Why Public Speaking is Important :: Public Speaking Persuasive Essays

Public speaking is one of the most under rated skills learned in school, yet is one of the most valuable. The way you communicate shows a lot about you, and can influence other’s opinions of you. In every profession communicatiis important. Good communication skills, no matter what you plan to do in life, will help you out greatly and improve your chances against a harsh job market. I am majoring in Business Administration and Law, and communication is one of the biggest parts of business and law, yet communication is hardly ever taught in business classes for my major. I think that a communications class like public speaking, for example, should be not just for a college class, but taught in high school and middle school as well. I believe several classes would allow anyone to become an expert speaking. The only way to fully learn public speaking is to get up in front of people and talk to them. One can not learn public speaking from a book. One’s career, school life, and even socializing are affected by communication. If you do not know how to communicate, you probably do not have many friends. Communication has been used since the days of the cavemen. When the cavemen learned to communicate they greatly increased their hunting potential. When they learned to communicate on the hunt and before the hunt, they caught much more game then when they were just randomly running after the animals with spears. In school, if teachers and students could not communicate well, how would anything ever get done? In a business, communication is the most important ingredient. Working at a corporation at a higher level, you deal with hundreds of important emails, meetings, phone calls, and other forms of communicating with your co-workers. I like communicating with other people, and much of my life consists of me with my friends. Communicating with people is a good way to become social and comfortable around people. Public speaking is my least favorite part of communicating but I feel if I go into business, it will be one of the most important things to learn. If I have to give a big speech, it could be the first time several upper management bosses really hear what I have to say, and if I give a poor speech and look frightened, it could make them think I am incompetent and cannot communicate.

Comparative Literature Translation St Essay

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

The Presentation Of Self On Everyday Life ( Goffman, 1959 )

