Lesson 6 Translation of journalistic (publicistic) style plan

Lesson 6

Translation of journalistic (publicistic) style

PLAN:

1. Peculiar features of publicistic style

2. Types of publicistic style

Key words: substyles, literary works, standardization, expressiveness, formulaic character, broadcasting, metaphors, headlines, thought, mass-media, specific expressions

Television programmes present a complex mixture of codes and messages within the media text for the audience to read. These codes include:

Type Description

Verbal Codes Any use of language, written or spoken, in the media text.

Technical Codes These include all technical processes used to create the media text, such as the type of shots used, camera movement, camera angles and framing, and how the media text is edited.

Symbolic codes Symbolic codes are cultural symbols embedded in the mise-en-scène. The mise-en-scène is all the elements that constitute the visual represenation of the media text, such as settings, costumes, lighting, soundtrack, and the body language of the actors. All these elements are used to convey meaning to the audience.

Regulation

TV organisations are regulated to ensure they meet their own codes of practice and also those enforced by government guidelines.

Ofcom is the UK regulator of the television and radio sectors. Ofcom's duty is to examine complaints by viewers or listeners of channels it has licensed to broadcast to establish if the broadcasting code has been breached. Ofcom also ensure:

• A wide range of different TV shows are available

• Audiences are protected against harmful or offensive material

• Participants in television shows are protected from unfairness and loss of privacy

The watershed is the time when TV programmes which might be unsuitable for children can be broadcast.

It begins at 9pm and material unsuitable for children should not, in general, be shown before 9pm or after 5.30am.

In May 2008 Ofcom fined ITV £5.68 million over the unfairness of premium-rate phone lines in a number of ITV hit shows including Soapstar Superstar and Ant and Dec's Saturday Night Takeaway.

MTV was also fined in 2008 for broadcasting highly offensive language pre-watershed on a number of its channels.

Task 1. Translate this article into your mother tongue

Can you identify a single colleague who has not had a manuscript returned with the comment “needs to be reviewed by a native English speaker”? Many researchers receive this response even after translation or revision by an official translator or a native English-speaking coauthor. Over the past four years, while conducting my doctoral, and now my postdoctoral, work here in Brazil, I have been asked to both translate and help revise numerous manuscripts for my fellow Brazilian researchers. However, despite being a native English speaker and a researcher, I have found these tasks to be quite stressful at times. The truth is, just like it is one thing to write in Portuguese and another to write well in Portuguese, the same applies to writing well in English. Furthermore, not every native English speaker who writes well in English can write well for the scientific literature. Scientific English writing has its own style and rhythm, such as the use of passive voice. Passive voice is considered poor English in most forms of writing (news, novels, blogs, etc.) outside of science. The most recent version of Microsoft Office Word will even highlight passive voice as poor grammar and ask you if you want to rephrase. However, the use of passive voice is acceptable and even encouraged in some scientific writing.

Although you would expect revising an already translated paper would take less time than translating an entire manuscript, I eventually came to prefer translation. Revisions tend to take me twice as long. Online translators may be partly to blame for this phenomenon. Not only did I spend hours being frustrated by confusing phrases resulting from simple mistakes, but I also spent the majority of my time fixing the same mistakes over and over again.

For this reason, I decided to assemble a compilation of the 10 most common “errors” made by native Portuguese speakers when writing scientific papers in English. I put “errors” in quotes because many of the following tips are just that: tips, or dicas. They do not always refer to incorrect English, but rather to poor English, and they are not necessarily absolute rules. Most of these are common mistakes or poor writing habits that affect even native English speakers, so correcting them before submitting your manuscript can give you an advantage with the reviewers. It may even help you to avoid the dreaded “needs to be reviewed by a native English speaker”.

Task 2 Translate the following testimonials into your mother tongue

Aquila Nash

Host

The Prophetic Whisperer

"Aberdeen helps us do all of our transcriptions for our television broadcast, as well as turning those files in to their end destinations, and they are always there on time. They have been patient with us. And I cannot tell you the level of excellence I have seen them reflect and it feels really good for us to see that because it partners well with us, because we also hold to that same level of excellence."

