Translating Gaelic Scotland: the culture of translation in the context of modern
Scottish Gaelic literature
Corinna Krause (University of Edinburgh)
With this paper I would like to take a closer look at the ‘culture of translation’ as it appears to flourish in the context of modern Scottish Gaelic literature. As the Gaelic literary scene does not exist in a local literary vacuum, it is continuously involved in the process of negotiating its literary and cultural identity within the realms of a global reality. The quest for the wider audience is very present amongst those involved with Gaelic literature and has indeed been viewed in positive progressive lights as the following remark by Gaelic poet and scholar Donald MacAulay reveals:
The publication of translations along with the verse has allowed access to it for non-Gaelic speakers and there is no doubt that, as a result, the status of Gaelic poets and poetry has risen in the eyes of non-Gaels. Gaelic literature has become
a more acceptable commodity for mainstream publishers and cultural
entrepreneurs, and indeed for all who see themselves as connoisseurs of literary forms. And this has enhanced the status of Gaelic culture, which is a highly desirable development. (MacAulay 1994: 53)
Award winning Gaelic poet Aonghas MacNeacail goes even further arguing that ‘the mere act of writing in Gaelic, no matter how instinctive or involuntarily, is a political act, a gesture of defiance against a history that has conspired relentlessly against the language. And why shouldn’t we argue that translation is also, and overtly, a political act, in that it offers a reminder to the outside world that “We are still here”?’ (MacNeacail 1998: 155).
Turning the phrase ‘translation of culture’ around, arriving at the very revealing phrase ‘the culture of translation’, is very enabling in that it provides the opportunity to redress the balance of the argument by shifting the perspective from ‘out of’ Gaelic towards ‘inside’ Gaelic as literature and language. In terms of translation studies theory, we are taking the ‘cultural turn’ by moving the focus of examination from translation as text towards ‘translation as culture and politics’ (Munday, p. 127). Consequently, as Anthony Pym puts it, ‘we would like to know more about who is doing the mediating, for whom, within what networks, and with what social effects’ (p. 3). These, then, are the very questions which allow for the
perspective I will adopt with this paper to view the translation dynamics that inform the existence of Gaelic literature as it is lived today.
With Gaelic, it is the prevailing practice of self-translation into English published along the Gaelic texts in en-face bilingual editions which dominates and shapes literature publications most significantly, particularly Gaelic poetry publications. Research into self-translation has in the past concentrated very much on the author as a bilingual person and his or her attitude towards the texts. It is, therefore, a rather inspirational experience to read an article by Maria Fillippakopoulou in this summer’s issue of In Other Words, an issue dedicated to the subject of self-translation, in which she argues towards an historicizing approach towards the study of self-translation focusing on questions addressing what she calls:
pressures relating to constraints of systematic nature, related, for instance, to languages of limited diffusion and their role vis-à-vis majority languages; [to] power differentials, shorthand for the real differences in prestige and impact between major and minor languages and literatures. (Fillipakopoulou 2005: 24) Yet, before looking closer at the specific phenomenon of self-translation in combination with the bilingual edition I consider it fruitful to take a little time to consider translation as a general phenomenon. Here I would like to draw attention to the skopos theory of translation, as established by Hans J. Vermeer, which aims to be a general theory of translation. It defines translation as purpose driven action with the translator as responsible performer of translational action who is conscious of what skopos (i.e. purpose) underlies each translation activity, since different translation choices will have different impacts on the reception of the translated text (Vermeer 1996). Let me therefore consult the active ‘agents’ of literary translation in a Gaelic context.
Questionnaire-based research has shown that it is indeed the concern to widen the audience for Gaelic texts, that primarily leads authors, editors and publishers of Gaelic poetry to provide English translations.1 Interestingly, translations are also deemed helpful both for learners of Gaelic and for Gaelic native speakers who might not necessarily be confident in reading their own language. Concerning self-
1 This questionnaire based research is part of my research towards a forthcoming PhD thesis on the influence of translation on Gaelic literature (Krause forthcoming).
translation, some authors expressed a strong sense of ownership over their work along with a desire to keep the emphasis on the original Gaelic texts. Others are concerned to save the translation from misinterpretation, and therefore mistranslation. For many it is a pragmatic choice considering the lack of knowledge of Gaelic amongst the Scottish literary community and the lack of financial support specifically for translation. Finally, some authors view self-translation as a reflection of their bilingual existence both in creative ways (seeing the same idea expressed in the other language) and in external social ways (to allow the work to be shared by those who do not have a command of Gaelic, named in some cases as friends and family).
That such a bilingual existence is not necessarily a balanced one becomes apparent in a reply by a highly acclaimed author who translates his Gaelic poetry into English almost as a matter of fact. In his reply to the questionnaire he states that ‘I would, however, not translate my own poems in English into Gaelic’ whilst pointing towards the ‘fact that I had already been writing in English before ever writing a poem in Gaelic.’ Only a small number of poets, mainly of a younger generation and not yet widely published, voiced concerns regarding translation and self-translation specifically. One poet stated that ‘the difficulty of translating not just the meaning of the words but the range of referents inherent within the culture is for me insurmountable.’ For another ‘translation into English would have meant becoming a poet in another language.’ There was also the somewhat laconic yet rather thought-provoking reply that ‘there is a large canon of English material, so why add to it.’ Finally, a poet of considerable reputation for whom Gaelic is a second language, has decided to abandon self-translation, resorting to monolingual publication or collaborative work where translations are required, as the practice of self-translation undermines the credibility of the original writing process (Whyte 2000: 183). Recent Gaelic poetry has indeed been described as ‘English poetry in Gaelic’ (MacInnes 1998: 342), yet, on the whole, translation in a Scottish Gaelic literary context curiously remains an activity performed without much reflection on its impact on Gaelic as living language and literature.
