A Translation project submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfillment of the requirements of the degree of Master of Arts (Translation). / This case study investigates and analyses the transfer of the socio-political elements of meaning, in the translated text, A Season in Paradise (1985). The study attempts to discover and account for any factors which may have impacted on the transfer of the socio-political elements from the source text. to make the study as systematic and as objective as possible, an adaptation of the model of analysis proposed by Lambert and Van Gorp is used. Lambert and Van Gorp are theorists who fall within the branch of translation studies called Descriptive Translation studies. The adaptation of the Lambert and Van Gorp model takes into account the factors which could have influenced the translator's reading of the literary text and which could have impacted on her translation strategy. The macro-analysis establishes the background to the translation and compares the physical features and the publishing circumstances of the target text with that of the source text. It contains a discussion on any similarities or differences found. On the micro-level, specific extracts with a socio-political theme are compared using selected linguistic concepts from Halliday's An Introduction to Functional Grammar as interpretive tools. The shifts discovered here were linked to the discoveries made in the macro-level analysis. It: was determined that prevalent reading strategies at the time did to a limited extent influence the transfer of the socio-political elements of meaning present in the text. This study is done to shed more light on the process of translating a literary work and the factors which may influence this process. / Andrew Chakane 2018

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans & Theory of Literature / M.A. (Afrikaans)

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans and Theory of Literature / M.A. (Afrikaans)

Thesis (PhD) -- Stellenbosch University, 1988. / ENGLISH ABSTRACT: no abstract available / AFRIKAANSE OPSOMMING: geen opsomming

Thesis (DLitt (Afrikaans and Dutch))--University of Stellenbosch, 2007. / ENGLISH ABSTRACT: This dissertation studies the depiction of character subjectivity in two text series of Alexander Strachan and Breyten Breytenbach. Strachan’s first three prose works are dealt with as a trilogy wherein one main character, Lenka, traverses three texts. Breytenbach’s five autobiographical prose works about visits to South Africa are also dealt with as a text series wherein one main character, Breytenbach, is depicted. In both instances the subjectivity, as portrayed by these authors, is read as a nomadic subjectivity, a term borrowed from the French thinkers Gilles Deleuze and Félix Guattari. The study assumes the form of a Deleuze-Guattarian reading of Strachan and Breytenbach’s work with a sustained focus on the depiction of the nomadic subject in the works of both authors. During the course of the study many philosophical concepts, developed in the work of Deleuze and Guattari, are explained and implemented as thinking and reading instruments whereby the prose texts are read in a new perspective. Although a Deleuze-Guattarian reading of prose texts is a relatively uncharted territory in circles of Afrikaans literary theory, this study purports to indicate that when a schizo-analytical view of subjectivity is used to analyse the functioning of character subjectivity within literary works, the texts gain new life in interesting ways. Using the concept of the nomadic subject empowers me to establish a useful reading strategy for the reading of a character who refuses to become wholly subjected to the text and the world within which he lives and who rather experiences an existence of perpetual becomings. Eventually it is suggested that the creation of a nomadic character is not only dependent upon a different grasp of subjectivity as indicated in the text, but that the writing of a particular, revolutionary form of literature, a minor literature, is implied. The nomadic subject’s being implies perpetual becomings, and a successful literary portrayal of this subject must depict such becomings at stylistic and formal levels. This study moves systematically from an analysis of nomadic subjects in literary texts to the more general question of how a minor literature functions so that the nomadic being of the character is also kept alive in the form and style of the text.

This dissertation examines Breyten Breytenbach‟s memoir Dog Heart, and Ngũgĩ wa Thiong‟o‟s novel Matigari, with particular attention to the use of a mother tongue or another language in the texts, and whether these reflect or impact on the writers‟ sense of personal, cultural and political identity. It compares and contrasts the authors‟ views on, and experiences of, culture, language, translation and exile, and whether these aspects appear in the two primary works. Dilemmas associated with the authors‟ choice of language in their creative works, preferred audiences, and affiliations to their mother tongue speech communities are also explored. By drawing on Breytenbach‟s and Ngũgĩ‟s diverse stances on these issues, and following their respective publishing decisions, it is hoped an interesting conversation is created between these significant political activists and their writing. / English Studies / M.A. (English literature)

This dissertation examines Breyten Breytenbach‟s memoir Dog Heart, and Ngũgĩ wa Thiong‟o‟s novel Matigari, with particular attention to the use of a mother tongue or another language in the texts, and whether these reflect or impact on the writers‟ sense of personal, cultural and political identity. It compares and contrasts the authors‟ views on, and experiences of, culture, language, translation and exile, and whether these aspects appear in the two primary works. Dilemmas associated with the authors‟ choice of language in their creative works, preferred audiences, and affiliations to their mother tongue speech communities are also explored. By drawing on Breytenbach‟s and Ngũgĩ‟s diverse stances on these issues, and following their respective publishing decisions, it is hoped an interesting conversation is created between these significant political activists and their writing. / English Studies / M.A. (English literature)

Autobiographical writing acquired increasing importance during the apartheid period, with greater numbers of autobiographical texts being published by a more representative range of South Africans across race, class and gender categories. This thesis analyzes the implications of shifts in autobiographical production, in English, during the years 1948-1994 through the examination of selected texts. The readings are informed by poststructuralism, modified by information about indigenous black South African cultural practices, as well as by input supplied by some of the autobiographical texts themselves. This theoretical approach may be referred to as a "pratique de metissage" (Glissant). The texts selected for close reading are from a field of over 120 autobiographical texts. They were chosen for their ability to illustrate important trends in South African autobiographical writing, specifically with regard to the three constituent parts of autobiography: autos, bios, and graphe. The chapter dealing with the depiction of self interrogates the hierarchized discourses of male-biased humanism in Roy Campbell's Light on a Dark Horse (1951). In Ellen Kuzwayo's Call Me Woman (1985) I analyze the melding of the conceptual frameworks of indigenous black cultures and Western individualism by which the autobiographical subject is defined. Breyten Breytenbach's The True Confessions of an Albino Terrorist (1984) is read as an exploration of the postmodernist decentred self. In the chapter focusing on the portrayal of life experiences, I examine the ways in which the narrator of Albert Luthuli's Let My People Go (1962) seeks to secure the reader's approval of his version of recent South African history; while the analysis of the sub-genre referred to here as worker autobiography is principally concerned with the politics of life-writing. In Chapter 5, I look at how Godfrey Moloi's My Life: Volume One (1987) uses the discourses of popular American movies of the 40s and 50s in order to validate a self victimized by racism, and also at the ways in which Lyndall Gordon's Shared Lives (1992) probes the limits and possibilities of biography through autobiographical speculation. In general, apartheid autobiography moves away from individualism to contribute, through various means, to social and political change. / Thesis (Ph.D.)-University of Natal, Durban, 1994.