Computer Security Threats faced by Small Businesses

Computer Security Threats faced by Small Businesses Business Systems Security Computer security threats faced by small businesses in Australia The Internet is an affordable and effective place for small businesses to sell and advertise their goods and services. However, the web gives chances to deceitful conduct and unapproved access to business and customer information. Attacks on the computer system of a business can have quick and progressive impacts. For example, focusing on clients for character violations or contaminating website visitors with malicious software. It is thought that small business in Australia have been eased back to execute security technology and policies that may protect their information systems, making them quite vulnerable against present and future dangers. In this report, an attempt is made to educate small business owners about the risks that they face and the mitigation strategies they could employ to make their organisation safer. In this paper, an overview is given of computer security dangers and threats confronted by small businesses and ventures. Having identified the dangers and threats, the implication for private and small business owners are explained alongside countermeasures that can be embraced to keep incidents from happening. The results obtained from the Australian Business Assessment of Computer User Security (ABACUS) survey, commissioned by the Australian Institute of Criminology (AIC), are recorded to identify key risks (Challice 2009; Richards 2009). Added emerging threats relating to cloud computing wireless Internet, and spear phishing are also described, as well as the risks relating to online fraud. The ABACUS overview was involved in an arbitrary example of small, medium and large business. Businesses were studied to look at the nature and degree of Computer security breaches. Of the 4,000 respondents to the study, 3,290 (82.3%) were small businesses. Contrasted and their extent in the Australian business population, small business were under-examined. In any case, the survey was weighted by industry sort and how large the business is so that the data accumulated by every participant was proportionate in connection to the more extensive population being tested. Challice (2009) gives an outline of the research methodology. Results of the survey were congruent with previous findings, confirming that small businesses in Australia have embraced the use of technology, with 92 percent using it to some extent during 2006-07 (Richards 2009). Most small businesses reported the use of personal computers (85%) and laptops (54%). Presumably due to smaller staffing levels, fewer small businesses reported the use of a local area network (43%), wide area network (9%) or virtual private network (10%) than medium and large businesses (Richards 2009). During 2006-07, 14 percent of small companies announced having encountered at least one or more security breach occurrences (Richards 2009). Of these, 83 percent experienced one to five incidents, eight percent experienced six to 10 occurrences and nine percent experienced more than 10 incidents. Negative results were accounted for by 75 percent of small businesses taking after the most huge security incident. These included : Corruption of hardware or software (42%); Corruption or loss of data (31%); Unavailability of service (38%); Non-critical operational losses (24%); Non-critical financial losses (12%); Critical financial losses (5%); Theft of business, confidential or proprietary information (5%); Theft or loss of hardware (4%); Harm to reputation (4%); Critical operational losses (4%); website defacement (2%); and Other (1%; Richards 2009: 69). When a computer security incident occurred, the average loss to a small business was $2,431 (Richards 2009). The Australian and New Zealand Standard Industrial Classification was used to determine the industry sectors covered by the survey (Richards 2009). The ABACUS results indicated that each industry sector experienced a relatively even proportion of computer security incidents (Richards 2009). Threats Small Businesses may do not have the ability to distinguish and manage computer security incidents (Williams and Manhcke 2010), making them an appealing focus for online offenders (Verizon 2011). A review of a portion of the threats confronted by small businesses, including the nature of the threat and potential results, is provided in the following section. Situations include malware contamination, wireless internet misuse and session hijacking, online fraud, compromised websites, denial of service attacks, phishing, spear phishing, unauthorised access and risks associated with cloud computing. While this overview is not exhaustive, it aims to increase awareness of the types of vulnerabilities small business operators may face. Malware viruses, malicious code and spyware as causing the greatest financial loss and 60 percent identified these incidents as being the most significant (Richards 2009). References to be used: AusCERT 2008. Protecting your computer from malicious code. Brisbane: University of Queensland. http://www.auscert.org.au/render.html?it=3352 Australian Bureau of Statistics (ABS) 2010. Counts of Australian businesses, including entries and exits. cat. no. 8165.0. Canberra: ABS. http://www.ausstats.abs.gov.au/ausstats/subscriber.nsf/0/4B1441D347457CF6CA2577C2000F0A05/$File/81650_jun%202007%20to%20jun%202009.pdf