The Presentation of Self in Everyday Life (Goffman, 1959) is a work analysing our daily life from the perspective that our actions and interactions with others, their rationale and meaning, are social in nature. Goffman applies metaphor to his theory of the presentation of the self by pursuing a dramaturgical analysis (p. 15) with the intent to describe how individuals construct and maintain performance in society, and how aspects of social and cultural expectation, define that behaviour. Social mores indicate we should behave differently under different social contexts to fulfil society expectations while maintaining the presence of our favourable self, within society. Given social interaction is guided by an individual’s need to control or manipulate the impression they are giving, this supports the idea that impression management also extends to online social environments, such as Facebook. Goffman applies the analogy of the theatre, or the dramaturgical approach, to frame how individuals use performance in an attempt to direct the impression that others may make of them by manipulating the props at their disposal. At the same time, the person they are socially engaged with- the audience; is attempting to make sense of the information they are receiving. Therefore, in an individual’s everyday life, most people wish to present themselves favourably so Goffman argues that the presentation of the self is concerned with the management of that impression. This involves aShow MoreRelatedGoffmans Key Terms and Consumer Experiences956 Words   |  4 PagesThe individual self is made up of different roles which actors enact; these may be one’s family roles, community roles, and professional roles and so on. Communication of these roles, so that others begin to understand what part of the individual self is being enacted, occurs either non-verbally or verbally (Goffman 1959). The way in which an actor dresses and accessorizes helps the actor comm unicate the role they are playing. Goffman (1959) refers to this as â€Å"standardized expressive equipment†.Read MoreThe Presentation Of The Self By Irving Goffman1305 Words   |  6 PagesConcept note: Dramaturgy The sociological concept ‘dramaturgy’, developed by Irving Goffman (1922 – 1982), was initially used in his book The Presentation of the Self (1959). Dramaturgy uses the theatre as an extended metaphor to explain social interaction and social roles. Like actors in a play, people play roles, working together to up hold various social realities and functional institutions such as work, school, home, medical, legal or leisure. Key components of this theory are ‘front and back’Read MoreThe Presentation of Self in Everyday Life by Erving Goffman955 Words   |  4 Pageshis book, The Presentation of Self in Everyday Life, Goffman (1959) focuses on the self as a staged production in which people actively present themselves to different audiences one encounters. To bolster his conceptualization, Goffman used an interesting metaphor of â€Å"all the world’s a stage† (1959, 254). This, he terms as a â€Å"dramaturgical approach† (Goffman 1959, 240) in which an actor puts on a show for others; drawing analogies between human behaviors and the theater. Goffman (1959) likens the individualRead MoreThe Sociological Perspective Of Dramaturgy Is Associated With Irving Goffman1041 Words   |  5 Pages The sociological perspective of dramaturgy is associated with Irving Goffman (1922 – 1982) who developed the concept in his book The Presentation Of The Self In Everyday Life (1959). Using theatre as an extended metaphor, dramaturgy explains the everyday interactions that uphold social reality. Life is like a play, and like actors in a play, people perform roles, working in teams to create the social world, like scenes in a play. This provides functional institutions of work, school, home, hospitalsRead MoreThe Influence Of Symbolic Interactionism And The Social Context On How Others Might See Us1578 Words   |  7 PagesIn his book ‘The Presentation of self in everyday life’, Erving Goffman states â€Å"We are all just actors trying to control and manage our public image, we act based on how others might see us.† This is a pinnacle viewpoint of the sociological theory Symbolical Interactionism which is â€Å"a study of human group life and conduct which holds meaning central to human behaviour† (Blumer, 1992; Ray, L 2017: npg). This essay will critically evaluate this statement and its sociological significance. In orderRead MoreThe Presentation Of The Self By Irving Goffman1167 Words   |  5 Pages The sociological concept ‘dramaturgy’, was developed by Irving Goffman (1922 – 1982) and initially used in his book The Presentation of the Self (1959). The concept was also a feature of subsequent works Behavior in Public Places (1963) and Interaction Rituals (1967), where the focus was on interaction and social scene rather than self-presentation and identity work. Dramaturgy uses the theatre as an extended metaphor to explain how people perform a variety of social roles, like actors in a playRead MoreSocial Media And Its Impact On Society1748 Words   |  7 Pagesfrom their posts and how they begin to form their identity based on the social networks they engage in. In The Presentation of Self in Everyday Life, Erving Goffman (1959) discusses his theory about dramaturgy. Goffman (1959) expresses his ideas by relating them with the way individuals encounter face-to-face interactions in their daily lives. He emphasizes the importance that life is similar to a theatrical play, where individuals adapt the roles of a presenter and audience. In addition, heRead MoreSocial Order (Foucault and Goffman)1463 Words   |  6 PagesThis essay will examine two views on social order, applied to social sciences, and embodied in everyday life. It will compare and contrast a Canadian sociologist, Erving Goffman, and a French philosopher, Michel Foucault. Through an analysis of these two figures, the text will present different ways of looking at social ordering and individuals place in a human society. Firstly, it will be shown how Goffman and Foucault approach the subject of social order, finding patterns of behaviour in micro andRead MoreGoffman s Function alist Sociological Approach1469 Words   |  6 Pagestogether†. (Macionis and Plummer 2012) It also â€Å"goes beyond everyday common sense by using systematic methods of empirical observation and theories† (Boundless [online] 2015). I will be using Goffman’s functionalist sociological approach of Dramaturgy to understand human life and to analyse my first few weeks of university. Goffman’s sociology is â€Å"concerned with everyday life, in particular with showing the tenuous nature of social life.†(Smart, n.d) His theory is based on symbolic interactionalismRead MoreThe Presentation Of Self As A Work Developed By Sociologist Erving Goffman1740 Words   |  7 PagesThe Presentation of Self In Everyday Life is a work developed by noted sociologist Erving Goffman. In it, Goffman details the sociological perspective of our social interactions. He uses the metaphor of theatre to better understand the complexities surrounding interactions; it is fro m this seminal text that we establish words from the dramaturgical framework such as performance, backstage, front-stage, and costume as illustrations of interactionism. He begins the book by addressing the idea of performance

