This thesis argues that a nuanced understanding of Egyptological writing across the late nineteenth and early twentieth centuries can only be achieved through the consideration of the broader literary and artistic culture in which these texts were produced, and that an understanding of contemporary cultural artefacts requires a complementary awareness of Egyptology. It demonstrates the wealth of generic and material exchange between Egyptological and literary texts, and reveals cultures of mythmaking in which Egyptologists embellished their accounts, while those who collected Egyptian objects invented supernaturally-charged fictions in a bid to establish their own authority. It establishes the inflation in Egyptian iconography not merely in textual form, but across material culture, claiming that the growing availability of texts addressing ancient Egypt encouraged linguistic experiment among writers of fiction, and the domestication of hieroglyphs. It argues that interests in Egyptology and psychology often went hand-in-hand, shifting the understanding of hieroglyphs as something ‘other’ to a product of the ‘self’. Finally, it charts the commercialisation of Egyptian iconography, increasingly connected to products that drew upon Egypt’s glamour (and the glamour of theatre and cinema), but also obverses a counterculture that harnessed ancient Egypt’s fascination and connected it to more meaningful spiritual experiences.

Wars and conflicts have no recognised linguistic boundaries as they break out irrespective of differing languages and cultures. However, verbal negotiations for truce, ceasefire, and peace conventions still need to be engaged in between the conflicting sides. Consequently, the need for interpreters to overcome language barriers in war zones has recently increased significantly as even local conflicts are given a global dimension in the contemporary political scene. Despite all this, there has been a lack of studies submitted in the field for which this thesis is a focus: the roles that war-zone interpreters can play in framing narratives of conflicts. The contribution this study attempts to achieve is in developing a new model to assess how narratives are framed in the field of interpreting. This model can be used as an analytical framework in order to collect and analyse oral interpreting data; in addition, it is designed to be used in other conflict interpreting studies. This thesis examines the roles that Libyan interpreters played in framing narratives of Libyan conflict in the Libyan uprising during the period from the first days of the uprising on the 17th February 2011 to the implementation of the intervention on the 19th March 2011.

The translation unit has been regarded as an elusive notion in linguistics. The literature shows that there seems to be little agreement regarding, in particular, their identification and size. This study attempts to rethink these two central issues of translation units with the help of a parallel corpus: the ARC (the Alignment of Reuters Corpora), an English-Japanese newswire corpus. The main achievements of this study are: the identification of five variables associated with translation unit size; the establishment of an unbiased, reproducible identification method; and, the demonstration that translation pairs (i.e. translation units and their equivalents) are ideal for contrastive analysis. The identification method, ‘the one-equivalent principle’, established in this thesis is justified linguistically by a thorough, systematic review of the relevant literature, and empirically using nine case studies. The target words of the case studies were the most frequent content words in the ARC: market; government; year; economic; new; foreign; said; told; and, expected. The examination of translation unit size, as well as non-translation units and translation pairs, shows that parallel corpora, and the one-equivalent principle, are powerful tools for understanding the nature of translation units.

This thesis examines the gendered and racialised representations of social spaces in apartheid and post-apartheid writing. My research methodology incorporates a variety of literary and culture theories, including postcolonial theory, feminism and anthropology. I begin with a reading of J.M. Coetzee’s Disgrace, examining the problematic paradigms of race and gender relations in post-apartheid South Africa which Coetzee represents through rape. Of particular importance is the idea of liminality and in the introduction I establish my interpretation of liminality amongst other theorists. I contend that the very fruitfulness of liminality as an analytical tool lies in its prismatic qualities that give rise to multiple possibilities of meaning. The complex nuances of liminality’s ‘betwixt and betweenness’ and its ‘undefinability’ are conducive to an examination of violence and violation. Simultaneously, however, liminality is also conducive to an examination of communitas or productive social relations predicated on a deep-rooted sense of shared experience. Informed by the analysis of Disgrace and the discussion of liminality in the introduction, each of the three main chapters focuses on a different thematic space. Starting with a discussion of Ruth First’s 117 Days, chapter 2 examines how the prison is a site of deactivation and conversely of collective revolutionary consciousness. I explore how Nadine Gordimer’s Burger’s Daughter, Kagiso Lesego Molope’s Dancing in the Dust and Mongane Serote’s To Every Birth Its Blood, represent prison as a rite of passage. I also investigate how Antjie Krog in Country of my Skull, Caesarina Kona Makhoere in No Child’s Play and Lauretta Ngcobo in And They Didn’t Die contest deactivation. Chapter 3 considers urban spaces in terms of liminality in Ngcobo’s And They Didn’t Die. This chapter also discusses the potential for anti-apartheid protest in Serote’s To Every Birth Its Blood and Molope’s Dancing in the Dust and the liminality of post-apartheid urban landscapes in Achmat Dangor’s Bitter Fruit and Ivan Vladislavić’s Portrait with Keys: The City of Johannesburg Unlocked. Finally, analysing the train as a site of mobile incarceration in Coetzee’s The Life and Times of Michael K, chapter 4 also considers the varied representations of the train in To Every Birth Its Blood and Third World Express by Serote, Ngcobo’s And They Didn’t Die, Molope’s Dancing in the Dust, ‘Home Sweet Home’ by Zoё Wicomb and other short stories by Miriam Tlali.