Justice in Plato’s Republic

Plato Republic presents the concepts of psychic justice and psychic virtue. This is different from what in normally observed as justice and virtue. Thus, when apparently good deeds are ostensibly rewarded, and, correspondingly, evils deeds are punished, that is considered to be justice. But Plato is suggesting that appearances are deceptive, and that true justice and virtue are not so easily recognizable. The matter needs to be considered by essences, not appearances. In this way is derived psychic justice and virtue. And when we arrive at the latter understanding we overcome the contradictions found in the first view. For in the apparent view evil seems to be rewarded, while virtue is punished, in the normal course of life. The object of Plato is thus to convince that the just life in preferable to the unjust. As in all the dialogues of Plato, the argument is presented as that of Socrates, and in which the Athenian philosopher systematically overcomes all possible objections to the proposed thesis. Republic is possibly the most elaborately presented argument of Plato, and is also the longest. This essay argues that all the objections raised, by the friends and acquaintances of Socrates, regarding the principle proposition stated above, are answered comprehensively. Evidence seems to contradict the claim of Socrates that the just life is always to be preferred, and this is the principle objection raised by all detractors. In Book I the objection is raised by the rich host Cephalus, and by the cynical Thrasymachus. Cephalus is not confrontational, but merely smug in his conviction that wealth has allowed him to practice virtue. Socrates confounds him by asking whether he would return a lethal weapon to its rightful owner when it is certain that he is not in the right frame of mind and will commit mischief with it. Thrasymachus is intolerant of the dialectical method of Socrates, and demands a positive answer to the question of what justice is. He himself volunteers the positive opinion that justice is the interest of the powerful. Socrates makes the argument that no act is in the interest of the powerful, but is necessarily in the interest of the weaker. For example, the potter makes pots for those who have no inkling of the art of pottery, but would nevertheless like to use one. The potter (the strong) is successful if he can satisfy the non-potter (the weak). Since justice must be equated with success, the just act is committed in the interest of the weak. By a similar argument, the just act cannot inflict harm, neither to the just subject, nor to the recipient of justice, and in this way Socrates refutes the other claim of Thrasymachus that the unjust are happy, while the just suffer. This is the substance of the argument the Glaucon and Adeimantus have so far absorbed, and are only partially convinced by. They remain in the company after Thrasymachus and Cephalus have departed, and are the principal agents to take the argument forward. They proceed to raise the same challenge of Thrasymachus, but in a less confrontational way, and with an earnest inclination to find out. Socrates’ conclusion that the just are rewarded while the unjust destroy themselves seems to them to utterly contradict plain evidence. Glaucon cannot accept that acts of justice are desired â€Å"both for their own sake and for the sake of their results† (Plato 45). Everyone knows, he suggests, that the virtuous act is undertaken with a dread of unpleasant consequences. He puts forward a picture of two extremes; on the one hand there is the rich hypocrite who the world recognizes as virtuous, and on the other the poor and virtuous man who is also castigated by society as evil. This is not far removed from reality, and Glaucon pleads where the benefits of justice and virtue are in view here. Adeimantus stresses the same point, going further to quote the poets who maintain â€Å"that honesty is for the most part less profitable than dishonesty; and they are quite ready to call wicked men happy†¦Ã¢â‚¬  (Ibid 53). Socrates at this point brings forward the crux of his argument – it is a ploy to consider the macrocosm before the microcosm. Justice and virtue must prevail in the Republic before it is possible at the atomic level of the individual. If the Republic is just, then its virtues will be far more visible than it would be in the case of the individual, and this due to its size. The workings of the state are more open to examination then the workings of the soul. In this wise Socrates is prepared to embark on an epic reconstruction of the Republic. Much of this discussion in phrased in terms of â€Å"should be†, but it is important that we remember that it is not political science which Plato is attempting. The Republic is put forward only as a mirror to the soul. It is phrased in terms of â€Å"should be† because justice is the quest, and the just Republic is necessarily constructed on what ought to be. Once justice is located here, and recognized, it throws