Thesis (M. A. ( Translation Studies)) --University of Limpopo, 2014 / This topic outlined the importance of translation of Xitsonga novel which is translated in Xitsonga by G.S. Mayevu. This showed how translation is so important in Xitsonga language. Mayevu and other translators had tried their level best to better the Xitsonga language through translation. This research pointed out in details problems which translators come across and how these problems can be overcomed. In this research, we also realised how scarce students who are doing translation are. The researcher also recommend that translation be taken into consideration in the world at large because people can together, discuss and agree on issues through translation.

Thesis (M. A.(Translation Studies)) -- University of Limpopo, 2014. / This topic outlined the importance of translation of Xitsonga novel which is translated in Xitsonga by G.S. Mayevu. This showed how translation is so important in Xitsonga language. Mayevu and other translators had tried their level best to better the Xitsonga language through translation. This research pointed out in details problems which translators come across and how these problems can be overcomed. In this research, we also realised how scarce students who are doing translation are. The researcher also recommend that translation be taken into consideration in the world at large because people can together, discuss and agree on issues through translation.

Magister Artium - MA / We Dare Not Say is an anthology of seven interlinked short stories with the general theme of intergenerational trauma among coloured families in Cape Town. The stories are arranged in a montage of internally, variably and externally focalised narratives that span over a century, from 1900 through to 2015, and are fictionalised accounts of real events, categorising them as biographical fiction. Some of the specific topics covered in the stories include incest, molestation, substance abuse, mental illness and humour as a coping mechanism. The body of work is conceived in the context of the twentieth century trauma narrative, the complexities of which run as undercurrents through most of the important English literary works created in South Africa since the 1800s up until John M. Coetzee, but which has often lacked a female perspective, especially women of colour. The stories in this volume aim to depict a group of people, who, through centuries of oppression in the form of serfdom, servitude and segregation, have developed various coping mechanisms to make sense of their own identity in an absurdly cruel social landscape. The stories focus on the inward turning of violence, substance abuse, silence and humour as survival mechanisms after generations of trauma that have been, in a sense, the hallmarks of coloured South Africa. The stories are told using a split narrative method, showing multiple viewpoints of the same story with perspectives ranging from young to old, crossing the gender divide in both time and space. Ultimately, We Dare Not Say, is a depiction of the complexities of lives lived under oppression, and the triumphs and challenges faced in trying to resolve, live through or deny the effects of such oppression on a group and the individuals that make up that group.

No description available.

Thesis (Ph.D.)--Edith Cowan University, 2008. / Submitted to the Faculty of Education and Arts. Includes bibliographical references.

Thesis (M. A.(English Studies)) --University of Limpopo, 2019 / This study explores a literary comparative examination of crime between Africa and Scandinavia, with special attention to Botswana and Norway. Smith’s and Nesbo’s selected novels are used as primary texts for analysis. The novels are, therefore, set in two different areas. These writers depict crime from the African and European perspectives. Chapter One deals with a brief introduction, and the aim and objectives of the study. It also expands on the theoretical background and provides definitions of terms that are used in this paper. Chapter Two presents views from various scholars on crime. This study is based on an Afro-Western approach of literary analysis. In other words, there are thoughts by both African and Western writers which assist in determining possible and noticeable similarities and differences, on the issue of crime. Chapter Three analyses crime from an African perspective while Chapter Four discusses crime from a Western point of view. Each of these chapters reflects on crime through character portrayal and depiction within its context. Chapter Five is a comparative analysis of both novels. The chapter identifies possible similarities and differences, mainly of the depiction of crime in different settings – Africa and Scandinavia, committed by blacks and whites. However, the structural and linguistic approaches of both the novels are also reviewed, assisting in discovering the life, in comparison, of the authors. The last chapter (Chapter Six), is a conclusion of the study and future suggestions. Basically, the study argues that blacks only should not be portrayed as perpetrators, but that whites too can be culprits. Again, there should be an equal of measurement on the weight and honour of the two races. Lastly, the moral is that without considering skin colour, financial and social backgrounds, justice must be served equally. Hence, whoever is caught in any form of wrongdoing, they must be given the appropriate punishment – regardless of race, colour, religious creed, gender, financial and social background. Key Words: Crime, Afro-Western, Marxism, suspense, detective, identity, puzzle, fix, accumulation, class, characterisation and setting

Cette thèse a pour objectif de lire à travers les médias hôtes que sont la littérature, la bande dessinée et le cinéma, la présence d’éléments picturaux au sein de fictions biographiques. Il s’agit d’une étude comparative qui considère l’art comme lieu de reconstruction mais aussi de conservation de l’histoire en général et de l’histoire artistique en particulier. De manière générale, les interactions entre le pictural et les autres arts prennent deux orientations. La première est la reconstitution du champ pictural et de son fonctionnement. Et la seconde orientation passe par la réappropriation des techniques et des moyens de création produisant des effets picturaux au sein des autres formes artistiques. L’insertion du pictural laisse donc entrevoir une tension entre le média qui recoit et la forme insérée et le résultat se partage entre opacité et transparence; homogénéité et hétérogénéité du média hôte. / The aim of this thesis is to read through the media hosts that are the literature, comics and cinema, the presence of pictorial elements in biographical fiction. Here is about a comparative study that considers art as a construction’s place but also the conservation of the history in general and artistic history in particular. In general, the interactions between the pictorial and other arts take two ways. The first way or orientation is the reconstitution of the pictorial field and it's functioning. And the second way or orientation goes through the reappropriation of techniques and means of creation producing pictorial effects with other artistic forms. The insertion of the pictorial may suggests a clear tension between the host media and the inserted form and the result is divided between opacity and transparency; homogeneity and heterogeneity of the host media.

No description available.

Zugl.: Berlin, Techn. Univ., Diss., 2008