What then are the conditions surrounding Gaelic literature? We have a community twice removed from state power with a minority language at its core which (finally having secured official status this year) has frequently been doomed a
dying language, thus demanding measures that go far beyond mere language maintenance towards pro-active language development. In a letter to Douglas Young dated 27 May 1943, just before the publication of his acclaimed poetry collection Dàin do Eimhir (1943), Sorley MacLean contemplates creative yet sensitive approaches towards the development of Gaelic vocabulary to ensure the language’s relevance to all areas of modern life (MacLean, Acc. 6419: 27 May 1943). By June of the same year, his mood had dramatically deteriorated:
The whole prospect of Gaelic appals me, the more I think of the difficulties and the likelihood of its extinction in a generation or two. A … language with … no modern prose of any account, no philosophical or technical vocabulary to speak of, no correct usage except among old people and a few university students, colloquially full of gross English idiom lately taken over, exact shades of meanings of most words not to be found in any of its dictionaries and dialectally varying enormously (what chance of the appreciation of the overtones of poetry, except amongst a handful?). (MacLean, Acc. 6419: 15 June 1943)
Half a century later we have an even smaller Gaelic population, and what is highly important for Gaelic as literary medium, we find that most of the native Gaelic speakers are actually English readers due to the continuous lack of presence of Gaelic as natural medium for reading and writing in education and in Gaelic society on the whole. In an article discussing publication activities in twentieth century Gaelic Scotland Joan MacDonald notes that ‘although most Gaelic speakers could, if pressed, read any Gaelic text, most are not sufficiently at ease with the written word in Gaelic to enjoy the experience’ (MacDonald 1987: 77). Yet, Gaelic is not naturally an oral language with inherent qualities which resist participation in the written medium, but rather it is simply underdeveloped with regard to the written medium particularly in terms of its reception.As a result of the social history surrounding Gaelic communities,2 Gaelic as a language has been actively minoritised and marginalized, preventing it from developing its full potential according to the needs (i.e. modern vocabulary) and opportunities (i.e. the written medium) of modern life.
With regard to minority languages then, Michael Cronin, author of Translating Ireland, argues that ‘translation is both predator and deliverer, enemy and friend’
2 Amongst potent social forces conditioning the existence of Gaelic communities were the Highland Clearances in late 18th/early 19th century, the Education Acts from 1872 onwards which actively suppressed Gaelic as medium for education and subsequently the overwhelming influence of Anglophone education and media.
(Cronin 1998: 148) He illustrates his point referring to the example of bilingual Irish/English publications of modern Irish poetry:
The translators and editors of translation anthologies defended their work on the grounds that the translations would bring the work of Irish-language poets to a wider audience […]. The acceptance of translation by many prominent poets in the Irish language could be seen as an endorsement of a policy of openness, delivering poets in a minority language from the invisibility of small readerships. However, the target-language, English, was not innocent. In a situation of diglossia where the minority language is competing for the attention of the same group of speakers, Irish people, then translation cannot be divorced from issues of power and cultural recuperation. (Cronin 1995: 92) Considering that, as identified above, Scottish Gaelic is a language which struggles in its efforts towards vocabulary maintenance and development and which is only slowly
developing as a language that is read by its speech community, we could conclude that the English version in bilingual Gaelic/English poetry publications faces little competition.
Yet, we are not merely in the presence of translation but rather we are in the firm presence of self-translation. As research conducted in a variety of cultural environments has found, self-translation is more likely to undermine the status of the original than translation done by somebody other than the author (Fitch 1985; Grutman 1997; Jung 2002). In his article ‘The Status of Self-Translation’, Brian Fitch argues that:
the writer-translator is felt to have been in a better position to recapture the intentions of the author of the original than any other ordinary translator for the very good reason that those intentions were, in fact, his own. If no distinction is made between the two versions of a given work, it is because they appear to share a common authorial intentionality. (Fitch 1985: 112)
He then asks the logical question ‘does this mean then that with the abandonment of the by now wholly discredited notion of intentionality as a pertinent factor in any account of the literary text […] the activity of self-translation thereby becomes indistinguishable from that of any other form of translation’ (Fitch 1985: 112)? Does it matter then whether the translation is provided by the author or by somebody else? Fitch suggests that ‘in order to begin to clarify the situation, the basic distinction between the reception and the production of the text must be made’ (Fitch 1985: 113).
As for Gaelic poetry, Stakis Prize for Scottish Writer of the Year winner in 1997 Aonghas MacNeacail explains that ‘[the judges] took the translation at face value and read them as workable poetry’ (McLeod 1998: 149). Similar dynamics are highlighted by Christopher Whyte who points out that none of the contributions to the publication Sorley MacLean - Critical Essays states whether it was the original Gaelic texts or his own English translations which served as basis for critical analysis (Whyte 2002: 70; refers to Ross and Hendry 1986). Translations, given they have been produced by the author of the original Gaelic text, have apparently acquired canonical status. Thus, the fact that the English version is in most cases the outcome of self-translation by the Gaelic author (and as such, as should be noted, is rarely referred to as translation within the publication) adds to the dominant status of the English facing text.