invaluable light on the corresponding map of the soul. In the end Glaucon and Adeimantus are convinced that there is justice in the Republic. Each step in Socrates’ argument is built on the idea that the unjust, as a league, are incapable of any constructive effort. Even while refuting Thrasymachus, Socrates has argued that the unjust are against both their own kind, and their opposite kind (the just), while the just, at the very least, are in favor of the just. Therefore, all that is constructive and beneficial stems from the virtue of the just. On this crucial argument Socrates bases his reconstruction, and therefore justice is seen to prevail in every facer of the Republic. What exactly this justice is Socrates confesses not to know, yet there are three other qualities that must precede it – wisdom, courage and temperance. Each member of society has a requisite knowledge which answers a calling in life, and which is necessary for survival. The sum of such atomized knowledge is the wisdom of the state. The highest calling of all is that of the guardians of the state, and in them is the greatest wisdom, for they guide all others and thereby secure the greatest good. In particular, they determine the education, and they censor the arts, knowing what is conducive to the whole. Courage is in the defenders of the state. Temperance in distributed throughout society, for everyone must know the right measure of things. Socrates argues that both wealth and poverty are detrimental to the artisan. Wealth makes him inattentive to his art, while in poverty he cannot afford the means to practice. Therefore, the circumstances that prevail in a healthy Republic forces temperance on one and all. If this is a just Republic, argues Socrates, where justice, wisdom, courage and temperance prevail, than justice must be that which is left after wisdom, courage and temperance have been extracted from the whole. Having identified justice in the macrocosm, Socrates goes on to find its correspondence in the microcosm, which is in the soul of man. He distinguishes two types of knowledge, one guided by the rational principle, the other following the appetites, or the gratification of the five senses. Just as the higher wisdom of the guardians in the state guide the knowledge of all others, so the rational principle of the soul controls the appetites, and this makes for the wisdom of the soul. In the case of the Republic it has been shown that if each individual is allowed to function properly in his own calling then this constitutes justice in the wider body politic. Similarly, when the rational principle of the soul guides every facet of the human to function properly, then not only has the individual attained to justice, but also to health, for then each part is in harmony with the other and there is no discord. In this state justice, wisdom, courage and temperance prevail together, and as in the case of the Republic, justice is that which remains after the other three. We call this psychic justice, because we do not see it for itself, but only discover its existence after examination of the human psyche. It is not possible to refute the existence of psychic justice, and all the objections raised against it have been answered completely by Socrates. It is only a question of how worthy one considers it to be. It is not only a question of following the argument, but also of perceiving the inner import of it. Socrates therefore provides three answers to the same question, suited to the attitudes of the questioners. Cephalus must only be disturbed from his smug righteousness. The confrontational Thrasymachus can only be refuted with hard logic, for he cannot be made to comprehend. In Glaucon and Adeimantus, however, Socrates senses a desperate willingness to learn. â€Å"[T]here is something truly divine in being able to argue as you have done for the superiority of injustice,† he tells them, â€Å"and remaining unconvinced by your own arguments† (Ibid 58). The analogy of the Republic is introduced only to answer this honest query. In effect it is the same answer arrived at as the previous two, but nevertheless is special because it allows scope for inner comprehension. This is what Glaucon and Adeimantus come to in the end, and it is far more worth while to them then to merely follow logic. Of course appearances will continue to deceive, and Socrates maintains throughout that he still does not know what justice is. But if the only acquisition is a strengthening of faith in the higher justice, then the gain is substantial. To conclude, Plato introduces the concept of psychic justice, the purpose of which it to contradict the popular notion that the wicked and unjust reap the fruits of the world, while the just are easy prey for the evildoers. He introduces the analogy of the Republic, which is presented as the macrocosm that mirrors the microcosm that is the soul of man. In this way he identifies the justice that prevails in the Republic, and then finds the counterpart justice in the soul of man. In my opinion, psychic justice is to be considered above the apparent notions of justice, because appearances deceive. Plato raises his argument on the essential considerations of the human soul, and it is thus irrefutable.

