Saturday, September 4, 2010

Explaining a Process

In explaining a process, either how to do something or how something happens, present the steps in order and keep your audience’s background knowledge in mind. Different kinds of processes are explained in the two models that follow.
(To enlarge the images, just click on them)
Model I


If you’ve ever followed instructions for assembling a kit, sewing a blouse, or operating unfamiliar equipment, you know how important it is that the process be explained clearly and simply. In the model above, Marcus Romero explains how to make an essential piece of football equipment. Romero explains a fairly simple process that requires steps to be performed in a certain order.

In the next model, however, John McPhee presents a far more complex process involving years of interaction between rivers and rock to create the whitewater rapids of the expansive Grand Canyon.


Model II
Use the Writing Process Stages

To explain a process, the writer must first understand the steps involved. The chart below illustrates the writing stages that are used.




Know your audience
As you plan your composition, consider your audience.What do members already know about the process you are explaining? How much detail are they likely to need? Will you need to define unfamiliar terms? The excerpt below, explaining how bicycle derailleur gears work, comes from a book that describes the workings of machines for people with little technical background.


This simple explanation gives readers a basic understanding of a process, using vocabulary that most readers can understand. Notice how the explanation below provides more thorough information, using technical terms such as chainwheel and freewheel that the first writer found unnecessary. This excerpt comes from a book written for serious cyclists who may want to work on their bicycles.


Compare tha last two models, and you will realize how important knowing the audience is. More details in class.

For further information log in this sites:





Friday, August 27, 2010

Sense and Sensibility

This is the link for you to download the book to read according to class instructions:

http://www.planetpdf.com/planetpdf/pdfs/free_ebooks/Sense_and_Sensibility_NT.pdf

Some in advance isntructions:

  • You will be assigned some chapters of the book.
  • You must read the chapters assigned and present a written report on it (based on a guide you will be given with.
  • Download the book and wait for more class instructions.

Wednesday, August 11, 2010

Writing a composition

Select a topic
(Click on the pictures to enlarge)


After making a schedule, select a topic. Spend some time in the library skimming books and encyclopedia articles . Researching and writing will be easier if you are curious about the topic you choose and if you find an approximate focus for your paper. Amy Colleen Bryan, a student at Lexington High School in Lexington, Virginia, was interested in the sinking of the Titanic in 1912.

Throughout this unit, you will see examples of notes, outlines, and drafts, and Amy’s final paper in Lesson 7.6. Besides your interests, consider what resources are available. If you have only one source on a topic, you will have only one viewpoint. On the other hand, selecting, condensing, and interpreting a mountain of information about a broad topic is difficult. This diagram shows how to identify an appropriate research paper topic.

Examine the Topic




As you continue to read about your topic, you will begin to determine your central idea. Examine your topic from various points of view.

Amy might have considered the following perspectives: How did the owners of the Titanic respond to the disaster? What did survivors recall about the sinking? Whom did investigators blame for the tragedy? Don’t worry if some angles lead to dead ends. For now just try to think critically about the topic from several perspectives.

To set a path for research, identify three to seven questions to answer first. As you answer these questions, you will discover others, as the diagram below shows. Let your central idea guide you in selecting questions.

Locate Information



You may use two types of sources—primary and secondary. A primary source is a firsthand account of an event, such as a Titanic survivor’s testimony before Congress. A secondary source is a secondhand account, such as an article analyzing the survivor’s comments. If possible, use primary sources to give your report a degree of authority that’s hard to achieve using only secondary sources. The chart below lists some basic sources used in social studies research. Some of the examples have their own Web sites or are available on CD-ROM.

Develop a working bibliography


 
As you begin your research, you will need to develop a working bibliography, a record of the books, articles, and other sources you will consult for your paper. Record the publication data for each appropriate source—including the publishing company, city, and date of publication—in a computer file or on a three-by-five-inch index card, as shown below. Number each source file or card in the upper right corner so that when you take notes, you can jot down the number of the source in which you find information. Preparing complete source files or cards now will help you compile your works-cited list at the end of your paper.Write notes to yourself as well, as shown on the magazine source card before.