With the bilingual edition, such dominant status seems further reiterated. Considering reading patterns with regard to the bilingual en-face edition in a special edition of Visible Language dedicated to bilingualism in literature, Lance Hewson observes that with the bilingual edition “[the] translation … is taken to be the translation of a work.” (Hewson 1993: 150). Furthermore, he reminds us that ‘it should not be forgotten that such a edition contrasts directly with the source text published by itself in its original culture, and the target text published without reference to the source text’ (Hewson 1993: 155). Arguing that with the text published in its original format only, it is firmly embedded in the source culture it sprang from, inviting the reader to appreciate the text from within such a perspective (and this I consider of crucial importance in the context of Gaelic literature), Hewson contrasts that the bilingual edition ‘is, in Meschonnic’s terminology, “decentered” towards the second language-culture, seen in the light of the translation it has undergone’ (refers to Meschonnic 1973: 30). He arrives at the conclusion that:
in the bilingual edition, the very presence of a target text on the facing page acts as a magnet attracting the target language reader back towards his or her own culture, thus biasing the reader and presenting him or her with a version of the text which will inevitably have adopted some of the target language norms.
(Hewson 1993: 155)
Considering that with both Gaelic native speakers and Gaelic learners, it will most likely be a reader more used to reading and inevitably better read in English who comes to the bilingual edition, thus being firmly embedded within the sensibilities of
an Anglophone literary world, such publication practice reveals itself as highly dangerous to the development of Gaelic as a read language and literature in that it reinforces a reading pattern that is already there.
Let me seek help from postcolonial literary criticism at this point. Contemplating the coming into being of meaning Homi Bhabha argues that ‘the pact of interpretation is never simply an act of communication between the I and the You designated in the statement’ (Bhabha 1995: 208). Rather, as Bill Ahscroft explains:
the written text is a social situation. That is to say, it has its existence in something more than the marks on the page, namely in the participations of social beings whom we call writers and readers, who constitute the writing as communication. (Ashcroft 1995: 298)
Meaning thus occurs at the point of a voicing and a perception of the utterance at a real moment in time conditioned by historical and social forces. With regard to the social conditioning of such an utterance as such Ania Loomba emphasises that ‘the sign, or words, need a community with shared assumptions to confer them with meaning’ (Loomba 1998: 35). With the Gaelic text in Gaelic poetry publications, then, such community is easily lost, with the Gaelic native speaker and learner (who is increasingly part of the Gaelic speech community) likely to follow established reading habits, thus relying heavily, if not entirely, on the English text. In that, Gaelic poetry could be argued to be a Gaelic flavoured extension of the English language literary canon.
Moreover, the continuous presentation of their ‘native’ literature along with the English back up version, particularly in its modern appearance which on the whole is moving away from traditional literary conventions quite considerably, poses a threat to the very willingness on the part of the Gaelic reader to make sense of the text in Gaelic. This in turn prepares the path for native Gaels to condemn what is presented as a Gaelic text as not Gaelic in nature at all, thus denying the development of Gaelic literature as natural in the light of cultural exchange both within the world of Gaelic literature with its close proximity to an Anglophone world and in a world wide context of urbanisation and globalisation. In the introduction to An Tuil – a bilingual anthology of 20th century Gaelic verse - editor Ronald Black states that
‘items like ‘Fontana Maggiore’ [by Christopher Whyte] […] happened to read beautifully in English, but sprang entirely from non-Gaelic models and sensitivities, and appeared not to have an independent Gaelic existence, to the extent that the Gaelic versions could not easily be understood without reference to the English.’ (Black 1999: lxiv) Offering ‘Fontana Maggiore' to a Gaelic native speaker in a close reading session as part of my PhD research, the first instinct was to consult the English translation. Having covered the English translation, I asked my informant to stay with the original. Having read through the Gaelic text he described it as ‘convoluted in parts’ acknowledging, nevertheless, a ‘very clever use of words’ in a poem that, once engaged with, ‘reads well’. It could therefore be argued that the illusion of one-to-one equivalence created by facing translations provided by the author succeeds in rendering the differences between the two texts virtually invisible, thus hiding the poetic dynamics as they unfold in the Gaelic text from the sight of the majority of readers given the prevailing reading patterns.
The combination of self-translation and bilingual en-face edition thus provides a highly rigid format for Gaelic as literature and language, leaving little space for flexibility for the original to live its literary life to the full and, what is more, in its own right.Such combination is therefore a potent drug that cannot help influencing the nature of modern Gaelic literature. Witness the following statement by Iain Galbraith about a forthcoming anthology of twentieth century Scottish poetry in German:
Gaelic poetry from ‘Hallaig’ to ‘cùnntas’, as it were, has existed in a permanent state of tension with the English language. To remove that tension in an anthology which purports to translate Gaelic poems not only as individual texts, but as texts that exist or have originated in a Scottish context, would be to remove them to a convenient utopia – a non-place or un-reality – whose isolation from the current polyvocal site of their primary engagement would seem to add to rather than resolve their history of displacement.(Galbraith 2000: 162-3)
Besides the fact that the inevitable conclusion appears to be that there is no chance for Gaelic to be positively ‘placed’, this argument highlights the homogenising effect the culture of translation as prevailing in a Gaelic literary context has on the reception of Gaelic literature. First of all, it denies the fact that in the case of Sorley MacLean, the author of ‘Hallaig’, the majority of his early work was published in the first place
without English translations in 1943 (MacGhillEathain 1943). Yet, more importantly, an significant aspect in the development of Gaelic poetry remains unmentioned. With MacLean, we have a poet who consciously placed his creative impulse with his Gaelic original writing, resorting to what could be described as ‘faithful’ translation after the writing of the originals, with a clear understanding that the translations are not poetry in their own right. With MacNeacail, the author of ‘cùnntas’, and other more recent authors, close reading of both the Gaelic and the English texts reveals a movement of the creative impulse between the two (Krause 2005).
