Submitted in partial requirements for the degree of Doctor of Philosophy in the Department of IsiZulu namaGugu in the Faculty of Arts at the University of Zululand, 2002. / Ukubaluleka kwenhlanzeko ekuphathweni komsebenzi wabadala wucwaningo olumpande zalo ziphuza emajukujukwini empilo yomuntu ongum-Afrika nesiko lakhe kanjalo futhi zibe zilunguza esikweni lomZulu phaqa. Ukulondolozwa kwamasiko omdabu yiwona mthambo ongumnyoluka wempilo noyinjulalwazi ngemvelaphi yomuntu nomuntu njengoba edaliwe wabekwa echosheni elithile lomhlaba ngoPhezukonke. Ukugudluka kwezinsika zokugcinwa kwamasiko omdabu ikakhulukazi ukubukelwa phansi kwephuzu lenhlanzeko lapho kuphathwa imisebenzi yasebalala yikhona kanye okususe usinga lokuba kwenziwe lolu cwaningo. Sekuhambe ibanga ukugcinwa kwamasiko kodwa le ngxenye yesiko ibinganakiwe ngokungako. Lolu cwaningo luyimizamo yokubuka ngeso elijulile ukubaluleka kwezinsika zokugcinwa ngokuyikho amasiko eSintu ngoba aphethe injulalwazi yempilo yomuntu emenza ehluke kwabanye kanjalo nomlando wakhe. Lolu cwaningo ngumkhombandlela ekugcinweni ngokuyikho komsebenzi wabadala ngenhloso yokuphephisa leyo nzika esasele njengoba izivunguvungu zokushabalalisa amasiko omdabu zilwa impi yansukuzonke. Esokuqala isahluko sethula indikimba ngalokho ucwaningo oluphokophelele ukukuhlaziya. Ngaphezu kwalokhu, isahluko siphinde siveze lokho okube yilahle eliyimbeleselane elisuse ugqozi lokuhlwaya ngalesi sihloko. Kuyavela futhi ukuthi lolu cwaningo lunemincele ngenxa yokuba ngudedangendlale kwesihloko salo yingakho nje lona lucubungule esingakubiza ngokuthi yiwona mongo walesi sihloko, inhlanzeko. Esokugcina sona siqoqa amaphuzu adingidiwe ngenhloso yokuphetha imbenge kanjalo nokuveza iZlncomo okungathi ngokulandelwa kwazo ngokuyalela kocwaningo kube khona izinguquko endleleni isiko elibukwa ngayo kanjalo nasendleleni abantu abagcina ngayo imisebenzi yabakubo asebalala. Indikimba yalolu cwaningo yona yakhiwa yizahluko eziyisithupha ezidingida izigaba zokukhula komuntu kusuka ezalwa, egana I eganwa kuze kube wendela koyisemkhulu. Isahluko sesibili siyinjulalwazi ngenkolo yomdabu ikakhulukazi kugxilwa kwinhlanzeko efundiswa abantwana lapho befika kulo mhlaba bese leyo mfundiso beyigwinya, bayiphile nokuyikona okubalungiselela ikusasa elifika nezingqinamba zalo. Isahluko sesithathu sona sibuka ukugcinwa kwamasiko endabuko ikakhulukazi lawo agcinelwa abantwana besebancane kuze kuyofika lapho bethomba khona. Ukubaluleka kwawo kanjalo nophawu oluhambisana nawo yikona olugcizelelweyo. Inhloso kuseyiyona leyo yokubuka ngeso elinzulu iphuzu lenhlanzeko njengesinongo-esingugo ekuphumeleliseni la masiko kanjalo' nokwedlulisela ngempumelelo umntwana emabangeni ahlukahlukene. Isahluko sesine sona sibheka umemulo nenhlanzeko egcizelelwa yileli siko. Lesi sahluko sibheka ubuntombi nto njengesizathu sokugcinelwa leli siko. Uphawu ngezinto ezisetshenziswayo lukhuluma buthule nezethameli kuleli siko. Lesi sahluko sandulela futhi sishanela amabala aleso sokuganana leso okuxoxwe ngaso kwisahluko sesihlanu. Ubumsulwa bentombi I bensizwa yibona obudlulisela ngesinono umuntu kuleli banga. Umlobokazi ukufakazela ngokufaka imvakazi lobu bumsula ngosuku lodwendwe. Isahluko sesithupha sibheka ibanga esingalibiza ngebanga eliyisiphetho sempilo yomuntu yakwamhlaba izinga lokufa. Lesi sahluko sicubungula injululwazi ngokufa qobo kanjalo namabanga ahanjwa ngumphefumulo womuntu, uhlanzwa ngemisebenzi egcinwayo enhlobonhlobo ukuze ubuye uzongena ebudlozini bekhaya. Isahluko sesikhombisa sibuka izinguquko ezikhona ekugcinweni kwawo wonke la masiko okuxoxwe ngawo ezahlukweni ezidlule. Izizathu ezidala izinguquko ekugcinweni kwala masiko zibekwe obala. Kuphawuliwe futhi kulesi sahluko ngobunjalo bamasiko kanjalo nokuhambelana kwawo nesikhathi okuphilwa kuso. Ubunjalo bezinguquko bushiyelwe umfundi ukuba kube nguyena owehlulelayo ngobuhle nobubi bazo. Umcwaningi ushiyele ofundayo ukwahlulela ngobuhle nobubi bezinguquko zesikhathi emasikweni endabuko. Isahluko sesishiyagalombili sona siqoqa amaphuzu okuxoxwe ngawo ezahlukweni ezingaphambi kwaso.Okubalulekile ngalesi sahluko wukuthi sithi siyiqoqa kanjalo futhi sibe siyinkombandlela yalokho okubukwa ngeso lomcwaningi ukuthi kungaholela ekugcinweni ngendlela eyamukelekileyo kwamasiko omdabu. / National Research Foundation (NRF)