Take notes



Just as you use cards when developing your working bibliography, you can use cards when taking notes. As you find a piece of information that answers one of your research questions, write it on a four-by-sixinch note card. In the upper right-hand corner of the note card, write the number of the source from the working bibliography.

You might want to put your initials by any of your own thoughts that you jot down on note cards. By initialing your own comments, you will be able to keep straight which information comes from other sources and which comes from your own interpretation.

Three ways of taking notes—paraphrasing, summarizing, and writing direct quotations—are shown previously.

Examine your sources critically

Because each source you use is written by a person with particular interests, knowledge, and values, be alert to each author’s bias. Find sources that approach your topic from different angles. Asking the following questions will help you critically evaluate your sources.

Avoid plagiarism

Presenting someone else’s ideas or expressions as your own is plagiarism, a form of cheating. Even when unintentional, plagiarism is a serious offense. You must give credit to the sources of information you use in your paper. To avoid plagiarism, keep clearly documented notes so you know where you found each piece of information. 

Mr. Manuel Oviedo, B.A.

Monday, July 26, 2010

George Orwell´s Biography



Biography
Eric Blair was born in 1903 in Motihari, Bengal, in the then British colony of India, where his father, Richard, worked for the Opium Department of the Civil Service. His mother, Ida, brought him to England at the age of one. He did not see his father again until 1907, when Richard visited England for three months before leaving again until 1912. Eric had an older sister named Marjorie and a younger sister named Avril. With his characteristic humour, he would later describe his family's background as "lower-upper-middle class."


Education
At the age of five, Blair was sent to a small Anglican parish school in Henley, which his sister had attended before him. He never wrote of his recollections of it, but he must have impressed the teachers very favourably for two years later he was recommended to the headmaster of one of the most successful preparatory schools in England at the time: St Cyprian's School, in Eastbourne, Sussex. Young Eric attended St Cyprian's on a scholarship that allowed his parents to pay only half of the usual fees. Many years later, he would recall his time at St Cyprian's with biting resentment in the essay "Such, Such Were the Joys," but he did well enough to earn scholarships to both Wellington and Eton colleges.

After a term at Wellington, Eric moved to Eton, where he was a King's Scholar from 1917 to 1921. Later in life he wrote that he had been "relatively happy" at Eton, which allowed its students considerable independence, but also that he ceased doing serious work after arriving there. Reports of his academic performance at Eton vary: some claim he was a poor student, others deny this. It is clear that he was disliked by some of his teachers, who resented what they perceived as disrespect for their authority. In any event, during his time at the school Eric made lifetime friendships with a number of future British intellectuals.

Burma and afterwards
After finishing his studies at Eton, having no prospect of gaining a university scholarship and his family's means being insufficient to pay his tuition, Eric joined the Indian Imperial Police in Burma. He resigned and returned to England in 1928 having grown to hate imperialism (as shown by his first novel Burmese Days, published in 1934, and by such essays as 'A Hanging', and 'Shooting an Elephant'). He adopted his pen name in 1933, while writing for the New Adelphi. He chose a pen name that stressed his deep, lifelong affection for the English tradition and countryside: George is the patron saint of England (and George V was monarch at the time), while the River Orwell in Suffolk was one of his most beloved English sites.

Orwell lived for several years in poverty, sometimes homeless, sometimes doing itinerant work, as he recalled in the book Down and Out in Paris and London. He eventually found work as a schoolteacher until ill health forced him to give this up to work part-time as an assistant in a secondhand bookshop in Hampstead, an experience later recounted in the short novel Keep the Aspidistra Flying.