This thesis presents a critical reading of selected Indo-Caribbean prose and poetry and explores their shared concern with issues of madness and insanity. Before approaching literary texts, however, the thesis investigates the colonial treatment of mental illness in Trinidad and British Guiana in order to establish a pragmatic link between the East Indians’ experience of mental illness during indentureship and its later emergence in literature. The study of the development of local colonial psychiatry is based on the examination of original sources, including relevant Parliamentary Papers and previously unexamined material. A critical reading of Edward Jenkins’s writings provides the link between history and literature, whilst contemporary theories on the construction of the collective imaginary help to sustain the argument of a transference of the trope of madness from facts to fiction, from reality to imagination. This project contributes both to the growing field of Indo-Caribbean literary criticism and to the embryonic area of the history of mental health in the Caribbean. Concentrating on the relation between the social history of medicine and literary imagination it suggests a new approach to Indo-Caribbean literature based on the close relationship between health and culture.

This study looks at women's prose narrative representing four major Chinese communities during the last 30 years, and focuses on the depiction of mother-daughter relationships among personae within the narrative texts. The thesis seeks to suggest that mother-daughter relationships within the texts are a reflection of how a text responds to its mother culture in the course of development. Narrative prose ranging from self-professed autobiographies to the fictional, written by Chinese women from American-Chinese communities, Hong Kong, Taiwan and Mainland China, are examined in a comparative approach within an ethnical framework. The concept of a national literature is discussed with regard to different fonns of Chinese-ness. It is revealed, in the course of this examination, that each group of Chinese women's writing examined here demonstrates an acute awareness of a link with an original mother culture, the Chinese orientation. However, recent events both inside and outside China have inevitably shaped cultural development in these communities, resulting in splits and diversifications in the individual cultural consciousness. Approached from this perspective, the Chinese mother culture gains a new vitality by virtue of shedding the burden of a long history. Focusing on the intertextual activities of regional writings, it is shown that represented Chinese-ness is no longer an unchanged and unchanging phenomenon, but is redefined each moment through the locus of interactions among independent hybrid communities.

The thesis proposes to address how the tradition of translating Chinese poetry in the English speaking world developed in the early twentieth century and has continued. Problems relating to this issue, such as the great change in poetics and intellectual atmosphere since 1915 when Cathay appeared, its impact on the translation of Chinese poetry, and the universe of discourse of the two cultures involved, those of the Chinese and the English speaking world, as well as the constraints of the target system on the translations, will also be discussed. The introduction provides an overview of the poetics that valued traditional metres at the turn of the century, and applies polysystem theory to explain the lack of enthusiasm for translations of classical Chinese poetry before 1915. Chapter 2 discusses the constraints of language, the poetics and universe of discourse in the target system, suggesting that these constraints handicapped the widespread transfer of classical Chinese poetry before 1915. Chapter 3 examines xing, the poetic device in Chinese poetry that emphasizes the poet's spontaneous response to nature and the merging of scene and feeling. The very nature of xing defies any attempt to make it explicit. The chapter is divided into two parts, discussing xing in the encoding and decoding process respectively. Readerresponse criticism and phenomenology are also incorporated in the discussions. The chapter is followed by an analysis of various attempts to translate poems that are presented with zing in Chapter 4, which shows that there is a tendency on the part of some translators to add logical links between the scene and the feelings expressed. Chapter 5 looks at the translation strategies of Arthur Waley, investigating the traditions of translating classical Chinese poetry that he has helped to build up. The kind of smooth grammatical lines he uses and the Chineseness he conveys have had great influence on subsequent translators. Chapter 6 studies Ezra Pound, with special focus on his innovative work Cathay, and his juxtaposition techniques. Chapter 7 studies Kenneth Rexroth's translations of Du Fu, while Chapter 8 examines Gary Snyder's translations of Cold Mountain. The vehicle of translating Chinese poetry in general-- language and poetics-- was close to that of modern poetry in the target culture. Chapter 9, the conclusion, asserts that various strategies are adopted for various purposes. It tries to place the position of the translators discussed in a polysystem context. In the target system, poems are appreciated more for their charm than their being supposedly faithful to an original. The image of China created through translators remains distant. To the reader in the West, China is always far out "there," not here.