No description available.

by Lau Chun Ip. / Bibliography: leaves 99-103 / Thesis (M.A.)--Chinese University of Hong Kong, 1985

The thesis will show that a distinctive New Zealand voice in the arts may be found not in an "essence", as has sometimes been suggested, but at chronologically specific intersections of discourses. Each of the six works I examine has been made in New Zealand and is a mixture of music and language. As generic hybrids, combinations of music and language make appropriate objects of study for a thesis that explores a specific local dialogue between the 'mixture' and the 'essence', the 'hybrid' and the 'authentic', the 'indigenous' and the 'exotic', the 'local' and the 'imported', the 'centre' and the 'periphery.' Like acquisitive magpies, New Zealand artists constantly collect and select their material. They sift, save, reject and synthesise, and in so doing they create new combinations out of old ingredients. One of the characteristics of New Zealand poetry is that it has often been combined with music. There have been many collaborations between poets and musicians since colonial times. These collaborative texts occupy a complex space between art forms, just as New Zealand artists negotiate between orientations, positioning themselves between different cultural traditions. In its own process of selection, the thesis selects six works for close analysis which represent not only different periods but also different forms of synthesis. Each work represents 'New Zealand', yet what this means in practice is different in each case.

The thesis will show that a distinctive New Zealand voice in the arts may be found not in an "essence", as has sometimes been suggested, but at chronologically specific intersections of discourses. Each of the six works I examine has been made in New Zealand and is a mixture of music and language. As generic hybrids, combinations of music and language make appropriate objects of study for a thesis that explores a specific local dialogue between the 'mixture' and the 'essence', the 'hybrid' and the 'authentic', the 'indigenous' and the 'exotic', the 'local' and the 'imported', the 'centre' and the 'periphery.' Like acquisitive magpies, New Zealand artists constantly collect and select their material. They sift, save, reject and synthesise, and in so doing they create new combinations out of old ingredients. One of the characteristics of New Zealand poetry is that it has often been combined with music. There have been many collaborations between poets and musicians since colonial times. These collaborative texts occupy a complex space between art forms, just as New Zealand artists negotiate between orientations, positioning themselves between different cultural traditions. In its own process of selection, the thesis selects six works for close analysis which represent not only different periods but also different forms of synthesis. Each work represents 'New Zealand', yet what this means in practice is different in each case.

No description available.

The thesis will show that a distinctive New Zealand voice in the arts may be found not in an "essence", as has sometimes been suggested, but at chronologically specific intersections of discourses. Each of the six works I examine has been made in New Zealand and is a mixture of music and language. As generic hybrids, combinations of music and language make appropriate objects of study for a thesis that explores a specific local dialogue between the 'mixture' and the 'essence', the 'hybrid' and the 'authentic', the 'indigenous' and the 'exotic', the 'local' and the 'imported', the 'centre' and the 'periphery.' Like acquisitive magpies, New Zealand artists constantly collect and select their material. They sift, save, reject and synthesise, and in so doing they create new combinations out of old ingredients. One of the characteristics of New Zealand poetry is that it has often been combined with music. There have been many collaborations between poets and musicians since colonial times. These collaborative texts occupy a complex space between art forms, just as New Zealand artists negotiate between orientations, positioning themselves between different cultural traditions. In its own process of selection, the thesis selects six works for close analysis which represent not only different periods but also different forms of synthesis. Each work represents 'New Zealand', yet what this means in practice is different in each case.