Spanish Civil War
Soon after the outbreak of the Spanish Civil War, Orwell volunteered to fight for the Republicans against Franco's Nationalist uprising. As a sympathiser of the Independent Labour Party (of which he became a member in 1938), he joined the militia of its sister party in Spain, the non-Stalinist far-left POUM (Workers' Party of Marxist Unification), in which he fought as an infantryman. In Homage to Catalonia he described his admiration for the apparent absence of a class structure in the revolutionary areas of Spain he visited. He also depicted what he saw as the betrayal of that workers' revolution in Spain by the Spanish Communist Party, abetted by the Soviet Union and its secret police, after its militia attacked the anarchists and the POUM in Barcelona in May 1937. Orwell was shot in the neck (near Huesca) on May 20, 1937, an experience he described in his short essay "Wounded by a Fascist Sniper", as well as in Homage to Catalonia. He and his wife Eileen left Spain after narrowly missing being arrested as "Trotskyites" when the communists moved to suppress the POUM in June 1937.

World war and after
Orwell began supporting himself by writing book reviews for the New English Weekly until 1940. During World War II he was a member of the Home Guard and in 1941 began work for the BBC Eastern Service, mostly working on programmes to gain Indian and East Asian support for Britain's war efforts. He was well aware that he was shaping propaganda, and wrote that he felt like "an orange that's been trodden on by a very dirty boot." Despite the good pay, he resigned in 1943 to become literary editor of Tribune, the left-wing weekly then edited by Aneurin Bevan and Jon Kimche. Orwell contributed a regular column entitled 'As I Please.'

In 1944 Orwell finished his anti-Stalinist allegory Animal Farm, which was published the following year with great critical and popular success. The royalties from Animal Farm provided Orwell with a comfortable income for the first time in his adult life. From 1945 Orwell was the Observer's war correspondent and later contributed regularly to the Manchester Evening News. He was a close friend of the Observer's editor/owner, David Astor and his ideas had a strong influence on Astor's editorial policies. In 1949 his best-known work, the dystopian Nineteen Eighty-Four, was published. He wrote the novel during his stay on the island of Jura, off the coast of Scotland.

Between 1936 and 1945 Orwell was married to Eileen O'Shaughnessy, with whom he adopted a son, Richard Horatio Blair (b. May of 1944). She died in 1945 during an operation. In the autumn of 1949, shortly before his death, he married Sonia Brownell.

In 1949 Orwell was approached by a friend, Celia Kirwan, who had just started working for a Foreign Office unit, the Information Research Department, which had been set up by the Labour government to publish pro-democratic and anti-communist propaganda. He gave her a list of 37 writers and artists he considered to be unsuitable as IRD authors because of their pro-communist leanings. The list, not published until 2003, consists mainly of journalists (among them the editor of the New Statesman, Kingsley Martin) but also includes the actors Michael Redgrave and Charlie Chaplin. Orwell's motives for handing over the list are unclear, but the most likely explanantion is the simplest: that he was helping out a friend in a cause - anti-Stalinism - that both supported. There is no indication that Orwell ever abandoned the democratic socialism that he consistently promoted in his later writings - or that he believed the writers he named should be suppressed. Orwell's list was also accurate: the people on it had all at one time or another made pro-Soviet or pro-communist public pronouncements.

Orwell died at the age of 46 from tuberculosis which he had probably contracted during the period described in Down and Out in Paris and London. He was in and out of hospitals for the last three years of his life. Having requested burial in accordance with the Anglican rite, he was interred in All Saints' Churchyard, Sutton Courtenay, Oxfordshire with the simple epitaph: Here lies Eric Arthur Blair, born June 25th 1903, died January 21st 1950.

Orwell's work
During most of his career Orwell was best known for his journalism, both in the British press and in books of reportage such as Homage to Catalonia (describing his experiences during the Spanish Civil War), Down and Out in Paris and London (describing a period of poverty in these cities), and The Road to Wigan Pier (which described the living conditions of poor miners in northern England). According to Newsweek, Orwell "was the finest journalist of his day and the foremost architect of the English essay since Hazlitt."

