostitutes are merely used for sex. There is no real connection or bond between them and the client. The client wants to have sex and feel wanted, while the prostitute just wants the money, so they try not to get involved. Trafficking has increased hugely in the recent years. Mainly women from across Europe are taken from their families and sent to other countries to work as various things, including sex workers. Data taken from the IOM (Anti-Trafficking Unit of the International Organisation for Migration) gave questionnaires to people that had been reported to the IOM to find out about their recruitment. 103 people trafficked themselves because of several reasons including, having been kidnapped, 5. 4%, through the use of the internet, television and newspapers, 7. 4%, sold by their family, 0. 5%, or personal reasons, 84. 1%. This data shows that most people began trafficking for their own reasons, but also shows that a huge number of them were forced into it one way or another. The Home Office estimates that there are between 6,000 and 18,000 trafficked women and girls being forc ed to work as prostitutes in the UK. An article found in the Telegraph newspaper tells of how young schoolgirls are being forced into prostitution; â€Å"The MP said he knew of cases in his Huddersfield constituency where girls first met young men, perhaps driving â€Å"flash cars† outside school who made the initial contact. They then took them out and introduced them to drink and drugs before embarking on a sexual relationship. The girl would believe they were with their first boyfriend but before long, older men would then take over, forcing them to have sex and selling them to others† (The Telegraph, 21st January 2009). Julia O’Connell Davidson suggests that people become prostitutes due to extreme, poor living conditions, and a bad way of life; â€Å"People will generally surrender such powers over their person to others only under very particular social, political and economic conditions- conditions which effectively limit their ‘choices’ to a set of alternatives which are not of their choosing. In some cases these relations present people with a stark ‘choice’ between abject poverty or prostitution, or between violence, even death, or prostitution†, (O’Connell Davidson, 1998, Page 3). O’Connell Davidson is saying that people are using prostitution as an escape. It is very much a last resort for many people, who turn to the business for help and for money so that they can survive. For a lot of girls prostitution is a better way of living then their normal lives, where some may get beaten by family members or other such things. Research by Karen Sharpe shows other reasons as to why girls begin prostituting themselves; â€Å"Women were introduced to the profession, or at the very least were directly influenced or encouraged to turn to prostitution, by friends or other members of the family who were either currently involved, or who had previously been involved in, the prostitution business,† (Sharpe, 1998, Page 41). This is a whole separate issue. It shows that many girls are not choosing the life of prostitution as an escape but because they are forced into it. Another reason for turning to prostitution is about money. Many young girls are getting into the sex industry to pay their way through university or college. An article in the TimesOnline shows a study undertaken by Kingston University, which shows a 50% rise in the number of students resorting to prostitution or other jobs in the sex industry over the past six years. â€Å"In a survey that asked 130 students whether they knew any friends involved in the sex industry, one in 10 said they knew of students who had stripped, lapdanced or worked at massage parlours and escort agencies to support themselves. Just over 6% said they knew students who worked as prostitutes,† (Times Online, October 2006). This is a frightening amount of young people getting into the industry to get themselves out of trouble. Prostitution is not really a choice for most people anymore, it’s a way to survive. Finally the problems surrounding prostitution are being taken seriously, with plans being made to put in more laws to try and stop prostitution. With all this being put into motion comes the release of Secret Diary of a Call Girl, glamorising sex work and giving the impression that being a prostitute can be a good career choice for young women. September 2008 saw this programme aired on our televisions. It is based on a book called Belle De Jour: The Intimate Adventures of a London Call Girl. The television show stars Billie Piper as Belle De Jour, the high class prostitute. The show bought in nearly two million viewers when the first episode was aired. Throughout the first series ratings fluctuated, ending the series with just under one million viewers. The second series never reached one million. So why the sudden drop in ratings? Only 8 complaints were filed after the show was first aired. Having watched the show it is clear to see that there is no real story line to it. Secret Diary only gives an insight into sex work through an agent; there is no realism to the show. Belle seems to live a very glamorous life. She was not forced into prostitution because she was homeless or poor like so many others are, but instead she chose the career path for herself; â€Å"So why do I do it? Well, because I love sex and I love money† (Secret Diary of a Call Girl, 2008). In a year Belle earnt over ? 