This study compares the syntax of nineteenth-century Orange River Afrikaans with Dutch and synchronic Afrikaans varieties, with particular attention to Griqua Afrikaans. It provides an account of the differences that are found between the earliest attestations of an extraterritorial variety of the Dutch language on southern African soil (the so-called Cape Dutch Vernacular) with the present-day outcome. The data collected for this study originate chiefly from an hitherto undisclosed corpus of letters kept in the Namibian State Archives by the so-called Oorlam-Nama, people of mixed descent who lived on the periphery of the nineteenth- century Cape colonial society. This thesis argues that nineteenth-century Orange River Afrikaans is a representative continuation of the earliest developments in the linguistic contact situation that existed at the Cape. The thesis advances that literacy and social class are important factors in the assessment of the written record from the Dutch colony at the Cape. The thesis centers around the letters by one author, Jan Jonker Afrikaner, written over a period of nearly twenty years in the second half of the nineteenth century. This legacy is a unique contribution to the diachronic data concerning the development of Afrikaans. From the data it is shown that this author had the command over different registers, fluctuating between a near perfect metropolitan Dutch and a Hollands that is classified as basilectal Afrikaans. The comparison of the data is set in a framework inspired by the concepts put forward in Generative Grammar. This has precipitated an exciting linguistic comparison of contemporary Afrikaans grammar with the diachronic material. This dissertation challenges the idea that the Khoesan Languages were of no or little influence in the development of Afrikaans. The linguistic analysis of the nineteenth-century data reveal that the developments which took place cannot be attributed to one single origin. It is demonstrated that the innovations and change that can be identified run parallel to regular patterns that are found in other languages generally classified as creole languages. It is argued that the syntax of the Khoesan languages is a major reinforcing factor in the development of the syntactic idiosyncrasies that are identified as un-Germanic characteristics of Afrikaans. Limited to nonstandard varieties of Afrikaans, in the concluding sections the question is raised how these findings are to be addressed in the larger context of language change.

This study compares the syntax of nineteenth-century Orange River Afrikaans with Dutch and synchronic Afrikaans varieties, with particular attention to Griqua Afrikaans. It provides an account of the differences that are found between the earliest attestations of an extraterritorial variety of the Dutch language on southern African soil (the so-called Cape Dutch Vernacular) with the present-day outcome. The data collected for this study originate chiefly from an hitherto undisclosed corpus of letters kept in the Namibian State Archives by the so-called Oorlam-Nama, people of mixed descent who lived on the periphery of the nineteenth- century Cape colonial society. This thesis argues that nineteenth-century Orange River Afrikaans is a representative continuation of the earliest developments in the linguistic contact situation that existed at the Cape. The thesis advances that literacy and social class are important factors in the assessment of the written record from the Dutch colony at the Cape. The thesis centers around the letters by one author, Jan Jonker Afrikaner, written over a period of nearly twenty years in the second half of the nineteenth century. This legacy is a unique contribution to the diachronic data concerning the development of Afrikaans. From the data it is shown that this author had the command over different registers, fluctuating between a near perfect metropolitan Dutch and a Hollands that is classified as basilectal Afrikaans. The comparison of the data is set in a framework inspired by the concepts put forward in Generative Grammar. This has precipitated an exciting linguistic comparison of contemporary Afrikaans grammar with the diachronic material. This dissertation challenges the idea that the Khoesan Languages were of no or little influence in the development of Afrikaans. The linguistic analysis of the nineteenth-century data reveal that the developments which took place cannot be attributed to one single origin. It is demonstrated that the innovations and change that can be identified run parallel to regular patterns that are found in other languages generally classified as creole languages. It is argued that the syntax of the Khoesan languages is a major reinforcing factor in the development of the syntactic idiosyncrasies that are identified as un-Germanic characteristics of Afrikaans. Limited to nonstandard varieties of Afrikaans, in the concluding sections the question is raised how these findings are to be addressed in the larger context of language change.

