Makala haya yanaangazia uhakiki wa usimulizi, mazingira, onomastiki ya wahusika na maudhui katika riwaya ya Paradiso (2005) ya John Habwe kwa kuzingatia madhumuni na kanuni za nadharia ya uhalisia wa kifasihi. Yanaonesha jinsi nadharia ya uhalisia ama uhalisiamamboleo wa kifasihi inavyoafikiana na dhamira ya riwaya ya kukosoa maovu yanayotendeka katika asasi za kidini za Kikristo katika jamii ya leo. Uhakiki huu unadhihirisha yafuatayo: usimulizi wa nafsi ya tatu; upana wa maudhui ya kukosoa matatizo ya kijamii mbali na maudhui makuu ya kukosoa unafiki wa viongozi na waumini wa kanisa; mazingira yenye majina halisi; na uteuzi wa majina ya wahusika kwa kuzingatia vipengele anuwai vya onomastiki. Yote haya yanachangia kuiainisha Paradiso kama riwaya changamano ya uhalisia wa kifasihi. / This article analyses narration, setting, onomastics of characters and themes in the novel Paradiso (2005) by John Habwe by considering the objectives and tenets of the theory of literary realism. It shows how the style of literary realism or neo-realism concurs with the overarching theme and concern of the novel of criticizing misdeeds in religious institutions of the Christian faith in contemporary society. This nterpretation sheds light on the following aspects: third person point of view; a wide thematic array of social critique apart from the main theme of criticising the hypocrisy of leaders and followers of the church; a setting consisting of real-life names; and a diverse choice of characters’ names according to different aspects of onomastics. All these aspects contribute to the classification of Paradiso as a sophisticated novel of literary realism.

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In Egypt, Swahili has a prominent role as it is used in teaching, religious activities and journalism related with East African Countries. This is a sign of the good relations between Egypt and East African areas where Swahili is used. These relations are also based on the religion of Islam. Translations from Swahili into Arabic and vice versa play a special role in the cultural exchange between Egypt and Swahiliphone East Africa. Two Egyptian institutions are especially active in translation, the university of Al-Azhar and the National Centre for Translation. This article gives an overview of translation activities in Egypt and discusses their opportunities and challenges.

Makala hii inachambua sitiari katika Kichomi, diwani ya kwanza ya marehemu Euphrase Kezilahabi. Mashairi yaliyochunguzwa yanahusika na dhamira tatu za kijumla: maana ya maisha, udhalimu wa kikoloni, na hali ya sasa ya Afrika. Mashairi yanayochambuliwa ni: “Nimechoka”, “Mwamba Ziwani”, “Fungueni Mlango”, na “Kisu Mkononi” (dhamira ya “maana ya maisha”); “Hadithi ya Mzee” (dhamira ya “udhalimu wa kikoloni”); “Afrika na Watu Wake”, “Kumbe”, na “Namagondo” (hali ya sasa ya Afrika). Mashairi haya yako kwenye muundo usiofuata urari wa vina na mizani. Lengo la makala hii si kufanya uchambuzi wa kina bali ni kuonyesha kuwa sitiari ni mbinu ya msingi ya mshairi katika kuwasilisha maana na mtazamo wake katika dhamira kadhaa. Nimeteua mashairi hayo tu ili kudhihirisha mbinu ya kisitiari katika dhamira zilizotajwa. Uchambuzi wa sitiari umezingatia mkabala wa kisemantiki unaotambua vipengele vitatu katika muundo wa sitiari: kifananishi, kitajwa na kiungo (taz. Richards 1936; Leech 1969). Hitimisho muhimu ni kwamba sitiari ni mbinu inayoyawezesha mashairi hayo kuchanuza mawazo na hisia kwa uwazi na athari nzito. / This article analyses metaphors in Kichomi, the first collection of poems by the late Euphrase Kezilahabi. The poems analysed deal with the following main themes: the meaning of life, colonial oppression, and the current state of Africa. The poems under discussion are: “Nimechoka” (I Am Tired), “Mwamba Ziwani” (Rock in Lake), “Fungueni Mlango” (Open the Door), na “Kisu Mkononi” (Knife in Hand; theme: meaning of life); “Hadithi ya Mzee” (An Old Man’s Tale) (theme: colonial oppression); “Afrika na Watu Wake” (Africa and Its People), “Kumbe” (That’s Why ), and “Namagondo” (Namagondo; theme: current state of Africa). The structure of these poems does not follow the conventional rules of metre and rhyme. The aim of this article is not a thorough analysis, but to show that metaphor is a fundamental device for the poet to present meaning and his view concerning a variety of themes. I have selected these poems only in order to make the device of metaphor clear concerning the mentioned themes. The analysis proceeds on a semantic approach which recognizes three aspects of metaphor: vehicle, tenor and ground (cf. Richards (1936); Leech (1969:153-56)). An important conclusion is that metaphor is a device which enables the poems to evoke thoughts and feelings in a candid manner and with a deep impact.