100,000. Young girls watching the show with money problems or children to support could easily get the idea that being a prostitute is not such a bad thing. The show offers no realistic view of street prostitution and the dangers of it. While Belle has an agent who she checks in with after meeting every client it does not assure her safety. In episode 6 of series 1, she encounters a slight problem with a client. When she goes to call her agent he turns nasty; â€Å"I don’t want you to call anyone. I’ve paid for you. Please take your clothes off,† (Secret Diary of a Call Girl, 2008). Many researchers on the subject of prostitution suggest that one of the reasons men buy sex is to do with power; â€Å"Buying sex as an exercise of power for disempowered men,† (Sanders, 2008, Page 40). Sanders is suggesting that men are purchasing sex because they have lost power elsewhere in their lives and paying someone to do what you tell them to is a way for men to regain the power. This is a possible explanation for why the man in Secret Diary got angry because Belle was not doing as she was told, making the client feel belittled, as he no longer has the power. Secret Diary of a Call Girl is not a very good representative of the industry of sex work. It only gives an insight into the work of escorts and is based on the stories of one girl. Crimefighters- The Vice, was aired on television in 2008. It is a series following a vice squad around Nottingham who are tackling the problem of street prostitution. In one particular episode (23rd October) a man is caught with a prostitute in a park late at night. In another episode (27th September) a man is caught in an alleyway with a prostitute. The programme offers a realistic insight into the work of street prostitution and how bad it really is. Men are paying ? 10-? 20 to have sex with these women in dark, dingy parks, down grotty alleyways and even in front of people’s houses. One episode shows the vice squad interviewing everal prostitutes from around the area and finding out how they really feel about it. The general consensus from them is that they are ashamed of themselves and would rather be doing anything else but prostituting themselves. One prostitute has been in the industry for 15 years and has averaged 10-15 men a day. This being true she would have slept with over 75,000 men in her time as a prostitute. In respon se to this she says; â€Å"It is just a job,† (Crimefighters, 2008). She has been prostituting herself for so long now that she does not seem to have any real feelings towards the job in hand. After watching this episode it is clear to see that most of the women in the area began prostituting themselves because they are homeless and addicted to drugs or have children to support. But the money they do make goes straight on more drugs. These prostitutes are spending up to ? 200 a day on drugs and the money they are making is going straight on more drugs. It is a vicious circle that they will not get out of without help. Unlike Belle, these women hate their jobs; â€Å"They make my skin crawl. I’m not out here for fun. I can’t stand them touching me,† (Crimefighters, 2008). This shows that these prostitutes are selling themselves because they have no other choice. They become reliant upon the money they are making that they cannot get themselves out of it. Street prostitution is dangerous. Crimefighters helps to show that there are dangers to being a prostitute and that people can turn nasty. ; â€Å"I could get picked up one day and chucked out in a ditch†, (Crimefighters, 2008). One prostitute said this on the programme. Clearly there is a danger to selling your body on the streets, as there is no one looking after your well being. Research has shown that women get pushed into prostitution for one reason or another and are then too afraid to stop selling themselves because they are scared of being killed by whoever is controlling them; â€Å"[JP: Why didn’t you just stop giving him the money and stop seeing him? ] Coz he’d kill me. He’d beat the hell out of me. I know that. You just know it at the back of your mind. It’s easier to just do what he wants† (Margie, aged 32). [â€Å"JP: Why didn’t you go to the police about him? ] Coz I’ve felt his punches. Anyway, it doesn’t matter if I did, coz wherever I go he’d hunt me down† (Sammy, aged 18). If you haven’t got their money- the money they want- you’ve had it. You could end up dead† (Patsy, aged 42) (Phoenix, 1999, Page 162). These comments from former prostitutes in Phoenix’s book show just how dangerous prostitution can be. Secret Diary of a Call Girl does not show the dangers of prostitution and is a poor portrayal of what it is like to sell yourself. Research says that men have discovered that they can use their genitalia as a weapon of force. â€Å"Men discovered that they could rape and women discovered that they ‘could not retaliate in kind’,†(O’Connell Davidson, 1998, Page 119). Over 300,000 women are raped a year. Prostitutes are raped on average 8-10 times a year and are constantly at risk of violence. Men can get very nasty if they are not given what they want, which is the main danger for prostitutes. O’Connell Davidson goes on to argue that; â€Å"Rape became not only a male prerogative, but man’s basic weapon of force against women, the principal agent of his will and fear,† (O’Connell Davidson, 1998, Page 119. ) In conclusion, Secret Diary of a Call Girl is not a fair representation of prostitution. In a world where more laws are being put into place to stop the legality of paying for sex, there really is no room for television shows glamorising the work of the sex industry. Although the portrayal of working in the escort business is reasonably accurate, it does not account for street prostitution, an act of the sex industry that is growing bigger and increasingly more dangerous; â€Å"The client will participate in the sex market if his willingness to pay for the first unit of prostitution exceeds the price of prostitution,† (Giusta, 2008, Page 20). This shows that men are only willing to pay as much as is parallel to their want of sex. In countries with an uneven income distribution and discrimination in the labour market, where the clients are typically rich and the possible sex workers are poor, we should expect more sex sold at lower prices†, (Giusta, 2008, Page 32). Giusta is telling us that more men are likely to pay less for sex. Meaning that the number of c lients using street prostitutes is likely to incline, causing a massive problem for our society. In London alone there are 7,620 street clients a week. Unless it is made illegal to pay for sex, this problem is only going to get worse.