The Odyssey vs. Siren Song Essay - 625 Words

Mà ³nica Callava February 9, 2010 Mrs. Pedroso Period 2 The Odyssey vs. Siren Song Some people have one inanimate object in their lives that they find so enticing that they are incapable of withstanding. One object that lures them into a deep trap not giving them any chance to resist. In Margaret Atwood’s â€Å"Siren Song† as well as Homer’s The Odyssey the one inanimate object all men cannot seem to resist is a Siren calling them in. In â€Å"Siren Song† we see a portrayal of this irresistible lure by one Siren’s song as merely a taunting boredom, while in The Odyssey the Siren is seen as a toxic desire. Both these poems portray these characteristics of the Siren through point of view, tone, and imagery. Homer’s The Odyssey is a narration†¦show more content†¦She manipulates and flatters men by telling them â€Å"Only you, only you can.† She tricks the men by telling them only they can free her from her boredom. Through the imagery of both Homer and Margaret Atwood we see the difference in the Sirenâ€℠¢s attitude in each poem. In The Odyssey, the Siren says, â€Å"honeyed voices pouring from our lips.† This imagery is a seductive tactic used by the Siren to lure the men closer. Odysseus tells us that his heart wanted more. This shows how the desire to get closer to the Siren was toxic. In â€Å"Siren Song† the Siren uses imagery to mock herself and make the reader feel bad for her. She tells us that she is â€Å"squatting on the island looking picturesque and mythical.† It is inferred that she is simply unhappy and bored where she is. The portrayals of the Siren in The Odyssey and â€Å"Siren Song† can be compared through point of view, tone, and imagery. In Homer’s poem the Siren is seen as an irresistible desire, a toxic aspiration that manipulated and captivated men to come closer. In â€Å"Siren Song† the Siren is portrayed as merely a taunting boredom. She herself tells us that to her it is boring, â€Å"But it works everyShow MoreR elatedBrains vs. Bronze Essay933 Words   |  4 PagesBrains vs. Bronze What separates a hero from a regular man? Does large muscles and courage make a hero, or intelligence and wisdom? Andrew Bernstein once said, â€Å"A hero holds purposes appropriate to man and is, therefore, a thinker.† In this instance, Odysseus in The Odyssey is the accurate definition of the epic hero. Odysseus overcomes crazed goddesses, raging seas, and vengeful gods; however, by cunning or strength? Cunning versus strength has been the age-old question concerning the ‘hero’Read MoreThe Odyssey And Trojan Women1684 Words   |  7 Pages HOMER AND EURIPIDES DEAL WITH THE SAME THEMES BUT IN DIFFERENT WAYS INTRO: Despite difference of around 400 years between them Greek poet Homer and tragedian playwright Euripides explore many of the same themes in their works the Odyssey and Trojan Women (written by each respectively). Both works are inspired by the events of 12th Century BCE Trojan War that Homer previously explored in the Iliad. The two examine the worth of cunning over brute strength, the dangers of temptation and the role ofRead MoreMarketing Mistakes and Successes175322 Words   |  702 PagesJuggernaut Starbucks: A Paragon of Growth and Employee Benefits Finds Storms Boston Beer: Is Greater Growth Possible? 29 46 PART II MARKETING WARS 61 Chapter 5 Chapter 6 Chapter 7 Cola Wars: Coca-Cola vs. Pepsi PC Wars: Hewlett-Packard vs. Dell Airliner Wars: Boeing vs. Airbus; and Recent Outsourcing Woes 63 86 PART III COMEBACKS Chapter 8 Chapter 9 Chapter 10 McDonald’s: Rebirth Through Moderation Harley-Davidson: Creating An Enduring Mystique Continental Airlines:Read MoreDeveloping Management Skills404131 Words   |  1617 Pages269 United Chemical Company 269 Byron vs. Thomas 271 Active Listening Exercise 272 SKILL APPLICATION 274 Activities for Communicating Supportively Suggested Assignments 274 Application Plan and Evaluation 274 274 SCORING KEYS AND COMPARISON DATA 276 Communicating Supportively 276 Scoring Key 276 Comparison Data 276 Communication Styles 276 Comparison Data 276 SKILL PRACTICE Diagnosing Problems and Fostering Understanding: United Chemical Company and Byron vs. Thomas 278 Observer’s Feedback Form