In most African countries, and indeed other parts of the world, multilingualism is the rule rather than the exception. One could, for example, investigate in which domain each of the languages in a multilingual situation is used. It is also possible to study in linguistic terms the influence of one language on another. One may also wish to examine what is known as code switching, i.e. the use of more than one language in speech.

Lengo la makala hii ni kujaribu kufafanua jinsi wafasiri walivyotafsiri kwa Kiswahili baadhi ya riwaya zilizoandikwa kwa lugha za kigeni, enzi za baada ya nchi za Afrika kujipatia uhuru. Kwa ajili ya mada yenyewe nimechagua mkusanyo wa riwaya nne zilizotafsiriwa na Watanzania, yaani Shamba la wanyama (kilichoandikwa na Fortunatus Kawegere, 1967), Shujaa Okonkwo (Clement Ndulute, 1973), Mzee na bahari (Cyprian Tirumanywa, 1980) na Barua ndefu kama hii (Clement Maganga, 1994). Wafasiri hao walikabiliana vipi na vipengele vya kitamaduni vya lugha chanzi (za jamii zenye maisha, dini, misemo, methali tofauti na yao n.k.)? Kwa kuzingatia swali hilo, makala inaeleza baadhi ya mbinu zilizotumiwa na watafsiri wa Kiswahili wakishughulika na maandishi kutoka kwa fasihi ya kigeni.

Le swahili, avec presque 100 millions de locuteurs, est la langue bantu la plus dispersée, étudiée,diffusée et la plus importante. Cette langue officielle de la Tanzanie, du Kenya et de l’Ouganda est aussi une langue de fonctionnement de l’Union Africaine. Le swahili qui a absorbé un important lexique du monde arabe, fruit des interactions commerciales et sociales séculaires continue à adopter de plus en plus de termes anglais en conséquence de la colonisation et du développement en science et en technologie. Du fait que sa description fut dirigée et influencée par les Anglais et les Allemands, le rôle des Français fut négligé et écarté, laissant l’histoire du swahili incomplète.Pourtant, la contribution des Français à l’étude du swahili n’est pas négligeable, tout d’abord par l’œuvre des missionnaires de la Congrégation du Saint-Esprit et les Pères Blancs dès le XIXe siècle, puis depuis 1960 par les travaux menés en France par les enseignants/chercheurs de cette langue. La recherche effectuée à partir des archives ainsi que des interviews faites pour le compte de la présente étude montrent que le spiritain Charles SACLEUX joua un rôle considérable dans l’étude du swahili.Les documents rédigés par ce polyglotte et botaniste, dont le monumental dictionnaire swahili français(1939) révèlent des informations rares surtout en étymologie, lexicographie,dialectologie et ethnolinguistique ainsi qu’une perspective intégrale et descriptive contrairement à ses contemporains qui se servaient de la méthode prescriptive. Il est donc souhaitable que les dictionnaires de SACLEUX soient réétudiés et intégrés dans le swahili standard. / Following a research undertaken in archives, libraries as well as through interviews, the author describes the Swahili coast and the contact between Swahili and Europeans. While analyzing available early documents published by French researchers, he chronologically depicts endeavour and challenges of studying African languages during that era. Among them, Charles SACLEUX, a Spiritan priest performed an outstanding work especially in etymology, dialectology, lexicography and in ethno-linguistics. The study presents his biography together with his philosophical and methodological approaches. The findings show that in comparison with other researchers who, for the sake of standardizing the language, used a prescriptive approach, he opted for a descriptive. His publications present the language in its natural state. Together with Sacleux’ work, to complete the account, the thesis reserves one chapter for the current progress in teaching/learning as well as publishing on Swahili in France. The insights from the study suggest that it is important that some contents from Sacleux’ publications be revised and incorporated in contemporary Swahili literature.