I would like to offer the cocnlusion that the ‘culture of translation’ as present in a Gaelic literary context carries the potential of preventing the translation of culture, in that it suggests equivalence as well as hindering the development of Gaelic as literature and language from within therefore showing bilingualism’s ‘uglier face’ resulting in ‘some kind of double monolingualism’ as Rainer Grutman puts it (Grutman 1993: 224). In that, I am observing a clash between the individual acts of creativity performed by writers and the effects such individual acts have on the collective medium that is Gaelic verse. Here I would like to recall skopos theory which defines translation as action with the actor deciding upon the strategies according to the particular purpose (i.e. skopos) of translation. I would like to argue for skopos theory to be an important translation theory to be considered in this context in that it raises consciousness about translational actions whilst highlighting the fact that translational action inevitably has an impact on the literature in question, with different approaches serving different purposes. With regard to choices, on the one hand, we might ask whether translation and publication practices surrounding Gaelic poetry fit the purpose of, as has been argued, promoting the development of literacy amongst learners and native speakers, or indeed of keeping the emphasis on the original poetry. On the other hand, if not informed about the purpose of a particular translation, readers can nevertheless draw conclusions with regard to the underlying purpose of the translation by noting particular publication approaches – to allow for smooth consumption through the medium of English suitable to raise the profile of individual authors and Gaelic poetry on the whole in an English speaking world.
Prevailing translation and publication practices are very much a reflection and a result of language hierarchies surrounding Scottish Gaelic, yet, at the same time,
they support and strengthen such hierarchies, thus functioning as marginalizing and therefore minoritizing forces in shaping the existence of Gaelic as literature and language. I would, therefore, like to argue towards the re-evaluation of translation in a Gaelic context as a site of friction and differences between languages and cultures which is in need of translation and publication practices which resist the illusion of one-to-one equivalence, such as non-translation, collaborative translation with clear reference to the translation process or indeed multiple translation. We might also want to note that there are choices with regard to the languages involved in the translation process. As well as having a fruitful impact on the development of Gaelic literature, translations form a variety of languages into Gaelic as well as translations of Gaelic texts into languages other than English could lead to creative collaborations between authors and translator which would ensure an active engagement with the Gaelic language in terms of actual communication, which is a vital consideration for any ‘lesser used’ language.
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Good morning everyone. The country has just taken part in a giant democratic exercise , perhaps the biggest in our history. Over 33 million people from England, Scotland,Wales, Northern Ireland and Gibraltar have all had their say. We should be proud the fact that in these islands we trust the people with these big decisions, we not only have a parliamentary democracy but on questions about the arrangements for how we’ve governed, there are times when it is right to ask the people themselves, and that is w hat we have done. The British people have voted to leave the European Union, and their will must be respected. I want to thank every one who took part in campaign on my side of the argument, including all those who put aside party differences, to speak i n what they believed was the national interest. And let me congratulate all those who took part in the “Leave Campaign”for the spirited and passionate case they made. The will of the British people is an instruction that must be delivered . It was not a d ecision that was taken lightly, not least because so many thing were said by many different organizations about the significance of this decision. So there can be no doubt about the result. Across the world people have been watching the choice that Brito n has made. I would reassure those markets and investors that Britain’s economy is fundamentally strong. And I would also reassure the Brits in the European countries and European citizens living here that there would be no immediate changes in your circum stances,there will be no initial change in the way our people can travel, in the way our goods can move or the way our services can be sold. We must now prepare for a negotiation with the European Union. This will need to involve full engagement of the Scottish, Welsh and Northern Ireland governments to ensure that the interests of all parts of our United Kingdom are protected and advanced. But above all, this will require strong, determined and committed leadership. I am very proud and very honored to be Prime Minister of this country for six years. I believe we’ve made great steps with more people in work than ever before in our history,with reforms to welfare and education, increasing people’s life chances, building a bigger and stronger society, keepin g our promises to the poorest people in the world, and enabling those who love each other to get married whatever their sexuality. But above all restoring Britain’s economic strength. And I am grateful to everyone who’s helped to make that happen. I have also always believed that we have to confront big decisions, not doubt them. That is why we deliveredthe firstcoalition government in seventy years to bring our economy back from the brink. It is why we delivered a fair, legal and decisive referendum in S cotland. And it’s why I made the pledge to renegotiate Britain’s position in the European Union and to hold the referendum on our membership and have carried those things out. I fought this campaign in the only way I know how which is to say directly and p assionately what I think and feel head, heart and soul. I held nothing back. I was absolutely clear about my belief that the British is stronger safer and better off in side the European Union. And I made clear the referendum was about this and this alone not the future of any single politician including myself.