The thesis will show that a distinctive New Zealand voice in the arts may be found not in an "essence", as has sometimes been suggested, but at chronologically specific intersections of discourses. Each of the six works I examine has been made in New Zealand and is a mixture of music and language. As generic hybrids, combinations of music and language make appropriate objects of study for a thesis that explores a specific local dialogue between the 'mixture' and the 'essence', the 'hybrid' and the 'authentic', the 'indigenous' and the 'exotic', the 'local' and the 'imported', the 'centre' and the 'periphery.' Like acquisitive magpies, New Zealand artists constantly collect and select their material. They sift, save, reject and synthesise, and in so doing they create new combinations out of old ingredients. One of the characteristics of New Zealand poetry is that it has often been combined with music. There have been many collaborations between poets and musicians since colonial times. These collaborative texts occupy a complex space between art forms, just as New Zealand artists negotiate between orientations, positioning themselves between different cultural traditions. In its own process of selection, the thesis selects six works for close analysis which represent not only different periods but also different forms of synthesis. Each work represents 'New Zealand', yet what this means in practice is different in each case.

In der Bibelübersetzung müssen Konzepte, die in der damaligen Welt bekannt waren und keiner Erklärung bedurften, in Sprachen und Kulturen übertragen werden, in denen diese Konzepte unbekannt sind. Wo liegt die Grenze zwischen zulässiger Inkulturation und Adaption auf der einen Seite und unzulässiger Manipulation und Verfälschung auf der anderen Seite? Welche Kriterien und Richtlinien gibt es für den Umgang mit diesem Problembereich? Zunächst werden die beiden Schlüsselbegriffe ‚Übersetzung’ und ‚Kultur’ definiert. Dann werden die Vorgehensweise der Übersetzer der Septuaginta und der Umgang der biblischen Autoren mit Erklärungen und Übersetzungen beleuchtet. Beide Gruppen haben den Verstehenshorizont ihrer Leser berücksichtigt, ohne z.B. geographische oder soziokulturelle Gegebenheiten an deren Situation und Kenntnisse anzupassen. Sie muten ihren Lesern Fremdes zu, geben ihnen aber auch Verstehenshilfen. Diese Vorgehensweise kann auch heutige Übersetzer anleiten. Der wesentliche Teil dieser Arbeit besteht in einer Untersuchung von neun verschiedenen Konzepten, wobei die lexikalischen und konnotativen Bedeutungen herausgearbeitet werden. Auf dieser Grundlage werden die Besonderheiten und Schwierigkeiten jedes einzelnen Konzepts dargestellt und anhand von Beispielen aus der weltweiten Übersetzungsarbeit Übersetzungsmöglichkeiten aufgezeigt und analysiert. Die Untersuchung ergibt keine allgemeingültigen Richtlinien. Sie zeigt aber auf, wie man zu angemessenen Übersetzungen kommt, die den Verstehenshorizont ihrer Zielgruppe berücksichtigen, ohne die geographischen und soziokulturellen Gegebenheiten des Originals als eines antiken Textes aufzugeben. / New Testament / M. Th. (New Testament)

The main objective of this thesis was to understand the function, design and distribution of New Zealand adzes, aspects little studied in Polynesia as a whole. Methodology involved functional and manufacturing replication experiments and comparisons of these results with statistics derived from the analysis of almost 12,000 archaeological adzes. Methodology was guided by technological organization theory which states that technological strategies reflect human behaviours and that artefacts like adzes are physical manifestations of the strategies employed by people to overcome problems posed by environmental and resource conditions. Variability in adze morphology was discovered to be the outcome of ongoing technological adjustments to a range of conditions that were constrained by a set of functionally defined parameters. The nature of the raw material, both for the adzes themselves and to make them, had a major influence on adze technology and morphology within these functional parameters. Four basic functional adze types were identified fi-om distinct and consistent combinations of design attributes not previously recognized explicitly in previous adze typologies. It was found that design attributes previously considered significant like crosssection shape and butt reduction were more heavily influenced by raw material quality than functional specifications. It was also important to recognize that form and function changed over time with use, and because adzes were so valuable due to manufacturing costs, they were intensively curated. The majority of archaeological specimens studied for this thesis had seen major morphological and functional change. This dynamic was included ,in a typology based on 'adze state7 as findings suggested (1) that extending adze use-life and optimizing reworking potential was incorporated in initial design strategies, (2) that intensive curation may have played a major role in changes in adze morphology over time, and (3). that it had a major influence on distribution and discard patterns in the archaeological record. Having identified these influences on adze discard and distribution, two complex production and distribution networks were observed for the North Island based around Tahanga basalt and Nelson~Marlborough argillite. Each was complimentary to the other and involved other major and minor products and materials. Influential factors in the roles different settlements played in distribution included where people and raw materials were in relation to one another and the mode of transportation. The coastal location of early period settlements and important stone sources was an important aspect of these networks.