A Dolls House A Push To Freedom Essay examples - 1371 Words

nbsp;nbsp;nbsp;nbsp;nbsp;Sometime after the publication of quot;A Dolls Housequot;, Henrik Ibsen spoke at a meeting of the Norwegian Association for Womens Rights. He explained to the group, quot;I must decline the honor of being said to have worked for the Womens Rights movement. I am not even very sure what Womens Rights are. To me it has been a question of human rightsquot; ( ). quot;A Dolls Housequot; is often interpreted by readers, teachers, and critics alike as an attack on chauvinistic behavior and a cry for the recognition of womens rights ( ). Instead its theme is identical to several of his plays written around the same time period: the characters willingly exist in a situation of untruth or inadequate†¦show more content†¦In the first act, she admits to Christine that she will quot;dance and dress up and play the foolquot; to keep Torvald happy ( ). This was Ibsens way of telling the reader Nora had a hidden personality that was more serious and controlling. He wants the reader to realize that Nora was not the fool she allows herself to be seen as. Later in the same act, she exclaims to Dr. Rank and Christine she has had quot;the most extraordinary longing to say: Bloody Hell!quot; ( ). This longing is undoubtedly s ymbolic of her longing to be out of the control of Torvald and society. Despite her desire for freedom, Nora has, until the close of the story, accepted the comfort and ease, as well as the restrictions, of Torvalds home instead of facing the rigors that accompany independence. Ibsen wanted the reader to grasp one thing in the first act: Nora was willing to exchange her freedom for the easy life of the doll house. nbsp;nbsp;nbsp;nbsp;nbsp;Ibsen shows that it takes a dramatic event to cause a person to reevaluate to what extent he can sacrifice his true human nature. For Nora, this event comes in the form of her realization that Torvald values his own social status above love ( ). It is important to understand Nora does not leave Torvald because of the condescending attitude he has towards her. That was, in her eyes, a small price to pay for the comfort and stability of his home. In BernardShow MoreRelatedEssay on The Role of Mrs. Linde in A Dolls House1496 Words   |  6 PagesFreedom Through Independence of Will In A Dolls House, Henrik Ibsen focuses on the importance of womens roles and freedom in society. Widely regarded as a feminist paean, the play features two major female characters; the most prominent of whom, Nora Helmer, shatters her position as a subservient, doll-like female when she walks out on her husband and children with a flagrant door slam heard round the world. Nora’s evolution, though inspiring, should not overshadow another crucial woman inRead MoreAnalysis Of Henrik Ibsen s A Doll House 1152 Words   |  5 PagesHenrik Ibsen’s play â€Å"A Doll House† addresses the importance of the roles women play throughout this time period. Women are thought to be like â€Å"dolls† to their husbands, by obeying their commands and keeping a good image. We see the main character, Nora Helmer struggle to keep her perfect image of a great wife as troubles start to arise. Throughout the play we begin to see Nora push through her troubles and find her true id entity, Nora shifts from being the loving, perfect wife, to being a strongRead MoreLiving The Split Of Sons And Daughters918 Words   |  4 Pagesdifferent whether it be late night curfews, work ethic or a difference in atmosphere. One of the clearest differences is curfew. Parents often restrict a daughter s freedoms, one being restricting the possibility of being out late due to fear of danger. The probability of a woman being harassed driving back from a friend’s house or at a concert surrounded by people is highly unlikely, yet, they are still told that they have to be home and are unable to experience events like a male would. MalesRead MoreEssay about Christopher Nolans Inception1262 Words   |  6 Pagessecrets. She has only kept one and has placed it in a small safe. This safe is placed inside a pink doll house. This doll house is surrounded by other objects that media and childhood accustom to young girls and innocence. An overall pink theme is present in the room with a box of yellow and pink stuffed animals amongst photos of horses and floral furniture dress the room. The room in which the house and toys are kept is Mal’s childhood home. This leads one to assume that this room is a reflectionRead MoreA Doll House, NORA comparison1767 Words   |  8 PagesIt is fascinating how a writer s personal beliefs, upbringing, and era can dramatically change a characters persona. One such character is Nora Helmer from a play called A Doll s House. A Doll s house was originally written in 1879 by Henrik Ibsen. Henrik Ibsen was born in 1828 in Skien, Norway. Ibsen portrays Nora as a person with very low self esteem, untrustworthy, and self absorbed. During Ibsen s era women where subservient and listen to what they are told by the dominant man in theirRead MoreLanguage: Helen Keller, Frederick Douglass , Amy Tan1635 Words   |  7 Pagesthe learning process started by her teacher. When this starts she begins to feel emotion, sorrow and grief, before she didn’t know even what a doll was but now that doll has finally a meaning, a meaning full of emotions, the darkness of having feelings and don’t know what to do with them is now light, it’s now idea of freedom, empowerment, finally freedom to communicate with her family. This experience gives Helen a new life, gives her – her – identity, a life with emotion and feelings, a life thatRead MoreA Doll’s House and Top Girls2459 Words   |  10 PagesDoll’s House and Top Girls Henrik Ibsen’s A Doll’s House and Caryl Churchill’s Top Girls both are a pillar of critical writing about the society they were originally produced in and have a central theme of the oppression of women, which makes them great sources of feminist reviews. Although Ibsen â€Å"abandoned the concept that the play was about gender roles† (Urban, 1997), the central question is beyond the original context within which the plays were produced and received. A Doll’s House can be regardedRead MoreWomen s Movement Of The United States1438 Words   |  6 Pagesvocational, educational and social rights and opportunities for women, equal to those of men. One of the key factor of the difference between genders is due to the parents who expose their children to different kinds of play. Science sets for girls and dolls for boys, for example — can find themselves stymied by a toy industry that tends to reflect traditional gender roles. That’s why in the 19th century a family consisted of a wife who stays at home to cook and nurture the family, while the husband isRead MoreRace, Gender, and Ethnic Groups Essay1508 Words   |  7 Pagesdutiful daughter in her parent’s eyes. As for the England family, Cat’s mother wants her daughter to be ladylike. It is highly comical when mother and daughter went shopping and the mother insists that her daughter wears a push-up bra. This typical notion on how girls should doll up is highly comical as the mother is enforcing her daughter something that she is not. This shows that the tradition notion of beauty not only exist amongst the Indians but the England people as well. Issues on gays andRead MoreGrowth and Development of Children Essay1716 Words   |  7 Pageswait for his turn, or he may even let another child have the first turn, such as playing with a new toy (â€Å"Toddler Milestone†, 2012). A toddler between twenty-six and thirty months are often seen and heard talking to a favorite toy such as a doll, or even an imaginary friend. This is another normal phase for this stage in life as the child is learning to make attachments to new objects and people, and can even help the child learn to make new and real friends (â€Å"Toddler Milestone†, 2012). At