Wataalamu mbalimbali wamefafanua dhana ya hadithi fupikwa namna mbalimbali. Kipera hiki cha fasihi andishi ni zao la athari za kimagharibi. Hadithi za fasihi simulizi zimerutubisha hadithi fupi zinazoendeleza majukumu ya tangu jadi ya kuelimisha, kuongoza, kuonya na kuburudisha. Hadithi fupi ya kisasa ina sifa za matumizi ya lugha ya nathari, masimulizi mafupi aghalabu ya tukio moja, mhusika mkuu mmoja au wahusika wachache, msuko sahili na hatimaye mshikamano na umoja wa mawazo na mtindo. Katika makala haya, tunachambua hadithi teule za Kiswahili kuhusu nafasi na ujitambuzi wa wanawake. Kachukua Hatua Nyingine ya Kyallo Wadi Wamitila inajadili hatua ambazo mwanamke anafaa azichukue ili ajikwamue na utumwa wa ndoa zinazompa mwanamume uwezo wote. Nayo Ngome ya Nafsi ya Clara Momanyi inaonyesha hatua anazochukua mtoto msichana kujikomboa dhidi ya mila na desturi zinazomnyima utambulisho wa kibinafsi na kijinsia. Wasia wa Baba ya Ahmad Kipacha inaonyesha jinsi utamaduni na mafundisho chanya ya dini kuwa njia mwafaka za kujengea utambulisho wa mwanamke. Hatimaye Usia wa Mama ya Fatima Salamah inaonyesha mtoto msichana akijihami kupitia utamaduni na mafundisho chanya ya dini dhidi ya ushawishi hasi wa mamake.

Mathias Eugen Mnyampala (1917-1969) est un écrivain, juriste et poète d'expression swahilie tanzanien. De langue maternelle cigogo, il apprend le kiswahili et l'écriture par les textes de la Bible à l'âge de quinze ans. A partir de l'indépendance du Tanganyika en 1961, il engage son art poétique au service du développement du kiswahili, la langue de la nouvelle nation. Dans cette destinée particulière d'un jeune pasteur de l'Ugogo du centre de la Tanzanie, qui devient un maître reconnu par ses pairs de la poésie d'expression swahilie et un artiste national, se reflète la problématique de la construction d'une nation tanzanienne. Notre question centrale concerne la structure métrique formelle et la langue des poèmes de Mathias E. Mnyampala. Comment les définir ? Quels rapports entretiennent-ils avec le corpus classique des XVIIIème et XIXème siècles de la poésie d'expression swahilie ? Pourquoi est-ce ce type particulier de poésie - décrit formellement et linguistiquement - qui fait l'objet d'une promotion à l'échelon national et de reconnaissances officielles par des autorités politiques successives de Tanzanie ? Pour aboutir à l'interprétation politique de l'analyse formelle et linguistique des textes poétiques, il nous a fallu d'abord nous doter d'outils de description formelle qui étaient manquants. Nous parcourons pour ce faire l'ensemble des théories métriques existantes afin d'arriver à une synthèse formelle et réductionniste. Nous analysons ensuite le corpus poétique de Mathias E. Mnyampala sur cette base. Les formes métriques et la langue des poèmes témoignent de processus créatifs ex materia liés à la métrique classique qui nous apprennent quelque chose au sujet de la construction nationale au service de laquelle ils sont appelés. La création ex materia, ni classique ni moderne, est une troisième voie de la composition poétique que notre approche formelle permet de décrire. Nous verrons qu'en parallèle d'une nationalisation des mètres classiques de la poésie d'expression swahilie, il est question d'une africanisation de la culture nationale.

Text in English / The study examines the social motivations that prompt the Rwandan bilingual speakers to code-switch from Kinyarwanda to English, French or Kiswahili in their casual conversations about real-life situations. Methodological techniques used for data collection are ethnographic non-participant observation, oral interviews, focus group discussions and shorthand notes techniques. Examples were examined and interpreted within Myers-Scotton’s Markedness Model as the main theoretical framework for the study. The research findings align with Myers-Scotton’s categories such as the sequential unmarked choice, code-switching itself as the unmarked choice, the marked choice and the exploratory choice respectively. The main social factors that influence code-switching among the Rwandan bilingual speakers were identified as signalling educated status, expressing different social identities, demonstrating measures of power, authority and prestige, narrowing or widening social distance, and maintaining relationships. These results support the hypothesis that code-switching is a strategy to maximise social benefits from the interlocutors in conversation. / Linguistics and Modern Languages / M.A. (Sociolinguistics)