名师名作作品分析报告 题目：德国斯图加特新国立美术馆 分析报告 学院：建筑与城市规划学院 专业：建筑学 姓名： 学号： 2014 年 11 月 18 日
德国斯图加特新国立美术馆 ——詹姆斯·斯特林（James Sterling） 简述：英国后现代主义建筑大师詹姆斯·斯特林将建筑带向了一个新的风格——既让人辨认其历史根源，又能与其周围建筑产生密切关系。70年代后期，斯特林的建筑风格已发展为高技派，更加注重建筑大环境与地方文化的融合与协调，运用古典构图元素的建筑语言表现新的建筑概念。于是德国斯图加特新州立美术馆应运而生。 1.场所精神、空间精神： 第一眼看到斯图加特新国立美术馆就被它的鲜艳无比的色彩所吸引了，建筑的弧线就像彩带一样流畅明快。过去的美术馆多为更加庄重、宁静的建筑。美术本身的特点就是对美、对文化、对精神品质高度追求的产物。因此美术馆的建筑便成为这一产物很为重要的文化形象表征与依托之一。同时它自身也可以是一件静止下来的雕塑品，承载着我们所有对于城市和历史的记忆与理解。而斯特林不想把美术馆做的太具有纪念性取悦德意志当权者，反而运用了更加大众化、更具娱乐性质的方式来表达自己对美术馆建筑的理解。 ①重视建筑与环境，人与自然的和谐——新馆是u形老馆的扩建，为解决场地两侧巨大的城市高差，斯特林把场地的斜坡融合成为建筑的室外休步行区，把城市两侧的人群吸引到美术馆内，让人们自然地参与到其中，重视市民的参与性。（玻璃幕墙边的条形座椅也是） ②对纪念性的追求——运用古典构图元素的建筑语言表现新的建筑理念（几乎对称的布局，明显的中轴线，古罗马风的内庭。。。。。。）。多种元素糅合起来（多种古代建筑元素同现代构成主义的雨篷，高技派的玻璃幕墙和管道、大众商业化的室内顶棚等现代元素融为一体，各种元素的碰撞制造了一种富有魅力的“杂乱无章”的感觉）
福国小学足球队规章制度 一、球队宗旨 球队是一个校级组织，其宗旨在于以球队友，促进交流。我们的宗旨：学习第一，训练比赛第二。强身健体，团结协作，增进友谊，永攀新高。球队通过训练、比赛等活动，激发队员的体育热情，增强队员的身体素质，加深队员之间的了解与友谊，提高球队的技战术水平，培养良好的道德品质及协作互助的团队精神以达到锻炼身体。 友谊第一，比赛第二。在球场上我们是队友，在球场下我们是兄弟。坚韧不拔是我们的球队精神。、和谐、友谊、快乐、健康是我们永不变的队训。 二、队员守则 1、队员必须遵守国家法律法规，遵守球队规章制度，不得以球队名义进行有损国家、学校和个人利益的行为。 2、队员之间需要团结友爱、互相帮助，不得做出有损球队利益的行为。 3、队员应遵守球队的规章制度，并有对球队行为提出意见、建议、批评、指正和共同建设球队的权利和义务。 4、队员应尊重学校和老师的管理，在比赛中坚定不移的贯彻战术意图，不得擅自更改球队决定。 三、球队纪律 1、遵守国家法律和学校的各项规章制度。 2、队员应在不影响学习的前提下参加球队活动。 3、严禁拉帮结派，反对任何形式的小团体主义和个人主义，倡导团队精神。 4、比赛、训练到场准时，不得无故缺席；训练及比赛中服从老师的安排。 5、发扬良好的赛场作风，服从裁判，尊重对手，严于律己，宽以待人，保持高昂的斗志。 6、如因特殊情况不能参加或不能准时参加球队活动时，须提前说明，或通过等方式向队长或老师请假。 四、违纪处罚队员有如下行为的，将视其情节轻重给予以下处罚： 1、触犯国家刑律或严重损害球队声誉的，开除球队！ 2、违反队规或未认真履行义务者，将视其情节轻重劝其退出球队。
卡梅伦辞职演讲全文(中英对照) 大家早上好 Good morning everyone, 英国刚刚举行了一场规模巨大的民主活动 the country has just taken part in a giant democratic exercise, 也许是英国历史上最大的一次 perhaps the biggest in our history. 来自英格兰苏格兰威尔士北爱尔兰 Over 33 million people from England, 和直布罗陀超过3300万的人民行使了发言权 Scotland, Wales, Northern Ireland and Gibraltar have all had their say. 应该是感到自豪的是我们信任 We should be proud of the fact that in these islands 这些岛屿上人民做出重大决策 we trust the people for these big decisions. 英国不仅拥有一个议会民主制 We not only have a parliamentary democracy, 而且有关英国如何治理的问题 but on questions about the arrangements for how we've governed 有的时候就需要问问人民自己 there are times when it is right to ask the people themselves 这就是我们所做的 and that is what we have done. 英国人民已经投票决定离开欧盟 The British people have voted to leave the European Union 他们的意愿必须得到尊重 and their will must be respected. 我想感谢所有为留欧派奔走的人 I want to thank everyone who took part in the campaign on my side of the argument, 包括所有抛弃党派分歧的人 including all those who put aside party differences 他们支持自己坚信的对有利于国家的观点 to speak in what they believe was the national interest 同时让我向所有脱欧派人士的 and let me congratulate all those who took part in the Leave campaign 努力和激情表示祝贺 for the spirited and passionate case that they made. 英国人民的意志必须服从
青少年体育俱乐部教练员制度 一、青少年体育俱乐部对足球教练员的基本素养要求 1、志同道合：认同并积极在各个方面推广福沃德青少年足球俱乐部青训理念。 2、道德修养：有爱心，善良，敬业，心胸宽广。 3、性格：性格外向，心态积极向上，有感染力和亲和力 4、行为习惯：有好的生活和行为习惯，无不良嗜好，能为孩子们起到表率作用。 5、教学能力：有足球学习、+学经验，沟通学习能力强，有团队精神。 二、教练员着装、形象要求 1、留适宜的发型，不留奇异发型。，不染带有颜色的头发 2、教练员不得纹身；训练时不得佩戴手链、脚链、项链等饰物 3、在训练前和训练后，不得着奇装异服； 4、所有教练员在训练时必须着福沃德所配发的教练服。 夏天：短袖、短裤、长袜、纯色足球鞋（碎丁为宜）；冬天：训练外套； 5、在训练时，不得佩戴墨镜，尽量不佩戴眼镜； 6、训练时带好电子表、哨以及俱乐部配发的训练夹。 7、在训练时，服装内不应有异物，包括钥匙、饰物等等，口哨尽量不放置于服装内。 8、教练员在培训期间不准抽烟咀嚼槟榔。
9、教练员必须提早30分钟到达训练场（训练器材摆放，主教和助理教练对本堂训练课内容沟通） 三、主教练工作职责 1、教育 （1）关心和关注每一名学员，尽快记住每名学员的姓名，能够相互主动打招呼； （2）引导孩子们形成良好的习惯，例如尊重对手、尊重裁判、团结队友等等； （3）把握教育契机，在适宜的时候向学员传输积极的价值观；（4）队员的表现像一面镜子反映出教练的行为举止，教练要不断给队员传输积极、正面、乐观的正能量，每位教练应具有很好的耐心。（5）针对学员学习态度，行为习惯等方面的问题给予耐心的指导和纠正，不针对技战术批评学员； （6）进行必要的安全教育。 2、教学 （1）提前完成训练计划并与助理教练交流训练安排。 （2）所选用的练习应该是有趣和有价值的，不断地激发孩子们的学习热情； （3）注重培养孩子主动观察、快速准确的思考、强大的决策能力。（4）我们要尽早让队员们知道足球是团队项目，是利用集体的力量打败对手的项目。在比 赛中合理引导孩子们懂得如何跑位、如何接应，如何通过传递球来实
"Good morning everyone, the country has just taken part in a giant democratic exercise, perhaps the biggest in our history. Over 33 million people from England, Scotland, Wales, Northern Ireland and Gibraltar have all had their say. We should be proud of the fact that in these islands we trust the people for these big decisions. We not only have a parliamentary democracy, but on questions about the arrangements for how we've governed there are times when it is right to ask the people themselves and that is what we have done. The British people have voted to leave the European Union and their will must be respected. I want to thank everyone who took part in the campaign on my side of the