This study compares the syntax of nineteenth-century Orange River Afrikaans with Dutch and synchronic Afrikaans varieties, with particular attention to Griqua Afrikaans. It provides an account of the differences that are found between the earliest attestations of an extraterritorial variety of the Dutch language on southern African soil (the so-called Cape Dutch Vernacular) with the present-day outcome. The data collected for this study originate chiefly from an hitherto undisclosed corpus of letters kept in the Namibian State Archives by the so-called Oorlam-Nama, people of mixed descent who lived on the periphery of the nineteenth- century Cape colonial society. This thesis argues that nineteenth-century Orange River Afrikaans is a representative continuation of the earliest developments in the linguistic contact situation that existed at the Cape. The thesis advances that literacy and social class are important factors in the assessment of the written record from the Dutch colony at the Cape. The thesis centers around the letters by one author, Jan Jonker Afrikaner, written over a period of nearly twenty years in the second half of the nineteenth century. This legacy is a unique contribution to the diachronic data concerning the development of Afrikaans. From the data it is shown that this author had the command over different registers, fluctuating between a near perfect metropolitan Dutch and a Hollands that is classified as basilectal Afrikaans. The comparison of the data is set in a framework inspired by the concepts put forward in Generative Grammar. This has precipitated an exciting linguistic comparison of contemporary Afrikaans grammar with the diachronic material. This dissertation challenges the idea that the Khoesan Languages were of no or little influence in the development of Afrikaans. The linguistic analysis of the nineteenth-century data reveal that the developments which took place cannot be attributed to one single origin. It is demonstrated that the innovations and change that can be identified run parallel to regular patterns that are found in other languages generally classified as creole languages. It is argued that the syntax of the Khoesan languages is a major reinforcing factor in the development of the syntactic idiosyncrasies that are identified as un-Germanic characteristics of Afrikaans. Limited to nonstandard varieties of Afrikaans, in the concluding sections the question is raised how these findings are to be addressed in the larger context of language change.

This study compares the syntax of nineteenth-century Orange River Afrikaans with Dutch and synchronic Afrikaans varieties, with particular attention to Griqua Afrikaans. It provides an account of the differences that are found between the earliest attestations of an extraterritorial variety of the Dutch language on southern African soil (the so-called Cape Dutch Vernacular) with the present-day outcome. The data collected for this study originate chiefly from an hitherto undisclosed corpus of letters kept in the Namibian State Archives by the so-called Oorlam-Nama, people of mixed descent who lived on the periphery of the nineteenth- century Cape colonial society. This thesis argues that nineteenth-century Orange River Afrikaans is a representative continuation of the earliest developments in the linguistic contact situation that existed at the Cape. The thesis advances that literacy and social class are important factors in the assessment of the written record from the Dutch colony at the Cape. The thesis centers around the letters by one author, Jan Jonker Afrikaner, written over a period of nearly twenty years in the second half of the nineteenth century. This legacy is a unique contribution to the diachronic data concerning the development of Afrikaans. From the data it is shown that this author had the command over different registers, fluctuating between a near perfect metropolitan Dutch and a Hollands that is classified as basilectal Afrikaans. The comparison of the data is set in a framework inspired by the concepts put forward in Generative Grammar. This has precipitated an exciting linguistic comparison of contemporary Afrikaans grammar with the diachronic material. This dissertation challenges the idea that the Khoesan Languages were of no or little influence in the development of Afrikaans. The linguistic analysis of the nineteenth-century data reveal that the developments which took place cannot be attributed to one single origin. It is demonstrated that the innovations and change that can be identified run parallel to regular patterns that are found in other languages generally classified as creole languages. It is argued that the syntax of the Khoesan languages is a major reinforcing factor in the development of the syntactic idiosyncrasies that are identified as un-Germanic characteristics of Afrikaans. Limited to nonstandard varieties of Afrikaans, in the concluding sections the question is raised how these findings are to be addressed in the larger context of language change.

