Drama translation is an area in the discipline of Translation Studies that has been neglected compared with the translation of other literary texts, especially in the South African context. This dissertation contributes to this neglected area by exploring to what extent and how the principles associated with foreignisation, dynamic equivalence and shift theory can aid in the process of translating a literary text, specifically a dramatic text, from Afrikaans into English. This dissertation also discusses translation challenges specific to the translation of the source text, Deon Opperman’s Kaburu, from Afrikaans into English. The source text, Kaburu, was selected because of the playwright’s interesting use of the Afrikaans language and the numerous culture-specific references in the text. In addition, it was theorised that a larger global audience would be able to relate to the international themes of identity and migration while being exposed to themes pertaining to socio-political issues that are prevalent in contemporary South Africa, such as crime, land disownment, name changes and political programs to redress the injustices of the past. In order to retain the culture-specific nature of the text, the decision was made to produce a foreignised translation of the source text. Numerous examples of challenges encountered during the production of the target text are provided and discussed. The examples and discussions provided demonstrates that the theoretical concepts of equivalence, domestication and foreignisation and shift theory can be useful tools in analysing and producing solutions for dealing with challenging translation in a literary translation between Afrikaans and English. / MA (English), North-West University, Potchefstroom Campus, 2014

Drama translation is an area in the discipline of Translation Studies that has been neglected compared with the translation of other literary texts, especially in the South African context. This dissertation contributes to this neglected area by exploring to what extent and how the principles associated with foreignisation, dynamic equivalence and shift theory can aid in the process of translating a literary text, specifically a dramatic text, from Afrikaans into English. This dissertation also discusses translation challenges specific to the translation of the source text, Deon Opperman’s Kaburu, from Afrikaans into English. The source text, Kaburu, was selected because of the playwright’s interesting use of the Afrikaans language and the numerous culture-specific references in the text. In addition, it was theorised that a larger global audience would be able to relate to the international themes of identity and migration while being exposed to themes pertaining to socio-political issues that are prevalent in contemporary South Africa, such as crime, land disownment, name changes and political programs to redress the injustices of the past. In order to retain the culture-specific nature of the text, the decision was made to produce a foreignised translation of the source text. Numerous examples of challenges encountered during the production of the target text are provided and discussed. The examples and discussions provided demonstrates that the theoretical concepts of equivalence, domestication and foreignisation and shift theory can be useful tools in analysing and producing solutions for dealing with challenging translation in a literary translation between Afrikaans and English. / MA (English), North-West University, Potchefstroom Campus, 2014

Die verhandeling ondersoek die wyse waarop Deon Opperman die versetmotief in sy Afrikanerdramas uitbeeld en vernuwe om die veranderende sosiale omgewing te weerspieël. Hoofstuk 1 verskaf ‘n oorsig oor verset as leefwyse en motief in die Afrikaanse drama. Hoofstuk 2 bied ‘n teoretiese ondersoek van The theatre of revolt (Brustein 1991), ’n bespreking van begrippe soos herskrywing, multikulturalisme, moderne diaspora en globalisasie sowel as ‘n kontekstuele studie van Deon Opperman se Afrikaanse oeuvre. Hoofstuk 3 (Donkerland) fokus op verset binne ‘n postkoloniale herskrywing van die Afrikanergeskiedenis. Hoofstuk 4 (Kruispad en Ons vir jou) sentreer rondom sosiale verset binne ‘n multikulturele omgewing, terwyl hoofstuk 5 Kaburu as weerkaatsende teks en die aktuele kwessie van die moderne diaspora as versetreaksie aanspreek. Die verhandeling kom tot die slotsom dat Opperman versetteater gebruik om kommentaar op aktuele probleme te lewer en om terselfdertyd‘n boodskap van transformasie oor te dra. / The dissertation examines how Deon Opperman portrays and regenerates the revolt motif in his Afrikaner dramas, in order to reflect the changing social environment. Chapter 1 provides an overview of revolt as lifestyle and as motif in Afrikaans drama. Chapter 2 offers a theoretical examination of The theatre of revolt (Brustein 1991), a discussion of concepts such as rewriting, multiculturalism, modern diaspora and globalization, as well as a contextual study of Deon Opperman’s Afrikaans oeuvre. Chapter 3 (Donkerland) focuses on revolt within the postcolonial rewriting of Afrikaner history. Chapter 4 (Kruispad and Ons vir jou) deals with social revolt within a multicultural milieu, whereas chapter 5 discusses Kaburu as a reflecting text and addresses the issue of the modern diaspora as a reaction to political transition. The dissertation reaches the conclusion that Opperman is using South African theatre as a platform for revolt as well as for transformation. / Afrikaans & theory of Literature / MA (Afrikaans en Algemene Literatuurwetenskap)

Die verhandeling ondersoek die wyse waarop Deon Opperman die versetmotief in sy Afrikanerdramas uitbeeld en vernuwe om die veranderende sosiale omgewing te weerspieël. Hoofstuk 1 verskaf ‘n oorsig oor verset as leefwyse en motief in die Afrikaanse drama. Hoofstuk 2 bied ‘n teoretiese ondersoek van The theatre of revolt (Brustein 1991), ’n bespreking van begrippe soos herskrywing, multikulturalisme, moderne diaspora en globalisasie sowel as ‘n kontekstuele studie van Deon Opperman se Afrikaanse oeuvre. Hoofstuk 3 (Donkerland) fokus op verset binne ‘n postkoloniale herskrywing van die Afrikanergeskiedenis. Hoofstuk 4 (Kruispad en Ons vir jou) sentreer rondom sosiale verset binne ‘n multikulturele omgewing, terwyl hoofstuk 5 Kaburu as weerkaatsende teks en die aktuele kwessie van die moderne diaspora as versetreaksie aanspreek. Die verhandeling kom tot die slotsom dat Opperman versetteater gebruik om kommentaar op aktuele probleme te lewer en om terselfdertyd‘n boodskap van transformasie oor te dra. / The dissertation examines how Deon Opperman portrays and regenerates the revolt motif in his Afrikaner dramas, in order to reflect the changing social environment. Chapter 1 provides an overview of revolt as lifestyle and as motif in Afrikaans drama. Chapter 2 offers a theoretical examination of The theatre of revolt (Brustein 1991), a discussion of concepts such as rewriting, multiculturalism, modern diaspora and globalization, as well as a contextual study of Deon Opperman’s Afrikaans oeuvre. Chapter 3 (Donkerland) focuses on revolt within the postcolonial rewriting of Afrikaner history. Chapter 4 (Kruispad and Ons vir jou) deals with social revolt within a multicultural milieu, whereas chapter 5 discusses Kaburu as a reflecting text and addresses the issue of the modern diaspora as a reaction to political transition. The dissertation reaches the conclusion that Opperman is using South African theatre as a platform for revolt as well as for transformation. / Afrikaans and theory of Literature / M. A. (Afrikaans en Algemene Literatuurwetenskap)