argument, including all those who put aside party differences to speak in what they believe was the national interest and let me congratulate all those who took part in the Leave campaign for the spirited and passionate case that they made. The will of the British people is an instruction that must be delivered. It was not a decision that was taken lightly, not least because so many things were said by so many different organisations about the significance of this decision. So there can be no doubt about the result. Across the world people have been watching the choice that Britain has made. I would reassure those markets and investors that Britain's economy is fundamentally strong and I would also reassure Britons living in European countries and European citizens living here there will be no immediate changes in your circumstances. There will be no initial change in the way our people can travel, in the way our goods can move or the way our services can be sold. We must now prepare for a negotiation with the European Union. This will need to involve the full engagement of the Scottish, Welsh and Northern Ireland governments to ensure that the interests of all parts of our United Kingdom are protected and advanced. But above all this will require strong, determined and committed leadership. I'm very proud and very honoured to have been Prime Minister of this country for six years. I believe we've made great steps, with more people in work than ever before in our history, with reforms to welfare and education, increasing people's life chances, building a bigger and stronger society, keeping our promises to the poorest people in the world and enabling those who love each other to get married whatever their sexuality, but above all restoring Britain's economic strength. And I'm grateful to everyone who's helped to make that happen. I have also always believed that we have to confront big decisions, not duck them. That is why we delivered the first coalition government in 70 years, to bring our economy back from the brink. It's why we delivered a fair, legal and decisive referendum in Scotland. And it's why I made the pledge to renegotiate Britain's position in the European Union and to hold the referendum on our membership and have carried those things out. I fought this campaign in the only way I know how, which is to say directly and passionately what I think and feel - head, heart and soul. I held nothing back, I was absolutely clear about my belief that Britain is stronger, safer and better off inside the European Union and I made clear the referendum was about this and this alone - not the future of any single politician including myself. But the British people have made a very clear decision to take a different path and as such I think the country requires fresh leadership to take it in this direction. I will do everything I can as Prime Minister to steady the ship over the coming weeks and months but I do not think it would be right for me to try to be the captain that steers our country to its next destination. This is not a decision I've taken lightly but I do believe it's in the national interest to have a period of stability and then the new leadership required. There is no need for a precise timetable today but in my view we should aim to have a new prime minister in place by the start of the Conservative Party conference in October. Delivering stability will be important and I will continue in post as Prime Minister with my Cabinet for the next three months. The Cabinet will meet on Monday, the Governor of the Bank of England is making a statement about the steps that the Bank and the Treasury are taking to reassure financial markets. We will also continue taking forward the important legislation that we set before Parliament in the Queen's Speech. And I have spoken to Her Majesty the Queen this morning to advise her of the steps that I am taking. A negotiation with the European Union will need to begin under a new prime minister and I think it's right that this new prime minister takes the decision about when to trigger Article 50 and start the formal and legal process of leaving the EU. I will attend the European Council next week to explain the decision the British people have taken and my own decision.