Contemporary readers are more often introduced to Orwell as a novelist, particularly through his enormously successful titles Animal Farm and Nineteen Eighty-Four. The former is considered an allegory of the corruption of the socialist ideals of the Russian Revolution by Stalinism, and the latter is Orwell's prophetic vision of the results of totalitarianism. Orwell denied that Animal Farm was a reference to Stalinism. Orwell had returned from Catalonia a staunch anti-Stalinist and anti-Communist, but he remained to the end a man of the left and, in his own words, a 'democratic socialist'.

Orwell is also known for his insights about the political implications of the use of language. In the essay "Politics and the English Language", he decries the effects of cliche, bureaucratic euphemism, and academic jargon on literary styles, and ultimately on thought itself. Orwell's concern over the power of language to shape reality is also reflected in his invention of Newspeak, the official language of the imaginary country of Oceania in his novel Nineteen Eighty-Four. Newspeak is a variant of English in which vocabulary is strictly limited by government fiat. The goal is to make it increasingly difficult to express ideas that contradict the official line - with the final aim of making it impossible even to conceive such ideas. (cf. Sapir-Whorf Hypothesis). A number of words and phrases that Orwell coined in Nineteen Eighty-Four have entered the standard vocabularly, such as "memory hole," "Big Brother," "Room 101," "doublethink," "thought police," and "newspeak."
 
Compiled by Claribel Pineda

Animal Farm (by George Orwell)

Hi all Reading and Conversation II friends:
Download this book by clicking on the following link:
http://kienforcefidele.files.wordpress.com/2008/10/animal_farm.pdf

More information, with your teacher Claribel Pineda, B.A.
 

Wednesday, July 7, 2010

Wednesday, June 30, 2010

Interpreting vs. Translation

Interpreting and translation are two closely related linguistic disciplines. Yet they are rarely performed by the same people. The difference in skills, training, aptitude, and even language knowledge are so substantial that few people can do both successfully on a professional level.


On the surface, the difference between interpreting and translation is only the difference in the medium: the interpreter translates orally, while a translator interprets written text. Both interpreting and translation presuppose a certain love of language and deep knowledge of more than one tongue.


The Skill Profile of Technical Translators


However, the differences in skills are arguably greater than similarities. The key skills of the translator are the ability to understand the source language and the culture of the country where the text originated, and, using a good library of dictionaries and reference materials, render that material clearly and accurately into the target language. In other words, while the linguistic and cultural skills are still critical, the most important mark of a good translator is the ability to write well in the target language.


However, even bilingual individuals rarely can express themselves in a given subject equally well in both languages; and many excellent translators are not fully bilingual to begin with. Knowing this limitation, a good translator will only translate documents into his or her native language, and this is why we at RIC International absolutely require it of our technical translators, in addition to their subject matter expertise.


An interpreter, on the other hand, has to be able to translate in both directions on the spot, without using dictionaries or other supplemental reference materials. Interpreters must have extraordinary listening abilities, especially for simultaneous interpreting. Simultaneous interpreters need to process and memorize the words that the source-language speaker is saying now, while simultaneously outputting in the target language the translation of words the speaker said 5-10 seconds ago. In addition, interpreters have to posess excellent public speaking skills, and the intellectual capacity to instantly transform idioms, colloquialisms and other culturally-specific references into analogous statements the target audience will understand.


Interpreter Qualifications

Interpreting, just like translation, is, fundamentally, the art of paraphrasing – the interpreter listens to a speaker in one language, grasps the content of what is being said, and then paraphrases his or her understanding of the meaning using the tools of the target language. But just as you can not explain to someone a thought if you did not fully understand that thought, neither can you translate or interpret something without mastery of the subject matter being relayed.

It simply can not be overstated: when choosing an interpreter, his or her expert knowledge of the subject matter is equally as important as the interpreting experience. (See the section "Why Subject Expertise Matters for Technical Translators" for a more detailed discussion of the importance of subject matter knowledge for technical translators and interpreters).

For further information, you can download this document:

Mr. Oviedo