This thesis was motivated by Robert Chard's puzzlement over the translational phenomenon of martial arts fiction in the West. It proposes to address how the translational migration of martial arts fiction took place, first to other Asian countries in the 1920's, but to the West only after a lapse of a few decades beginning in the early 1990's. Adopting a descriptive approach as described by Gideon Toury, the thesis is intended to add further to the limited inventory of case studies in urgent demand to test the polysystem theory propounded by Even-Zohar. The thesis is made up of two parts. Part I is a macro-level study of martial arts fiction, intended to contribute to testing the limits of the polysystem theory. After examining Chinese fiction as a low form in the Chinese literary polysystem and its weak function as translated literature in the Western literary polysystem, the study explores the translational phenomenon of martial arts fiction in the West as well as the concurrent phenomenon as to why so little of martial arts fiction has been translated into Western languages, compared to the copious amount into other Asian languages, to the extent of stimulating a new literary genre or (re)writing martial arts fiction in indigenous languages in Indonesia, Vietnam and Korea, sinicized countries or countries boasting large overseas Chinese communities. Issues and problems related to these translational activities and cultural phenomena are presented as tools to test the limits of the polysystem theory. Part II is a micro-level study focussing on the specifics of rendering Fox Volant of the Snowy Mountain by Jin Yong into English. I will argue, in the main, that many difficulties, inherent in both the translating and reading processes, can be constructed within the theoretical framework of Andre Lefevere's concept of "constraint", particularly that of the universe of discourse. Lefevere's connotation of the universe of discourse will be expanded to embrace different cultural presuppositions and literary assumptions underlying two divergent world cultures, hence different reader expectations in the reading process. It is hoped that the findings and results of this descriptive case history of martial arts fiction as a literary genre in translational migrations will contribute to the accumulation of knowledge.

Thesis (M.S.)--Naval Postgraduate School, 2002. / Cover title. "June 2002." AD-A405 956. Includes bibliographical references (p. 103-108). Also available via the World Wide Web.

The development and use of languages for official, education, religion, etc. purposes have been a major political issue in many developing multilingual countries. A number of these countries, including China and India, have recognised the issues and developed language policies that have provided some ethnic groups with the right to develop their languages and cultures by using writing systems based on scripts suitable for these purposes. On the other hand, other countries, such as Ethiopia (a multilingual African state) had, for a long time, preferred a policy of one language and one script in the belief that this would help the assimilation of various ethnic groups create a homogenous population with one language and culture. Rather than realizing that aim, the policy became a significant source of conflict and demands for political independence among disfavoured groups. This thesis addresses the development of a writing system for Oromo, a language spoken by approximately 40 percent of the total population of Ethiopia, which remained officially unwritten until the early 1990s. It begins by reviewing the early history of Oromo writing and discusses the Ethiopian language policies, analysing materials written in various scripts and certain writers starting from the 19th century. The adoption of Roman script for Oromo writing and the debates that followed are explored, with an examination of some phonological aspects of the Oromo language and the implications of representing them using the Roman alphabet. This thesis argues that the Oromo language has thrived during the past few years having implemented a Roman-based alphabetical script. There have been and continue to be, however, internal and external challenges confronting the development of the Oromo writing system which need to be carefully considered and addressed by stakeholders, primarily by the Oromo people and the Ethiopian government, in order for the Oromo language to establish itself as a fully codified language in the modern nation-state.