2017考研英语阅读理解题材解析——苏 格兰独立 在考研英语中，阅读分数可谓是占到了总分的半壁江山，正所谓“得阅读者得考研”。对于备考考研的同学们，在平时的复习中一定要拓展阅读思路，各类话题都要关注，这样才能在整体上提升考研英语阅读水平!一起来学习吧! Scottish independence 苏格兰独立 Sparks flying 火花四溅 Poverty and dependence on the state pull Scots inopposite directions 贫困和对英国的依赖将苏格兰拉离了原来的方向 BETTING shops in Rosyth are rowdier than usual.The troublemakers are not the familiar sort —drunks jousting over a Rangers match or the 4.30at Musselburgh—but punters debating Scottish independence. “We've had to chuck peopleout,”grumbles one bookie. A gnarled customer agrees: “I don't like people talking about it inmy cab,”he growls, eyes not moving from the racing. As the referendum on September 18thdraws closer, tensions in this shipbuilding town are growing. 在罗赛斯，博彩店相较于平日愈发喧嚣。闹事者们并不是平日那一拨——醉鬼们押宝一场流浪者队的比赛或是Musselburgh赛马——而是赌马者们给苏格兰独立下注。“我们必须把人撵出去，”一位赛马的下注者抱怨道。一个性情暴躁的顾客也颇为同意：“我不喜欢人们在我的车里谈论这件事情，”他吼道，同时目不转睛的盯着比赛。随着9月18日的公投将近，这个造船小镇的紧张感也在不断增加。 All politics is local, even when an entire country's future is at stake. But in Rosyth, a run-downport in the shadow of the Forth Bridge near Edinburgh, distinctive local factors are pullingpeople in opposite directions. The importance of the town's biggest industry seems to militatefor sticking with Britain. But the generally depressed state of the economy makesindependence more appealing (see article). The outcome of this tug-of-war will determinehow people vote in Rosyth—and in other parts of Scotland. 所有的政治都是地区性的，即使是在一个国家的未来岌岌可危之时。但在罗塞斯，这个靠近爱丁堡附近福斯桥的破旧港口，独特的地方性因素使得人们走上了相反的方向。城镇最大的产业的重要性似乎是阻碍了其与英国的绑定。但是普遍低迷的经济状况使得独立更加迫切(见文章)。这场拉锯战的后果将决定人们如何在罗赛斯——和苏格兰其他地区投票。 Residents are reminded of the case for union every time they leave their homes. Above treetopsand through gaps between pebble-dashed houses, glimpses of a vast blue rig marked “AirCarrier Alliance”and “Royal Navy”are visible. Beyond, the grey, 65,000-tonne slab of Britain'snewest aircraft-carrier,HMS Queen Elizabeth, sits in the estuary. In a place where 13% ofworking-age adults are on out-of-work benefits, the shipyard is by far the largest employer—and it relies on money from Westminster. 居民们在每次离家之时总会被提醒联合的事例。从树梢上卵石做的房子之间的间隙，瞥见一个巨大的蓝色船桅上标有“航空运输联盟”和“皇家海军”的字样。英国最新一级排水量达6.5万吨的航母，伊丽莎白女王号航空母舰就坐落在河口。已达成年工龄成人中的13%
对职业体育俱乐部管理模式的分析 最早的体育俱乐部产生于17～18世纪。1608年出现的英国高尔夫球俱乐部就是其中之一。现在，世界上许多国家都有体育俱乐部。在欧、美工业发达国家，体育俱乐部分为业余的和职业的两种。业余的体育俱乐部为业余运动员提供运动场地和器材，它的经费来源一般是靠收取体育设施出租费和会员费，也有的由工会提供。职业体育俱乐部雇用或租用职业运动员参加比赛和表演，借以赚取利润或为一定的企业作宣传、作广告。这种俱乐部的经费主要是由大企业家或股份公司提供。在一些国家，从小学到大学，都有学生在业余的体育俱乐部参加运动训练，直到成为全国或全世界的著名运动员。苏联体育俱乐部有 3种：一种是工会体育俱乐部；一种是武装力量体育俱乐部；一种是支援陆海空军志愿协会体育俱乐部。这些体育俱乐部都组织群众参加不同项目的体育活动，组织运动训练和竞赛。在中国一些大城市里也曾有过体育俱乐部和类似的体育组织。中华人民共和国成立后，50年代初期，在一些城市和全国成立过国防体育俱乐部，开展射击、摩托车、划船等活动。 关于职业体育俱乐部的界定，目前尚无权威的说法。不同的学者从不同的角度有各自的理解，各个运动项目的规定也不尽相同。中国足球协会在《中国职业足球俱乐部的基本条件》中对职业足球俱乐部的界定是：“以足球产业为基础，具有企业法人资格，在中国足球协会会员协会注册，经中国足球协会审核并备案，拥有一支甲级足球队的足球俱乐部。”中国足球协会在《中国足球协会注册工作管理暂行规定》中对职业俱乐部的注册条件做了如下规定：（1）必须拥有一支甲级队，且有不少于11名在本俱乐部注册的职业运动员；（2）必须至少建立所有权归本俱乐部的U-21、U-19、U-17年龄组的梯队各一支，并保证参加中国足球协会每年主办的各类比赛；（3）必须是独立企业法人，注册资本不少于人民币1000万元；（4）必须有办公地点、专职工作人员、教练员和医生，有自己的训练场地、宿舍和恢复设施，有可保证使用的能容纳不少于3万人的无广告比赛场地；（5）拥有作为社区文化体育活动中心的俱乐部会员，积极参与和组织以足球为主的各项社区文化体育活动。 “体育俱乐部的经营与管理”旨在通过对体育俱乐部的概念、起源、意义、特征、管理和经营等基本概念和基本原理的介绍，结合我国体育俱乐部的现状及体育俱乐部的发展趋势，使学生正确认识体育俱乐部的功能，掌握体育俱乐部管理与经营的运作程序、方法和手段；提高体育俱乐部管理的意识和能力；学会经营体育俱乐部的方式方法。同时，通过大量的案例分析和评述，加强理论与实践的联系，提高学生的实践意识和分析能力。 “体育俱乐部的经营与管理”中涉及的俱乐部分为营利性体育俱乐部和非营利性体育俱乐部，内容主要包括：职业体育俱乐部的经营与管理，健身体育俱乐部的经营与管理，青少年体育俱乐部的经营与管理，社区体育俱乐部的经营与管理和体育俱乐部的财务管理。体育俱乐部：以体育为媒介，以满足人们健身、娱乐、休闲、竞赛、盈利等需要为目的，以自愿、自发、自主为原则而进行各种体育活动的场所或组织。业余体育俱乐部；业余体育爱好者出于参加体育活动的需要，以会员制形式组织起来的社会团体。业余体育俱乐部的特征：以体育活动为共同爱好的人群集合体，会员都是利用业余时间参加体育活动，参加俱乐部各项活动完全出于自愿，任何承认俱乐部章程并履行义务者均可参加，俱乐部实行民主管理，俱乐部属于为其成员提供服务的公益组织，俱乐部依靠全体成员的奉献精神和自身财力而独立生存发展。业余体育：参加者另有职业，他
卡梅伦就职演讲稿全文 卡梅伦就职演讲稿全文，作为英国首相卡梅伦，是英国自1812年以来最年轻的首相，这里管理资料网整理关于卡梅伦的就职演讲稿全文。 卡梅伦就职演讲稿全文 HER MAJESTY the queen has asked me to form a new government and I have accepted。 女王陛下已经授权予我组建新政府，我已接受了这一任命。 Before I talk about that new government, let me say something about the one that has just passed. Compared with a decade ago, this country is more open at home and more compassionate
abroad, and that is something we should all be grateful for。 在谈论新政府之前，请允许我谈一谈最近刚刚发生过的一件事情。与十年前相比，这个国家对内更加开放，对外更加富有同情心，我们都应该为此感到高兴。 On behalf of the whole country I’d like to pay tribute to the outgoing prime minister, for his long record of dedicated public service。 我谨代表这个国家，对长期致力于公共服务的前任首相深表赞扬。 In terms of the future, our country has a hung parliament where no party has an overall majority and we have some deep and pressing problems – a huge deficit, deep social problems and a political system in need of reform。 就未来而言，我们的议会无任何党派占明显多数，我们面临着一些深刻而紧迫的问题庞大的赤字、深刻的社会问
澳大利亚国立大学艺术史及策展研究(高级)授课型研究生申请要求
澳大利亚国立大学简介 学校名称澳大利亚国立大学 学校英文名称The Australian National University 学校位置澳大利亚 | 堪培拉 2020 QS 世界排名29 澳大利亚国立大学概述 澳大利亚国立大学（The Australian National University），简称ANU，是一所位于澳大利亚首都堪培拉的世界著名公立综合性研究型大学，始建于1946年，是澳大利亚第一所研究型大学，也是环太平洋大学联盟（APRU）、国际研究型大学联盟（IARU）、澳大利亚八校联盟（Group of Eight）、大学天文研究协会（AURA）的成员。 它是唯一所由澳大利亚联邦议会创立，全澳唯一享有国立大学资格的最高学府。 ANU于1946年创校初期仅招收研究生，1958年开始开设本科教学，2006年调整为7大学院、4大澳大利亚国家科学院，教学人员中博士的比例为86%，其中澳大利亚联邦院士总人数为320名，英国皇家学会院士总人数占全澳的1/3。 澳大利亚国立大学位居2020年QS世界大学排名第29名 ，连续15年蝉联全澳第一；2020年泰晤士高等教育世界大学排名第50名 ；2020年USNews世界大学排名第69名 艺术史及策展研究(高级)专业简介 在澳大利亚首屈一指的以实践为主导的研究机构，澳大利亚国立大学艺术与设计学院，您将学习艺术史，同时了解艺术创作。在ANU，您可以利用我们与澳大利亚国家美术馆，澳大利亚国家博物馆，国家肖像美术馆，国家图书馆和澳大利亚战争纪念馆的紧密联系来参加我们的实习计划。 艺术史及策展研究(高级)专业相关信息 专业名称艺术史及策展研究(高级) 专业英文名称Master of Art History and Curatorial Studies (Advanced) 隶属学院艺术与社会科学学院
足球俱乐部合作协议 篇一：阜阳市飞碟足球俱乐部2014年度赞助协议书(张飞) 赞助合同书 甲方（被赞助单位）：阜阳市飞碟（UFO）足球俱乐部 乙方（赞助单位）：______________________ 阜阳市飞碟（UFO）足球俱乐部，始建于上个世纪八十年代初，至今已三十年整，是阜阳市成立最早的一支足球俱乐部，现已正式注册为“阜阳市飞碟（UFO）足球俱乐部”，阜阳市足球俱乐部第一支正式注册登记的社会团体。阜阳市飞碟（UFO）足球俱乐部自成立至今，在阜阳市的足球比赛中，多次取得优异的成绩，为推动阜阳业余足球的活动，做出了应有贡献，为阜阳业余足球的发展，树立了一面旗帜，是阜阳足球界具有代表性的足球俱乐部。阜阳市飞碟（UFO）足球俱乐部目前正式登记在册的人员有53人，队员来自于阜阳市区和周边县市及外埠来阜的工作人员等，有工人、农民、教师、国家公务员、武警战士、学生等，他们为阜阳市飞碟（UFO）足球俱乐部及阜阳足球运动持续蓬勃发展，奉献了他们的热情和力量。阜阳市飞碟（UFO）足球俱乐部竭诚与阜阳市足球界及社会各界有识之士，携手共同推动阜阳
足球的进步，构建社会和谐发展，为阜阳足球美好的明天做出更大的贡献，新的赛季即将开始，飞碟足球俱乐部欲借东风，再创辉煌。为了更好的发展球队、宣传企业，经甲乙双方友好协商，根据《中华人民共和国合同法》以及有关法律法规的规定，为明确双方的权利义务，就有关赞助事宜达成如下协议： 一、赞助项目： 1、球队冠名权； 2、球队服装广告权； 3、球队赛场品牌推广权； 二、赞助确认及赞助回报约定： 现予以书面确认，乙方作为球队赞助商，将享有如下相对应的回报权益。 1、获得球队冠名权。（球队名称：企业名+球队队名）球队冠名将在2014足球联赛期间在赛事现场出现外，通过论坛报道高频率出现。 2、获得球队服装广告权。球队所有球衣胸前及背后广告均归赞助商所有，包括企业名 称、产品名称、企业LOGO等。广告具体效果由球队设计，供赞助商审核后实施。 3、在2014年度由阜阳足球协会举办的各项正式赛事中，球队队员全部统一身着印有赞助商广告的球服出场，场下利