Thesis (MA)-- Stellenbosch University, 2013. / AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis is ʼn opstel met die titel Van plaas tot agterplaas: Die uitbeelding van Afrikaners in Johannesburg in drie Hertzogpryswenners en die tweede deel is ʼn roman getiteld ʼn Duisend stories oor Johannesburg. Die roman en die opstel hou tematies met mekaar verband. Soos die roman, speel al drie bekroonde werke in Johannesburg af met Afrikaners as sentrale karakters. Die bepaalde historiese konteks waarin elkeen van die drie pryswenners verskyn het, dikteer die invalshoek van die opstel, hoe die werk krities ontvang is, sowel as die rol en waarde wat deur die Afrikaner-instelling daaraan toegeken is. Daar sal verder in die bespreking getoon word watter rol die Hertzogprys in die skepping van die Afrikaner-instelling gespeel het. Die gebruik van die begrip en eienaam “Afrikaner” in hierdie bespreking verwys na die wit, Afrikaanssprekende, Christelike gemeenskap in Suid-Afrika, in die sin dat dit ooreenstem met die (uiters aanvegbare) stelling dat alle wit Afrikaanssprekers saamgevoeg kan word in ʼn organiese “volkseenheid”. Hierdie voorveronderstelling aanvaar ook dat hierdie “Afrikanerdom” tradisionele, konserwatiewe volkswaardes deel, en altyd beskikbaar is vir mobilisering ter wille van gedeelde Afrikaner-belange, soos deur Dan O‟Meara gedefinieer in sy Volkskapitalisme: Class, capital and ideology in the development of Afrikaner nationalism, 1934 – 1948 (1983:6). Hierdie kwessies word, onder meer, deur die polisisteemteorie van die Israeliese kultuurnavorser, Itamar Even-Zohar, asook J.B. Thompson se kritiese teorie van ideologie gedoen. Daar word ook na Jacques Rancière se teorie oor “die verspreiding van die waarneembare” (the distribution of the sensible) verwys. Daar word tot die gevolgtrekking gekom dat die Hertzogprys van meet af aan in diens van die Afrikaner-instelling gestaan het en ten spyte van ʼn veranderende ideologiese landskap, ʼn voortgesette rol gespeel het in die daarstelling van die Afrikaner-repertoire. Binne die polisisteemteorie is die “repertoire” die versameling reëls en elemente wat die produksie van tekste bepaal. Die term “instelling” verwys na die faktore wat betrokke is by die instandhouding van die letterkunde as ʼn sosio-kulturele aktiwiteit. Die roman speel af in ʼn klein Johannesburgse hotelletjie, genaamd Mei Villa, in die buurt Belgravia, tydens ʼn uitbarsting van xenofobiese geweld in 2008. Binne ʼn raamverhaalstruktuur fokus die roman op twee karakters, naamlik die ontheemde argitek, Zweig van Niekerk, wat na 40 jaar na Johannesburg terugkeer, asook die hoteleienaar, die bekroonde maar mindere digter, Bosman Hiemstra. Omring deur hotelgaste en personeel met hulle uiteenlopende verhale, soek Zweig van Niekerk tevergeefs na die Johannesburg van sy jeug, terwyl Bosman Hiemstra met ewe min sukses ʼn tweede digbundel probeer skryf. Aan die einde van die boek begin die digter ʼn roman te skryf met sy gas se lewensverhaal as gegewe dalk ook die boek wat die leser pas klaar gelees het. / ENGLISH ABSTRACT: The first part of this thesis is an essay titled Van plaas tot agterplaas: Die uitbeelding van Afrikaners in Johannesburg in drie Hertzogpryswenners (From farm yard to back yard: The depiction of Afrikaners in Johannesburg in three Hertzog Prize winners) and the second part is a novel called ʼn Duisend stories oor Johannesburg (A thousand tales of Johannesburg). The novel and the essay are thematically linked. Like the novel, the three Hertzog Prize winners takes place in Johannesburg with Afrikaners as central characters. The point of departure of the essay is the historical context in which the three literary works were published, the critical reception thereof and what role and value was attributed to it by the Afrikaner institution. The role played by the Hertzog Prize in the creation of the Afrikaner institution will also be discussed. The term “Afrikaner” in this discussion refers to the white Afrikaans-speaking, Christian community in South Africa, in the sense that it correlates with the (highly debatable) contention that all white Afrikaans-speakers can be combined in an organic “volkseenheid”. This use of the term assumes that “Afrikanerdom” also shares traditional, conservative national values, and is always available for mobilisation in service of shared Afrikaner interests, as defined by Dan O'Meara in his Volkskapitalisme: Class, capital and ideology in the development of Afrikaner nationalism, 1934 – 1948 (1983:6). To examine these issues, the polysystem theory of the Israeli cultural researcher, Itamar Even-Zohar, as well as J.B. Thompson's critical theory of ideology, will be used. Reference is also made to Jacques Rancière's theory around “the distribution of the sensible”. The conclusion is reached that despite a continuously changing ideological landscape, the Hertzog Prize served the interests of the Afrikaner institution from the very start and played an ongoing role in the Afrikaner repertoire. Within the polysystem theory the “repertoire” is the aggregate of rules and elements which determine the production of texts. The term “institution” refers to the factors involved in the maintenance of literature as a socio-cultural activity. The novel is set in a small hotel, Mei Villa, in the Belgravia neighbourhood in Johannesburg during an outbreak of xenophobic violence in 2008. Within the story structure it focuses on two characters, the displaced architect, Zweig van Niekerk, who returns to Johannesburg after 40 years, and the hotel owner and award-winning, but lesser poet, Bosman Hiemstra. Surrounded by other hotel guests and staff with their own stories, Zweig van Niekerk searches in vain for the Johannesburg of his youth, while Bosman Hiemstra attempts with equal lack of success, to write a second book of poetry. At the end of the book the poet starts to write a novel using his guest's life as material; that could be the book that the reader has just completed.

Thesis (PhD)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: At the start of the twentieth century Afrikaans humour was researched quite intensively. Since then, however, such research has been relatively sporadic and has concentrated on related sub-genres of humour, such as satire, irony and wit. This dissertation investigates anew the phenomenon of humour as manifested in Afrikaans short story texts, from the dual starting points of a current context and of the extensive theoretical studies done by other researchers worldwide. In the process, humour is viewed as a communicative strategy, a combination of codes which writers utilize within a specific socio-political context in order to create humorous effects and elicit resultant reactions from readers. One of the primary aims of this investigation into the codes and strategies employed by Afrikaans writers in the humorous short story genre, is to determine whether they coincide with universal tendencies or whether they have certain unique features. After a broad exposition of the historical background and of the evolution of the continually changing concept humour, attention is paid to theories regarding its nature and effect. The creative interaction between related modi, like comedy, satire, irony, wit, burlesque, travesty, parody, caricature, grotesque, absurd and black humour and their contribution to one's experience of humour are all researched. Initially, the Afrikaans humour-tradition is set against its historical background. Following this, a more detailed investigation considers strategies of humour selected from Afrikaans short story texts from 1884 to 2001. These are selected for their variety of types of humour and according to criteria relating to structure, style and convention. The major emphasis is placed on short stories of the past two decades, in an attempt to measure the era-relatedness of humour and the interaction with the prevailing socio-political context. These various stylistic strategies are contextualized in writers' deliberate attempts to create a humorous outcome. Along with generally universal characteristics - like the interaction of humorous and non-humorous texts, with time-bound trends (in common with other literatures) - it is concluded that the Afrikaans humorous short story is strongly ancho.ed both in relevance and contextuality. Humour remains a vibrant aspect of the Afrikaans short story and, by keeping this tradition alive, it also remains popular with the reading public. / AFRIKAANSE OPSOMMING: Nadat daar aan die begin van die twintigste eeu betreklik intensiewe navorsing oor humor in Afrikaans gepubliseer is, het sedertdien slegs sporadiese studies verskyn oor verwante humormodi soos satire, ironie en geestigheid. Hierdie proefskrif wil gevolglik vanuit 'n huidige konteks, en na aanleiding van die uitgebreide