Galsworthy – to Let

Ga John Galsworthy (1867 — 1933) TO LET (1922) This novel is the last volume of the Forsyte Saga. It marks both the end of the first stage in the development of the Forsytes and the beginning of the second, post-war stage in the chronicles of their doings. That final stage is the subject of Galsworthy's second trilogy, the Modern Comedy, where the younger generation of the Forsytes are depicted against the background of England's post-war decay. In the following extract the novelist holds up to ridicule the decadence of modem art.He puts his ideas into the mouth of Soames Forsyte whom he formerly satirized as the â€Å"man of property†. Soames's scornful bewilderment at sight of Expressionist paintings renders to a certain degree the feelings of the novelist himself. CHAPTER I Encounter Arriving at the Gallery off Cork Street, however, he paid his shilling, picked up a catalogue, and entered. Some ten persons were prowling round. Soames took steps and came on what looke d to him like a lamp-post bent by collision with a motor omnibus. It was advanced some three paces from the wall, and was described in his catalogue as â€Å"Jupiter†.He examined it with curiosity, having recently turned some of his attention to sculpture. â€Å"If that's Jupiter,† he thought, â€Å"I wonder what Juno's like. † And suddenly he saw her, opposite. She appeared to him like nothing so much as a pump with two handles, lightly clad in snow. He was still gazing at her, when two of the prowlers halted on his left. â€Å"Epatant†[1] be heard one say. â€Å"Jargon! † growled Soames to himself. The other boyish voice replied: â€Å"Missed it,[2] old bean;[3] he's pulling your leg. When Jove and Juno created he them,[4] he was saying: â€Å"I’ll see how much these fools will swallow†.And they’ve lapped up a lot. †[5] â€Å"You young duffer[6]! Vospovitch is an innovator. Don’t you see that he’s brough t satire into sculpture? The future of plastic art, of music, painting, and even architecture, has set in satiric. It was bound to. People are tired – the bottom’s tumbled out of sentiment. † â€Å"Well, I’m quite equal to taking a little interest in beauty. I was through the war. You’ve dropped your handkerchief, sir. † Soames saw a handkerchief held out in front of him. He took it with some natural suspicion, and approached it to his nose.It had the right sent – of distant Eau de Cologne – and his initials in a corner. Slightly reassured, he raised his eyes to the young man’s face. It had rather fawn-like ears, a laughing mouth, with half a toothbrush growing out of it on each side, and small lively eyes above a normally dressed appearance. â€Å"Thank you,† he said; and moved by a sort of irritation, added: â€Å"Glad to hear you like beauty; that’s rare, nowadays. † â€Å"I dote on it,† sai d the young man; â€Å"but you and I are the last of the old guard, sir. † Soames smiled. If you really care for pictures,† he said, â€Å"here’s my card. I can show you some quite good ones any Sunday, if you’re down the river and care to look in. † â€Å"Awfully nice of you, sir. I’ll drop in like a bird[7]. My name’s Mont – Michael. † And he took off his hat. Soames, already regretting his impulse, raised his own slightly in response, with a downward look at the young man’s companion, who had a purple tie, dreadful little sluglike whiskers, and a scornful look – as if he were a poet! It was the first indiscretion he had committed for so long that he went and sat down in an alcove.What had possessed him to give his card to a rackety[8] young fellow, who went about with a thing like that? And Fleur, always at the back of his thoughts, started out like a filigree figure from a clock when the hour strikes. On the screen opposite the alcove was a large canvas with a great many square tomato-coloured blobs on it, and nothing else, so far as Soames could see from where he sat. He looked at his catalogue: â€Å"No. 32 — ‘The Future Town' — Paul Post. † â€Å"I suppose that's satiric too,† he thought. â€Å"What a thing! † But his second impulse was more cautious. It did not do to condemn hurriedly.There had been those stripey, streaky creations of Monet's[9], which had turned out such trumps; and then the stippled school,[10] and Gauguin* [11]. Why, even since the Post-Impressionists[12] there had been one or two painters not to be sneezed at. During the thirty-eight years of his connoisseur's life, indeed, he had marked so many â€Å"movements†, seen the tides of taste and technique so ebb and flow, that there was really no telling anything except that there was money to be made out of every change of fashion. This too might quite well be a c ase where one must subdue primordial instinct, or lose the market.He got up and stood before the picture, trying hard to see it with the eyes of other people. Above the tomato blobs was what he took to be a sunset, till some one passing said: â€Å"He's got the airplanes wonderfully, don't