Angela Barrett

Media Development Manager – Allen Jackson Ministries

"What I love about working with Aberdeen is that they are great at getting it done quickly and efficiently. There have been times where we have needed to lean on them and they have done additional tasks for us that is a little bit out of the norm for our team and they never question. They just do it." 

Kelley Boland

Media Development – Allen Jackson Ministries 

"I contacted them and was immediately impressed with how professional they were and how much they really wanted to help us. The trouble we had was that our local cable company was having issues sending out the captions. Most companies would capitalize on this fact and overcharge us while we had to make adjustments. Aberdeen did the opposite. They patiently waited on the line while we walked through all of our issues to get our system up and running. They even offered suggestions to help us since they work with other organizations. We ended up finding a perfect work around to produce our captions for our live broadcast and it's been heaven ever since. They are extremely professional. They all have such an upbeat personality and I really love how well they worked with not only me, but my whole team. We are lucky to have them, and I'm sure anyone that has had the opportunity to work with them will feel the same."

Joseph Long

Video Systems Engineer II, Prince William County Public Schools

"Aberdeen has been a solid and trusted vendor with us for a few years. They're detail oriented, punctual, honest and professional. The procedures at Aberdeen assure me that my language services on our projects can be quickly and capably completed. It's been a pleasure to grow with them and we look forward to future collaborations with their team."

Riley Hinrichs

Production Coordinator

Suite Spot

Lesson 6

Translation of radio and television texts

PLAN:

1. The ways of writing radio and tv texts

2. Types and translation ways of mass-media texts

Key words: colour and perspective, semiotic, dubbing, subtitling, voice-over, broadcasting, metaphors, headlines, thought, mass-media, audio description, double vision, remake

Application

Multimedia translation can be applied to various fields, including cinema, television, theatre, advertisement, audiovisual and mobile device communication.

Audiovisual text can be labeled as multimodal when produced and interpreted by applying a variety of semiotic resources or ‘modes’.[2] When various modes, such as language, image, music, colour and perspective are combined together in different forms of media, with the major role attributed to the screen, audiovisual text can be described as multimedial.

An example of this, called multimodal transcription, is used in cinema. A film is broken down into frames, shots or phases. Every frame, shot or phase is analyzed, looking for all the semiotic modalities operating within each one.

Academic study of multimedia translation

The translation of multimedia creative works is a subject of academic research, a subtopic of translation studies. This interdisciplinary field draws from a wide range of theories, such as globalisation and post-globalisation theories, reception studies, relevance theory, social science and cultural studies, social psychology and deaf studies.

Modes of translation

This kind of translation is strongly influenced, both in the form and in the substance of its creative process, by the process and type of device employed. Specific limits are imposed by digital graphics, and by timing and mode of use.

Dubbing

Dubbing, sometimes known as "lip-synchrony", involves both the translation and its synchronisation as well as dubbing the actors' and actresses' performance. Once considered the most comprehensive form of translation, dubbing follows the "timing, phrasing and lip movement of the original dialogue" as closely as possible. Although this mode is usually interlingual, there are some cases of intralingual dubbing, but it is not very common.

Subtitling

The most extensively studied mode of multimedia translation, subtitling is the linguistic practice showing written text on a screen that conveys "a target language version of the source speech. "Consisting of many sub-types, the one most commonly used is interlinguistic subtitling, which is usually displayed in open captions. In places where several languages are spoken, bilingual subtitles are used to show two different language versions of the source text at the same time.

Voice over

Voice over involves the original soundtrack and the translation being broadcast simultaneously. At the beginning, only the original can be heard, but the volume is lowered while the translated version becomes more noticeable until the end. This mode of multimedia translation gives a realistic effect, so it is usually used in documentaries or interviews. Voice over is considered a "cheap alternative to dubbing" so it is the first choice for translating films in former Communist states and some countries in the Middle East and Asia.

Interpreting

Interpreting is "the oral translation of an audiovisual product by only one speaker." Interpreting consists of many different types, such as simultaneous, live, consecutive or prerecorded. This mode is usually used in live interviews and news broadcasts.