Annotated Bibliography On Import Java - 735 Words

import java.awt.*; import java.io.FileNotFoundException; import java.io.File; import java.util.Scanner; public class DrawMaze { public static final Color WALL_COLOR = Color.RED; public static final Color START_COLOR = Color.BLUE; public static final Color PATH_COLOR = Color.BLACK; public static final Color END_COLOR = Color.ORANGE; public static final Color BACKGROUND = new Color(0.9f, 0.9f, 0.9f); // Width of border in pixels public static int borderwidth = 40; // Size of maze cell in pixels public static int cellsize = 30; // Time to sleep after a move (in milliseconds) // Change to default to 50. 1000 gives time to observe the program. public static int sleeptime = 1000; // The drawing panel static DrawingPanel panel = null; // Utility routines. // celltop computes the y coordinate for the top of a cell in row r // (rows are numbered starting at zero.) cellleft computes the x // coordinate for the left of a cell in column c (columns are also // numbered from zero. (cellleft(c), celltop(r)) gives the (x, y) // coordinates of the top left of a cell. static int celltop(int r) { return borderwidth + cellsize * r; } static int cellleft(int c) { return borderwidth + cellsize * c; } // Constants for drawStart static final double SZ_WLINE = 0.05; static final double SZ_RHEAD = 0.17; static final double SZ_YHEAD = 0.25; static final double SZ_XCENTR = 0.51;Show MoreRelatedAnnotated Bibliography On Import Java1518 Words   |  7 Pagesimport java.io.*; import java.util.Random; import java.util.Scanner; public class Processor { // Register variables static int IR, AC, X, Y, timer; static int PC = 0; static int SP = 1000; static int instructionCount = 0; static int userStack = 1000; static int systemStack = 2000; // turns to false on interrupts static boolean userMode = true; // avoid nested interrupt execution static boolean interrupt = false; public static void main(String args[]) { String file = null; //Read MoreAnnotated Bibliography On Import Java1531 Words   |  7 Pagesimport java.util.Scanner; import java.util.Random; public class PigDiceGameTwoVariation { public static void main(String[] args) { // TODO Auto-generated method stub String input; Scanner scan = new Scanner(System.in); Random rand = new Random(); /********************************************************** * Program : Pig Dice Game Assignment * Author : Brandee Combden * Due Date : Wednesday, September 21st, 2016. * Description : Basic Two-Dice Pig, two playersRead MoreAnnotated Bibliography On Import Java726 Words   |  3 Pages /*package adsa;*/ /** * * @author GOPIKRISHN */ import java.util.HashSet; import java.util.Iterator; import java.util.Random; import java.util.Set; import java.util.InputMismatchException; public class AdjListGraph { private int distances[]; private int nodes; public static final int MAX_VALUE = 999; private SetInteger visited; private SetInteger unvisited; private int adjacencyMatrix[][]; public AdjListGraph(int nodes) //Constructor { Read MoreAnnotated Bibliography On Import Java708 Words   |  3 Pages// to play, just run the program import java.applet.Applet; import java.applet.AudioClip; import java.net.MalformedURLException; import java.net.URL; import java.util.Scanner; import javax.sound.sampled.AudioInputStream; import javax.sound.sampled.AudioSystem; import javax.sound.sampled.Clip; public class TTT { public static Scanner sc = new Scanner(System.in); public static void reset(char[][] board) { for (int i = 0; i board.length; i++) for (int j = 0; j board[0].length;Read MoreAnnotated Bibliography On Import Java719 Words   |  3 Pagesimport java.io.*; import java.util.*; import java.net.*; public class FTPClient { public Socket sock = null; public BufferedReader read; public BufferedWriter write; public ServerSocket ss; public int byteTransfered; public Scanner input = new Scanner(System.in); // Check client connect to server public boolean connected = false; public boolean exit = false; String response = null; // run the main code here public static void main(String args[]) { FTPClient c= new FTPClient();Read MoreBanana Used as Fertilizer11002 Words   |  45 Pagesreview on banana diseases in 1935 has resulted in a really useful chapter, whereas any attempt to cover a wider range in forty pages must have led to a treatment too superficial to be worth while. For the pests, on which no monograph exists, an annotated list is given of 182 species and five are selected for fuller treatment. In the last chapter the author returns to his special field and gives a concise but adequate summary of the aims, methods and results of banana breeding from its inception in