Changing trends in lifestyle free essay sample

These days lifestyles seem to change very fast. It is more than just clothing and hairstyles that are in style one year and out of date the next; it’s a whole way of living. One year people wear sunglasses on top of their heads and wear jeans and boots; they drink white wine and eat sushi at Japanese restaurants; for exercise they job several miles a day. However, the next year they notice that everything has changed. Women wear long skirts; people drink expensive water from France and eat pasta at Italian restaurants; everyone seems to be exercising at health clubs. Almost nothing in modern life escapes the influence of fashion; food, music, exercise, books, slang words, movies, furniture, places to visit, even names go in and out of fashion. It’s almost impossible to write about specific fads because these interests that people follow can change very quickly. In the United States, even people can be â€Å"in† or â€Å"out. We will write a custom essay sample on Changing trends in lifestyle or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page † Like people in any country, Americans enjoy following the lives of celebrities: movie stars, sports heroes, famous artists, politicians, and the like. But Americans also pay a lot of attention to people who have no special ability and have done nothing very special. In 1981, for example, an unknown elderly woman appeared in a TV commercial in which she looked at a very small hamburger and complained loudly, â€Å"Where’s the beef?† These three words made her famous. Suddenly she appeared in magazines and newspapers and on TV shows. She was immediately popular. She was â€Å"in.† In 1987 an exterminator in Dallas, Texas decided that he would be very happy if he could find more customers for his small business; he needed more people to pay him to kill the insects and rats in their houses. He put an unusual advertisement in a Dallas newspaper: He offered to pay $1,000 to the person who could find the biggest cockroach. This strange offer made him suddenly famous. However, this kind of fame does not last long. Such people are famous for a very short time. They are fads. What causes such fads to come and go? And why do so many people follow them? Although clothing designers and manufacturers influence fads in fashion  because they want to make a profit, this desire for money doesn’t explain fads in other areas, such as language. For example, why have teenagers in the past twenty-five years used – at different times – the slang words groovy, or awesome, in conversation instead of simply saying wonderful? According to Jack Santino, an expert in popular culture, people who follow fads are not irrational; they simply want ot be part of something new and creative, and they feel good when they are part of an â€Å"in-group.† Fads are not unique to the United States. Dr. Santino believes that fads are common in any country that has a strong consumer economy, e.g., Britain, Japan, and Germany. However, in the United States there is an additional reason for fads: Most Americans seem to feel that something is wrong if there isn’t frequent change in their lives. Dr. Santino points out that it’s sometimes difficult to see the difference between a fad and a trend. A fad, he says, lasts a very short time and is not very important. A social trend lasts a long time and becomes a true part of modern culture. A trend might be the use of personal computers; a fad might be certain types of computer games. A recent trend is the nationwide interest in good health, but many fads come from this trend: aerobic dancing, special diets, imported water, and the like. An exciting trend began in Europe in the mid-1990s: the cultural borders between countries began to break down. Travelers from other parts of the world noticed that â€Å"Eurokids,† from Lisbon to Stockholm, from London to Athens, seemed to be very similar to each other. All followed the same fads in fashion, music, and food. These Eurokids had the same lifestyles and values. For example, they were worried about the environment, concerned more about rain forests than clothes. Some of the Eurokids’ fads will certainly disappear and others will come along, but it will be interesting to see if the trend continues and becomes a true part of European culture.