Surtitling

Surtitling is similar to subtitling, however it consists of one continuous line displayed with no interruption. Becoming more frequent in theatres and operahouses, the translation is displayed either above the stage or on the backs of seats. Despite being shown in real time, the translations are prepared in advance.

Free commentary

Free commentary is the variation of an audiovisual source to an entirely new audience and the cultural factors or new goals involved. It is delivered with a spontaneous tone, so the end product is completely different from the original. There is generally no attempt to stay faithful to it, resulting in a translation that usually provides either more details or omissions. This mode of multimedia translation is generally used when literacy is not the main goal, such as in children's television shows, documentaries, humorous videos, film parodies and corporate videos.

Partial dubbing

Also known as "half-dubbing" or "concise synchronisation", consists of adding a prerecorded spoken text to the original soundtrack. While not being a full translation, it provides the necessary information in the target language.

Narration

Narration consists of preparing, translating and condensing a text in advance which is then read by dubbing actors and actresses. The goal is to provide a faithful, scripted summary of the original speech. It can be pre-recorded or performed live. The difference between narration and dubbing is that the text is being read, not performed. Narration is also similar to voice over, but is different in that the final product is more condensed and is not always completely faithful to the original's style.

Simultaneous translation

Also known as "sight translation", simultaneous translation is done on the spot from a prepared script in the target language. It is different from interpretation in that "it takes this second foreign language as a pivot language". It is used when more elaborate methods of audiovisual translation are not an option, due to time or funding constraints. As a result, it is only used in film festivals and film archives.

Live subtitling

Also known as "real-time subtitling", it differs from regular subtitling in that the subtitles are not prerecorded and are instead inserted on the spot. This mode of multimedia of translation is used for live broadcasts for those who are hard of hearing. A "respeaker" takes the original sound and dialogue of a live program or event and "respeaks" it into a speech recognition software. This new version includes punctuation marks and specific features for this audience, which is then turned into subtitles with as little delay as possible.

Subtitling for the Deaf and Hard of Hearing (SDH)

SDH is meant for those who have difficulty hearing the dialogue on a film or television show by helping them to "see" the sound. Although similar to subtitling, SDH adds additional information to complement the verbal dimension. Originally, these subtitles were only available for films and pre-recorded broadcasts. However, the "growing number of legislative and regulatory provisions has set minimum quota requirements" for broadcasters and subtitling companies.

Audio description (AD)

AD is meant for those who are blind, visually-impaired or partially-sighted and assists by providing a narration concerning the visual aspects of a film or television show, for example. The AD track does not interfere with the original dialogue since it is inserted during silent parts. The reader, known as an "audio describer", makes sure to balance what is necessary to the plot while not overwhelming the audience with excessive information. These particular descriptions would be recorded, but they can also be done live, (though still prepared in advance) such as in theatres. This mode of multimedia translation has become important in "ensuring the accessibility of audiovisual products to the visually impaired."

Animation[edit]

Animation involves translation as well as script writing.[7] The translator takes silent images, such as cartoons, and creates a script from scratch.[7]Although similar to free commentary, it is different in that there is no previous script written in animation.[7]

Double version

Double versions are products that involve two or more languages in which each actor and actress plays their role in their own language. The final product is then dubbed and synchronised so that there is only one language.

Remake

Remakes contextualise a film so that they are in accordance with the target audience and its culture.These translations focus on values and ideology, so the linguistic aspect of the product is less of a priority. This mode of multimedia translation is mostly used for European films remade for American audiences.

Teaching

Since the late 1990s, multimedia translation has found a role in education. B.A and M.A. classes on this subject have been established at several universities across Europe and the United States (Boston, Dallas, Forlì, Genova, Leeds, Londra, Pisa, Pittsburgh, Torino, Udine, Barcelona, Vigo

Creating a television or radio story is more than hitting “record” on a video camera or audio recorder. You have to learn the process of writing an effective television and radio news story first. The term broadcast writing will be used interchangeably for television and radio news writing throughout this publication.