you think! † Below the tomato blobs was a band of white with vertical black stripes, to which he could assign no meaning whatever, till some one else came by, murmuring: â€Å"What expression he gets with his foreground! † Expression? Of what? Soames went back to his seat. The thing was â€Å"rich†, as his father would have said, and he wouldn't give a damn for it.Expression! Ah! they were all Expressionists[13] now, he had heard, on the Continent. So it was coming here too, was it? He remembered the first wave of influenza in 1887 — or 8 — hatched in China, so they said. He wondered where this —this Expressionism — had been hatched. The thing was a regular disease! , ? -, , ? . . ? -, , ? . ? ? â€Å"†. ? , ? . â€Å" , – , – † ? , , ? . ? , . ? , , ? , . – ! – . – ! – . : – , ! . , , , : â€Å", †. ? ? . – , ! – . , ? , , , – ? . . : . – . ? ? . ? . , . . ? ? ? ? . – , ? . . . ? , ? . ? . – , – ?, , : – , ; ? . – ? , – . – ? , , . . ? , . ? ? , , , . – ? , . . , . . , ? , ? . , , , ? – , ! ? ?, , ? . - , ? ? , , , ? . , ? -, , – ? , . ? : N 32, â€Å" † – . â€Å", , – . – ? ! † . ? . – ? – ; ? , ? - , . , , â€Å"†, ? ? ? , ? : . , ? , ? , . ? ? , . - , , - : â€Å" , † , , , - ? : â€Å" ! † ? ? ? . †, – ? . ! , , . , , ? . ? , , , . ? , , ! Analysis In this description of Soames's impressions of a gallery stocked with pieces of modern art Galsworthy's realism is displayed to great advantage.Within a very few pages the reader gets a vivid notion not only of the new school in painting, but also of the man who is so indignant with it. On the one hand his disgust and his perplexity throw light on the fictitious masterpieces and their false standards of beauty; on the other hand those masterpieces become an efficient means of characterizing Soames himself. The same end is served by the contrast between the soundness of his judgement and the flightiness, the restlessness of those of the new generation who delight in such works of art.Abundance of thought and feeling in a short passage where nothing much actually happens, dislike of emphasis and pathos is an important feature of Galsworthy's quiet and restrained art. His intense contempt for the mannerisms of modern painting is not poured out either in withering sarcasm or in grotesque exaggeration, but finds an outlet in a tone of matter-of-fact irony. The supposed statues of Jupiter and Juno are to Soames just â€Å"a lamp-post bent by collision with a motor omnibus† and â€Å"a pump with two handles† respectively.Seen through the eyes of hard common-sense, brought down to the crudest elements, these statues appear particularly ridiculous. The same process of reducing a complex whole — a pretentious picture of â€Å"The Future Town† — to a number of primitive daubs serves to expose the futility of Expressionist art. However hard Soames tries, he can see nothing but â€Å"a great man y square tomato-coloured blobs† and â€Å"a band of white with vertical black stripes†. The very sound of the word â€Å"blob†, imitating the dripping of some liquid, is derogatory here and suggests that the paint was dropped on the canvas anyhow.This plain sensible view is comically opposed to the enthusiasm of other and younger spectators who seem to observe a wonderful picture of airplanes in the red blobs and a peculiar â€Å"expression† in the black and white stripes. The false pretences of the picture bearing the pompous name of â€Å"The Future Town† are the more clearly revealed as Soames anxiously does his best to go abreast of the times and make his taste sufficiently up to date. The harder the beholder's efforts to appreciate, the clearer the painter's failure to succeed.Soames's business instincts are well expressed in his fear to misunderstand the exhibits and so miss an opportunity for profit. Thus, even when Galsworthy does make a mou thpiece of his hero, the latter's utterances, however close they come to the author's opinions, are appropriate to the personality of the speaker and come convincing from his lips. It is Galsworthy himself who has no respect for Expressionism, but Soames voices that feeling in a way peculiarly Forsytean: he is afraid to trust his eminently healthy taste, his own sense of beauty, for, as he reminds himself, â€Å"it did not do to condemn hurriedly.There had been those stripey, streaky creations of Monet’s†¦Ã¢â‚¬  These words make part of a prolonged inner monologue, which in the later volumes of the Forsyte Saga and in the whole of the Modern Comedy becomes Galsworthy’s favourite method of characterization. The inner speech of the hero is indissolubly linked with the author’s comments, so much so, really, that when speaking of Soames, for example, Galsworthy resorts to expressions entirely suitable to Soames (â€Å"His second impulse was more cautiousâ₠¬ , â€Å"He remembered the first wave of influenza in 1887 — or 8 — hatched in China, so they said†).With Galsworthy the inner monologue is different from what it is, say, in