teoretisering en navorsing elders ter wêreld, die verskynsel humor opnuut ondersoek, soos gemanifesteer in Afrikaanse kortverhaaltekste. Humor word in die proses benader as 'n kommunikatiewe strategie, 'n versameling kodes wat skrywers binne 'n bepaalde sosio-politieke konteks aanwend, met die oogmerk om humoristiese effekte te bewerkstellig en bepaalde reaksies by lesers uit te lok. Dié studie wil veral vasstel watter kodes en strategieë Afrikaanse humoristiese kortverhaalskrywers hierby gebruik, of dit ooreenstem met breë tendense elders of eie is aan Afrikaans. Na 'n oorsigtelike uiteensetting van die historiese grondslae en die evolusie van die steeds veranderende begrip humor, word aandag bestee aan teorieë oor die aard en effek daarvan. Die vrugbare interaksie tussen verwante modi soos die komedie, satire, ironie, geestigheid, die burleske, travestie, parodie, karikatuur, die groteske, die absurde en swart humor, asook die bydrae daarvan tot die humorbelewing, word vervolgens ondersoek. Die Afrikaanse humortradisie word eers oorsigtelik histories nagespeur, waarna nadere ondersoek ingestel word na humorstrategieë aan die hand van Afrikaanse kortverhaaltekste wat dateer van 1884 tot 2001, geselekteer op grond van sowel verskeidenheid met betrekking tot die tipe humor as kriteria soos struktuur, styl en konvensie. Die klem val op kortverhale uit die afgelope twee dekades, ten einde aspekte soos die tydgebondenheid van humor en die interaksie met die heersende sosiopolitieke konteks te probeer bepaal. Die verskillende stylstrategieë wat geïdentifiseer is, word in verband gebring met die skrywers se berekende opset om 'n humoristiese uitkoms te bewerkstellig. Naas meer universele kenmerke, soos die wisselwerking tussen humor en erns in dié tipe tekste en tydspesifieke neigings (in ooreenstemming met ander letterkundes), soos die toename in groteske en absurde tipe verhale, word bevind dat die Afrikaanse humor- en humoristiese verhaal sterk kontekstueel veranker is. Humor in die Afrikaanse kortverhaal word steeds op 'n lewenskragtige wyse beoefen deur skrywers en bly gewild by lesers.

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Since the sixties many short story collections referred to as ‘eenheidsbundels’ (‘unified volumes’) have appeared in Afrikaans. Especially those collections published since the eighties and nineties prominently display an overall unity suggestive of the greater unity found in the novel. These collections are usually characterised by the recurring appearance of characters beyond the borders of the individual stories and the use of themes and recurring motifs that run through the collection. Sometimes the separate stories within a collection share the same time period or geographical space. The same narrator may also appear throughout the collection. Although the individual stories within a volume may be regarded in isolation (or even published in isolation), they will inevitably be deprived of possible interpretations that would otherwise have been evident in relation to the collection as a whole. As a result, it would seem that the boundary between the short story volume and the novel becomes blurred in these unified collections. The main objective of this thesis is to try to determine whether the short story collections under discussion represent a new genre or subgenre or whether they could possibly constitute a continuation of an existing genre. The point of departure is the suggestion by J.P. Smuts (1989: 23) that the phenomenon is linked to the writers of the sixties’ rebellion against stereotyped literary forms and that these collections appear to represent an intermediate form, something that lies between the traditional short story collection and the novel. Chapter 2 serves as the theoretical foundation of the research: the traditional characteristics of the short story and novel are investigated. Postmodernism as school of thought associated with the problematisation of the boundaries between genres is also investigated. In Chapters 3 and 4 two unified collections from the nineties are analysed: Jaco Botha’s Sweisbril (1999) and S.P. Benjamin’s Die lewe is ’n halwe roman (1999). The purpose of these analyses is to determine the extent to which the extensive unity in these collections can be compared to the unity found in the novel. The secondary goal of the thesis is to suggest (in response to Maritha Snyman’s