Writing for the Eye and Ear

Writing for radio and television is different from writing for print for several reasons. First, you have less space and time to present news information. Therefore, you must prioritize and summarize the information carefully. Second, your listeners cannot reread sentences they did not understand the first time; they have to understand the information in a broadcast story as they hear it or see it. As a result, you have to keep your writing simple and clear. And third, you are writing for “the ear.” In print news stories, you are writing for “the eye”; the story must read well to your eye. The television or radio news story has the added complexity that it has to sound good; when a listener hears the story it has to read well to “the ear.” Also for a radio news story, listeners cannot see video of what you are saying, so you must paint word pictures with the words you use in your radio news story so people can “see” images just through your verbal descriptions.

As with any type of news writing, you should try to identify characteristics of your audience so you know what type of information your audience wants. Use the criteria of newsworthiness presented in News Media Writing in this publication series to help you determine if your television or radio news story idea has news value. Television and radio news stories must have these attributes:

• The writing style should be conversational. Write the way you talk.

• Each sentence should be brief and contain only one idea. We do not always talk in long sentences. Shorter sentences are better in broadcast news writing. Each sentence should focus on one particular idea.

• Be simple and direct. If you give your audience too much information, your audience cannot take it in. Choose words that are familiar to everyone.

• Read the story out loud. The most important attribute for writing for “the ear” is to read the story aloud. This will give you a feeling for timing, transitions, information flow, and conversation style. Your audience will hear your television or radio news story, not read it, so the story has to be appealing to the ear.

Television and Radio News Writing Structure

• Be brief. A good newspaper story ranges from hundreds to thousands of words. The same story on television or radio may have to fit into 30 seconds—perhaps no more than 100 words. If it is an important story, it may be 90 seconds or two minutes. You have to condense a lot of information into the most important points for broadcast writing.

• Use correct grammar. A broadcast news script with grammatical errors will embarrass the person reading it aloud if the person stumbles over mistakes.

• Put the important information first. Writing a broadcast news story is similar to writing a news story for print in that you have to include the important information first. The only difference is that you have to condense the information presented.

• Write good leads. Begin the story with clear, precise information. Because broadcast stories have to fit into 30, 60, or 90 seconds, broadcast stories are sometimes little more than the equivalent of newspaper headlines and the lead paragraph.

• Stick to short sentences of 20 words or less. The announcer has to breathe. Long sentences make it difficult for the person voicing the script to take a breath.

• Write the way people talk. Sentence fragments—as long as they make sense—are acceptable.

• Use contractions. Use don’t instead of do not. But be careful of contractions ending in -ve (e.g., would’ve, could’ve), because they sound like “would of” and “could of.”

• Use simple subject−verb−object sentence structures.

• Use the active voice and active verbs. It is better to say “He hit the ball” than “The ball was hit by him.”

• Use present-tense verbs, except when past-tense verbs are necessary. Present tense expresses the sense of immediacy. Use past tense when something happened long ago. For example, do not say, “There were forty people taken to the hospital following a train derailment that occurred early this morning.” Instead, say, “Forty people are in the hospital as a result of an early morning train accident.”

• For radio news stories, write with visual imagery. Make your listeners “see” what you are saying. Help them visualize the situation you are describing.

Television and Radio News Writing Techniques

• Use a person’s complete name (first and last name) in the first reference, then the person’s last name thereafter.

• Use phonetic spellings for unfamiliar words and words that are difficult to pronounce.

• Omit obscure names and places if they are not meaningful to the story.

• Titles precede names; therefore, avoid appositives. Do not write, “Tom Smith, mayor of Smallville, said today….” Instead, write, “Smallville mayor Tom Smith said today….” (Other examples: “City councilman Richard Smith,” not “Richard Smith, city councilman.” “Anyville High School student Beth Baker,” not “Beth Baker, Anyville High School student.”)

• In age reference, precede the name with the age. (Example: “The victim, 21-year-old Rob Roy…”)

• Avoid writing direct quotations into a news script, if at possible. Instead, let people say things in their own words during soundbites. A soundbite is the exact words spoken by someone in his or her own recorded voice. If you must use a direct quote, set it off with such phrases as "In the words of..." or "As he put it...," or try to paraphrase as much as possible. Avoid saying "quote" and "unquote” to lead into or end a direct quote.