Meredith's books. For one thing, the author of the Forsyte Saga uses it much more often. For another thing, he interferes with his comments much less than his predecessor. Lastly, the language of the monologues (particularly when they are Soamse’s) is much more concise and laconic, utterly devoid of sentiment. It is quite free of abstract terms, and is exceedingly terse, practical and full of idiomatic constructions commonly used in everyday speech (â€Å"painters not to be sneezed at†, â€Å"they had turned out such trumps† etc. . Soames the businessman makes himself heard when in the meditations on art practical considerations come to the top: â€Å"there was money to be made out of every change of fashion†, â€Å"lose the market† and others. Even his metaphors, when they put in an appearance, are few and definitely â€Å"low† – as, for instance, the comparison of Expressionism to influenza hatched in China: â€Å"He wondered where this — this Expressionism — had been hatched. The thing was a regular disease! These metaphors are born out of Soames ‘s disgust for what he considers a corruption of art and are therefore significant of his attitude towards painting: they prove that Soames had esthetic criteria of his own and was capable of disinterested appreciation. Besides the inner monologue and characterization through surroundings, Galsworthy, ever resourceful in his search for the realistic approach, makes ample use of the dialogue as an efficient means to let his characters speak for themselves without the author's interference.In the present excerpt Soames unexpectedly finds himself involved in a talk with young strangers, one of whom is an advocate of â€Å"extreme† innovation of art . Their speech might be described as a curious combination of vulgar colloquialisms (â€Å"duffer†, â€Å"to lap up†, â€Å"the bottom's tumbled out of sentiment†) with bookish and learned phraseology (â€Å"innovator†, â€Å"plastic art†, â€Å"to bring satire into sculpture†), of English and French slang (â€Å"old bean†, â€Å"to pull somebody's leg†, â€Å"epatant†) with solemn parody of Biblical constructions (â€Å"Jove and Juno created he them†).Exaggeration (â€Å"awfully nice of you†, â€Å"I dole on it [beauty]†) goes hand in hand with understatement (â€Å"I'm quite equal to taking a little interest in beauty†). Galsworthy perfectly realized, — indeed, he was one of the first writers to do so — that the flippant manner and the crude speech of post-war young people was the result of a severe shock of disillusionment: they were so disappointed with those fine words that, used to go with a fine show of public feeling that for them â€Å"the bottom had tumbled out of sentiment†, and satire both in art and in mode of talk seemed to be the only possible alternative.Their manner of speaking, cynical, affectedly coarse, substituting descriptive slangy catchwords for the proper names of things, is strongly contrasted to Soames's formal, plain speech with his habit of giving things their common standard meanings and never saying more than is strictly necessary. The contrast in manner and speach habits is of great importance in lending vitality to both interlocutors, in stressing the immense difference between the younger men’s irresponsibility and rootlessness and Soames's resolute clinging to property, his dogged hold on life.As a follower of a realist tradition, Galsworthy never fails in attaching special significance to the tiniest details: Soames approaches his handkerchief, that Michael had picked up for him, to his nose to make sure it is really his — with that suspiciousness that is so characteristic of the Forsytes.He raises his hat only slightly in parting from young Mont and looks downward at his companion, for he is naturally distrustful of new acquaintances and inclined to be no more than coldly polite (raising his hat ever so little) and supercilious — in looking down upon anybody whom he does not recognize as his equals and half expects to be troublesome. All these little things are very suggestive of that fear of giving oneself away that Galsworthy elsewhere described as a feature by which it is as easy to tell a Forsyte as by his sense of property.Galsworthy's realism does not only lie in his capacity for making his hero part and parcel of his surroundings and convincing the reader of his typicality: he is a fine artist in reproducing the individual workings of his characters' minds. Soames, the man of property, is also a man of deep and lasting feelings. Such is his devotion to his daughte r Fleur, who was â€Å"always at the back of his thoughts† and â€Å"started out like a filigree figure from a clock when the hour strikes†.Incidentally, this dainty simile, so utterly unlike the matter-of-factness that characterizes the usual reproduction of Soames’s prosaic mind, is expressive of the poetic colouring that Galsworthy introduces to render the strength of the affection Soames has for Fieur, As