appeal (2011)) a more suitable Afrikaans name for the study object (“eenheidsbundel”). Neil Cochrane and Nina Botes’s proposed term “kortverhaalsiklus” (“short story cycle”) (2011) is considered, but Andr P. Brink’s reference to “’n soort kortverhaal-roman” (“a kind of short story novel”) finally takes precedence. The conclusion finds that the type of collection under discussion does represent a hybrid intermediary form located somewhere between the traditional short story collection and the novel, a form the development of which was probably influenced by postmodernism. The form seems to be a continuation of the tradition of the short story collection, one that has evolved towards the novel. Cochrane and Botes’s term “kortverhaalsiklus” is rejected in favour of the proposed term “kortverhaal-roman” (with some qualifications). This term can co-exist with terms such as “hibridiese bundel” (“hybrid volume”) or the more vague “eenheidsbundel”. The observation that the term “kortverhaalsiklus” does not convey the hybrid quality of the form, and the fact that Suzanne Ferguson (2003) points out that not all unified volumes are necessarily cycles, was decisive. / AFRIKAANSE OPSOMMING: Van die sestigerjare af het daar verskeie kortverhaalbundels in Afrikaans verskyn waarna literatore as ‘eenheidsbundels’ verwys. Veral di sedert die tagtiger- en ne ntigerjare toon ’n opvallende hegtheid wat selfs aan die groter eenheid van die roman herinner. Hierdie bundels word byvoorbeeld gekenmerk deur karakteroorvleuelings oor die grense van die verskillende verhale heen, die gebruik van oorkoepelende temas en die deurgaanse herhaling van motiewe. Soms deel die verskillende verhale in ’n bundel dieselfde tydvak of geografiese ruimte. Dieselfde vertellende instansie kan ook regdeur die bundel voorkom. Alhoewel die aparte bundelverhale in isolasie beskou (of selfs gepubliseer) kan word, word hulle so van interpretasiemoontlikhede ontneem wat slegs binne bundelverband waargeneem kan word. Dit wil gevolglik voorkom of die grens tussen die kortverhaalbundel en die roman in die eenheidsbundel vervaag. Die hoofdoelwit van hierdie tesis is om te probeer vasstel of die hegte eenheidsbundel van veral sedert die tagtigerjare in Afrikaans ’n nuwe genre of subgenre verteenwoordig en of dit moontlik ’n voortbouing op ’n bestaande genre is. Daar word uitgegaan van J.P. Smuts (1989: 23) se stelling dat die betrokke verskynsel aan die jare sestig se opstand teen geykte liter re vorme te koppel is en dat hierdie bundels ’n tussenvorm is, iets wat tussen die tradisionele kortverhaalbundel en die roman l . Hoofstuk 2 dien as die teoretiese basis van die ondersoek: die algemene kenmerke van die tradisionele kortverhaal en roman word ondersoek. Die postmodernisme as denkrigting wat met die opheffing van genregrense geassosieer word, word ook kortliks ondersoek. In hoofstukke 3 en 4 word twee hegte eenheidsbundels uit die ne ntigerjare breedvoerig bespreek: Jaco Botha se Sweisbril (1999) en S.P. Benjamin se Die lewe is ’n halwe roman (1999). Die oogmerk is om vas te stel in hoeverre die uitgebreide eenheid in hierdie bundels aan die hegte eenheid van die roman herinner. Die sekond re doelwit van die tesis is om, na aanleiding van Maritha Snyman (2011) se pleidooi, ’n meer geskikte benaming vir die studieobjek (“eenheidsbundel”) te probeer voorstel. Neil Cochrane en Nina Botes (2011) se keuse van die term “kortverhaalsiklus” vir die hegter soort eenheidsbundel word bekyk, maar Andr P. Brink se verwysing na “’n soort kortverhaal-roman” geniet voorlopige voorkeur. In die konklusie word bevind dat die bespreekte bundels wel ’n hibridiese tussenvorm verteenwoordig wat iewers tussen die tradisionele kortverhaalbundel en die roman gele is en waarvan die ontstaan en ontwikkeling waarskynlik deur die postmodernisme be nvloed is. Die vorm blyk ’n voortsetting van die kortverhaalbundeltradisie te wees wat in die rigting van die roman ge volueer het. Cochrane en Botes se term “kortverhaalsiklus” word afgewys ten gunste van die voorgestelde term “kortverhaal-roman” (met voorbehoude) wat naas terme soos “hibridiese bundel” en die vaer “eenheidsbundel” sou kon bestaan. Die waarneming dat die term “kortverhaalsiklus” niks oor die romanagtigheid of die hibriditeit van die vorm oordra nie, terwyl Suzanne Ferguson (2003) onder andere daarop wys dat nie alle eenheidsbundels noodwendig siklusse is nie, was hier deurslaggewend.