• The attribution should come before a quotation, not after it. In contrast to writing for print media, the attribution of paraphrased quotations in broadcast stories should be at the beginning of the sentence, before the paraphrase. The listener should know where the quotation is coming from before hearing the quote. Example: “Bill Brown said he would run for re-election.”

• Avoid most all abbreviations, even on second reference, unless it is a well-known abbreviation. This is different from the Associated Press Style rules for print stories. Write out days, months, states, and military titles each time. About the only acceptable abbreviations are Mr., Mrs., and Dr. Punctuate, by using a hyphen in between, commonly used abbreviations. For example, write “U-S,” instead of “US” (United States), and “U-N” for “UN” (United Nations).

• Avoid symbols when you write. For example, the dollar sign ($) should never be used in broadcast writing. Always spell out the word “dollar.” This is different from the Associated Press Style for “dollar” when used in a print news story.

• Use correct punctuation. Do not use semicolons. Use double dash marks for longer pauses than commas. Use underlines for emphasis.

• Use numbers correctly. Spell out numerals through 11. (This is different from Associated Press Style for print stories, which spells out one through nine, and starts using numerals for 10 and above.) Use numerals for 12 through 999. Use hyphenated combinations for numerals and words above 999. (Examples: 33-thousand; 214-million.) Round off numbers unless the exact number is significant. (Example: Use “a little more than 34 million dollars,” not “34-million, 200-thousand, 22 dollars.”) Use st, nd, th, and rd after dates, addresses, and numbers above “eleventh” to be read as ordinary numbers. (Examples: "Second Street," "May 14th,” “Eleventh Avenue,” “12th Division”—this is different from AP Style for print.)

Television and Radio News Story Format

• Broadcast news stories are typed, double-spaced, and in uppercase/lowercase. Many years ago, television news scripts were written in all uppercase, but that practice has changed in recent years.

• Make the sentence at the bottom of a page a complete sentence. Do not split a sentence between pages.

• Never split words or hyphenated phrases from one line to the next.

• Do not use copyediting symbols. Cross out the entire word and write the corrected word above it. This is one reason why broadcast news scripts are double-spaced: so you will have room to make corrections between the lines.

Narrating Television and Radio News Stories

Follow these recommendations when you narrate (also referred to as “voicing”) television and radio news scripts:

• Position the microphone properly. Position the microphone 6 to 10 inches from your mouth and at a 45-degree angle to the direct line of speech. This will help prevent “blasting” with explosive letters such as “P” and “B.” Always maintain the same distance from the microphone as you speak.

• Remove noise-making distractions. Remove all paper clips, pens, and other items that you would be tempted to play with as you read the story. Any rustling of paper clips or pen clicking can be picked up by the microphone.

• Narrate the news story. After you hit the “record” button on the video camera or audio recorder, wait approximately 10 seconds before speaking. This prevents you from accidentally losing some of the narration if you hit “record” and start narrating the script immediately. It is a good idea to use a standard reference opening, such as the day, place, and subject’s name. You may want to use a countdown: “Honeybee story, coming in three, two, one,” and then start the story. This also helps your voice stabilize as you start. The standard reference opening and countdown will be edited out of the final story.

• Articulate words correctly. Speak clearly. Do not run your words together. Practice proper articulation, the distinct pronunciation of words. The following words are often improperly articulated: “prob-ly” for “prob-ab-ly,” “git” for “get,” and “jist” for “just.” Also, do not drop the final “g” in “-ing” words, such as cooking, running, and hunting.

• Think the thought. Think about what you are going to say. If something has a positive idea, put a smile in your voice by putting a smile on your face. This helps to project the personality of the story.

• Think the thought through to the end. Keep half an eye on the end of the sentence while you are reading the first part. Know how the sentence will come out before you start. This will help you interpret the meaning of the phrases of the entire idea.

• Talk at a natural speed. But change the rate occasionally to avoid sounding monotonous. The speed that you talk is your speaking rate. Vary the pitch and volume of your voice to get variety, emphasis, and attention. Pitch is the high and low sounds of your voice. You will sound more assertive if you lower your pitch and inflect downward; however, avoid dropping your pitch when it sounds unnatural to do so.