a general rule, the novelist, though following in the tracks of classical realists, breaks away from the literary polish, the fine descriptive style that was kept up to the very end of the 19th century.At the same time as Shaw, Weils, Bennett, Galsworthy starts a new tradition of bringing the language of literature (m the author’s speech, no less than in that of the personages) close to the language of real life. He does away with the elaborate syntax of 19th century prose and cultivates short, somewhat abrupt sentences, true to the rhythm and the in tonation of the spoken language and full of low colloquialisms and even slang. Tasks I. Translate into English: ) ? ; 2) -; 3) ? ; 4) ? ; 5) ; 6) ? ? ? ? ; 7) ; 8) -; 9) ; 10) ? ; 11) , ? ; 12) – , ; 13) ? ; 14) ? ; 15) ? ; 16) ; 17) ; 18) , , ? ; 19) , ; 20) , ; 21) ? . II. Answer the questions: 1) What does the description under analysis present? 2) How do Soames’s portrayal and the paintings’ presentation characterise each other? 3) What are the features of Galsworthy’s style? ) How is Galsworthy’s contempt for the mannerisms in art brought home to the reader? 5) How are the statues brought to ridicule by the author? 6) What view is Soames’s approach opposed to? 7) How are Soames’s business instincts expressed? 8) Is Galsworthy’s own view rendered through Soames’s voice? Do the views of the writer and his character comp letely coincide? 9) What is Galsworthy’s favourite method of characterisation? 10) How is the language of the monologues to be characterised? 11) How is the businessman revealed in Soames? 12) What are the specificities of the young strangers? 13) How are the two different manners of speech contrasted? 14) How does Galsworthy treat details? 5) How does Galsworthy reproduce the individual working of Soames’s mind? 16) What literary tradition did Galsworthy participate in starting of? ———————– [1] I ¬c ¬o ¬Ã‚ ­!  ­+ ­Z ­l ­o ­?  ­Ã‚ ¶Ã‚ ­Ã‚ ·Ã‚ ­e ­e ­i ­i ­n ­?  ­o ­  ®  ®Ã‚ ®Ã‚ ®5 ®A ®B ®eOAOAOAO «Ã¢â‚¬â€œÃ‚ «? p? p? p? [F[F[F[)h{[email  protected]? yyB*[pic]CJaJmHphsH)h{uh  ¬@? yyB*[pic]CJaJmHphsH%h{uhAJaB*[pic]CJaJmHphsH%h{uh  ¬B*[pic]CJaJmHphsH)h{[email  protected] yB*[pic]CJaJmHphsH)h{uh  ¬@ yB*[pic]CJaJmHphsH)h{[email  protected]? [2]B*[pic]CJaJmHphsH)h{ uh  ¬@? [3]B*[pic]CJaJmHphsH)h{uheEpatant (French) – thrilling, wonderful [4] Missed it – here: misunderstood it [5] Old bean – old man (sl. ) [6] when Jove and Juno created he thern — a paraphrase of the Biblic story of he origin of man: â€Å"male and female created he them† [7] they've lapped up the lot — here: they have taken everything seriously [8] Duffer – fool (sl. ) [9] Drop in like a bird – come with pleasure (sl. ) [10] Rackety – light-minded, flightly [11] Claude Monet (1840-1926) – a well-known French painter of the Impressionist school [12] Stippled school – painters who painted in dots [13] Paul Gauguin (1843-1903) – French painter and sculpter [14] Post-Impressionists – painters who succeeded the Impressionists in 20th century art [15] Expressionists – artists belonging to one og the schools in art very popular in the first decades of the 20th century

Becoming An Early Childhood Teacher - 2140 Words

Introduction An educator is vital to have their own teaching and learning philosophy, a personal learning philosophy is the elements, belief and the pedagogy for the educator in the teaching field(Soccorsi,2013). The changes of your teaching philosophy will changed through the studies of your course, teaching experiences and career. In this essay, it has separated into three part, the first part is to explain what has influenced me to become an early childhood teacher. The second part is to explain the situation of early childhood education in Australia today. The last part is going to explain my philosophy and provide some support evidences. Why I want to become an early childhood teacher? There are two people that influenced me to become a early childhood teacher, one is Miss.Huang and the other is Eason. When I was small, I have studied in 2 different kindergartens, I have left the first kindergarten due to the removal of the kindergarten, and I have to move the second kindergarten. I still remember in my first few month studying in kindergarten, I kept crying every day when I have to leave my parents and study in the kindergarten, I was scared of adapting new environment and get to know new teacher. However, Miss.Huang in the kindergarten treated me really well, she is kind and paid a lot of effort and patience to help me adapt the environment and teach me the rules in this kindergarten. At last Miss.Huang has build a reciprocal relationship with me by helping me toShow MoreRelatedEssay on Becoming an Effective Early Childhood Teacher1594 Words   |  7 PagesWhat separates a good teacher from a great Teacher? â€Å"First and foremost a teacher must love working with children. 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