No description available.

Thesis (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2009. / In this study the role of culture in magazine translation in South Africa is investigated. This research is done against the backdrop of the ‘cultural turn’ in translation studies that started in the 1980’s. Culture is now regarded as one of the most important elements in translation and therefore the culture of the target text readers should be taken into account during the translation process. The cultural turn consists of two main elements, namely descriptive translation studies and the functionalist approach. The core element of descriptive translation studies is ‘norms’. In this study the norms of Toury and Chesterman are discussed in a literature study and then they are applied to magazine translation. In the light of a practical investigation it became clear that these norms play a vital role in the production of translated magazines. One of the most important aspects of the functionalist approach is the way in which the various role players in the translation process influence target texts. This study focuses on the role that initiators, translators and readers play in the production of translated magazines. Initiators are responsible for choosing texts to be translated. They also provide translators with guidelines for the translation process. It became evident that ‘ideal’ magazine translators should have sound language skills, cultural knowledge and research skills. They should also have an ‘ethical code’ according to which they translate. The readers of translated magazines have a huge influence on the production of such magazines. They play an important role in the choice of articles, advertisements, et cetera that appear in magazines. They also influence translators’ choices on micro level.

Thesis (MPhil (Afrikaans and Dutch))--Stellenbosch University, 2009. / In this translation corpus study a monolingual comparable corpus of translated and nontranslated Afrikaans newspaper articles from Die Burger are compared with the use of WordSmith Tools 4. WordSmith Tools generates statistics, word lists and concordances that can be sorted in a variety of ways. The data generated for the translated and nontranslated subcorpora are then compared. This study follows on a translation corpus study of Afrikaans rugby articles by RG Bam (2005), which found that translated language differs from nontranslated language and that it also differs from the results for English in a similar study. The difference between the findings for English and Afrikaans is attributed to the commonality of the rugby articles. For this study the domains are extended to include topical articles, arts and entertainment, business news, foreign news and sport (rugby, athletics, soccer, cricket, bicycling, hockey and gholf). With the extended domains, my results are similar to the previous Afrikaans study regarding type-token ratio, average word length and lexical density, but not with regard to average sentence length and convergence. My finding on sentence length agrees with the finding for English newspaper articles. However, it is clear that Afrikaans translated articles differ from Afrikaans nontranslated articles and that Afrikaans differ from the way in which English translated articles differ from English nontranslated articles. A further extension on Bam's study is the use of an automatic Afrikaans part-ofspeech tagger that was developed by CTeXT in 2005. The tagged data was applied with good results to the calculation of lexical density and in determining the number of pronouns in the distinct subcorpora. Because corpus translation studies is a relatively young field, the methodology suggested by Laviosa-Braithwaite (1995) for corpus studies in English is tested to see whether it is applicable to Afrikaans. The methodology is in the form of hypotheses. Certain aspects are investigated easily by means of WordSmith Tools, but other aspects, such as die occurrence of superordinates, is not so readily applicable to the corpus methodology.