• Breathe properly. Control your breathing to take breaths between units of thought. Otherwise, you will sound choppy. Sit up straight while narrating. This helps your breathing.

• Use your body. A relaxed body helps produce a relaxed-sounding voice. Do a few exercises before going on the air. A little activity reduces tension.

• Listen to the final product. Listen to how it sounds. Listen to what you said as if you were an audience member.

• Time the story. At the end, be sure you time the story. If the story is going on the air of a radio or television station, the story’s timing is important, and, in many cases, needs to be exact. Practice writing and narrating news stories to determine what your normal reading time is.

• Practice your narration skills. Never give up practicing speech and delivery techniques. Read something aloud at least twice a week for practice.

Task 1. Write tv program according to these rules

TV / Radio - Program Segment

Format

Presenter, A. A. (Host). (Year, Month Day of program). Title of segment [Description]. In Title of program. Production company. URL

Examples

Mitchell, N. (Host). (2009, October 16). Interview with the Prime Minister, Kevin Rudd [Radio broadcast]. In Mornings with Neil Mitchell. Radio 3AW.

Denton, A. (Host). (2006, September 25). Interview with Raelene Boyle [Television broadcast]. In Enough Rope with Andrew Denton. ABC.

TV / Radio - Episode From a Series

Format

Director, A. A. (Director). (Year of production). Title of episode (Season x, Episode x) [Description]. In B. Producer (Executive/Associate Producer), Title of Series. Production Company. URL

Author. A. A. (Writer). (Year of production). Title of episode (Season x, Episode x) [Description]. In B. Producer (Executive/Associate Producer), Title of Series. Production Company. URL

Example

Manners, K. (Director). (1988). Holograms (Season 1, Episode 3) [Television series episode]. In R. Nelson (Associate Producer), Mission Impossible. Paramount Pictures.

TV / Radio - Transcript

Format

Presenter, A. A. (Host). (Year, Month Day of program). Title of segment [Description]. In Title of program. URL

Examples

McLaughlin, M. (Host). (2004, November 7). Cyclone Tracy [Television broadcast transcript]. In Rewind. http://www.abc.net.au/tv/rewind/txt/s1233697.htm.

Mascall, S. (Host). (2005, February 14). Are we hardwired for creativity? [Radio broadcast transcript] In Innovations. http://www.abc.net.au/ra/innovations/stories/s1302318.htm.

TV / Radio - Advertisement

Format

Producer, A. A. (Producer). (Year, Month Day of broadcast). Title of work [Description]. Production company.

Example

Beyondblue (Producer). (2009). Beyondblue: Anxiety [Television advertisement]. WIN TV.

No Author / Editor

General guidelines

If there is no author - substitute the title in the position of the author.

Format

Title of work. (Year of publication). Publisher. DOI or URL

Example

Macroeconomics, prices and quantities: Essays in memory of Arthur M. Okun. (1983). Blackwell.

No Year

General guidelines

If the date is not known use n.d. in place of the year. If you have an approximate date use the abbreviation ca. (circa) and the approximate year.

Format

Author, A. A. (ca. year). Title of work. Publisher. DOI or URL

Author, A. A. (n.d.). Title of work. Publisher. DOI or URL

Examples

Smythe, V. (ca. 2007). Ant colonies: How they communicate. Emu.

Browne, J. D. (n.d.). Forensic science as a career. Tower.

Citing a Source Within a Source

Secondary source refers to information first reported in another source, the primary source. If it is possible, find the original source and read it, citing the original source. If this is not possible then use the procedure below.

Provide a reference to the secondary source (the source you read) and, in-text, identify the primary source then write "as cited in" the secondary source that you used.

Format

(Author 1 as cited in Author 2, Year)

Author 1 (as cited in Author 2, Year)

In-text reference

Lilly (as cited in Maxwell, 1999) stated that ...

"..." (Schwartz as cited in Burton, Westen, & Kowalski, 2009, p.63)

Reference list

Maxwell, F. (1999). Phonology. Brooks Cole.

Burton, L., Westen, D., & Kowalski, R. (2009). Psychology. Wiley.