Timber Waste As Cement Replacement Material -Myassignmenthelp.Com

Question: Discuss About The Timber Waste As Cement Replacement Material? Answer: Introduction: This experiment has performed in order to obtain bending strength of timber. In order to find the bending strength of timber beam through experiment, assume that there were no shear stress induce through external load. The bending strength of any metal or materials depends on the material properties, microstructure of material and external applied over the specimen. The bending strength of timber also describe as the capacity of material with induce first crack over the surface of material or before yielding occur. The characteristics of the timber and suitability for specific application is depends on the flexural strength in real life situation. The experiment important for the selection of timber for different construction require for safe operation. Aim of this experiment is to obtain flexural strength of timber with applied point load at the span of timber beam. The external load applied in negative Y direction over the span of beam until first crack have not appear. MGP 10 grade timber have used for this experiment. Average value of the failure loads of beam obtain is around 9.264 N. Apparatus There are two rectangular beam with same grade have used for the experiment. The dimension of both beams are different. Flexural Beam test machine: This is standard machine used for testing bending strength of material, especially timber strength test have perform. Computer Data acquires: The timber experiment results are plotted in computer data acquires system. For this case, the Load V/s time chart is plotted in this device. Load Cells: This is standard element used for applied external force, usually used for research and experiment purpose. For this experiment, it is used for external applied point load at the mid span of the timber beam. Assumptions and Constrains No shear load present or consider shear stress induce equal to zero. Neglect environment and human error for the experiment. Use safety instrument and follow safety procedure for the experiment. Procedure Timber beam is used in order to perform bending strength test. Here, using two timber beam with same grade but different dimension. There are two rectangular beam which dimensions are (1) width: 35 mm, Height: 70 mm and length: 900 mm (2) width: 45 mm, height: 70 mm and length: 900 mm Place the test specimen on the strength testing machine with the require support at the end of beam. The ends support can change as requirement, it could be roller, fixed etc. but for this case both ends of beam are fixed. Place the beam such that there are no cause to induce error through test. Place load cell over the mid-span of timber beam and connect the testing machine with computer Data acquisition system for note down behaviour of timber beam while performing experiment. Start applied load over the timber beam. Keep increase load until the first crack have not appear at the timber bar. Asses the result plot on the display of computer acquisition system. Repeat entire procedure from starting to end for second bar. Obtain result same fashion as discuss earlier. Conclude result and discussion. All Dimensions are in mm and load in N. Obtain Neutral axis, Bending stress of both Beam are following: Obtaining characteristic bending stress for both beam: Result Discussion: The experiment perform for the timber beam with two different specimen. The failure load obtained of beam 35 x 70 x 900 mm is 4497 N, whereas the failure load obtained of the beam 45 x 70 x 900mm is 7901 N. both results obtained from the experiment procedure. Any design can perform with three different technique whereas theoretical analysis, experimental analysis and software solution. If any of the two solution match with each other, then it can approval for final design. In this case the experiment results of stress induce due to external applied load and theoretical result are quite similar to each other. In face both are same. So it is acceptable experiment for real life problem point of view. Conclusion The experiment perform in order to obtain result of failure load which provide strength of timber beam. But there are noticeable variation in stress induce at different cross section of timber specimen, it was 3404 N. That indicate the cross section are play important role for the strength of timber. Also MGP10 timber beam is suitable for the construction application. Recommendation: For this case, the cross section area consider standard and uniform throughout the end of material but it can be tested for different cross section for asses the suitability of material and timber beam. This case, both timber are used same grade, we can further tested for different grades also. Both ends of the timber have zero degree of freedom, we can place roller and prismatic joint also and perform experiment. The further test can perform with considering real-life problem and obtain results which are more helpful for useful application of this experiment. References https://www.cabdirect.org/cabdirect/abstract/19950602177 https://www.cabdirect.org/cabdirect/abstract/19810673206 https://www.cabdirect.org/cabdirect/abstract/19810673206 Elinwa, A., Mahmood, Y. (2018). Ash from timber waste as cement replacement material. Retrieved 20 January 2018, from Gutkowski, R., Brown, K., Shigidi, A., Natterer, J. (2018). Laboratory tests of composite woodconcrete beams. Retrieved 20 January 2018, from Radford, D., Van Goethem, D., Gutkowski, R., Peterson, M. (2018). Composite repair of timber structures. Retrieved 20 January 2018, from Tomasi, R., Crosatti, A., Piazza, M. (2018). Theoretical and experimental analysis of timber-to-timber joints connected with inclined screws. Retrieved 20 January 2018, from