End Note Reference Type

Program or Advertisement - Audiovisual Material

Segment or Transcript - Book Section

Episode - Television Episode

Task 2. Translate the following advertisements into mother tongue

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HEALTH & PHYSICAL EITNKSS

FEEL Frozen, full range of world class beauty services, credit card accepted also. Contact Majid 9810585626. 9810561813. 521019-L

ENTER the world of paradise relaxing, soothing, mind blowing tension-free massage, “Relax” Contact 9810217510. 521532-L

HORTICULTURE

LANDSCAPING OF FARMHOUSE, Factory, houses & terrace garden etc. All type of plants & seasonal flowers variety available. Krishan Kumar 9811072404, 26804352. HK-574-RD

INTERIOR DECORATION

RARE Crystal porcelain curios stone, wood, books, paintings Connoisseures only, Vijay 9810110671 and 26464660, 26473217, Delhi IM-410-CA

SPECIALIST Aluminium Door/Window Partition. Devendra Indstries Sarai Rohilla. Ph: 25758224, 9811397642, 25054122 AC-2063-CA

KENNEL & LIVESTOCK

GENUINE pedigree dogs from Delhi’s genuine Kennel pick any Lhasa Dalmatian, Spitz, Boxer, German Shepherd, Labrador, Dachshund. Ph: 25176456, 25119180, 9811172134. KP-876-CA

VTNAKO offer cute toy black & golden Pom, Poodle, Tan Dachsund, Black Cocker Spaniel, Dalmatian, Golden Retriever, Labrador; GSD GreatdanesBoxer pups. A-2 Naraina 25796911-22, 9810037770 NV-1204-CA

LOST & FOUND

LOST Lease Deed of Property No-15A/4, East Patel Nagar, New Delhi. If found return it to Owner on this same address. Shakuntla. 62538-CA

We Lost From C-102501 to 102510 & Form E-161236. Finder Pl. Cont. Jyoti Farm Eqp. & Fab., C-160, Naraina Ind. Area Ph.l, Nd-28 NV-1199-CA

MATRIMONIAL

RC GIRL fair & Slim from reputed family working in KSA as staff nurse 27/163 coming on leave. Contact 011-27284177, 0482-643439 AC.2045-CA

ALLIANCE invited for Keralite Christian CSI boy 27/175, working in Ltd Co from employed girl. Apply with Photo to Box 62684-CA Hindustan Times, New Delhi – 110001

MOTOR VEHICLE

FOREIGN Consultants Cielo Gle 1996 last. Original single owner, beautiful excellent condition. 50,000 kms. Fully loaded. # 25738697. MK -2156-CA

PACKERS & MOVERS

GEETA Packer & Movers for household goods car by Maruti Trailer, local shifting, branches all over India. 011-23521510, 9810200793. 520927-L

GLOBAL Packer & Mover (R) h. hold Indl. cars dorwqntl by sea & Air Br in all main cities 011-23625665 9810410548 Noida 9868064138. 521619-L

PROPERTY

DLF/Sushant Lok, plots/bungalow/flats, shops/showrooms/offices. Kashyap Estate Consultant: 26101326, 26108165, 9810006767, 9810058788. 521432-1,

FOR SALE

PHOTOCOPIERS xerox 102RE Rs. 18000/- quality product, all makes, rental also Cont: Manish Tel- 25790211. Xerox R’. 8000/- onwards, moneyvalue. NV-1155-CA

BRAND New, German Dish Washer (Famous Miele), with original packing, also Three Year used, Large size Deep Freezer (German Miele) and some Vietnamese Furniture with fine Mother of Pearl work for sale. Contact-9810111112/26857738/26862277. 62388-CA

TRAVEL & TOURS

4N/5DYS Manah Rs. 5999/- p. CPI. inclusive Del- Manali-del Trfs on Map plan. GOA 3nJ4d Rs. 5999/- on cp. Contact:- 26155610, 26140308. 522249-L

19% Off On Indian Airlines, 11% Off on Jet Airways, 17% off on Air Sahara, free home delivery. Contact: 27481609, 27481610 (24 hours). 522116-L